:00:00. > :00:25.Hello, and welcome to The Film Review on BBC News.
:00:26. > :00:35.This is a special addition from the red carpet at the BFI at the London
:00:36. > :00:37.form first of all. -- London Film Festival.
:00:38. > :00:44.So, Mark, what do we have this week?
:00:45. > :00:49.We have Inferno, American Honey, and Storks, and animated feature about,
:00:50. > :01:00.guess what, Storks. And we may be talking to some of the
:01:01. > :01:05.stars and the director of Nocturnal Animals, which is having its
:01:06. > :01:10.premiere tonight. Let's begin with Inferno. Tom Hanks and Dan Brown,
:01:11. > :01:14.what could possibly go wrong? Quite possibly everything. If you seen the
:01:15. > :01:18.da Vinci code, I thought that was just plain terrible, everything was
:01:19. > :01:21.dark and everybody was explaining the pot to each other in the dock is
:01:22. > :01:27.all the plot to each other. Angels and Demons was ridiculous. And now
:01:28. > :01:30.Inferno. Tom Hanks is one of the world's most boring investigative
:01:31. > :01:39.characters wakes up in a hospital, where is he? Is he in Florence?
:01:40. > :01:43.Conveniently he wakes up to find that Felicity Jones, the doctor
:01:44. > :01:46.looking after him, knows an awful lot about Dante, because that is
:01:47. > :01:48.going to help them both foil a plot to bring about the apocalypse. Here
:01:49. > :01:51.is a clip. They're used to transport
:01:52. > :01:55.dangerous substances. Security in case
:01:56. > :02:06.it's lost or stolen. Tubes like this can only be opened
:02:07. > :02:10.by a specified individual. I'm getting the number for
:02:11. > :02:18.the consulate. Look, there is a simple way to find
:02:19. > :02:28.out if this thing belongs to me - either my thumb will open it or
:02:29. > :02:30.it won't. If it's viral agent, will it be
:02:31. > :02:38.released if I open it? No, no, there would be an inner
:02:39. > :02:41.sleeve, maybe even two. OK, before I put myself in anyone's
:02:42. > :02:57.hands, I want to know You can't help but thinking that Ron
:02:58. > :03:02.Howard, who is a fine director, could do better? The thing is, I
:03:03. > :03:06.think it is faithful to Dan Brown. I haven't read any of Dan Brown's
:03:07. > :03:10.novels, but everybody explains out loud all the time that everything
:03:11. > :03:14.that is happening for no good reason at all. It is a thumbprint
:03:15. > :03:18.identification, it identifies you from your thumb. The problem is, if
:03:19. > :03:24.you get a film that has actors of the character of Tom Pang, even they
:03:25. > :03:27.cannot make the script sound like anything other than somebody reading
:03:28. > :03:32.out an instruction manual, you know you are in trouble. The plot is
:03:33. > :03:35.per', but most importantly, it is boring. It is a turbo chore, giving
:03:36. > :03:43.that what they are actually up against is the apocalypse,, it
:03:44. > :03:50.should be more up citing. Aaron Taylor-Johnson is here, as indeed is
:03:51. > :03:57.Tom Ford. Maybe they could join us. You have obviously got the dress
:03:58. > :04:01.message! Tonight is a little different. Tom, we want to talk
:04:02. > :04:06.about Nocturnal Animals, premiering here tonight. You describe it as a
:04:07. > :04:09.cautionary tale about relationships. Can you tell us? For me it is about
:04:10. > :04:13.finding the people in your life that you love, that love you, that mean
:04:14. > :04:18.something to you, and hanging onto them our lead character, played by
:04:19. > :04:22.Amy Adams, doesn't do that. She lets go of something. As I said, it is a
:04:23. > :04:26.cautionary tale about what can happen when you throw things away.
:04:27. > :04:29.You know, our culture today is so much about throwing things away, we
:04:30. > :04:33.throw things away, we throw people away, this is about not doing that.
:04:34. > :04:37.It is also about the search for happiness which may not actually
:04:38. > :04:44.make you happy? Well, yes, sometimes in contemporary culture we can be a
:04:45. > :04:47.bit misguided and think that may material things can make us happy.
:04:48. > :04:49.This is really a lesson again in the opposite of that. The film has a
:04:50. > :04:56.story within a story. In the fictional story, you play the
:04:57. > :04:59.terrifying presence, it is a brilliant role, so much that I
:05:00. > :05:02.didn't recognise you for the first five minutes of the performance. Can
:05:03. > :05:07.you tell us about the character and how you got into the role? Yet,
:05:08. > :05:14.thanks to Tom, he gave me the opportunity to play this character
:05:15. > :05:17.with a sociopaths, almost, you know, with complexities. What is beautiful
:05:18. > :05:21.though is that Tom wanted him to be very charismatic and magnetic on
:05:22. > :05:27.screen, quite overwhelming and overbearing. But unpredictable, and
:05:28. > :05:33.therefore dangerous. And I think that was the fun in being able to
:05:34. > :05:37.play this role. It is very tense and very disturbing. What was it like to
:05:38. > :05:43.film it? It was exactly that, very intense. I mean, I can't remember if
:05:44. > :05:48.we shot over three days and three nights? It was demanding and
:05:49. > :05:53.training and psychologically it was intense, yeah. I think the point of
:05:54. > :06:00.bringing date to a nervous breakdown was almost my job, to provoke and
:06:01. > :06:07.manipulate him -- bringing Jake to another's breakdown. My wife was
:06:08. > :06:11.very happy, she said, thank you for giving me my husband back when we
:06:12. > :06:16.were done with that! Can you tell me something about the school, which
:06:17. > :06:29.really struck me? I worked with a composer, we share the same love for
:06:30. > :06:33.a kind of old-fashioned, overblown, we have that same love, the same
:06:34. > :06:37.type of score, which heightens the emotion in the film. Something I'm
:06:38. > :06:41.learning about myself as a full maker. I like enhanced reality, is
:06:42. > :06:47.things that are a bit larger-than-life. There are two
:06:48. > :06:52.stories, one in a very sterile world and another in the book which is
:06:53. > :06:54.more sort of rough and violent. You have two very contrasting
:06:55. > :06:58.environments which look very different on screen. They do look
:06:59. > :07:02.very different on screen. However, the stories start to feed each other
:07:03. > :07:06.and wind themselves up into really we are telling one story through
:07:07. > :07:10.actually three stories, and in a book and flashbacks from the past.
:07:11. > :07:19.Tom, there is one of the story, I want to do whilst you here, the big
:07:20. > :07:23.American story on Donald Trump. -- I wanted to ask you. We have to get
:07:24. > :07:27.political! Trump cannot be elected. I find it frightening and disturbing
:07:28. > :07:31.that we are in this situation. I am a Democrat, I'm voting for Hillary
:07:32. > :07:38.Clinton, and I does pray that that man does not get any further. Use a
:07:39. > :07:44.prize that tens millions of Americans may vote for him? -- are
:07:45. > :07:48.you surprised. We don't know that. It is a wake-up call for all of us.
:07:49. > :07:52.There are a lot of people in the world, in Britain as well, who feel
:07:53. > :07:56.quite disenfranchised, and we need to address that. Let's hope that the
:07:57. > :08:01.solution is not bomb dropped. We need to not ignore that. Tom, Aaron,
:08:02. > :08:08.thank you very much -- the solution is not Donald Trump. We have got
:08:09. > :08:16.atmosphere here at least. Let's move on. American Honey. This is the
:08:17. > :08:20.feature by Andrea Arnold. He was in Wuthering Heights. This was a really
:08:21. > :08:24.terrific these of work, a story of an 18-year-old Texan girl who has a
:08:25. > :08:29.very dysfunctional home life, she is Lord onto the road by a character
:08:30. > :08:34.played by Shiloh bruv, who gets her joined up with a group of travelling
:08:35. > :08:38.magazine sellers. They travel to Kansas City and onwards, selling
:08:39. > :08:42.magazines. It is basically an on the road movie, sort of modern day easy
:08:43. > :08:47.rider to some extent. The things I love about the film are, firstly,
:08:48. > :08:57.superb performances, whether it is from Sasha Lane, a new, who Andrea
:08:58. > :09:01.Arnold discovered, or for Shia LaBeauf, it is an old Academy ratio.
:09:02. > :09:06.Rather than looking narrow, it looks tall. It is intimate and detail but
:09:07. > :09:09.also looks upwards to the stars. Extraordinary use of music, the
:09:10. > :09:13.musicale told a story beautifully. Although it is a long film, it is a
:09:14. > :09:18.full that deserves to be long and earns the right as they on-screen. I
:09:19. > :09:23.thought it was a fine piece of work. If you liked Fish tank you will
:09:24. > :09:28.really like this. The midwest scenes for an English director. She handles
:09:29. > :09:31.it superbly. You get a sense of living in this environment,
:09:32. > :09:36.everything about the film reels tactile and honest and genuine. I
:09:37. > :09:41.really liked it. As you can probably hear from the crowd around us, we
:09:42. > :09:46.are now joined by Amy Adams and Armie Hammer, also from Nocturnal
:09:47. > :09:51.Animals, very good to see you. My scandal as husband back here from
:09:52. > :09:57.the film. A very challenging role for you? Yet, it had its challenges,
:09:58. > :10:00.but Tom really made it easy. It was a wonderful sort of experiment for
:10:01. > :10:04.me to get to convey all these emotions with no words but just
:10:05. > :10:09.reading. And I really enjoyed it. And when I did get to work with such
:10:10. > :10:13.wonderful actors as Armie, it was wonderful to have that interaction.
:10:14. > :10:16.You are also working with a design as well as a film director. How is
:10:17. > :10:22.that? The look of the film is obviously important? Hugely
:10:23. > :10:26.important, you see he eye for detail, whether it is being
:10:27. > :10:30.instrumental in how each one of the characters look, to adjusting the
:10:31. > :10:34.clothes where his eye for detail is, you see why he has been so
:10:35. > :10:38.successful. He has an impeccable eye for detail, it is amazing. Tell us
:10:39. > :10:43.something about your character? He was described as being bashing and
:10:44. > :10:48.handsome, but we know he is very duplicitous. Come on, what else do
:10:49. > :10:57.you need?, for all intents and purposes, he is just a very
:10:58. > :11:03.expletive husband. We will apologise for that! Both characters are very
:11:04. > :11:07.flawed. When we meet them. It is easy to judge them. What I realised
:11:08. > :11:13.in sort of examining the characters is you get into the sort of history
:11:14. > :11:17.and how fear and dissatisfaction drives choices that aren't
:11:18. > :11:21.necessarily the best choices for us. The question of happiness, which I
:11:22. > :11:24.raised with Tom a little while ago, the pursuit of happiness but feeling
:11:25. > :11:29.an entitlement to be happy. That may not make a person or a character
:11:30. > :11:34.happy? It depends on how you pursue happiness. Entitlement to happiness
:11:35. > :11:37.is something that we all hope for as human beings, thinking that
:11:38. > :11:42.happiness is a 24-hour per day experience is naive, but it is how
:11:43. > :11:45.we pursue happiness. If we choose to use the superficial to define
:11:46. > :11:49.happiness or success, that is really going to feel empty at the end of
:11:50. > :11:53.the day. One of the difficult things, you are a character who
:11:54. > :11:57.plays almost reading a manuscript. To convey reading on screen, the
:11:58. > :12:08.moment you drop the script is a shock. That is not the easiest thing
:12:09. > :12:10.to convey on-screen. It is not the most easy thing to look interesting,
:12:11. > :12:13.which she does flawlessly. One of the things that helped me, I would
:12:14. > :12:16.make Tom sit down and read, in such an elegant way. When I read, I
:12:17. > :12:19.create a lot of double and triple chins, you know. But Tom, I would
:12:20. > :12:23.watch him read and do things, there is such an elegance to him that
:12:24. > :12:28.actually really helped. He became my news, as opposed to the actor
:12:29. > :12:33.becoming the muse to the director, I became -- he became my news. Do you
:12:34. > :12:39.wonder how he fits it all in? Yes, because I'm not that motive is dead!
:12:40. > :12:45.So... I couldn't run several empires like he is doing -- I am not that
:12:46. > :12:51.motivated. I feel like I could run an empire under stress. Why? What
:12:52. > :12:55.Empire? So much about the film is the way it looks but also the way
:12:56. > :13:03.the score sounds. Could you tell us about when you saw the finished
:13:04. > :13:06.movie and whether it look to you as you expected? Saying how it looks,
:13:07. > :13:07.it is important to also say that it is not style over substance.
:13:08. > :13:10.Definitely Howard looks is important. With the lighting and
:13:11. > :13:16.sound Tom is able to take us, would the way it looks he is able to take
:13:17. > :13:21.us in and out of the past and present, fiction and reality within
:13:22. > :13:25.the stories. It would be difficult to expect anything from this movie
:13:26. > :13:28.because it is so markedly different from his first film, really a
:13:29. > :13:32.testament to what he is able to do as I director. I went into this
:13:33. > :13:36.completely cold, knowing nothing about the story. I was impressed,
:13:37. > :13:41.scared in moments, rarely involved. It is fascinating way it manages to
:13:42. > :13:49.hold those three stories and intertwined them. The way it looks a
:13:50. > :13:51.big part in that, so does the score. Tom's vision, that is what he
:13:52. > :13:55.described to me when he was pitching the film to me, how he intended to
:13:56. > :14:00.pull us in and out through motion, that is how we really struck, how
:14:01. > :14:04.emotion pulls us in and out of the stories. Amy, congratulations on the
:14:05. > :14:08.film and good luck with the premiere tonight. It's been a delight, thank
:14:09. > :14:13.you. I think some fans want to talk to you. We just like to apologise
:14:14. > :14:19.again for what was clearly an unscripted moment from Armie Hammer
:14:20. > :14:23.there. What else have we got, Mark? Storks is an animated feature about
:14:24. > :14:31.thaw. In the past, thaw used to deliver babies the families' homes.
:14:32. > :14:35.Now they are into delivering parcels via the post, sort of like an
:14:36. > :14:38.upmarket parcel delivery service. Now we have the story of a young
:14:39. > :14:42.stalk about to take over the business, which very soon is going
:14:43. > :14:45.to be changed forever. Here is a clip.
:14:46. > :14:48.You know why I built my office entirely out of glass,
:14:49. > :14:55.18 years ago, I saved All Stalks by getting out of...and
:14:56. > :15:01.Now, this Monday at Stork Con, the board will announce they're
:15:02. > :15:07.Which means you, are going to be named...
:15:08. > :15:31.Here's the thing, it is intimately funny, there are lots of jokes and
:15:32. > :15:37.sequences which individually work well in and of themselves. The
:15:38. > :15:41.narrative is, to be honest, confused. Even doing that small
:15:42. > :15:44.synopsis, it is about storks who used to bring babies, they don't
:15:45. > :15:48.bring babies but they have a huge babymaking machine that they have
:15:49. > :15:51.turned off. All of that stuff slightly bothered me because it is
:15:52. > :15:57.not a narrative weekend here in full. However, it is colourful and
:15:58. > :16:02.bright, it has slapstick humour that will entertain parents and younger
:16:03. > :16:06.audiences. Whilst it is on-screen, people will find it diverging. I
:16:07. > :16:09.doubt that what they will then do is go home and remember it is one of
:16:10. > :16:13.their favourite films, because it doesn't have like a classic
:16:14. > :16:17.character, it is a very, very strange and, let's be honest,
:16:18. > :16:21.confusing full. We're not entirely the target audience. These are the
:16:22. > :16:33.same people that came up with Legoland. I thought
:16:34. > :16:37.Legoland was very doubtful, but kids loved it. The Lego movie is a high
:16:38. > :16:39.watermark, this is nowhere near that. The Lego movie managed to take
:16:40. > :16:42.a bunch of different franchise elements and turned into something
:16:43. > :16:44.which was genuinely funny and broke out from the animated sequences to
:16:45. > :16:47.the light sequences at the end. That is Colin Firth on the red carpet.
:16:48. > :16:53.Here for the premiere of Nocturnal Animals, as indeed we are. As they
:16:54. > :16:59.are posing, you have seen the film, you have had a pre-premiere... I was
:17:00. > :17:02.very impressed by it. We were saying in the interviews, I went in not
:17:03. > :17:06.knowing anything about the story, I thought it hung together
:17:07. > :17:11.brilliantly, it was a fine piece of storytelling, the music was direct
:17:12. > :17:15.terrific, it was reminiscent of Hitchcock and 40s noire at some
:17:16. > :17:19.points. In one of its narratives it was very violent and distressing,
:17:20. > :17:25.and another one was Amore Matic and yelling. It is a really interesting
:17:26. > :17:30.piece of work. -- more romantic. I liked A Single Man very much, a
:17:31. > :17:34.stylish goal. This sounds like a different piece? It is a step up,
:17:35. > :17:38.yes, a more epic endeavour, I was impressed by how well he brought
:17:39. > :17:42.together the different elements, not only marshalling a large cast but
:17:43. > :17:46.the into twining strands of the narrative very well. Not to give so
:17:47. > :17:54.much away, there are parallels with something like The French Lieutenant
:17:55. > :18:01.Governor -- the French lead tenant's woman. That is an interesting
:18:02. > :18:04.comparison. The way in which they did that full was very clever. Doing
:18:05. > :18:13.the filming within the filming, that did work very well. Let's talk about
:18:14. > :18:18.your Best of week. Under The Shadow. This bill was set in Iran, shot in
:18:19. > :18:25.Jordan, actually a British film which is a chiller, it draws on the
:18:26. > :18:29.Baba duck, films that I love. A woman and her daughter in an
:18:30. > :18:33.apartment block in Teheran being terrorised by forces both natural
:18:34. > :18:36.and supernatural. You will love it, because it is intelligent and
:18:37. > :18:39.understated when it needs to be scary it is doing new release Gary,
:18:40. > :18:46.it is a really adventurous story, very well told. -- it needs to be
:18:47. > :18:51.scary. I was knocked out by it. The writer and director did a brilliant
:18:52. > :18:55.job, the design is superb, everybody should see it. Your DVD is the clan,
:18:56. > :19:03.the Argentinian full. Based on a true story, a crime drama in 80s
:19:04. > :19:08.Argentina involved in kidnapping and killing. On the one hand it is a
:19:09. > :19:11.strange twist the domestic story. On the other hand, this kind of
:19:12. > :19:15.horrifying reality of these crimes. It has a very strong political
:19:16. > :19:19.undercurrent. It is a film in which the tone of it is very
:19:20. > :19:23.uncomfortable. You never settle into the film, it is uncomfortable all
:19:24. > :19:29.the way through, and that is how it should be. Something which is a very
:19:30. > :19:32.awkward watch, never allows the audience to relax. We have one
:19:33. > :19:35.minute left. This Film Festival, it does go from strength to strength. I
:19:36. > :19:38.was talking to the director pointing out that cinemas are not necessarily
:19:39. > :19:43.going from strength to strength. They used to be won over there, it
:19:44. > :19:48.is no more, it is a big coal. But dull puttable is self has a real
:19:49. > :19:52.drawing power. The opening film was a United Kingdom, it is a fantastic
:19:53. > :19:56.film. What was great was to seek it playing in the big auditorium to an
:19:57. > :20:02.audience that clearly loved it. I think she has done a terrific job
:20:03. > :20:05.taking a true story and combining politics and personal stories and
:20:06. > :20:09.doing it really, really well. There is a real sense of excitement about
:20:10. > :20:14.this festival. You know, just look at the crowds. You look at how well
:20:15. > :20:17.attended it is. Absolutely, I think it is really thriving, and there
:20:18. > :20:19.have been some exceptional pieces of work this year. You can get more
:20:20. > :20:20.online. A quick reminder before we go that
:20:21. > :20:23.you'll find more film news and reviews from across the BBC
:20:24. > :20:25.online -t hat's at And you'll find our previous
:20:26. > :20:50.programmes on the BBC iPlayer. Good evening. A little chilly there
:20:51. > :20:52.in Leicester Square but dry at least as it has been for many parts of the
:20:53. > :20:53.southern half of the