:00:00. > :00:27.Hello and welcome to The Film Singapore Grand Prix.
:00:27. > :00:29.Review. Mark commode is with me. We have got a typically mixed bag,
:00:29. > :00:34.including The Call, with 911 including The Call, with 911
:00:34. > :00:41.operator Halle Berry, up against a psychopath. We have Diana — you have
:00:41. > :00:46.read the press stories, now, watch the movie. That features Naomi
:00:47. > :00:51.Watts, transferring herself into the most photographed woman in the
:00:51. > :00:55.world. —— transforming. And also, Rest in Peace Department. I would
:00:55. > :01:03.say The Call sounds quite riveting... It is a very good
:01:03. > :01:09.thriller, B—movie type idea. Halle Berry is the 911 operator. She gets
:01:09. > :01:13.a call which ends very badly, she is very traumatised, she cannot put the
:01:13. > :01:18.headset back on. She becomes a teacher, and yet, when a call comes
:01:18. > :01:23.in from Abigail Breslin, who is calling from her mobile phone, in
:01:23. > :01:27.the boot of her's car, Halle Berry has no choice but to get back into
:01:27. > :01:36.the driving seat. —— her abductor's car. Emergency... What is your name?
:01:36. > :01:44.Casey Welson. I am in the trunk! We Casey Welson. I am in the trunk! We
:01:44. > :01:46.are going to find you, OK? You have got the best team of people in this
:01:46. > :01:50.whole city working to find you, but whole city working to find you, but
:01:50. > :01:56.in order for us to help you, I need you to help me. Can you see the
:01:56. > :02:05.Is there anyway you can break it Is there anyway you can break it
:02:05. > :02:11.your arm out and wave it, wave it, your
:02:11. > :02:19.wave it, OK? Someone is stuck in the wave it, OK? Someone is
:02:19. > :02:36.have got hi! What is happening, trunk of the car in front of me.
:02:36. > :02:37.thing, and it does it rather well. It is a good setup. We have kind of
:02:37. > :02:41.scene versions of it before. It is scene versions of it before. It is
:02:41. > :02:48.kind of Buried on the road. For the kind of Buried on the road. For the
:02:48. > :02:49.first two thirds of it, it follows it through pretty ruthlessly, and
:02:49. > :02:53.Abigail Breslin and Halle Berry Abigail Breslin and Halle Berry are
:02:53. > :02:57.both to rivet. It is quite a hard thing to do, people on the end of
:02:57. > :03:03.phones, but they do it very well. There has been some complaints that
:03:03. > :03:07.in the third act, the film becomes a little bit more action orientated. I
:03:07. > :03:11.know a lot of people have felt disappointed by that. I would say, I
:03:11. > :03:16.think that the work that is done in the first two thirds is such basic,
:03:16. > :03:18.good, stripped down exploitation movie stuff, I am willing to forgive
:03:18. > :03:23.the fact that in the third act, the fact that in the third act, it
:03:23. > :03:28.feels the need to somewhat ditch credibility. Thematically, the third
:03:28. > :03:31.act makes no sense narratively, act makes no sense narratively, but
:03:31. > :03:38.in terms of the underlying themes, it does work. I guarantee you that
:03:38. > :03:41.for at least two thirds of the film, you will be gripping the edge of
:03:41. > :03:46.desk. Absolutely want more, and you desk. Absolutely want more, and you
:03:46. > :03:50.are rooting for those people. You want things to work out well for
:03:50. > :03:56.them. I wish I could say that when we were watching Diana, you want
:03:56. > :03:59.more. You have probably read some of the press about it, it has got very
:03:59. > :04:05.stinky reviews. It is Naomi Watts playing Diana, and it is based
:04:05. > :04:07.speculatively on a relationship she has with her heart surgeon. The
:04:07. > :04:16.have said, it is absolutely terrible. It is not terrible, would
:04:16. > :04:16.that it were. What it is is unbelievably respectful and polite
:04:17. > :04:22.and frankly quite boring. You are and frankly quite boring. You are
:04:22. > :04:23.watching it thinking, it is like watching people treading on
:04:23. > :04:28.eggshells. The personal between these two characters,
:04:28. > :04:29.obviously it is speculatively, as nobody knows what happens behind
:04:29. > :04:32.closed doors, so all of those closed doors, so all of those
:04:32. > :04:36.conversations are imagined. But you conversations are imagined. But you
:04:36. > :04:38.end up thinking what is an actress of this calibre, and a director like
:04:38. > :04:46.end up thinking what is an actress this, Oliver Hirschbiegel, what did
:04:46. > :04:51.they think they were doing? I suspect that they were thinking it
:04:51. > :04:57.might be almost something like a prequel to The Queen. That film had
:04:57. > :05:02.a fantastic script. In this case, what is lacking is a fantastic
:05:02. > :05:07.script, a script in which Diana actually has two ask the heart
:05:07. > :05:12.surgeon, do you think it is possible for somebody to die of a broken
:05:12. > :05:16.clearly something which is made to clearly something which is made to
:05:16. > :05:22.be shown at 2.30pm on a Sunday afternoon. It is not as funny as
:05:22. > :05:30.that terrific TV movie about wheels and Kate. This is not funny at all.
:05:30. > :05:33.The script is the key thing. What this does not have is a great
:05:33. > :05:43.script. What this has is a lot of speculation, a lot of winks and a
:05:43. > :05:48.lot of wiffle. I have got a rule, almost, if I am told this film
:05:48. > :05:53.genres, I am not sure about it. I am genres, I am not sure about it. I am
:05:53. > :06:02.told this one was some kind of supernatural action comedy.
:06:02. > :06:06.Essentially, Ryan Reynolds is a cop, he dies, and on the way to heaven,
:06:06. > :06:10.Department office, and he is told he Department office, and he is told he
:06:11. > :06:12.can either face judgment, or go back can either face judgment, or go back
:06:12. > :06:18.down to earth with another undead cop, Jeff Bridges, because the Earth
:06:18. > :06:29.is being run by deados. Here is a clip. When you ride with me, you
:06:29. > :06:29.ride with the best. Expectations are high, things are going to come at
:06:29. > :06:45.you fast, they are going before, driving? Look at the ankles
:06:45. > :06:53.on that girl. That is what does it on that girl. That is what does it
:06:53. > :07:02.for you? In my day, women dressed conservatively. That make you wait
:07:02. > :07:03.less creepy. When exactly was your day? 1800, buddy. I am what they
:07:03. > :07:11.used to call a lawman. It was used to call a lawman. It was
:07:11. > :07:21.considered a very sexy name at the time, just call me Roy. It is true
:07:21. > :07:30.grit in cars. It is also Men In Black, and it is a bit of GHOST. It
:07:30. > :07:31.falls between umpteen stalls. It cannot decide if it wants to be
:07:31. > :07:35.jolly, all—round family jolly, all—round family
:07:35. > :07:42.entertainment, or if it wants to be something darker. Uncertainty, you
:07:42. > :07:45.end up thinking, if you are long enough —— young enough to like those
:07:45. > :07:49.kind of monsters, you will be really bored by the stuff about the loving
:07:49. > :07:51.wife. If you are old enough to be interested in the back story, then
:07:51. > :07:56.you will be thinking, I saw you will be thinking, I saw
:07:56. > :08:02.Ghostbusters, and I saw Men In Black, all of them, and the problem
:08:02. > :08:07.is, this is not any of them. In some parts, people will find Jeff Bridges
:08:07. > :08:17.funny, but I thought he was just a soft—pedalling. He is clearly having
:08:18. > :08:22.fun, but there is that strange rule that the more fun it looks like
:08:22. > :08:26.people had making the movie, the less fun it is to watch the movie.
:08:26. > :08:29.Mary Louise Parker is really good, but she is not on enough. There
:08:29. > :08:30.Mary Louise Parker is really good, this
:08:30. > :08:35.earthlings as a very very tall woman are on earth, they
:08:35. > :08:40.earthlings as a very very tall woman and a very short man, which enables
:08:40. > :08:43.Jeff Bridges to do all of these gags about, why are you looking at me
:08:43. > :08:48.like that? But I keep forgetting that you set that gag up. Obviously,
:08:48. > :08:51.it came from a graphic novel it came from a graphic novel
:08:51. > :08:56.different hits, and there is no one, different hits, and there is no one,
:08:56. > :08:59.unifying theme. The problem is that it ends up satisfying nobody in
:08:59. > :09:03.course, as you know, in America, it desire to satisfy
:09:03. > :09:12.course, as you know, in America, it tanked, and
:09:12. > :09:19.just seems to be fundamentally all over the place. Fundamentally all
:09:19. > :09:23.over the place ought to go on the poster. Actually, the quote I can
:09:23. > :09:25.imagine them using is, not imagine them using is, not as
:09:25. > :09:28.terrible as everybody keeps telling you.
:09:28. > :09:31.terrible as everybody keeps telling screening, that is what everybody
:09:31. > :09:33.was saying. It is not without some fun bits. You would be hard pressed
:09:33. > :09:38.to make a movie with. Bridges to make a movie with. Bridges
:09:38. > :09:43.without any fun bits. But they are just bits. You might find some bits
:09:43. > :09:50.of it funny on Youtube. —— with Jeff Bridges. And moving onto Rush. Yes,
:09:50. > :09:54.it is kind of black and white, to some extent, in the way in which it
:09:54. > :09:57.depicts the differences in depicts the differences in
:09:57. > :09:59.personality, but I think it does it really well, and I am not interested
:09:59. > :10:05.in Formula one. Neither are my, particularly, it is kind of Mortal
:10:05. > :10:11.Kombat. You actually care what happens, and I did know enough about
:10:11. > :10:16.Formula one to know what happens. And there is the possibility that it
:10:16. > :10:21.might have the kind of attraction which Senna did not. That did not
:10:21. > :10:23.audiences, who do not really audiences, who do not really
:10:23. > :10:26.understand Formula one anyway, what I think this one does. This film
:10:26. > :10:36.says, just come with us and you will says, just come with us and you will
:10:36. > :10:41.a very low budget movie, and it is a a very low budget movie, and it is a
:10:41. > :10:47.story about a curmudgeonly old guy, and a young man breaks into his
:10:47. > :10:51.charming, to some extent incidental, friendship. It is sweet
:10:51. > :10:55.charming, to some extent incidental, Philip Davis is brilliant in it.
:10:55. > :10:59.charming, to some extent incidental, some theatrical screenings, but an
:10:59. > :11:03.awful lot of people will be seeing it first on DVD. It is a low—budget
:11:03. > :11:07.British film, made with heart. And crowd funded? That was for the
:11:07. > :11:13.distribution, for the money. It and you very much.
:11:13. > :11:24.Before we go, a reminder that you will find more from Mark command