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