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attacking us. We will have a look at the front | :00:00. | :00:00. | |
pages of the newspapers just before ten o'clock. But now it is time for | :00:00. | :00:19. | |
The Film Review. Welcome to The Film Review. What | :00:20. | :00:31. | |
have we got? We have got the new film by David Cronenberg. | :00:32. | :00:38. | |
We have the equaliser, the big`screen spin off of the 1980s TV | :00:39. | :00:48. | |
show. Maps to the stars, about the Andy | :00:49. | :00:55. | |
Perry of Holyrood. There have been loads of movies that satirise | :00:56. | :01:15. | |
Holyrood. `` satellite Holyrood. This is a story with the Greek | :01:16. | :01:23. | |
tragic narrative. It also has the feel of a poisonous sitcom. The | :01:24. | :01:31. | |
central character is neurotic and self obsessed. What she wants to do | :01:32. | :01:37. | |
is start in a remake of a film that was made famous by her lover who | :01:38. | :01:43. | |
then died in a fire. She is the epitome of somebody who is on the | :01:44. | :01:47. | |
line between being funny and being a horrifying. He is a clip. I thought | :01:48. | :01:55. | |
that Garry Marshall would be fair. Then they gave me the wrong drive. | :01:56. | :02:04. | |
And then the casting director did not even acknowledge me. She what I | :02:05. | :02:12. | |
like seeing a word. Then she told me she did not even know if Gary | :02:13. | :02:17. | |
Marshall was coming in. I know Gary. Then she said she would put me on | :02:18. | :02:25. | |
tape. Then she said I could either take or not, like it was a pointless | :02:26. | :02:31. | |
exercise. I cannot take it any more. That is one of her more lovable | :02:32. | :02:37. | |
moments in the film. The rest of it has got real bite, real assets. The | :02:38. | :02:44. | |
thing I like about it is that David Cronenberg moved into psychological | :02:45. | :02:50. | |
travellers from body horror movies. What I love about this is that it | :02:51. | :02:58. | |
has all the psychological bite of the later films but it has the | :02:59. | :03:00. | |
fleshy feel of the best David Clement Bergh movies. It provokes a | :03:01. | :03:05. | |
response. You do not know whether to laugh or to scream. What he has | :03:06. | :03:11. | |
managed to do is to take a scalpel to this kind of sick and to society | :03:12. | :03:20. | |
and open it and show it to society and open it and short any way giving | :03:21. | :03:23. | |
as the impression that he wants to be invited to these kind of parties. | :03:24. | :03:26. | |
David Currie Bergh is the perennial outsider. I like his sense of | :03:27. | :03:35. | |
standing back. It is a dark comedy. It is on the borderline between | :03:36. | :03:40. | |
comedy and horror. There are moments when you will not know whether to | :03:41. | :03:46. | |
laugh or scream and you will probably do both. | :03:47. | :03:48. | |
It also has Robert Pattinson in a very small role. He was the starring | :03:49. | :03:56. | |
role in Cosmopolis. David Cronenberg does get the best out of his | :03:57. | :04:01. | |
Julianne Moore is fantastic. I have always been a huge fan of hers, but | :04:02. | :04:05. | |
this is a brilliantly performance by her, and I mean sick | :04:06. | :04:10. | |
in the bad sense, not sick. OK. You're down with the kids now, | :04:11. | :04:16. | |
aren't you? The Equaliser, I remembered the first time around. | :04:17. | :04:20. | |
Yes, the 1980s TV show. Whatever subtleties of character were in the | :04:21. | :04:25. | |
original, throw them out the window. The story is, Denzel Washington is | :04:26. | :04:31. | |
the ordinary, everyday guy, working in a home supplies store. You know | :04:32. | :04:36. | |
that he has a past, and that he has passed, because he is weird, he | :04:37. | :04:40. | |
reads literature, but wishes it with a stopwatch. Then somebody he cares | :04:41. | :04:45. | |
about gets badly hurt, and the next thing, it is time to | :04:46. | :04:50. | |
Russian gangsters. That is pretty much what happens in the | :04:51. | :04:56. | |
hours. Being based in a home Depot store, you know that what is going | :04:57. | :04:59. | |
vengeance comes, it is going to be DIY. It is | :05:00. | :05:04. | |
sensibility with the 1980s video nasty attitude | :05:05. | :05:07. | |
It is way too long. It is over two hours. It should be 95 minutes at | :05:08. | :05:11. | |
tops. When Denzel Washington worked with Antoine Fuqua before, on the | :05:12. | :05:13. | |
film Training Day, he won an Oscar. That is not going to happen again. | :05:14. | :05:22. | |
It will win the award is a war `` no awards at all. All I can say is that | :05:23. | :05:26. | |
I enjoyed it more than I enjoyed walk among the tombstones, the Liam | :05:27. | :05:31. | |
Neeson film everybody seems to like. balderdash. It is kind of a guilty | :05:32. | :05:40. | |
pleasure for about half its running time. You use the words Death Wish. | :05:41. | :05:45. | |
That is a guilty pleasure, and it is not the world's greatest film, but I | :05:46. | :05:48. | |
rather enjoyed it. Charles Bronson's character in Death Wish is | :05:49. | :05:50. | |
fantastic and veggie Washington in this. It is not a | :05:51. | :05:55. | |
subtle film. You leave your brain on the counter and pick it up on the | :05:56. | :06:01. | |
way out. "Less subtle than Death Wish". Yes, that will go on the | :06:02. | :06:07. | |
poster. Now, Ida is a story set in Poland. It is about a woman about to | :06:08. | :06:15. | |
take her vows, and she is told that she needs to go out into | :06:16. | :06:20. | |
and meet her only surviving relative, wonder, who is a hard | :06:21. | :06:24. | |
be a very fearsome communist state prosecutor, | :06:25. | :06:30. | |
about her family, not least of which that she is in fact Jewish. Here | :06:31. | :07:32. | |
The director describes the film as being about a number of things. | :07:33. | :07:40. | |
Religion, politics, socialism, Judaism, com unison. It is a very | :07:41. | :07:45. | |
interesting blend of the personal and the political. | :07:46. | :07:47. | |
that clip, the visual style is very austere. It is that square frame, | :07:48. | :07:55. | |
the faces of the protagonists are at the bottom of the screen or | :07:56. | :08:04. | |
as if they are fighting for their place in the | :08:05. | :08:09. | |
that tends to do is suggest this story is bigger | :08:10. | :08:13. | |
characters. It is actually a story that has much wider implications | :08:14. | :08:17. | |
I think he does so brilliantly is he enables a | :08:18. | :08:20. | |
tragedy story, about the aftermath of a war, | :08:21. | :08:25. | |
that sort of stuff. But he reduces it to | :08:26. | :08:28. | |
personal level. Terrific performances. You can see from this | :08:29. | :08:31. | |
beautifully off`kilter compositions, Austria, | :08:32. | :08:36. | |
yet there is one thing there. There is real human compassion in there. I | :08:37. | :08:40. | |
also thought there was a spirituality in | :08:41. | :08:43. | |
other critics have perhaps not found. | :08:44. | :08:48. | |
where you can decide for yourself to take away from it. It not didactic. | :08:49. | :08:53. | |
Just looking at these clips you are a film set in the 1960s. It looks | :08:54. | :08:59. | |
like a film shot in of the frame, and partly to do with | :09:00. | :09:05. | |
the monochrome. like a restoration of a film made in | :09:06. | :09:11. | |
the is really terrific watching a film | :09:12. | :09:16. | |
shot in white, in an age when everything is | :09:17. | :09:22. | |
colour or 3`D. This has such a mesmerising, beautifully | :09:23. | :09:25. | |
really intelligent and actually very moving. Your Best Actor this week, | :09:26. | :09:31. | |
Pride? Yes, I love Pride. You have to say, do I love it because I agree | :09:32. | :09:35. | |
with the politics? It is the lesbians and the game in supporting | :09:36. | :09:43. | |
the miners. I think it is actually a film that works for anybody. I know | :09:44. | :09:48. | |
seen it and didn't know this story, but have | :09:49. | :09:53. | |
it. Terrific performances, many reports coming in from around the | :09:54. | :09:57. | |
end of the screening. Mike with the King 's | :09:58. | :10:01. | |
a really important story and it puts a smile on your face. 1984, the | :10:02. | :10:07. | |
minor's strike, and people in the gay community don't support them. | :10:08. | :10:10. | |
Yes, supporting the would not necessarily be that | :10:11. | :10:16. | |
natural allies. The movie finds great comedy in that situation, | :10:17. | :10:19. | |
it also finds pathos and truth and it is ultimately uplifting. | :10:20. | :10:22. | |
that disparage groups joining together for a common cause. | :10:23. | :10:24. | |
Although not successfully, in the end. Well, not in one of the common | :10:25. | :10:31. | |
causes. You should see the film. It manages a happy ending. Your DVD, | :10:32. | :10:37. | |
the 1920s? Cavan not of Doctor Caligari. We talked about this when | :10:38. | :10:42. | |
it was issued in the cinema. It is now out on Blu`ray. It is an | :10:43. | :10:45. | |
extraordinary piece of work. It is so influential. It is one of those | :10:46. | :10:52. | |
films where you have almost seen it even if you haven't seen the film. | :10:53. | :10:55. | |
So many images from it have become iconic. It is Expressionist, it has | :10:56. | :10:58. | |
got this very, very start angular black and white quality. Many people | :10:59. | :11:01. | |
have influential horror movie. I think it | :11:02. | :11:08. | |
goes way beyond that. I think it is an influential film that | :11:09. | :11:13. | |
the face of cinema throughout the 20th century, and into the | :11:14. | :11:17. | |
century. And to see it in a lovely, pristine fashion is really | :11:18. | :11:19. | |
something. It is an extraordinarily powerful piece of cinema. Mark, | :11:20. | :11:21. | |
thank you very much. A reminder before we go that you can | :11:22. | :11:28. | |
find more film and reviews from the BBC online, including all of our | :11:29. | :11:30. | |
previous shows. That is this week. Thank you for | :11:31. | :11:33. | |
watching, and goodbye. It is nearly time for the BBC News | :11:34. | :11:49. | |
at ten. A quick reminder that at 10:30pm we will tell you which | :11:50. | :11:54. | |
stories will be making the front pages of tomorrow's newspapers. | :11:55. | :11:58. |