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after reaching Richard Gasquet. All of that in Sportsday at 6:30pm. Now | :00:00. | :00:00. | |
on BBC News it is time for The Film Review. | :00:00. | :00:16. | |
Hello and welcome to The Film Review on BBC News. | :00:17. | :00:19. | |
To take us through this week's cinema releases is Mark Kermode. | :00:20. | :00:21. | |
We about, we have Brooklyn, the new | :00:22. | :00:35. | |
film starring Saoirse Ronan. We have Kill Your Friends, the tale of the | :00:36. | :00:43. | |
90s music industry. And Burnt, shouting chefs, who knew! ? Shouting | :00:44. | :00:51. | |
chefs. Saoirse Ronan is 21 years of age, can you believe that? | :00:52. | :00:55. | |
Astonishing, remember when she was nominated for Best Supporting | :00:56. | :00:59. | |
Actress Oscar for Atonement, since then she has frankly not put a foot | :01:00. | :01:04. | |
wrong. Brooklyn is an adaptation of a novel, adapted by Nick Hornby who | :01:05. | :01:08. | |
did the screenplay and he's done a brilliant job. It's difficult taking | :01:09. | :01:11. | |
a book which is so subtle and putting it on that screen and he has | :01:12. | :01:15. | |
done it brilliantly. The story is of a young woman in the early 50s who | :01:16. | :01:20. | |
finds herself almost unwittingly away to America. Her sister | :01:21. | :01:24. | |
organised it because she thinks she needs to go and she arrives in | :01:25. | :01:28. | |
America and she is understandably homesick, she longs for her mother | :01:29. | :01:31. | |
and her sister she left behind. Initially she feels like a fish out | :01:32. | :01:35. | |
of water in this new world of strange colours, strange buildings. | :01:36. | :01:39. | |
However, she starts to find her feet after meeting a very nice decent | :01:40. | :01:44. | |
young man, an Italian who she meets, oddly at an Irish dance. This gives | :01:45. | :01:49. | |
her perhaps a reason to stay, and also becomes the centre of dinner | :01:50. | :01:52. | |
table conversation. Here is a clip. What is the matter with you girls? | :01:53. | :02:07. | |
Nothing is the matter with us. Is this because he Liz has a young man | :02:08. | :02:13. | |
-- Phyllis has a young man. Does -- Phyllis has a young man. Does | :02:14. | :02:19. | |
Phyllis have a young man? I met him on Saturday when he called for Eilis | :02:20. | :02:23. | |
and he is a gentleman. Will you tell us what you know about him crushed | :02:24. | :02:28. | |
amuck he is nice looking. I didn't like his shoes. What on earth is | :02:29. | :02:34. | |
wrong with his shoes? They were a funny colour. I'm going to give you | :02:35. | :02:40. | |
a sermon on the dangers of giddiness, I can see that giddiness | :02:41. | :02:44. | |
is the eighth deadly sin. A giddy girl is every bit as evil as a | :02:45. | :02:48. | |
slothful man and the noise she makes is much worse. Enough! | :02:49. | :02:56. | |
That is obviously a terrific performance. The reason she is able | :02:57. | :03:00. | |
to get away with that fairly broad performance is because at the centre | :03:01. | :03:04. | |
of the film is Saoirse Ronan who is perfectly cast and also understated. | :03:05. | :03:09. | |
She has an extraordinary ability. Firstly her vocal inflections are | :03:10. | :03:15. | |
absolutely brilliant. She speaks with the tiny facial expressions. | :03:16. | :03:20. | |
Everything is gesture led, the way she blinks, the weight she smiles of | :03:21. | :03:24. | |
the way she stands and tells you about her character. -- the way she | :03:25. | :03:29. | |
smiles. We see her go from being Summer Rae who is a daughter in | :03:30. | :03:32. | |
Ireland with a history to somebody in America with a future but she | :03:33. | :03:36. | |
called back to Ireland and finds herself torn between two states. | :03:37. | :03:40. | |
Where does her life belong? She's also torn between two suitors, and | :03:41. | :03:46. | |
who seem like perfectly sensible potential partners. What I love | :03:47. | :03:49. | |
about the film is this: Firstly it's not scared to be a big US. It harks | :03:50. | :03:54. | |
back to the classic what they refer to as women's pictures in the 1930s, | :03:55. | :03:58. | |
40s and dishonest in the 1930s, 40s and dishonoured standard are | :03:59. | :04:02. | |
essentially about emotional life but not overwrought melodrama is. This | :04:03. | :04:05. | |
is not a film about great big emotional catastrophes. A strong | :04:06. | :04:09. | |
woman's part with a lot of others. Whole of the supporting cast is | :04:10. | :04:17. | |
terrific, Jim Broadbent. But at the centre of it all is Eilis's journey, | :04:18. | :04:23. | |
which we see modulated brilliantly by Saoirse Ronan. I have to say the | :04:24. | :04:26. | |
difficulty with the film is not one of those films that shouts its | :04:27. | :04:30. | |
virtues from the rooftops, because all of its real pleasures are small | :04:31. | :04:34. | |
moments, small details. It is very understated. It has a beautiful | :04:35. | :04:38. | |
score, one of those scores that engages your emotions without | :04:39. | :04:41. | |
feeling like somebody is laying it on with a trowel, the costume | :04:42. | :04:45. | |
design, the hair and make-up, the way they use Montreal for New York | :04:46. | :04:51. | |
is well done. Saoirse Ronan is one of the best things I've seen on | :04:52. | :04:55. | |
screen in ages. She is quite simply one of the most magnetic screen | :04:56. | :04:58. | |
presence is currently working in cinema. It is just the subtlety of | :04:59. | :05:04. | |
modulation. It is saying so much with so little. Please go and see | :05:05. | :05:09. | |
it, it is really worth seeing. Kill Your Friends. | :05:10. | :05:15. | |
Yes! Slightly different! Remember American Psycho. I remember it in | :05:16. | :05:19. | |
all sorts of ways. Mary Haran did an interesting screen | :05:20. | :05:25. | |
adaptation of it and this is basically English Psycho, set in 90s | :05:26. | :05:30. | |
Britpop era. It is adapted by John Niven who sort of -based it to some | :05:31. | :05:34. | |
extent on some autobiographical experiences. It is a dark satire on | :05:35. | :05:39. | |
being an ANR man, Nicholas Hoult is this lonesome character, venal, | :05:40. | :05:46. | |
talentless, and worse than that he is kind of boring. The film raises | :05:47. | :05:49. | |
the question of why we would want to spend time in his company. We talked | :05:50. | :05:53. | |
about this on of Wall Street. In the case of American Psycho the genius | :05:54. | :05:57. | |
of what Mary Haran did with the Patrick payment character is the | :05:58. | :06:01. | |
visual wit and invention of the film may get access of them even though | :06:02. | :06:04. | |
you loathe him you enjoyed the film. In the case of this it seems to be | :06:05. | :06:08. | |
an awful lot of spending time with somebody who is loathsome and | :06:09. | :06:12. | |
obnoxious. What does it tell us? It tells us that music industry | :06:13. | :06:15. | |
executives in the 90s were not interested in art but they were | :06:16. | :06:17. | |
interested in money. Corporate dullness! I'm shocked! I can tell | :06:18. | :06:23. | |
that you are stunned. I think we should move on. Burnt, which I have | :06:24. | :06:29. | |
not seen, sounds to me like it may be a Gordon Ramsay documentary with | :06:30. | :06:33. | |
a beard, I have no idea. But it sounds interesting. Sadly it's not. | :06:34. | :06:39. | |
The story is basically an obnoxious shout each chef who has Burnt all of | :06:40. | :06:43. | |
his bridges in France, see what they did there, turns up in London clean, | :06:44. | :06:47. | |
no longer an addict and still obnoxious and shouting and sets up | :06:48. | :06:51. | |
at the Langham where he wants to get the extra Michelin-starred and | :06:52. | :06:54. | |
redeem himself. He gets a team of colleagues, old and new, some of | :06:55. | :06:57. | |
whom used double-crossed in the past but he gets them all together and | :06:58. | :07:01. | |
then does a lot of being obnoxious in the kitchen and we are meant to | :07:02. | :07:04. | |
think that is OK, he's a genius chef and he knows that cooking is about | :07:05. | :07:08. | |
more than eating. Every now and again the film stops to explain in | :07:09. | :07:11. | |
very clear terms how Michelin-starred is workforce that | :07:12. | :07:13. | |
this is proper telegraphing. Here we go. Do you know about Michelin? It | :07:14. | :07:23. | |
is a book. It is the book, the Bible. Inspectors eat and award | :07:24. | :07:31. | |
stars, one, two and three. Or none. No one knows who they are, they | :07:32. | :07:34. | |
come, they, they go but they have had its. Have to stick to a routine | :07:35. | :07:37. | |
to give every restaurant the same chance. Miss Lynn men eat in pairs. | :07:38. | :07:42. | |
Sometimes the Michelin man can even be a woman. A book table before | :07:43. | :07:47. | |
7:30pm. The first arrives at the bar, his partner arrives half an | :07:48. | :07:51. | |
hour later, one has the tasting menu at the other a la carte, always. | :07:52. | :07:54. | |
They order half a bottle of line, they has to tap water and where | :07:55. | :07:57. | |
business suits and they are polite but they may place a full under the | :07:58. | :08:01. | |
floor under the table to seek if you notice and they will not drop it | :08:02. | :08:04. | |
because it could make a noise and that would be too easy. Everything | :08:05. | :08:07. | |
must be perfect from now on, not good, not are excellent but perfect. | :08:08. | :08:13. | |
Does that turn out to be important later in the film? Bradley Cooper | :08:14. | :08:18. | |
came in and they shifted in their chairs, that is directing! Terrific | :08:19. | :08:22. | |
supporting cast largely wasted, Sienna Miller whose career | :08:23. | :08:25. | |
reconnaissance continues but Emma Thompson pretty much wasted, loads | :08:26. | :08:31. | |
of high-profile cameos which you wonder why they are there. The idea | :08:32. | :08:36. | |
of the shouted, obnoxious, swaggering chef who is rude to | :08:37. | :08:40. | |
everybody is so ten years ago. Haven't we grown out of that? I'm | :08:41. | :08:45. | |
bored at the thought, I'm afraid. You will have avoided those | :08:46. | :08:49. | |
programmes on television because of somebody being shouting and | :08:50. | :08:52. | |
obnoxious in the kitchen is not that interesting. The film obviously had | :08:53. | :08:54. | |
a slightly tortuous creation process. It has gone through three | :08:55. | :08:59. | |
name changes, it started out being called Chef, it changed because | :09:00. | :09:03. | |
there is a Jon Favreau film called Chef, which is much better! I know | :09:04. | :09:09. | |
that you are doing missionary activity but Iranians films are | :09:10. | :09:12. | |
fascinating, not least because I just did a check and I thought that | :09:13. | :09:20. | |
when I was in Tehran there was one Muller who was blind and had the | :09:21. | :09:25. | |
film read out to him by an aide and questioned it and then decided | :09:26. | :09:28. | |
whether it would get a certificate. According to Google there is now two | :09:29. | :09:32. | |
of them doing it. That shows why film-makers in Iran are doing an | :09:33. | :09:37. | |
extraordinary job. The extraordinary thing is, I think this is the third | :09:38. | :09:41. | |
feature made since the 20 year film making ban, two of them were made | :09:42. | :09:47. | |
under house arrest. Thing about it was it did feel like somebody who | :09:48. | :09:50. | |
was starting to crack under the strain of their sick instances. In | :09:51. | :09:54. | |
the case of taxi Tehran it was a much more vibrant work and won the | :09:55. | :10:00. | |
Golden Bear at Berlin which caused all manner of international | :10:01. | :10:04. | |
incidents, it did very well internationally. He's in a taxi and | :10:05. | :10:08. | |
drives around and picks up passengers, actors as it turns out | :10:09. | :10:10. | |
but it has such a naturalistic feel that you spend time wondering | :10:11. | :10:15. | |
exactly how this pans out, and what it does is, as with all of his | :10:16. | :10:20. | |
stuff, it has humour and wit but it is also an insightful portrait of | :10:21. | :10:24. | |
current data ran command the most brilliant thing about it, people | :10:25. | :10:29. | |
talk about film-makers making movies under difficult circumstances. This | :10:30. | :10:31. | |
is making films under difficult circumstances. The fact it has | :10:32. | :10:36. | |
become an award winner, I want people to see it, because this is | :10:37. | :10:44. | |
what film-making difficulty is. The DVD is Celtic myth. It is from Tomm | :10:45. | :10:54. | |
Moore, it was Oscar-nominated last year and it was a fantastic set of | :10:55. | :11:01. | |
Oscar-nominated and is. It can be watched by anyone, young and old | :11:02. | :11:04. | |
alike. Crucially the music plays an important part. I thought it was a | :11:05. | :11:13. | |
real gem. We began with a gem and ended with a couple of gems, that is | :11:14. | :11:16. | |
not bad. Are reminded that Before We Go you will find more film news and | :11:17. | :11:22. | |
reviews from across the BBC online including all of our previous shows. | :11:23. | :11:29. |