Browse content similar to Churchill, Gifted, Whitney: Can I Be Me. Check below for episodes and series from the same categories and more!
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Hello and welcome to the film review. What she have for us? A very | :00:24. | :00:37. | |
diverse week. We have Churchill with a powerhouse performance by Bryan | :00:38. | :00:45. | |
Cox. We have Gifted which is not what it seems to be. Whitney: Can I | :00:46. | :00:53. | |
Be Me. Churchill, I do like Bryan Cox. He gives fantastic | :00:54. | :00:59. | |
performances. He plays Winston Churchill in the run-up to D-Day. He | :01:00. | :01:04. | |
is not played as a bulldog that is a wounded beast. Someone who has been | :01:05. | :01:12. | |
sidelined. Seen as a figurehead. He is convinced that the D-Day landings | :01:13. | :01:17. | |
operation is flawed and a dangerous and it will and possibly in tragic | :01:18. | :01:25. | |
loss of life which recalls a previous conflict. He looks back to | :01:26. | :01:29. | |
World War I. We seem at the beginning walking on the beach, the | :01:30. | :01:34. | |
CD starts to turn red and he has visions of previous tragedies. -- | :01:35. | :01:42. | |
the sea. He is attempting to convince everybody this is not a | :01:43. | :01:51. | |
good idea. This will be the greatest campaign we have mounted. The | :01:52. | :01:58. | |
operation will require 200,000 vehicles, 7000 sheets, swarms of | :01:59. | :02:04. | |
planes, most essentially a quarter of a million men. All this will be | :02:05. | :02:12. | |
focused in one place, taking the German army head on. That's right. | :02:13. | :02:21. | |
No, gentlemen. This plan may be admirable in its bravery but in its | :02:22. | :02:31. | |
risk it is foolhardy. Up to 150,000 civilians will be killed. It could | :02:32. | :02:39. | |
easily fail. We would lose in one strike most of our war material | :02:40. | :02:45. | |
along with tens of thousands of our men. Who then will defend England? | :02:46. | :02:53. | |
Is it fair to say not a straight biopic because of this is looking at | :02:54. | :02:59. | |
a specific period. I have to say the film is carried shoulder high by | :03:00. | :03:06. | |
Bryan Cox. He brings an awful lot of King Lear to the role. He plays | :03:07. | :03:10. | |
Winston Churchill is this slightly wounded figure, a man out of time, | :03:11. | :03:16. | |
no longer in the position of power they think they ought to be an | :03:17. | :03:21. | |
conflicted and haunted by the ghost of Gallipoli and he is convinced | :03:22. | :03:26. | |
they are walking towards tragedy. There are very few people to to whom | :03:27. | :03:33. | |
he listens, the King and his wife played by Miranda Richardson. | :03:34. | :03:39. | |
Performing alongside Ryan Cox, all eyes are on him, it is a tribute to | :03:40. | :03:45. | |
Miranda to hold the screen as well as she does which is no surprise | :03:46. | :03:50. | |
because she is a fantastic act. A couple of boys, a subplot, and | :03:51. | :04:04. | |
assistant who has an weaves into Arab military Matic contrivance. The | :04:05. | :04:10. | |
story does not need it. I note that take on history has ruffled some | :04:11. | :04:16. | |
people 's feathers but the me it felt like a fairly solid if | :04:17. | :04:20. | |
occasionally somewhat ordinary drama but lifted high by that performance. | :04:21. | :04:27. | |
It is a Shakespearean performance. A moment where he is praying for rain. | :04:28. | :04:35. | |
The storm scene... It absolutely is. He and Miranda Hart the main reasons | :04:36. | :04:42. | |
for seeing this. Gifted. The subject matter struck me is really | :04:43. | :04:47. | |
interesting. This has potential to be interesting. The poster that very | :04:48. | :04:57. | |
cheesy. It looked like it was going to be a particular kind of drama and | :04:58. | :05:02. | |
I went in not expecting very much. A single man raising a precociously | :05:03. | :05:07. | |
intelligent young child. He wanted to go to a normal school. The school | :05:08. | :05:14. | |
saying she is a genius. He says she once her to have this normal life. | :05:15. | :05:20. | |
What I like about this film is it is very sharply written by Tom Flynn. | :05:21. | :05:27. | |
It is funnier than you expect it to be. The performance is are all | :05:28. | :05:36. | |
really well judged. Not least Lindsay Duncan who plays the | :05:37. | :05:43. | |
grandmother who wanted the child to fully explore all her intellectual | :05:44. | :05:50. | |
potential. In another drama, it could have been demonised this | :05:51. | :05:55. | |
character that I was surprised. It was funny, great performances and I | :05:56. | :06:01. | |
came out feeling joyous, uplifted with a real smile on my face. I was | :06:02. | :06:08. | |
surprised by how much it did what it set out to achieve. Your third | :06:09. | :06:15. | |
choice is a documentary, the new Nick Broomfield. Whitney: Can I Be | :06:16. | :06:28. | |
Me. He has made things in the past with a particular documentary style. | :06:29. | :06:31. | |
He put himself in the documentary a lot. Wandering into shot. He has | :06:32. | :06:39. | |
taken a back seat here. You hear his voice a couple of times, he uses | :06:40. | :06:54. | |
footage never before seen. He looks at the home life, her mother who was | :06:55. | :07:02. | |
a particular strong figure. Finding herself in a difficult position | :07:03. | :07:07. | |
where she did not know who she was meant to be and her relationship | :07:08. | :07:16. | |
with Bobby Brown and her mother. Hugh loved her as herself. She could | :07:17. | :07:23. | |
come off the stage and not have to be the person that everybody in the | :07:24. | :07:28. | |
world expected her to be or who they thought she was. He understood the | :07:29. | :07:34. | |
pressures because he was Bobby Brown. He understood the pressures | :07:35. | :07:43. | |
and her pain. What I think Bobby and Whitney gave each other, except | :07:44. | :07:51. | |
turns, love. She absolutely loved him. They loved each other. And | :07:52. | :07:58. | |
there was acceptance. You can see from the clip, the film is more | :07:59. | :08:05. | |
forgiving than some of Nick Broomfield's work. I went into this | :08:06. | :08:12. | |
not a great Whitney Houston fan at a came out with a new-found respect | :08:13. | :08:16. | |
for what she did, the way she sank and how important the music was. You | :08:17. | :08:22. | |
do get that. It is important that a film like this tells you that. The | :08:23. | :08:29. | |
comparison to be made is with Amy. This is not as good as Amy. What Amy | :08:30. | :08:34. | |
did was give it a sense of being intimately involved in that story, | :08:35. | :08:39. | |
sometimes in a way that was deeply uncomfortable. The way he used the | :08:40. | :08:44. | |
lyrics to tell the story like a diary. This feels more like watching | :08:45. | :08:49. | |
something from a distance and that is inevitable. It is also... A | :08:50. | :08:58. | |
fairly familiar story. Someone with a lot of talent, finding it | :08:59. | :09:04. | |
difficult to deal with fame and fortunate and feeling insecure. It | :09:05. | :09:08. | |
investigate the relationship with the people around her. An interview | :09:09. | :09:17. | |
with her bodyguard who said this is not going to end well. He was then | :09:18. | :09:22. | |
rewarded by being told they no longer required his services. It is | :09:23. | :09:29. | |
primarily an extraordinary talent having made some really trillions of | :09:30. | :09:33. | |
records which I really had not thought of like that before and a | :09:34. | :09:42. | |
great waste. As shown with a me as well. As a piece of filmmaking it is | :09:43. | :09:50. | |
not in the shame league. Amy is remarkable and very painful film. | :09:51. | :10:00. | |
Best out? My cousin Rachel, and adaptation from the 1951 fell. | :10:01. | :10:07. | |
Rachel Vice playing this mysterious character. What the film manages to | :10:08. | :10:17. | |
do is keep the ambiguity. It starts off as a did she or did she not? It | :10:18. | :10:26. | |
keeps you guessing. Rachel said she read the script and said to the | :10:27. | :10:32. | |
director, I have decided, do not tell me. The film manages to keep | :10:33. | :10:40. | |
that secret. I love what you have chosen as a DVD. Perhaps too | :10:41. | :10:47. | |
understated but fascinating. That was the criticism levelled against | :10:48. | :10:52. | |
it. A terrific performance by the lead actress. A story about a couple | :10:53. | :10:58. | |
fighting racism and the right to get married. The key thing about the | :10:59. | :11:05. | |
couple is they do not want to be in the public eye. They do not want to | :11:06. | :11:09. | |
be people fighting a really important case. They just want to be | :11:10. | :11:15. | |
left alone. But they are very strong. Characters are you | :11:16. | :11:20. | |
absolutely believe in. I love the understatement of it but I know some | :11:21. | :11:26. | |
people thought it is that which made it look like there was no huge | :11:27. | :11:30. | |
outstanding moment but that isn't the point. I think that adds to its | :11:31. | :11:37. | |
power. That is the joy of it. It is a remarkable piece. Thank you very | :11:38. | :11:45. | |
much. A reminder that you can find all film news and reviews online. | :11:46. | :11:58. | |
That is it for this week. Happy cinema going. Bye-bye. | :11:59. | :12:09. |