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and we also have the news that Brendan Rodgers is the new manager | :00:00. | :00:00. | |
of Celtic. That is all coming up later on. But now it is time for the | :00:00. | :00:07. | |
Film Review. Hello and welcome to | :00:08. | :00:19. | |
The Film Review on BBC News. To take us through this week's | :00:20. | :00:22. | |
cinema releases is Mark Kermode. We have Sing Street, which is a | :00:23. | :00:37. | |
musical 80s fantasy. X-Men Apocalypse, another superhero romp. | :00:38. | :00:42. | |
Chicken, very interesting low-budget feature. Sing Street. The latest | :00:43. | :00:50. | |
from John Carney, who made once, and begin again, he has a good eye and | :00:51. | :00:57. | |
ear for the strange magic of making music, than anyone else working | :00:58. | :01:01. | |
cinema at the moment. It is set in Dublin in the mid-80s, this awkward | :01:02. | :01:04. | |
teenager played by Ferdia Walsh-Peelo, but comes infatuated | :01:05. | :01:10. | |
with a local girl, he asks her to be in his band's pop video, she says | :01:11. | :01:15. | |
yes, but he says he does not actually have a band. He runs around | :01:16. | :01:20. | |
and rounds up the young musicians he can to form a band and they start | :01:21. | :01:24. | |
out, attempting to sound like Duran Duran, but as his older brother | :01:25. | :01:29. | |
tells him, that is not rock and roll. This is a clip. The girl, it | :01:30. | :01:36. | |
is all about the girl, isn't it? Yes. You are going to use someone | :01:37. | :01:42. | |
else's art to get her? We are just art in. Did the sex pistols know how | :01:43. | :01:51. | |
to play? You are not Steely Dan. You need to know not how to play, and | :01:52. | :01:55. | |
that takes practice. And you are not a covers band, by the way. Really? | :01:56. | :02:01. | |
Every wedding and every pub has a covers band and every covers band | :02:02. | :02:07. | |
has a middle-aged figure who never have the balls to write a song for | :02:08. | :02:11. | |
himself or stop rock 'n' roll is a risk you risk being ridiculed. I | :02:12. | :02:16. | |
don't know how to write a song. Close the door, it is going to be a | :02:17. | :02:20. | |
long night. I got school in the morning. This is school. Rock | :02:21. | :02:27. | |
School! Is closer to School of rock, and people have made comparisons | :02:28. | :02:32. | |
with The Commitments, which I think is misguided, but it is close to | :02:33. | :02:40. | |
school of rock. What I like about it, John Carney is great at | :02:41. | :02:43. | |
negotiating the difference between the sound in your head and the sound | :02:44. | :02:49. | |
any the room. It has the right blend, one foot in the kitchen sink | :02:50. | :02:54. | |
and its head is in the stars, and it manages to blur that line between | :02:55. | :02:58. | |
what is real and believable and what is slightly fantastical. It does it | :02:59. | :03:03. | |
superbly. The Keira frame of the film, what does it mean to be happy | :03:04. | :03:11. | |
sad? -- the key refrain. Like a great pop song, that is how the film | :03:12. | :03:15. | |
makes you feel, the music is not 80s pastiche, but very well done. In | :03:16. | :03:19. | |
terms of what kind of music you might have been making in the | :03:20. | :03:24. | |
mid-80s. As someone who was in bands in their teenage years, he has a | :03:25. | :03:27. | |
great eye for that moment when you sit down with somebody and you | :03:28. | :03:30. | |
attempt to write the song, attempting to rip off another song. | :03:31. | :03:36. | |
I really enjoyed it, I laughed and cried and I came out humming the | :03:37. | :03:41. | |
choose, and when was the last time you said a film really put a spring | :03:42. | :03:46. | |
in your step? That is true. Like the new Romantics, but not the same | :03:47. | :03:53. | |
make-up. One of them is in a cowboy outfit. It is very very funny, but | :03:54. | :03:58. | |
it has this proper streak of melancholy which worked very well. | :03:59. | :04:02. | |
When it gets into the starting fantastical area I thought it did it | :04:03. | :04:06. | |
in the right way, in the way that listing to a great pop record would. | :04:07. | :04:11. | |
It is really lovely. -- listening. That is good. And a good script, as | :04:12. | :04:18. | |
well. And now X-Men Apocalypse, I have low expectations. After the | :04:19. | :04:22. | |
disappointment of Batman versus Superman and then the surprise joys | :04:23. | :04:25. | |
of Captain America, this is somewhere in between. The narrative | :04:26. | :04:31. | |
goes from Egyptian pyramids to 80s Mr Agger, Bryan Singer has fun with | :04:32. | :04:37. | |
breakfast club, there are individual bits which are good. The plot is | :04:38. | :04:45. | |
around a boo-boo mutants who is attempting to end humanity, and it | :04:46. | :04:49. | |
is a cross between Stargate and Raiders of the lost Ark, and | :04:50. | :04:52. | |
sometimes like an overcooked Doctor Who story. It suffers from having | :04:53. | :04:58. | |
too many people for any of them to have traction and it has not been | :04:59. | :05:02. | |
very well received by critics and some fans. Some people said this is | :05:03. | :05:08. | |
the worst X-Men, I did not think it was, I enjoyed it enough, but like a | :05:09. | :05:12. | |
great big vat of popcorn it is big and noisy and insubstantial, and | :05:13. | :05:19. | |
considering the Apple -- pop elliptic subject matter. James | :05:20. | :05:29. | |
McAvennie and -- James McAvoy and Michael Fassbender can be great. | :05:30. | :05:35. | |
Yes, but the movie is not great. OK. And now Chicken. This is about a | :05:36. | :05:40. | |
young man with learning difficulties living in a caravan with his violent | :05:41. | :05:52. | |
brother. Richard is the main guy, brilliantly played by Scott | :05:53. | :05:56. | |
Chambers, he starts up a friendship with Annabel, the daughter of the | :05:57. | :06:00. | |
people who now own the land and they find a strange off-kilter | :06:01. | :06:08. | |
friendship. This is a clip. Look at this place. The air and the fields, | :06:09. | :06:16. | |
the sky, it is disgusting. Do you live here? Yeah. Where? In my | :06:17. | :06:27. | |
caravan. Oh, it is you, you are the gypsy? No, that is Polly, I'm a | :06:28. | :06:35. | |
farmer. Your sister is a gypsy? My brother is. Your brother is a Polly? | :06:36. | :06:48. | |
Yes. That is a girl's name. I don't know, you'd have to ask him. For | :06:49. | :06:54. | |
ever Polly. Not quite what I had in mind. What I love about the | :06:55. | :07:01. | |
performance on Scott Chambers, it reminded me of Leonardo DiCaprio in | :07:02. | :07:06. | |
what's eating Gilbert grape. It is very precise, to do with the | :07:07. | :07:09. | |
slightly skewed nature of the physical movements, the speech | :07:10. | :07:14. | |
patterns. It is a performance which is not patronising and that takes an | :07:15. | :07:18. | |
isolated character and it engages you in the world and it makes you | :07:19. | :07:22. | |
empathise and understand the complex emotional landscape that they | :07:23. | :07:27. | |
inhabit. The film itself reminded me of Ken Loach's cares, the disparity | :07:28. | :07:36. | |
between natural beauty and society and disorder, none was very drawn | :07:37. | :07:40. | |
into it, and I thought the characters were engaging -- I was | :07:41. | :07:44. | |
very drawn into it. It is beautifully played, the three | :07:45. | :07:47. | |
central forms is our very well done and directed enough distance to not | :07:48. | :07:52. | |
feel intrusive -- central performances. In the third act it | :07:53. | :07:58. | |
feels they have two move towards a thematic denouement, which I did not | :07:59. | :08:02. | |
think it needed, because I was so impressed with what it had done | :08:03. | :08:05. | |
until that point. The central performance on Scott Chambers is | :08:06. | :08:11. | |
really great. We can draw a graft of enjoyment versus the amount of money | :08:12. | :08:15. | |
that is spent on a film, if you compare that with X-Men Apocalypse. | :08:16. | :08:22. | |
Every single penny, it is all there, and it is clearly made with love and | :08:23. | :08:26. | |
affection from people who care about the material, that is worth seeking | :08:27. | :08:30. | |
out. If you get a chance to see it, please do. You're best of the week | :08:31. | :08:36. | |
is still Mustang? The Turkish film. Yes. French film, actually, but | :08:37. | :08:45. | |
about five Turkish girls, their houses turned into a wire factory, | :08:46. | :08:48. | |
as it is described, and although this is a tale of confinement, what | :08:49. | :08:57. | |
you take well -- away from it is their vibrancy and the sense of them | :08:58. | :09:02. | |
as being on time but, living life to the fullest, even though they are | :09:03. | :09:05. | |
living in these circumstances and I thought it was a very engaging piece | :09:06. | :09:09. | |
of work, very tender and dealing with an important subject matter. | :09:10. | :09:12. | |
Dealing with the humanity of these characters. You will love it. I know | :09:13. | :09:19. | |
I will. I have neglected it so far, but it is sunny outside! Row and now | :09:20. | :09:24. | |
the DVD of the week, that is Spotlight. When it was out in the | :09:25. | :09:31. | |
cinema, we discussed it, it makes the inside of a newspaper office | :09:32. | :09:35. | |
seem real. We have seen newspaper offices done badly, but this is | :09:36. | :09:40. | |
about investigative journalism, shoe leather, the way there is a lot of | :09:41. | :09:47. | |
drudgery, the investigation into the Catholic Church's cover-up of child | :09:48. | :09:52. | |
abuse. It is not simple blacks and whites, it is to do with where | :09:53. | :09:55. | |
responsibility lies and what the newspaper may or may not have done | :09:56. | :09:59. | |
to pursue this story. Very fine cast. All very good. Very well | :10:00. | :10:05. | |
directed by Tom McCarthy. I've seen it a few times, it is not all the | :10:06. | :10:11. | |
Presidents man, but what is? But what it does have, the sense of grit | :10:12. | :10:17. | |
and its fingernails, you get the sense it was made by people who | :10:18. | :10:21. | |
understand the newsroom. -- under its fingernails. When I left, the | :10:22. | :10:26. | |
first time I saw it, I googled Boston Globe and they have laid off | :10:27. | :10:35. | |
many journalists. That is part of the whole economics, can you do | :10:36. | :10:40. | |
investigative journalism on no money? The answer is no. You came | :10:41. | :10:45. | |
out of the movie and you went and did that, you were engaged enough | :10:46. | :10:48. | |
and you believed in the story to want to find out more about that | :10:49. | :10:54. | |
after. From a film perspective, we have seen so many poor | :10:55. | :10:59. | |
representations of the way papers work, I thought it was very good. | :11:00. | :11:04. | |
Much of it is boring work, but this is not a boring film. You knock on | :11:05. | :11:08. | |
people's doors, and you follow... In a way, in a way which is strangely | :11:09. | :11:16. | |
and dramatic. A quick reminder before we go, that you will find | :11:17. | :11:27. | |
more film news and reviews from across the BBC online. | :11:28. | :11:30. | |
And you can catch up with our previous shows on iPlayer. | :11:31. | :11:34. | |
We have got some changeable weather, all of us seeing some rain at times, | :11:35. | :11:45. | |
and some have seen that arriving already, but not everywhere. This | :11:46. | :11:48. | |
was taken | :11:49. | :11:50. |