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against Milos Raonic which saw him get through to the Australian Open | :00:00. | :00:00. | |
final. That is all coming up in sports day with me at 6:30 PM. But | :00:00. | :00:07. | |
now it's time for the film review. -- Sportsday. | :00:08. | :00:18. | |
Hello and welcome to the Film Review on BBC News. | :00:19. | :00:21. | |
To take us through this week's cinema releases is Mark Kermode. | :00:22. | :00:23. | |
We have Spotlight, which is 1 of the front runners in the best film | :00:24. | :00:38. | |
contender for the Oscars. We have 13 Hours, Michael Bay goes to war. And | :00:39. | :00:46. | |
Youth, a new film starring Michael Cain. Spotlight much anticipated, | :00:47. | :00:52. | |
great reviews in America. Terrific reviews over here as well, nominated | :00:53. | :00:57. | |
for several Oscars. A film which has got a really good critical response. | :00:58. | :01:00. | |
So good that I think it has kind of court the film-makers slightly off | :01:01. | :01:04. | |
guard. I think they thought it was a good piece of work but they didn't | :01:05. | :01:08. | |
realise exactly how good until the reviews started coming in. It is | :01:09. | :01:11. | |
based on the true story of the Boston Globe's Spotlight team | :01:12. | :01:18. | |
uncovering a scandal involving the Catholic Church. It's a terrific | :01:19. | :01:21. | |
cast, Michael Keaton and Rachel McAdams and indeed mark Ruffalo. Its | :01:22. | :01:29. | |
1 of these things in which you think there should be a nomination for the | :01:30. | :01:33. | |
entire ensemble cast. Anyway, here's a clip. We got law, this is it. This | :01:34. | :01:43. | |
is 1 covering for another priest. There are another 90 out there. I'm | :01:44. | :01:47. | |
not going to rush this story, Mike. We don't have a choice. If we don't | :01:48. | :01:52. | |
rush the print someone else is going to find these letters and rush the | :01:53. | :01:59. | |
print. Mike! What? Why are we hesitating? He told us to get the | :02:00. | :02:04. | |
system. We need the full scope. That is the only thing that will put an | :02:05. | :02:09. | |
end to this. We will do it when I say it's time. It's time, Robbie! | :02:10. | :02:15. | |
It's time! They knew and they let it happen to kids! OK? He could have | :02:16. | :02:21. | |
been you, it could have been me, it could have been any of us. We've got | :02:22. | :02:25. | |
to nail these scumbags. We've got to show people that nobody can get away | :02:26. | :02:29. | |
with this, not a priest or a cardinal or they freaking Pope! | :02:30. | :02:37. | |
That's 1 of the rare kind of grandstanding moments in a film | :02:38. | :02:40. | |
which otherwise is distinguished about the fact that it's a film | :02:41. | :02:44. | |
about hard, journalistic work. It's about sitting down at desks and | :02:45. | :02:50. | |
going through records and shoe leather. It draws comparison with | :02:51. | :02:58. | |
All The President's Men. It doesn't have the same shadowy surveillance | :02:59. | :03:01. | |
thing going on but what it does have is really clear storytelling. It | :03:02. | :03:06. | |
takes a story which is, located and it doesn't simplify it but it makes | :03:07. | :03:09. | |
it gripping and engrossing. Essentially it's a story about an | :03:10. | :03:13. | |
outsider, Martin Baron, this new editor coming in and seeing a | :03:14. | :03:17. | |
subject for the 1st time from the outside. At 1 point somebody says, | :03:18. | :03:22. | |
"So he's a single man of the do you see faith who hates baseball those | :03:23. | :03:27. | |
quote. That's the point! It's in Boston, coming into this catholic | :03:28. | :03:32. | |
conclave and looking as it is an outsider is what that team is | :03:33. | :03:38. | |
spurred on to investigate it. It's not just heroes and villains, the | :03:39. | :03:43. | |
Spotlight team discover that everyone is kind of complicit in | :03:44. | :03:46. | |
this silence including their own paper. Should they have acted | :03:47. | :03:50. | |
earlier? I think it was terrifically well done, most particularly because | :03:51. | :03:54. | |
it tells its story so well. It tells it in a way that doesn't suggest | :03:55. | :03:57. | |
that in order for this to be palatable for an audience you have | :03:58. | :04:00. | |
to have great big dramatic stand-offs. What it says is the | :04:01. | :04:04. | |
subject matter is interesting. I think 1 of the reasons perhaps that | :04:05. | :04:07. | |
the visual style is quite flat is that it's almost as if the director | :04:08. | :04:12. | |
is saying the story is what matters. The better the story the less you | :04:13. | :04:17. | |
have to sell it? Exactly, and it sells its story really well. What | :04:18. | :04:25. | |
about the story of 13 Hours? It is a very famous cause celebre. Now told | :04:26. | :04:35. | |
by Michael Bay of the Transformers movies and Pearl Harbor. What | :04:36. | :04:39. | |
Michael Bay said is, this isn't political at all, this is absolute | :04:40. | :04:43. | |
news of what happened on the ground. This is a ground level account of | :04:44. | :04:46. | |
this event. Of course there is politics in it inasmuch as it's a | :04:47. | :04:51. | |
film that says that the people to blame our Lily livered bureaucrats | :04:52. | :04:55. | |
and that sort of stuff. What's more important is that I went into this | :04:56. | :04:59. | |
movie knowing very little about this case and came out knowing even less. | :05:00. | :05:04. | |
Because it's a Michael Bay movie. However contentious the subject | :05:05. | :05:09. | |
matter is, what you get is this rapidly edited visual style, loads | :05:10. | :05:13. | |
of explosions, loads of shouting, loads of shooting. There's a scene | :05:14. | :05:19. | |
in Pearl Harbor in which we get a Bond's eye view, literally following | :05:20. | :05:25. | |
a Bond, and we get the same shot in this. It says that Michael Bay is | :05:26. | :05:29. | |
not interested in the people or the intricacies come he's interested in | :05:30. | :05:33. | |
the machinery. It is, to all intents and purposes, a film about machinery | :05:34. | :05:37. | |
and hardware that just happens to have people and a political story | :05:38. | :05:41. | |
behind it. I'm not a fan of Michael Bay's and to me this was just | :05:42. | :05:46. | |
another chapter in what it is... There is an audience for this as you | :05:47. | :05:51. | |
well know. I think more so in America than here. I saw it in a | :05:52. | :05:54. | |
screening room full of people many of whom made the joke when they came | :05:55. | :06:02. | |
out, 13 Hours and told in real-time. Youth? This is an English-language | :06:03. | :06:15. | |
film with Sean Penn playing Robert Smith... This is much more | :06:16. | :06:19. | |
confident. The story is essentially Michael Cain and Harvey Keitel | :06:20. | :06:32. | |
playing a film-maker and a journalist looking back on their | :06:33. | :06:36. | |
lives, lives and lost loves. Here's a clip. | :06:37. | :06:39. | |
Do you remember Gilda? The film? No, the girl we were both in love with. | :06:40. | :06:55. | |
That was a hundred years ago. To me it's like yesterday. I would have | :06:56. | :07:00. | |
given 20 years of my life to have slept with her. That would have been | :07:01. | :07:06. | |
a pretty stupid thing. She wasn't worth 20 years of your life. She | :07:07. | :07:09. | |
wasn't worth a single day. How do you know? Did you sleep with her? | :07:10. | :07:19. | |
What? What did you say? You heard me. 60 years ago you swore you never | :07:20. | :07:25. | |
slept with her out of respect for my love for her. Now you've changed | :07:26. | :07:30. | |
your tune. It's difficult not to love this, for me! There is much to | :07:31. | :07:35. | |
love not least in those 2 performances and Michael Cain is | :07:36. | :07:40. | |
particularly terrific. It also has that thing of tragic comic absurdity | :07:41. | :07:45. | |
about it. We have levitating monks, we have Paloma Faith playing Paloma | :07:46. | :07:53. | |
Faith. Madonna is in it as well. Somebody who may or may not be, | :07:54. | :07:57. | |
that's the sort of central point... There are moments when it doesn't | :07:58. | :08:01. | |
work. Totally it is all over the place. A jolt surround from tragedy | :08:02. | :08:04. | |
and comedy and it doesn't always come together. However, when it | :08:05. | :08:08. | |
does, it has a lyrical beauty that is quite charming. There's a lovely | :08:09. | :08:12. | |
sequence of, and it's hard to imagine this, Michael Cain | :08:13. | :08:16. | |
conducting a field of cows. It's really beautiful and really | :08:17. | :08:19. | |
touchingly done. Although I think, it's far more confident than This | :08:20. | :08:31. | |
Must Be The Case. There have been people seeing it who have wondered | :08:32. | :08:37. | |
what it's all about. I liked it but I do think it's all over the shop | :08:38. | :08:40. | |
and I think it is totally very uneven but for the moments that work | :08:41. | :08:45. | |
and largely they are to Michael Caine's performance, it has a | :08:46. | :08:52. | |
melancholic... For all its mistakes, I feel very affectionate towards it. | :08:53. | :09:00. | |
Your best is Room. I still love it. It's not the film you think it is. I | :09:01. | :09:08. | |
thought this was terrific. Emily Blunt playing an FBI agent who is | :09:09. | :09:13. | |
trapped in a very difficult war with the Mexican cartels. It's a | :09:14. | :09:19. | |
cross-border campaign that she gets dragged into unknowingly. The | :09:20. | :09:21. | |
cinematography is absolutely terrific, it looks so good. It has | :09:22. | :09:26. | |
the best and most nail-biting traffic jam you will ever see in a | :09:27. | :09:31. | |
movie! Again, it's a thriller. It doesn't feel the need to explain | :09:32. | :09:35. | |
everything all the time. It's a movie that seems to think that the | :09:36. | :09:38. | |
audience is smart and that the audience will keep up. There are 2 | :09:39. | :09:42. | |
or 3 set pieces in it which I thought were genuinely nail-biting. | :09:43. | :09:48. | |
You know when they say white knuckles. That's exactly what it is. | :09:49. | :09:54. | |
And you're right, not a car chase, but a traffic jam! We believe it | :09:55. | :09:55. | |
there. -- we will leave it there. A quick reminder before we go that | :09:56. | :10:01. | |
you'll find more film news and reviews from across | :10:02. | :10:03. | |
the BBC online, including Good evening. There was a bit of a | :10:04. | :10:20. | |
white knuckle ride with the weather today as | :10:21. | :10:22. |