The Year in Film Review


The Year in Film

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Transcript


LineFromTo

Hello and welcome to this review

of the Year in Film.

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I'm Mark Kermode and we're here at

the Cinema Museum in south London.

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Over the next half an hour,

I'll be looking back at some

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of the best movies released in UK

cinemas in 2017.

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And what a year it's been.

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As always, the film year began

with the Oscar circus which back

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in February became the scene of one

of the most astonishing debacles

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in awards history as La La land,

which had already picked up gongs

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for Best Director,

Best Cinematographer, Best Music,

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Best Original song, Best Production

Besign, and best actress,

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for Emma Stone, was announced

as the winner of the best picture

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award, only for that to be

revealed as a mistake.

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I'm sorry, no, there's

been a mistake.

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Moonlight, you guys

won best picture.

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In fact, the award

went to Moonlight.

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Director Barry Jenkins's minor key

masterpiece which also won best

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best Adapted Screenplay

and Best Supporting Actor

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for Maherschela Ali.

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Among the night's big hitters,

Manchester by the See picked up

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the award for best original

screenplay and best

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actor for Casey Affleck.

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Meanwhile, Viola Davis won

the supporting actress award

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for her role in the Fences.

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An adaptation of August Wilson's

stage play directed by leading

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man, Denzel Washington.

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I gave 18 years of my life to stand

in the same spot as you!

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As always, some of the most

interesting movies

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competing in Oscar night were in

the foreign-language film category.

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My own personal favourite

was Toni Erdmann, a jet black comedy

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from writer director,

Maren Ade.

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about father- daughter estrangement

boasting a brilliant central

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performance by Sandra Huller.

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In the end, the foreign-language

film award went to The Salesman,

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an affecting drama from Iranian film

director Asghar Farhadi,

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who had previously won

the award for A Separation.

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This time, in protest

against President Trump's

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controversial travel ban,

Farhadi boycotted the Oscar

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ceremony, explaining

that his absence was out of respect

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"Out of respect for the people

in my country and those

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of six other nations

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who had been disrespected

by the inhumane law that bans entry

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of immigrants to the US."

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Of course, all true film fans

understand that cinema

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is an international medium that

knows no boundaries or borders

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and in 2017, UK cinemagoers

were treated to a veritable

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smorgasbord of delights

from all corners of the globe.

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From Israel came In Between,

the bittersweet debut feature

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from Maysaloun Hamoud about three

Palestinian women living in Tel

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Aviv, each fighting their own battle

for independence and fulfilment.

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In The Handmaiden, Park Chan-wook

transferred the story

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of Sarah Waters's novel Fingersmith

from Victorian England

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to 1930s Korea under

Japanese colonial rule,

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with deliciously twisted a result.

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Dutch director Paul Verhoeven coaxed

an Oscar-nominated performance

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from French icon Isabelle Huppert

in Elle, a controversial drama

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about a Parisian businesswoman

playing cat and mouse

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with a violent assailant.

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In By The Time It Gets Dark, Thai

film maker Anocha Suwichakornpong

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used the infamous atrocities

of October 1976 as a jumping-off

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point for a kaleidoscopic meditation

on past and present,

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truth and fiction,

cinema and memory.

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A performance of tremendous wit,

vitality and lusty defiance

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by Sonia Braga drove Brazilian

film-maker Kleber Mendonca Filho's

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Aquarius, a portrait of a woman

refusing to be bullied out

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of her seafront

apartment by developers.

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Professor.

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Thank you so much.

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Italian film-maker Luca Guadagnino

scored a critical hit

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with Call Me By Your Name,

which many have named

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their favourite film of that year.

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In February, Hungarian film-maker

Ildiko Enyedi scooped the top prize

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at the Berlin Film Festival

with On Body And Soul,

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a brilliantly bizarre tale of two

misfits finding dreamy love

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against the stark

backdrop of an abattoir.

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One of the most uncategorisable

films to be released in UK cinemas

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in 2017 was I Am Not A Witch,

a remarkable Zambian

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story from writer-

director and British Independent

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Film Awards winner Rungano Nyoni.

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Margaret Mulubwa stars of the young

girl who is accused of being a witch

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and given a stark choice -

to accept her supernatural

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branding and live a tethered

life as a sorceress,

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or to cut her ties with local

tradition and be

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transformed into a goat.

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Part social satire,

part surreal fairy tale,

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this terrifically strange parable

addresses magic and misogyny,

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superstition and social strictures,

in a manner which is as indefinable

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as it is unmissable.

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Although I Am Not A Witch was shot

and set in its director's homeland

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of Zambia, Rungano Nyoni grew up

in Wales and

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the film is a British-

French co-production.

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2017 saw the release of several

British-backed feature debuts,

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which proves that home-grown talent

continues to flourish.

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Staying for the funeral?

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Of course.

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My favourite British

film of the year was

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Hope Dickson Leach's The Levelling,

a poetic tale of family division

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and reconciliation which played out

against the postdiluvian backdrop

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of flooded Somerset.

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I don't want this to be your fault!

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Not again.

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Having been named a star of tomorrow

by Screen International way back

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in 2007, it took Hope Dickson Leach

nearly

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a decade to make her first feature,

which stars Ellie Kendrick and David

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Troughton.

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It was well worth the wait.

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Other screen debuts included

Lady Macbeth, the first feature

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from theatre director William

Oldroyd.

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Transferring its themes

from Russia to the rugged

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of Victorian era North East England,

the film made

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a star of Florence Pugh,

who previously shone

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in Carol Morley's The Falling,

and she commands the screen

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in this lusty tale of

repression and rebellion.

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Yorkshire provided the arresting

setting for God's Own Country,

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the feature debut from Francis Lee

won the BIFA for best

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independent film.

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Depicting a tentative relationship

to a young local farmer

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and a migrant Romanian worker,

God's Own Country was another

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low-budget British odyssey

with a licence as broad

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as the countryside itself.

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Meanwhile, Alex Barrett's London

Symphony takes cinema back

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to its silent roots,

filming in over 300 locations

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to present a celebration

of diversity and difference

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with a superb score

by James McWilliam.

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While gems such as The Levelling

and London Symphony showed what can

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be achieved with limited resources,

other British-based films have more

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multiplex-friendly appeal.

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Films such as Goodbye

Christopher Robin, which gently

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interwove fact and fantasy as it

retraced the creation

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of a children's classic.

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Boasting some beautiful writing

by Frank Cottrell Boyce,

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this charming film, which could have

been call Saving Mr Milne,

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served as a fitting epitaph

for the life and work of producer

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Steve Christian who died

earlier this year.

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And then there was Breathe,

which provoked both laughter

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and tears as it visited

the story of pioneering polio

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survivor Robin Cavendish.

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With terrific terms

from Andrew Garfield and Claire Foy,

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Breathe marked the directorial

feature debut for Andy Serkis.

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Best known as the performance

capture maestro who brought iconic

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characters like Gollum

and King Kong to life.

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This year, Serkis reprised

the Role Of Caesar In War

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For The Planet Of The Apes,

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the third instalment in the rebooted

dystopian fantasy franchise.

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War for the Planet of the Apes

was just one of a number of fantasy

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blockbusters which proved that

mainstream movies don't have to be

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drearily done to be popular.

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In fact, they can be

inventive, challenging,

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funny, subversive, dark,

delirious, whatever you want just

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as long as it's good.

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MUSIC: Hurt by Johnny Cash.

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One of this year's most

adventurous mainstream

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offerings was James Mangold's Logan,

a X-Men movie unlike any other,

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apparently made for people

who prefer Westerns like Unforgiven

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to standard comic

book franchise fare.

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At the other end of the mood

spectrum was Patty Jenkins'

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Wonder Woman, a thrillingly

empowering romp starring

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the indefatigable Gal Gadot, which

proved a box office

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smash, thereby destroying once

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and for all those nonsensical myths

about superhero movies

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requiring male heroes.

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Incidentally, the rope-wielding

figure of Wonder Woman,

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also provided the inspiration

for Angela Robinson's stranger

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than fiction tale of fetishism

and female empowerment,

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Professor Marston and the Wonder

Women, a real eye opener.

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For those who like their superheroes

to come with a sense of humour,

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New Zealand director

Taika Waititi's Thor:

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Ragnarok was a delight.

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A rollicking adventure which turned

out to be funnier than many

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of the year's alleged comedies.

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Let's do Get help.

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No.

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Come on, you'll love it.

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I hate it.

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Works every time.

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It's humiliating.

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Do you have a better plan?

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Now.

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We're doing it.

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We're not doing get help.

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Get help!

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Please, my brother is dying!

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Get help!

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Help him!

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Classic.

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As for Kong: Skull Island,

which featured Thor co-star

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Tom Hiddleston, hats off to director

Jordan Vogt-Roberts,

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for managing to leave his quirky

indie fingerprints all over this 200

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million-dollar studio behemoth,

which boasted the biggest primate

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you've ever seen on screen.

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Of course, there were some

clunkers, most notably

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Justice League, which suffered

production problems ranging

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from the departure of the original

director to studio uncertainty

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about the dark or light

the finished film should be.

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In the end, it just turned up dull.

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That's not something

you could say about Dunkirk,

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Christopher Nolan's overwhelming

epic about the allied retreat

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Christopher Nolan's overwhelming

epic about the Allied retreat

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from France in 1940.

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Shot in the large Imax

format and best viewed

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on the biggest screen possible,

preferably in 70mm,

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Nolan's long nurtured labour of love

is a stunning achievement

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which deftly juggles three

intertwining time periods,

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one week, one day, one hour,

as it traces the story

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from land, sea and sky.

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And beneath it all is Hans Zimmer's

devastating score, a rising chord

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of anxiety which tears

the audience's nerves to shreds.

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Whoa, whoa, whoa!

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There were thrills of a very

different kind in Edgar Wright's

0:11:130:11:18

in Edgar Wright's Baby Driver,

a pedal to the metal cocktail

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of music and movement which is best

described as an American in Paris

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meets

the French connection.

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Developing an idea that he had first

explored in a 2003 music video

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for Mint Royale's Blue Song,

Wright's roller-coaster ride

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Ansel Elgort as a getaway driver

who lives his life

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to the rhythm of

a personal playlist.

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The result is a blast.

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Kathryn Bigelow cranked up

the tension in Detroit,

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a powerful reconstruction

of a shocking incident that took

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place amid five days of rioting

during the summer of 1967.

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British actors John Boyega

and Will Poulter headed and ensemble

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cast ably led by Hurt Locker

director Bigelow who became

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the first woman to win the Oscar

for best director back in 2010.

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For those in search of laughter,

the year's most unlikely romcom

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proved to be the perfect tonic.

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What is happening,

what are you doing?

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I'm changing under this blanket.

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I've seen everything.

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Remember?

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We were just having sex.

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Yeah, but you were in

the throes of passion then.

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Based on the real-life

experiences of co-writer

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and star Kumail Nanjiani,

The Big Sick was While You Were

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Sleeping For the wide awake

generation, a touching tale

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of cross-cultural entanglement

between a Pakistani born man

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and an American woman wrestling

with the conflicting

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ties of unexpected love

and arranged marriage.

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Meanwhile, Armando Iannucci turned

history into grim farce

0:12:520:12:56

in The Death of Stalin.

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The star-studded cast

sank their teeth into this

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brutal black comedy.

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One of the best things

about being a movie critic

0:13:000:13:03

is you get to see films

about which you know

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nothing in advance.

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Take, for example, Secret Superstar,

a laughter and tears Bollywood

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treat, which combines Hannah Montana

style teen fantasy with a strong

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social realist message

about domestic abuse,

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divorce law, gender selective

pregnancy termination, and and more.

0:13:130:13:15

gender selective pregnancy

termination, and more.

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I went in unprepared

and was completely won over

0:13:160:13:20

by the charismatic energy of

Zaira Wasim and her scene-stealing

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co-star and producer Aamir Khan.

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And on the subject of children

finding beauty in tough

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surroundings, one of the best films

of 2017 was The Florida Project,

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described by director Sean Baker

as a modern day Our Gang.

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These are the rooms we're

not supposed to go in.

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But let's go anyway!

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Set in the rundown shadows

of Disneyworld, the Florida Project

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had heart and show to spare,

thanks in no small part

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to a brilliantly natural performance

by rising star Brooklynn Kimberly

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Prince.

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I've failed as a mother!

0:13:510:13:55

Mom, you're a disgrace.

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2017 also turned up to be

a great year for animation,

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cementing my belief

that we are currently living

0:13:580:14:01

through a golden age in which hand

drawn and computer graphics live

0:14:010:14:05

side by side with stop motion,

rotoscoping and even oil painting.

0:14:050:14:10

Hey new kid, what did

you do to land in here?

0:14:100:14:13

So, are you the boss?

0:14:130:14:14

Guess you catch on pretty quick.

0:14:140:14:15

And that's how you talk to girls.

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Among the animated wonders

which dazzled UK cinema audiences

0:14:190:14:26

this year were My Life

as a Courgette, a heartbreaking yet

0:14:260:14:29

joyful Swiss-French tale of abused

kids finding kinship in a care home,

0:14:290:14:37

and The Red Turtle, an ambitious

East-West venture produced

0:14:370:14:41

by Japan's studio Ghibli

and directed by London based.

0:14:410:14:49

animator Michael Dudok Du Wi between

studios in France and Belgium.

0:14:490:14:53

France and Belgium.

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A wordless gem about a man

stranded on a desert island,

0:14:560:14:59

this sublime film harks back

to the universality of silent

0:14:590:15:01

cinema, creating something of beauty

which can be enjoyed by audiences

0:15:010:15:04

of all ages forever.

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2017 also saw the release

of Loving Vincent, billed

0:15:050:15:07

as the world's first

0:15:070:15:08

fully painted feature in which 125

animators working in Greece

0:15:080:15:10

and Poland created 65,000 frames

based on live action footage

0:15:100:15:16

to create an astonishing collision

of real and artistic invention.

0:15:160:15:22

Blimey.

0:15:220:15:23

Do something.

0:15:230:15:26

Put the pin down or

we'll hypnotise you!

0:15:260:15:28

And from the sublime

to the ridiculous, let's hear it

0:15:280:15:38

for Captain Underpants:

the First Epic Movie,

0:15:380:15:40

A film so fabulously funny that

I saw it twice in the same week

0:15:400:15:43

and wanted to go back again.

0:15:430:15:45

Tra-Laa-Laa!

0:15:450:15:46

On the subject of seeing

things a second time,

0:15:460:15:48

it's worth pointing out that

alongside all the original

0:15:480:15:50

material that played

in the UK cinema this year,

0:15:500:15:51

2017 also saw its fair share

of sequels, remakes and reissues.

0:15:510:15:54

Back in January, director

Danny Boyle reunited us

0:15:540:15:56

with the original cast

of Trainspotting in T2,

0:15:560:16:02

which caught up with Renton,

Simon, Spud and Begby,

0:16:020:16:05

upon whom age and regret

had taken its toll.

0:16:050:16:07

Considering how important

Trainspotting was to a certain

0:16:070:16:09

generation of filmgoers,

it was a huge relief that the sequel

0:16:090:16:13

didn't trample all over our dreams

and turned out to be a touching

0:16:130:16:16

and inspiring movie

in its own right.

0:16:160:16:17

The same was true of Blade Runner

2049, Denis Villeneuve's

0:16:170:16:20

eagerly-anticipated

sequel to Ridley Scott's

0:16:200:16:23

epochal original.

0:16:230:16:26

There is an order to things.

0:16:280:16:31

That is what we do here.

0:16:310:16:33

We keep order.

0:16:330:16:38

Despite brilliant reviews,

Blade Runner 2049 didn't quite prove

0:16:380:16:41

the runaway box office hit

that its distributors had hoped for.

0:16:410:16:45

No matter, for my money,

it's a masterpiece.

0:16:450:16:48

True to the spirit of the original

but sharp enough to forward

0:16:480:16:50

its own brave new world.

0:16:500:16:57

And then there was Paddington 2,

a sequel which look like it didn't

0:16:570:17:00

And then there was Paddington 2,

a sequel which look like it couldn't

0:17:000:17:03

possibly live up to the promise

of its predecessor and then did.

0:17:030:17:06

Marmalade sandwiches all round.

0:17:060:17:07

Ow!

0:17:070:17:10

On the remake front,

Sofia Coppola won a best director

0:17:100:17:17

award at the Cannes Film Festival

in May for The Beguiled,

0:17:170:17:20

her take on a tale previously told

by Don Siegel in a twisted 70s

0:17:200:17:23

classic about a wounded

Civil War soldier taken

0:17:230:17:25

in by a cloistered group of women.

0:17:250:17:32

In June, a new adaptation of Daphne

du Maurier's My Cousin Rachel

0:17:320:17:35

arrived, in UK cinema,

0:17:350:17:43

with Rachel Weiss stepping nimbly

into shoes which had really been

0:17:430:17:45

filled by Olivia de Havilland?.

0:17:450:17:48

And in November, Agatha Christie's

Murder on the Orient Express

0:17:480:17:51

which have been filmed several times

before, most notably in 1974,

0:17:510:17:55

rolled in with a glamorous

cast led by actor

0:17:550:17:57

director Kenneth Brannagh,

and his extraordinary

0:17:570:17:59

performing moustache.

0:17:590:18:00

For me, one of the real

treat of 2017 was seeing

0:18:000:18:02

William Friedkin's gruelling

masterpiece Sorcerer back on screens

0:18:020:18:05

in a glorious 4K restoration,

0:18:050:18:09

heralding its long overdue

reassessment as a masterpiece,

0:18:090:18:11

a full 40 years after it first

formed in cinema.

0:18:110:18:18

One of the reasons Sorcerer,

itself a remake of Wages of Fear,

0:18:180:18:21

flopped back in 1977

was that the fact it opened

0:18:210:18:22

back-to-back with Star Wars,

0:18:220:18:27

he film that ate

the box office alive.

0:18:270:18:29

For decades later, that

intergalactic franchise

0:18:290:18:31

is still ruling the galaxy,

0:18:310:18:35

With episode eight, The Last Jedi

opening in the run-up to Christmas,

0:18:350:18:38

and once again driving Sorcerer

of our screens.

0:18:380:18:40

Alongside the French connection,

sorcerer director William Friedkin

0:18:400:18:42

is best known for the Exorcist,

0:18:420:18:44

he most successful

horror film of all time.

0:18:440:18:46

2017 was a very good year

for horror, with Andres Muschietti's

0:18:460:18:48

adaptation of Stephen King's It

laying claim to the title

0:18:480:18:51

of horror's biggest box office haul,

albeit an adjusted for inflation.

0:18:510:18:56

No!

0:18:570:19:02

Hiya, Georgie!

0:19:040:19:09

What a nice boat.

0:19:090:19:11

It was good fun but the real

ground-breaking work was being done

0:19:110:19:19

on the edges of horror in films

which slipped subtly across genres.

0:19:190:19:26

One of the best films of 2017

was Jordan Peele's Get Out,

0:19:260:19:34

a sharp sociopolitical chiller

with scratched away at the suface

0:19:340:19:36

of so-called post-racial America,

to find poisonous secrets lurking

0:19:360:19:38

behind the liberal smiles.

0:19:380:19:39

So you guys coming up from the city?

0:19:390:19:41

Yeah, we're just coming

up for the weekend.

0:19:410:19:43

Can I see your license please?

0:19:430:19:44

He wasn't driving.

0:19:440:19:46

I didn't who was driving,

I asked to see his ID.

0:19:460:19:49

Bizarrely, when it came

to the Golden Globes,

0:19:490:19:52

Get Out was placed into the best

musical or comedy category also

0:19:520:19:55

when asked to define the film

himself, Peel said pointedly,

0:19:550:19:57

it's a documentary.

0:19:570:20:02

Black Swan director

Darren Baranowski toyed with horror

0:20:020:20:10

films in his bill will bring

cinematic powerful Mother!,

0:20:100:20:12

which found Jennifer Lawrence cast

out of eight latter-day Eden

0:20:120:20:14

into an increasingly

overcrowded hell.

0:20:140:20:15

Other arthouse offerings such

as Olivier Assayas's Personal

0:20:150:20:23

David Lowry's A Ahost Story

and Yorgos Lanthimos's

0:20:230:20:30

the Killing of a Secret Deer

twisted supernatural tropes

0:20:300:20:32

to their own psychological end.

0:20:320:20:38

While Trey Edward Shults's creepy

It Comes at Night got under the skin

0:20:380:20:41

of modern American paranoia

with its clever inversion

0:20:410:20:43

of home invasion with this.

0:20:430:20:44

Here in the UK heavily

pregnant Alice Lowe wrote,

0:20:440:20:46

directed and starred Prevenge,

a uniquely weird antenatal shocker

0:20:460:20:48

which brought together murder,

madness and maternity in a fever

0:20:480:20:51

dream of fear and fast.

0:20:510:20:52

I would swap her to have him back,

so he can't hear you.

0:20:520:20:55

He can't hear you.

0:20:550:20:56

She can't, she's very articulate.

0:20:560:20:57

But for me, the best horror film,

indeed the best film of the gig

0:20:570:21:01

was Raw, the flesh gripping,

French- Belgian feature debut from

0:21:010:21:03

writer-director Julia Ducournau.

0:21:030:21:04

Using cannibalism to tell its story

of growing pains and sibling

0:21:040:21:07

rivalry, Raw is a astonishingly

assured work from a unique

0:21:070:21:09

film-maker whose vision

is etched into every frame.

0:21:090:21:15

Straddling humour, heartbreak

and horror with ease.

0:21:150:21:21

There was horror of a very different

kind in City of Ghosts,

0:21:210:21:24

one of the most striking

documentaries of 2017 which looked

0:21:240:21:26

at the online activists and citizen

journalist in Raqqa,

0:21:260:21:28

who risked everything to let

the world know what was really

0:21:280:21:31

happening when the homeland

was taken over by Isis.

0:21:310:21:38

This year also saw the UK release

I am Not Your Negro,

0:21:380:21:41

Raoul Peck's unique film

James Baldwin, which culminated

0:21:410:21:43

in the best documentary category

in the Oscars in February before

0:21:430:21:45

opening here in April.

0:21:450:21:50

Despite theatrical success of films

like Fahrenheit 9/11,

0:21:500:21:52

many people still view documentaries

as being more at home

0:21:520:21:55

on television and in cinema.

0:21:550:22:00

2017 was a year in which

the boundaries between

0:22:000:22:02

big and small screen

is became increasingly blurred.

0:22:020:22:04

Indeed, in their end of year

round-up at the cinema magazine

0:22:040:22:08

Sight and Sound named the TV series

Twin Peaks: The Return as the second

0:22:080:22:12

best film of the year.

0:22:120:22:16

Meanwhile, Netflix and Amazon,

found their logos being booed

0:22:160:22:19

at the Cannes film Festival

after French cinemas complained

0:22:190:22:21

that films intended for the home

viewing market should not be allowed

0:22:210:22:24

to compete in a film festival

unless they have a proper

0:22:240:22:27

theatrical release.

0:22:270:22:28

It's a fair point but who,

other than Netflix, would have

0:22:280:22:30

allowed the Korean director

Bong Joon-ho to make a movie

0:22:300:22:33

as wonderfully weird

as the creature feature Okja,

0:22:330:22:35

which competed for the Palm d'Or?

0:22:350:22:37

Of course, the really big

controversy for which 2017 will be

0:22:370:22:42

remembered are the stories of sexual

abuse and harassment

0:22:420:22:44

which multiplied in the wake

of the Harvey Weinstein scandal.

0:22:440:22:49

As the silence surrounding

harassment within the industry

0:22:490:22:52

was finally broken, Hollywood found

some of its most bankable players

0:22:520:22:54

publicly named and shamed.

0:22:540:22:55

When Kevin Spacey became the subject

of abuse allegations,

0:22:550:23:03

of Ridley Scott's All the Money

in the World enlisted

0:23:030:23:06

Christopher Plummer to reshoot

all of Spacey's scenes

0:23:060:23:07

at short notice.

0:23:070:23:09

Meanwhile, campaigning groups

such as Raising Films,

0:23:090:23:14

which was set up by Levelling

director Hope Dixon Leach,

0:23:140:23:17

Have called for industry wide

perform to protect those working

0:23:170:23:19

within film production

from exploitation and abuse.

0:23:190:23:23

So what of the future?

0:23:230:23:26

Hopefully, the scandals of today

will prove the wake-up calls off

0:23:260:23:29

tomorrow and bring about real change

within the industry.

0:23:290:23:31

Watch this space.

0:23:310:23:33

In the meantime, there

are plenty of great movies

0:23:330:23:35

to look forward to in 2018.

0:23:350:23:37

Strong contenders currently

being tipped for prizes

0:23:370:23:39

at the forthcoming Oscars include

Martin McDonagh's Three Billboards

0:23:390:23:41

Outside Ebbing, Missouri,

starring Frances McDormand,

0:23:410:23:44

Stephen Spielberg's The Post,

featuring Meryl Streep

0:23:440:23:46

and Tom Hanks, and Greta Gerwig's

directorial debut Lady Bird,

0:23:460:23:48

all of which open here

in January and February.

0:23:480:23:58

Personally, the films I'm

mostly looking forward

0:24:010:24:03

to in the coming months

0:24:030:24:05

are Dark River from the selfish

giant director Clio Barnard,

0:24:050:24:13

Lynne Ramsay's You Were Never Really

Here which proved a prize-winning

0:24:130:24:16

hit at Cannes in May,

and Guillermo Del Toro's the shape

0:24:160:24:19

of water, starring the wonderful

Sally Hawkins.

0:24:190:24:21

The great thing about movies

is that you never know

0:24:210:24:23

what's going to be a hit.

0:24:230:24:26

Take Tommy Wiseau's 2003

catastrophe Rhe Room,

0:24:260:24:27

rightly regarded to be one

of the worst films ever made,

0:24:270:24:30

but which became a midnight movie

cult favourite and has now spawned

0:24:300:24:33

a star-studded making of drama

which has turned Wiseau

0:24:330:24:35

into the stuff of legend.

0:24:350:24:36

As screenwriter William Goldman

famously observed in Hollywood,

0:24:360:24:38

no one knows anything.

0:24:380:24:39

And reversals of fortune

are always possible.

0:24:390:24:41

I'll leave you with a clip

from the Disaster Artist.

0:24:410:24:43

Enjoy the movies.

0:24:430:24:45

We do alley scene!

0:24:450:24:46

This set on the alleyways and looks

exactly like the real

0:24:460:24:49

alleyway out there.

0:24:490:24:52

That's right, that's what we do

in Hollywood movie right?

0:24:520:24:54

Well why don't we just shoot it

in the real alleyway?

0:24:540:24:57

Because it's real Hollywood movie.

0:24:570:24:58

Yeah sounds good.

0:24:580:24:59

OK.

0:24:590:25:01

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