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« » February 2018

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* BBC Films

* The Guardian (Film)

  • post Why The Post should win the 2018 best picture Oscar - 23 February
  • Ahead of the Academy Awards, Jonathan Freedland celebrates Steven Spielberg?s timely tale of press freedom For a man who is the world?s most successful film-maker, Steven Spielberg has a remarkably thin record at the Oscars. Of course, this points to the perennial Spielberg debate: is his accomplishment chiefly commercial, measured in box-office receipts, rather than artistic? Are his films bankable and crowdpleasing rather than great? Among those who take the former view, the fact that a director first nominated by the Academy 40 years ago ? for Close Encounters of the Third Kind ? has only won the best picture prize once (for Schindler?s List), is a critical piece of evidence. Sure, he has been nominated often and been named best director twice (for Schindler?s List and Saving Private Ryan), but in a career as long and lucrative as his, those look like relatively slim pickings. In truth, that 19-year winless streak is unlikely to end on 4 March. The Post is a 150-1 outsider to scoop the big prize. And while no one would have betted against the film being nominated, there is next to no buzz about it winning. In making the case for Get Out ? on at 16-1 ? Peter Bradshaw wrote that best picture is ?a category that sadly often only rewards middlebrow-prestigious classiness? and the unkind would say The Post fits that description perfectly. Still, few would wager that it will vindicate Bradshaw by coming in first. Continue reading...
  • post Why I, Tonya is a game changer in the world of female sports movies - 23 February
  • The Tonya Harding biopic is not the first film about women and sports. But, refreshingly, it?s one that isn?t about female athletes trying to break into a male-dominated worldIf Tonya Harding had been no more than the first female ice skater to land two triple axels in competition, most of us would have forgotten her by now. But in 1994, an associate of her ex-husband attempted to break the leg of her rival, Nancy Kerrigan. In the subsequent media frenzy, Kerrigan was cast as America?s sweetheart, with Harding as a soap opera villain. The incident turned ?Trashy Tonya? into a cult figure, subject of TV movies, pop songs, plays and musicals, and now a movie.I, Tonya takes its stylistic cue from Martin Scorsese, presenting her story as freewheeling mockumentary stuffed with larger-than-life characters, obscene dialogue and unreliable narrators. It is played for scabrous black comedy, but is a not unsympathetic character study of an outsider from an abusive background striving to make it in a discipline that expects its skaters to conform to public expectations of sweetness and femininity. Continue reading...
  • post Mute review ? Duncan Jones's sci-fi thriller is a Netflix disaster - 23 February
  • The Moon director has delivered a catastrophically misjudged riff on Blade Runner with an astoundingly dull performance from Alexander SkårsgardIf one were to relax one?s eyes and stand very far away, the career of Duncan Jones might begin to resemble that of the young Hollywood savior he?s clearly angling to be. Like George Lucas before him, Jones made a name for himself with a blazingly original sci-fi sleeper (2009?s excellent Moon) which he then parlayed into a workmanlike box-office success (2011?s high-concept Source Code). But sometime in the five-year hiatus prior to 2016?s Warcraft, a difficult period marked by his wife?s battle with cancer and his father?s death, he strayed from the path. His adaptation of the popular online fantasy game was to be Jones? graduation into the uppermost echelon of big-league film-making, but it was savaged by critics and ate dirt at the US box office. Related: Annihilation review ? Natalie Portman thriller leaves a haunting impression Continue reading...
  • post Karen Gillan: ?I?m living with a consistent, subtle homesickness? - 23 February
  • The Scottish actor, ex-Doctor Who companion and Guardian of the Galaxy is making her directorial debut. She talks about Time?s Up, her love of the Highlands ? and how she was ?delusional? about her acting abilityKaren Gillan enters the restaurant in downtown Manhattan, tall and slightly ungainly, with the high colour of one still young enough to be easily embarrassed. The 30-year-old recently moved to New York from LA, after five years spent appearing mainly in blockbusters, and is promoting a much more modest film today. The Party?s Just Beginning, written by and starring Gillan, is also her directorial debut and is set in her native Inverness, although ?it?s not the postcard version?, she says, laughing. Nonetheless, it is infused with affection. ?All the time,? she says, when I ask if she misses Scotland. ?I?m living with a consistent, subtle homesickness all the time.?In the movie, which had a budget of £1.8m ? ?not the smallest in the world,? says Gillan, ?but in the grand scheme of things very low? ? she plays Lucy, a woman in her early 20s still living at home and struggling to find a life beyond the cheese counter in the supermarket where she works and the emotionally deadened life of her parents. It is a film about youth, alienation and, above all, friendship, in which the strongest dialogue is that between Lucy and her married friend Donna, and strongly suggests that, while the movie is a drama, and at times a high drama, Gillan?s writing talent may lie more persuasively in comedy. Continue reading...
  • post Weinstein apologises for citing Streep and Lawrence in defence - 22 February
  • Lawyers for disgraced mogul used past comments in effort to dismiss class actionHarvey Weinstein has apologised for using statements by Meryl Streep and Jennifer Lawrence in an effort to dismiss a class action sexual misconduct lawsuit against him. Six women are suing Weinstein and what they call the ?Weinstein Sexual Enterprise?, which they say includes his brother Bob and their co-founded studio The Weinstein Company, claiming they conspired to conceal Weinstein?s widespread alleged sexual harassment. Continue reading...
  • post Seen it all before? The Shape of Water and claims of movie plagiarism - 22 February
  • Guillermo del Toro?s Oscar-nominee has been the subject of three accusations of lifting ideas. But in Hollywood, accusations of copying are nothing newIf Dorothy Parker is to be believed, the only ?ism? that Hollywood holds dear is plagiarism. And, these days, that seems truer than ever. Every day brings another lawsuit from an aggrieved screenwriter. Many are without merit; some prove naggingly robust. This month has seen two high-profile cases. Screenwriter Gary L Goldman has filed a second suit against Disney, claiming the studio purloined his artwork, dialogue, characters and other elements for its animated comedy Zootopia, released in the UK as Zootropolis. (Disney has described the allegations as ?patently false?.) And the makers of Kingsman: The Secret Service are being sued by R Spencer Balentine for lifting elements from his unproduced screenplay The Keepers to augment their adaptation of Mark Millar and Dave Gibbons?s graphic novel. (Fox has yet to respond to the suit.) But it is Guillermo del Toro?s romantic fantasy The Shape of Water, nominated for 13 Oscars, that is currently the biggest magnet for plagiarism claims. Continue reading...
  • post Why Lady Bird should win the 2018 best picture Oscar - 22 February
  • Ahead of the 2018 Oscars, Hadley Freeman champions Greta Gerwig?s coming-of-age drama about the inner lives of womenIt is still slightly mind-blowing that Lady Bird is nominated at all at this year?s Academy Awards, because there is nothing about this movie that screams ?Oscar fodder!? But the fact that it is nominated is a testament to just how bloody good this movie is, and why it really should win best picture. Its most obviously un-Oscar quality is that it was written and directed by a woman, Greta Gerwig, who is still only 34. Gerwig is, shamefully, only the fifth woman to be nominated for best director in the Oscars? 90-year history. The relevance of her gender is all too apparent in the second factor that makes it seemingly so anti-Oscars: it is about the inner lives of girls and women. The last time a movie about female lives was awarded the best picture Oscar was way back in 1983, when it went to the classic weepie Terms of Endearment, starring Debra Winger and Shirley MacLaine. And one of the women in that had to die for it to be considered worthy. Continue reading...
  • post Playwright's family sues The Shape of Water film-makers over works' similarities - 21 February
  • Son of Pulitzer winner Paul Zindel alleges Guillermo del Toro?s Oscar-nominated film ?exploited? his father?s 1969 playThe family of a Pulitzer-winning playwright has filed a copyright infringement lawsuit against Guillermo del Toro and Fox Searchlight alleging that the Oscar-nominated film The Shape of Water is a ?derivative? work that has ?glaring similarities? to a 1969 play. David Zindel, son of American playwright Paul Zindel, filed the complaint Wednesday alleging that Del Toro?s critically acclaimed film, which has more Oscar nominations than any other this year, has ?exploited? the play Let Me Hear You Whisper and should have credited and licensed his father?s work. Continue reading...
  • post Why Darkest Hour should win the 2018 best picture Oscar - 21 February
  • Ahead of the 2018 Academy Awards, Steve Rose makes a rousing case for the thrilling political drama in which Gary Oldman gives us the full Churchill In this movie year of seismic change, it is admittedly highly unlikely that the Academy will hand best picture to a film that begins in a roomful of posh, old white guys, but that doesn?t mean there isn?t a case to be made for Darkest Hour. And were that case not made (summons inner Churchill, orchestral music swells on the soundtrack), and made with steadfastness and resolve, then this inspirational motion picture would suffer a fate not unlike that of our desperate fighting forces stranded at Dunkirk had Operation Dynamo not been undertaken. And where would we be then? (Shouts of ?Hear, hear old chap!?, much waving of bills of parliament in the hands of besuited politicians, string section reaches crescendo).Darkest Hour might retell one of the most retold stories in British history, but make no mistake, it is very much a film of the 21st century, made with intelligence, craftsmanship and the occasional special effects-enhanced flourish, not to mention a knowledge of its own semi-fictional status. It is not the story of how Britain won the war, nor is it a biopic, or a veiled Brexit allegory. (What does the Academy care about that, anyway?) It is closer to a pacy political thriller ? a 1940s West Wing, if you will ? covering a relatively short period of time: May to June 1940, the first few weeks of Churchill?s premiership. Continue reading...
  • post Why Call Me By Your Name should win the 2018 best picture Oscar - 20 February
  • Luca Guadagnino?s gorgeous coming-of-age tale oozes nostalgic melancholy and avoids the cliches in many films about gay loveIs Hollywood really changing? Or is just going through poses, like a self-conscious teenager at an outdoor disco in 1980s Italy? If Call Me By Your Name wins best picture at this year?s Academy Awards, we?ll have our answer. Luca Guadagnino?s film tells the story of two young men falling in love, but it?s also an irresistible seduction in itself. One which began before the film?s official release, with a flirtatious clip of Armie Hammer dancing, and continues over the course of a long Italian summer. Like young grad student Oliver (Hammer) and Elio (Timothée Chalamet), the 17-year-old son of his professor-host, we contentedly while away the film?s running time, discussing art and politics in whichever European language feels right, going for long bike rides, taking dips in the nearby lake, and dining outdoors under the peach trees; all of it depicted with languid sensuality by Guadagnino?s lens. Continue reading...

* CinemaBlend

* Guardian - Film

* Recent Posts

Re: Speaking of the BAFTA's by Nath
[February 21, 2018, 09:26:41 AM]

Re: NEW MOVIE TRAILERS 2018 | Weekly #7 by genie
[February 21, 2018, 08:22:57 AM]

I Kill Giants by genie
[February 21, 2018, 08:16:55 AM]

Re: Speaking of the BAFTA's by Luce
[February 21, 2018, 03:44:42 AM]

Re: Speaking of the BAFTA's by genie
[February 20, 2018, 07:59:42 AM]

Re: Speaking of the BAFTA's by Luce
[February 20, 2018, 07:01:33 AM]

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