Sundance London 2013: Blood Brother Review

Sweeping up the documentary awards at the American Sundance, Blood Brother is director Steve Hooper’s tale of his best friends journey to India that quickly became more than the gap-year soul searching experience he intended.

Rocky Braat’s move from Pittsburgh was born out of that nagging existential crisis that at times can plague us all. Desperate to fill the void in his life and aware of the possibilities that lay past the barriers of routine American life, he ditched his career as a graphic designer, booked his ticket and embarked on the road well travelled to the world’s spiritual Mecca. What followed was a life-changing experience not often shared by those passing through to grab a slice of ‘finding themselves’ before strapping on their backpack and covering themselves in neon paint to puke their new found selves’ guts out on a beach in Thailand.

The change was as whimsical as it was dramatic. At a loose end, Rocky agreed to take in a local centre for children suffering with HIV expecting to feel sad for an allotted amount of time before departing for an adventure elsewhere around the country. His usual ambivalence to children was instantly shattered by what he saw, children who not only had nothing but also suffered from this most deadly of diseases yet wore the smiles of stage children, brimming with constant enthusiasm and unabashed happiness.

Knowing then where his future lay, he cancelled the rest of his trip to stay with the children and when his visa ran out returned to the US only to sell all of his possessions and raise funds for a return trip. Quickly becoming known as Rocky Anna (meaning brother), his affection for these children was the catalyst for friend Hoover to join him overseas and document his experience.

We’ve become slightly numb to these sights, grown cynical of those white faces on Comic Relief, dipping their toe in poverty before fleeing on first-class plane tickets, our British sense of level-headedness and famed stiff upper lip often getting in the way of fully embracing projects like these. However, there’s a lack of pretence with Rocky who seems as sincere and genuine in his mission as anyone can be, making it difficult to throw some of this cynicism his way. Immersing himself completely in village life he’s able to gain the trust of the adults after they witness the rapport and affection he has forged with their children.

Along the way we see the emotional, physical and mental burden faced by Rocky that makes his an even more worthy cause. His warmth and care for the children is that most overused and derided of words – heart-warming which, apparent on screen, only adds to the sadness when one is taken ill or silently passes away in the middle of the night.

It’s often difficult to watch these kinds of films/images without a certain level of scepticism – do-gooder American saves poor third world problem – but in Blood Brother that slowly gets wiped away. Rocky has worn us down, our cynicism faded, stiff upper lip softened and faith in human kindness partially restored. Who would’ve thought it would take an American slacker to do that?

★★★★☆

Matthew Walsh

Rating: NR
Festival Date:27th/28th April 2013
Director: Steve Hoover
Cast: Rocky Braat, Steve Hoover

Sundance London 2013: Sleepwalk With Me Review

Mike Birbiglia’s journey to the silver screen isn’t your average one. A stand-up comedian by trade, he then branched out into theatre performing a one-man show based on his real-life battle with a sleeping disorder. The success of the show caught the attention of producer Ira Glass who invited Birbiglia onto his podcast ‘The Moth’ where he would become a regular contributor until eventually the two set about turning that autobiographical tale into Sleepwalk With Me – not only his first acting gig but also his debut in the directors chair.

All this may come as something of a surprise when watching this festival winning film (2012 Sundance NEXT Award) as Birbiglia seems so effortlessly natural on screen, easing us into his world with an address to camera, “This is a true story”. The need to justify its truth is an understandable one – you can imagine similar stories being dreamt up in a screenwriting lab in Hollywood furiously work shopped into an Adam Sandler vehicle. The fact that it wasn’t and these were, at one time, real events suffered by Birbiglia is no doubt the reason for it’s complete success in achieving the notes of authenticity apparent on screen.

Birbiglia stars as alter-ego Matt Pandamiglio, an aspiring stand-up who’s minutes behind the mic pale in comparison to the ones he spends serving drinks and mopping toilets at the local comedy club. Coupled with a relationship with girlfriend Abby (Six Feet Under’s Lauren Ambrose) that is coming under the scrutiny one suffers after 8 years and no proposal and the pressure facing Matt starts to take it’s toll, manifesting in bouts of sleepwalking which occur with increasing severity.

These aren’t your average zombie-walking eyes closed affairs you often catch on screen, these nocturnal activities resemble the hallucinations of a drunk, all slurry vocals and imagined scenes which are both hilarious and dangerous. Pestered by his physician dad into examining his behaviour, Matt is diagnosed with REM sleep behaving disorder – a condition that involves the sufferer acting out his dreams, something not suited to the life on the road he stumbles upon after a chance meeting with an agent.

As his set becomes more in tune with his mounting problems his jokes finally start to hit the mark with audiences lapping up his truthful tales of a stuttering relationship and bizarre sleep patterns. The new found attention means more time away from home as Matt struggles to find the right balance of caring boyfriend and successful comic.

Balance is one thing Birbiglia doesn’t find as challenging as his on-screen persona, striking a chord with his delicate marriage of laughs and heart in a film you struggle to believe is a debut. His wry observations are incredibly well-observed and ring true of the commitment issues that plague a generation of young males unable to articulate their thoughts. It’s an incredibly honest look at modern relationships handled with originality and moments of hilarity and, while comparisons with Woody Allen are unfair at this point, Birbiglia makes a case for his to be the next career to succeed with inward-looking analysis and laugh out loud jokes. An exceptionally promising debut.

★★★★½

Matthew Walsh

Rating: 15
Festival Date: 27th/28th April 2013
Director: Mike Birbiglia, Seth Barrish
Cast:  Mike Birbiglia, Lauren Ambrose, James Rebhorn

I'm So Excited (Los amantes pasajeros) Review

A Everyman Cinema has opened in Leeds and the first in the North. It’s a nice digital cinema in the new Trinity shopping complex in the city centre of Leeds. The first week of it’s opening has had many Q&As and special showings. The first of 2 I went to was a preview of Pedro Almodóvar’s new film I’m So Excited.

I’m So Excited is the first pure comedy since his international sensation Woman on the Verge of a Nervous Breakdown in 1988. That film broke his strange brand of filmmaking into the public consciousness. He has tend to move away from comedy since then and has moved more into Douglas Sirk inspired melodramas and Hitchcockian thrillers. All his films feature his strange brand of kitschy humour, transsexual or cross-dressing characters and normally but not always a strong female lead character. I tend to prefer his more serious films like Law of Desire, Bad Education and the recent The Skin I Live In.

I’m So Excited is basically a classic sex comedy but with a twist. It’s all set on a plane (for the most part) and they having problems with the landing gear and have to keep flying in circles. The film revolves mainly about the exploits of the 3 gay stewards on the plane. They drink like fish and do plenty of drugs. While they face possible death they have to entertain and serve the passengers as well as they can. However nothing quite goes well and life is as complicated in the clouds as it is on the ground.

It’s a self-described “very light comedy” and it’s fine but serviceable. It has it moments especially when they make the Valencia cocktail spiked with mescaline However it is lacking any of the real substance his finest films have or the classic absurdity of Woman on the Verge of a Nervous Breakdown. It perfectly fine but of a man who has such a solid body of work reaching back to the early 80s I can’t help but feel slightly disappointed.

★★★☆☆

Ian Schultz

Stars: Javier Cámara, Hugo Silva , Cecillia Roth,Pepa Charro, Lola Dueñas
Director: Pedro Almodóvar
Release: 3rd of May 2013
Certificate: 15 (UK)

The Best Father-Daughter Relationships in Film (The Look Of Love)

The Look of Love documents the life of Soho’s king, Paul Raymond – the one time richest man in Britain, self made millionaire, property owner, publisher, nightclub order, husband, lover and father. Raymond’s reputation as a ladies’ man may precede him, but despite his flaws it is undeniable that relationship with his daughter Debbie was the most important aspect of his multifaceted life. She was not only his heir and undoubtedly the apple of his eye, and his motivation. The Look of Love stars Steve Coogan, Anna Friel and Imogen Poots and to mark it’s release, here’s a countdown of the best father-daughter relationships on the big screen.

Matt King in The Descendants (2012)

George Clooney plays a father whose wife is left in a coma after an accident. Although he had never been hands-on dad, he is left to take care of his two young daughters, the eldest of which is a rebellious teenager. When shocking secrets about his wife’s life come to light, the family are forced to pull together, re-examining the past and embracing their new future together whilst Matt has to make the difficult decision regarding his family’s ancestral land.

Doctor Poulain in Amelie (2001)

Amelie was never close to her father. A stern army doctor, the only time she was ever close to him was during her annual check up – something so exciting that it caused her heart to pound and led her perents to believe that she has a defect! A recluse since the death of Amelie’s mother, he spent his autumn years collecting garden ornaments and making shrines to his wife, until, in a bid to bring some colour into his life, Amelie secretly gives her father’s favourite gnome to her air hostess, who takes him on her travels, sending back pictures of the cheery fellow in various exotic locations, to his bemusement.

George Banks in Father of The Bride (1991)

Steve Martin plays a father struggling with the idea of giving his daughter away, wracked with the idea that her future husband is now taking the place of the most important man in her life. However, in the end he realises that she is always going to need him, and that he will always be there for her no matter what.

Daddy Warbucks in Annie (1982)

Oliver ‘Daddy’ Wharbucks was a self-proclaimed bachelor – he never wanted children or anyone to share his millions with. That was until Annie, the feisty red-headed orphan came into her life. Initially she was nothing more than a photo opportunity for Wharbucks, staying in his mansion for a week in a bid to boost his image. However, he is soon won over by her charm and intelligence, rescuing her from the orphanage and adopting her as his own.

Atticus Finch in To Kill a Mockingbird (1962)

The southern lawyer is a single father who brings his daughters up with compassion and kindness, teaching his children to treat all people with equality and respect – valuable life lessons with gems such as: “You never really understand a person until you consider things from his point of view - until you climb into his skin and walk around in it."

Wink in Beasts of the Southern Wild (2013)

The young hushpuppy’s relationship with her hot-headed father is strained at times, but when melting ice-claps flood her ramshackle community ‘The Bathtub’ and unleash ancient creatures, Wink goes to extreme efforts to solidify his daughter’s independence despite his ailing health.

Mose in Paper Moon (1973)

When travelling con-man stumbles across a funeral, the striking resemblance between himself and the orphaned child of the dead woman means that he is reluctantly persuaded that the pair are somehow related, and he is charged with delivering the her back to her aunt’s in Missouri. The intelligent Addie soon realises that Mose is not the wandering preacher that he professes himself to be, and the pair become a fantastic team – making money in every dishonest way imaginable, meeting a variety of colourful characters along the way.

Jean Valjean in Les Miserables (2013)

Fantine, a worker in Valjean’s factory is unceremoniously cast into the street on the discovery that she has an illegitimate child, and subsequently forced into a life of prostitution in order to provide for her, which leads to her death. On discovering this, Valjean is wracked with guilt and vows to become little Cosette’s protector, rescuing her from her abusive step-parents and treating her like a daughter – she becomes the centre of his world.


The Look of Love comes is out now in UK cinemas Read our review

The Look Of Love Review

Whether recounting the autobiographical tale of a renowned public figure in 24 Hour Party People (Tony Wilson) or adapting the supposedly unfilmable novel which charts the life of a fictional character in A Cock and Bull Story, director Michael Winterbottom and actor Steve Coogan are a formidable partnership when it comes to regaling an audience with what can easily be considered quintessentially British films. Winterbottom's latest offering, The Look of Love, marks their fourth collaboration and documents the life of Paul Raymond, a controversial entrepreneur who shot to fame in 60's Soho with his chain of strip clubs and adult publications, and his impressive rise throughout the 70's to the position of Britain's richest man.

Instead of focusing solely on the exploits that made Raymond infamous, The look of Love is an in depth character study that doesn't shy away from his roles as a father and husband, which appear far more demanding to Raymond than working in a profession associated with scantily clad ladies and readily available drugs. There are moments of bleakness throughout the screenplay (such as a stand out scene where Raymond meets his estranged son) but for the most part the decadence of the era, which is shown through the glamour and excess of Raymond and his associates, lightens the mood enough for Winterbottom's film to be an enjoyable diversion whether audiences are familiar with the story or not.

Alan Partridge aside, Coogan has never seemed more at home in a character than in his portrayal of Paul Raymond. Sleazy yet charismatic, Coogan is perfectly cast in the leading role and it is impressive to see him handle the more tender and heartfelt moments of this drama with an emotional depth rarely seen in his acting career. Throughout his life Raymond's obsession with women is ever prevalent;  his wife (Anna Friel) and his lover, Amber (Tamsin Egerton), both have a huge impact on him but none more so than the daughter he dotes on. Debbie (Imogen Poots) appears to be the only girl he cannot bear to be without and Poots displays a wonderful naivety when Debbie is plunged into her father's world of adult entertainment at a young age. Despite this it is Egerton's alluring performance that stands out, and as Amber seduces Raymond, the audience will inevitably follow suit.

As is often the case with Winterbottom's films, appearances by British comedy stalwarts such as Stephen Fry, David Walliams and Dara O'Briain provide welcome comic relief even if their screen time is limited, and in some cases it is disappointing that their characters are not utilised more.

Whilst The Look of Love is not quite as accomplished as Winterbottom's previous autobiographical efforts, it is still nonetheless a captivating study of the man fondly remembered by many as the King of Soho. Not all of the emotional notes will strike a chord with the audience but those that do will linger, and the relationship between Paul Raymond and his carefree daughter Debbie is a joy to behold. The Look of Love may struggle to find an audience but those who seek it out will be rewarded with a surprisingly moving autobiography that showcases Steve Coogan at his best.

★★★½☆

Tom Bielby

Rating: 15
UK Release Date: 26th April 2013
Director: Michael Winterbottom
Cast: Steve Coogan, Anna Friel, Imogen Poots, Stephen Fry, Tamsin Egerton

Win Rob Zombie's The Lords Of Salem On DVD

Rob Zombie returns spectacularly to form with The Lords of Salem which hits DVD on 22 April 2013. The film is an ode to 1970s horror cinema and is visually and aurally stunning!

To celebrate the film's release we have a copy to give away to one lucky winner.

A huge departure from his previous movies, “The Lords Of Salem” is without a doubt Rob Zombie’s most ambitious and accomplished work to date and firmly establishes him as a unique and truly gifted filmmaker who has finally come into his own. A chilling, atmospheric piece that slowly works its way under the viewer’s skin, the film has an almost European feel to it and owes more to Roman Polanski, Dario Argento and Ken Russell than to the American “grindhouse” cinema one would most associate with Zombie. Of course, this being Rob Zombie, classic horror movie references abound and fans will be delighted to notice nods to the likes of “Rosemary’s Baby”, “The Shining”, “The Sentinel”, “The Devil Rides Out”, John Carpenter’s “Prince Of Darkness” and “Macbeth” (the Polanski adaptation), amongst others. A killer cast comprised of many genre legends, stunning cinematography by Brandon Trost, an awesome score by guitarist John 5 and songs by The Velvet Underground, Rush, Rob Zombie, Rick James and Manfred Mann’s Earth Band all combine to make this one of the most visually and aurally impressive horror movies in recent years.

To Win The Lords Of Salem on DVD please answer the following question:

Q. How Many Corpses were in Rob Zombies directorial debut?

A.5000
B.3000
C.1000

Send Your Name, Address, Postcode only to winatcinehouseuk@gmail.com


Deadline to enter is 12th May 2013 (2359hrs). Must be 18 or older to enter

Double your chances follow us at Facebook! (you will get double entry every counts, if your already following us please share the post on facebook)

Pre-Order/Buy The Lords of Salem On DVD
In event of the above form not working please refer to Terms & Conditions on how to enter



Terms &Conditions: 1.This prize is non transferable.No cash alternatives apply.UK &Irish entries only.2.The Peoples Movies, Cinehouse and Momentum Pictures  have the right to alter, delay or cancel this competition without any notice 3.The competition is not opened to employees, family, friends of The Peoples Movies, Cinehouse, Momentum Pictures employees 4.This competition is promoted on behalf of Momentum Pictures 5. If this prize becomes unavailable we have the right to offer an alternative prize instead 6.To enter this competition you must send in your answer, name, address only, Deadline 12th May2013 (2359hrs)7.Will only accept entries sent to the correct email (winatcinehouseuk@gmail.com), any other entry via any other email will be void.8.If the above form fails please send the information required from the form email it to winatcinehouseuk@gmail.com (label The Lords) If any info required from the form is not sent in the email your entry will be void, 9.automated entries are not allowed and will be disqualified, which could result you been banned.10.Failure to complete the above form (i.e full name or address) will result your entry been void 11.If you are friend or like us at facebook for every competition you enter you get double entry, but you must stay stay friend/like us all the time,or future entries maybe considered one entry if you are liking us share the post on facebook and re-tweet the post.12.The Peoples Movies, Cinehouse takes no responsibility for delayed, lost, stolen prizes 13.Prizes may take from days to a few months for delivery which is out of our control14.The competition is opened to Aged 15 and over.15. Majority of the prizes on offer will come from representatives of the distributor, no The People’s Movies &Cinehouse, when we do have the prizes we will inform you.16. Unless Stated Please Do Not Include Telephone Numbers, we don’t need them and if you include your telephone number Cinehouse and The People’s Movies are not responsible for the security of the number 17.The winning entries will be picked at random and contacted by email or announced via facebook, sometimes we are unable to confirm winners.18.This competition i bound by the rules of Scotland,England & Wales, Northern Ireland, Ireland.19.By sending your entry for this competition you are confirming you have read and agreed to these Terms & Conditions.

UK Competitions and Prize Draws at UKwins
Loquax Competitions
Free Competitions
ThePrizeFinder – UK Competitions

Do You Have Secrets? Watch the New Trailer for Neil Jordan's Byzantium

From Interviewing vampires to dancing with wolves, Byzantium is Neil Jordan's long awaited return to the horror genre which has given the Irish director his better critical moments and tonight we get another look at the film in a new UK trailer.

Byzantium is an new look on the vampire genre from a female perspective , its a look into an ancient world that follows no popular crazes or even traditional/familiar  constraints you expect from the genre. Starring Gemma Arterton, Saorise Ronan as Clara and Elanor mother/ daughter on the run from the male only Brotherhood which sees the pair constantly on the run. They find refuge in a small coastal run down hotel (Byzantium), things start to look up for Clara&Elanor however as Elanor decides to reveal her secret to a local ill stricken boy (Caleb Landry Jones ) their 200 year secret comes under threat which sees the past catch up on them.

I was fortunate to see the UK premiere which took place at Film 4 Glasgow Frightfest back in February, I did enjoy it, an ambitious, visually wonderful looking film, it wasn't just quite there in terms to regard it as a classic like Jordan's previous stint in the genre.The trailer does reveal some new footage not seen in the last trailer, showcasing the films atmospheric and melancholic tone. In this video you even get a homage to another 'vampire' legend from Vlad Impaler times Countess Bathory when Gemma Arterton baths in blood.

Byzantium opens in UK&Ireland on 31 st May (28th June USA) co-starring Sam Riley,Jonny Lee Miller,Tom Hollander and Barry Cassin.

Synopsis

Two mysterious women seek refuge in a run-down coastal resort. Clara meets lonely Noel, who provides shelter in his deserted guesthouse, Byzantium. Schoolgirl Eleanor befriends Frank and tells him their lethal secret. They were born 200 years ago and survive on human blood. As knowledge of their secret spreads, their past catches up on them with deathly consequence.

[Update 19th April 2013 - Studiocanal have sent us a brand new UK Quad poster check it out below]

source: Yahoo! (via The Peoples Movies)

Thoughts on Spring Breakers

Harmony Korine has finally made his pop movie and it might just be the most definitive piece of art made about this sweaty, writhing, ritualistic mass of American grotesquery known as spring break.

What goes on at places like St. Pete Beach is a truly surreal subcultural phenomenon ripe for documenting, and Korine does this sun-kissed Sodom and Gomorrah justice by not only surveying its obvious seductive hedonism, but also the complex moral implications of those who willingly participate. His four female leads act almost as Dantean test subjects, descending further into the dark heart of spring break until only those who prove amorally pure can subsume the true mantle of “Spring Breaker”.

Korine frames this the only way he knows how, through a heightened form of reality whose guiding mantra dictates: “Just pretend it’s like a videogame; like it’s a movie”. In what may be his only transparently drawn social critique, he flattens the moral landscape in accordance to its perceived value. The iconography of Scarface and flashy boardwalk arcades bleeds through the hyper-saturated neon, and in true videogame fashion there is a final boss and an orgiastic gun-battle finale, which takes place at a Tony Montana-styled criminal fortress.

But are the Breakers who emerge from the bloodbath victorious to be celebrated or reviled? This is where Korine shows surprising amounts of restraint, unwilling to deem the gat-toting avenging angels as either fallen souls or empowered saints outright. The real answer is somewhere between the two. The Breakers’ telephoned check-ins with mum and dad in the closing scenes are hilariously deceptive; a possible indication of their ultimate disillusionment from reality. But they also read like the calming assurances of girls who have made peace with the monster within. The girls who manage to shoot their way to the finish line do so out of free will and determination, and considering the materialistic and nihilistic lifestyle they fought to defend, that’s as scary as it is admirable.



It’s a stroke of genius not to have all the girls be four parts of the same whole; an agency-robbing hive mind. Selena Gomez’s Faith quickly finds that what was initially sold to her as a spiritual quest has indeed led to spiritual destitution, where rooms are rife with skeezy guys asserting their male gaze in uncomfortable, genuinely threatening ways. That pool hall scene simmers with enough racial/sexual subtext to fuel its own movie (we’ll leave it to Larry Clark to tackle that one). Her hasty departure from the group subsequently feels completely justified—that point is probably where most sane people would yell “Stop the ride. I want to get off.” Unfortunately for her, spring break isn’t for sane people—and that’s where Korine’s fascination begins.

Korine’s ambiguity, or rather his non-committal stance towards moralising, allows the film to toe a tricky line between relish and repulsion: the adrenaline rush of a crime spree or an occasional drunken hotel fuckfest isn’t denied. Yet there’s no escaping the self-destructive pall that hangs over the mounting excess.

“Look at all my shit,” I imagine the film saying to us. “Redistribution of phallic symbolism y’all. Undressing the hedonist fantasy up on screen, y’all. Pretty lights in every colour, y’all.” This collective dream of the MTV generation, powered by sexual and societal liberation, which adheres to its own warped logic and holds its cherished cultural signifiers dear, is an endlessly fascinating, quintessentially American concoction. Essentially a designated window for primal transgressions that somehow snuck up the ranks to become a legitimate rite-of-passage, spring break is loud and obnoxious and bizarre and singular and I can’t look away.

★★★★☆

Pierre Badiola

Only God Forgives To Bling Ring: The 2013 Cannes Film Festival Line Up

You always know the summer is virtually upon us when the granddaddy of film festivals launches their programme and today 2013 Cannes Film Festival line up was unveiled.

As previous announced the festival will open in a party mood when Baz Luhrmann's The Great Gatsby opens the festival on 15th May an unusual move as the film is out in USA 5 days before. Jérôme Salle‘s Zulu starring Forrest Whittaker and Orlando Bloom will have the honour of closing the festival.

The usual array of expected films and surprise choices make up this years line up with Nicholas Winding Refn's Only God Forgives expected to excites the Cannes audiences.Sofia Coppola's Bling Ring headline's Un Certain Regard section with James Franco's As I Lay Dying,Claire Denis Les Salaud also making up the numbers.

In the Competition the film that's too 'gay' to be shown on American Cinemas steven Soderbergh's Liberace pic Behind the Candelabra will be screened on the big screen. This film will only be screened on HBO Stateside as will Stepan Frear's Muhammad Ali's Final Fight (Frank Langella, Danny Glover)but here it'll get a cinematic outing.

Roman Polanski this year has the luxury of having 2 films with Venus In Furs and motor racing documentary Week End Of A Champion. So Are you thinking is that it? Fear not the full list of 2013 Cannes Film Festival  films you can be find below...



In Competition
Only God Forgives, dir Nicolas Winding Refn
Borgman, dir Alex Can Warmerdam
La Grande Bellezza, dir Paulo Sorrentino
Behind the Candelabra, dir Steven Soderbergh
La Venus a la Fourrure, dir Roman Polanski
Nebraska, dir Alexander Payne
Jeune et Jolie, dir François Ozon
La Vie d'Adele, dir Abdellatif Kechiche
Wara No Tate, dir Takashi Miike
Soshite Chichi Ni Naru, dir Kore-Eda Hirokazu
Tian Zhu Ding, dir Jia Zhangke
Grisgris, dir Mahamat-Saleh Haroun
The Immigrant, dir James Gray
Heli, dir Amat Escalante
Le Passe, dir Asghar Farhadi
Michael Kohlhaas, dir Arnaud Despallieres
Inside Llewyn Davis, dir Ethan and Joel Coen
Un Chateau en Italie, dir Valeria Bruni-Tedeschi

Un Certain Regard
The Bling Ring, dir Sofia Coppola
L'Inconnu Du La, dir Alain Guiraudie
Bends, dir Flora Lau
L'Image Manquante, dir Rithy Panh
La Jaula De Oro, dir Diego Quemada-Diez
Anonymous, dir Mohammad Rasoulof
Sarah Préfère La Course, dir Chloé Robichaud
Grand Central, dir Rebecca Zlotowski
Fruitvale Statio, dir Ryan Coogler
Les Salauds, dir Claire Denis
Norte, Hangganan Ng Kasaysayan, dir Lav Diaz
As I Lay Dying, dir James Franco
Miele, dir Valeria Golino
Omar, dir Hany Abu-Assad
Death March, dir Adolfo Alix Jr

Cinefondation
Special Screenings
Weekend Of A Champion, dir Roman Polanski
Seduced And Abandoned, dir James Toback
Otdat Konci, dir Taisia Igumentseva
Muhammad Ali's Greatest Fight, dir Stephen Frears
Stop The Pounding Heart, dir Robero Minervini

Midnight Screenings
Monsoon Shootout, dir Amit Kumar
Blind Detective, dir Johnnie To
Homage To Jerry Lewis
Max Rose, dir Daniel Noah

Out Of Competiton
All Is Lost by J.C Chandor
Blood Ties by Guillaume Canet

66TH Cannes International Film Festival takes place between 15th until 26th May.
source: Thepeoplesmovies

Robert Redford; A Career In Pictures

Robert Redford is an American actor, director, producer, environmental activist, philanthropist, and businessman. His expansive career boasts a range of roles in over 50 films, an Academy Award for Best Director, and founder of the Sundance Film Festival. His performances in theatre, television, and film have rightfully given him mega-star status, and it is his continued involvement in the movie industry as both an actor and director that continues to bring prestige and distinction to the annual festival commemorating independent filmmakers across the United States.

In honour of this year’s upcoming Sundance London Film Festival, taking place April 25-28 at the O2, here is a brief – and certainly not exhaustive – look back at some stand-out moments from Redford’s long, and continuing, film career.

BUTCH CASSIDY AND THE SUNDANCE KID (1969) – The Sundance Kid

Starring alongside Paul Newman – and effectively sparking a life-long friendship – this film cemented Redford as a bankable movie star in the breakthrough role of the titular Sundance Kid. The role would end up having a major influence in his later life, founding the Sundance Institute and the Sundance Film Festival in Utah and naming it after his character.


THE STING (1973) – Johnny Hooker

This blockbuster crime caper again teamed up the dynamic duo of Redford and Newman, this time playing a pair of con artists in 1930’s Chicago. Redford received an Oscar nomination for Best Actor in a Leading Role, and the film remains one of the top 20 highest grossing movies of all time when adjusted for inflation.


THE WAY WE WERE (1973) – Hubbell

Proving his versatility as an actor, Redford co-starred alongside Barbra Streisand in this hugely popular period drama about two lovers who try to sustain a complicated relationship throughout the years. The role further cemented Redford’s leading man reputation and added good old-fashioned romance to his lengthening list of genres.


ALL THE PRESIDENT’S MEN (1976) – Bob Woodward

Scripted by Butch Cassidy writer William Goldman, this landmark film paired up Redford with Dustin Hoffman as famed reporters Bob Woodward and Carl Bernstein attempting to uncover the truth about Watergate. With Redford as co-star and executive producer, the film attempted to create a realistic portrayal of journalism and reflected his off-screen concern for political causes.


ORDINARY PEOPLE (1980) – Director

Taking a seat behind the camera instead of in front of it, Redford’s directorial debut was a critical success winning a number of Oscars including Best Director. The film follows the disintegration of an upper class American family and stars Donald Sutherland and Mary Tyler Moore.


INDECENT PROPOSAL (1993) – John Gage

Forever remembered as the movie where Robert Redford offered Woody Harrelson a million dollars for one night with Demi Moore, this film gave Redford one of his most popular and recognized roles. Playing the corrupt millionaire who uses bribery to test people’s morals, Redford’s performance made the movie one of the year’s biggest hits.


THE COMPANY YOU KEEP (2012) – Jim Grant / Nick Sloan

Most recently, Redford directed and co-starred in this political thriller centered on a former activist who goes on the run after a young journalist, played by Shia LeBeouf, discovers his identity. Marking the first film with Redford as both director and actor, it has so far won two awards from the Venice Film Festival.


SUNDANCE FILM FESTIVAL – Founder

No list of accomplishments would be complete without Redford’s founding contribution to the Sundance Institute in 1981, and consequently the Sundance Film Festival, Sundance Cinemas, Sundance Catalogue, and the Sundance Channel, all in or around Park City, Utah. The Sundance Film Festival is now one of the most prestigious events in the movie industry, giving independent filmmakers from around the world a chance to showcase their works. Redford’s continued involvement and support brings respect and admiration to any Sundance project – even all the way across the pond at Sundance London.

Sundance London is taking from 25th-28th April 2013 at The O2, London.

Thursday Till Sunday (De jueves a domingo) Review

Adding her young yet considerable talent to the burgeoning world of Chilean cinema is Dominga Sotomayor. Her incredibly assured debut feature Thursday Till Sunday (De Jueves a Domingo) takes the template of a road movie to explore themes of innocence amid the breakdown of a family. Confining the tale of a family’s trip to the beaches of northern Chile largely to within a car, hers is a stylish and original take on a well worn genre.

Aware of the fractious nature these car-locked journeys can take on, TTS poses the question – what if the arguments had already occurred and fallout decided. This is the position we are in, mother Ana (Paola Giannini) and father Papa (Francisco Perez-Bannen) have already agreed to separate following this, their final family trip where Papa can check out some inherited land on their way to the coast. Never stated outright, the split is the frission of tension underlining every exchange in the front seats, not that we get to hear. We are in the back with the kids, young Manuel and pre-teen daughter Lucia – our eyes for the journey and occasional witness to her parents’ possible arguments.

Separating the car into two vastly different worlds is something of a masterstroke by Sotomayor. She succeeds effortlessly in plunging us into childhood, regressing us to a time when adult concerns are of little interest and their serious conversations rarely more than glimpsed.

Time passes slowly in the back where games are played, songs are sung and requests come in the form of shouted demands, “I want to go to the beach” shouts Manuel. We become enveloped by memories of those family holidays, endlessly driving for the promise of a beach.

Occasional stops offer a chance to stretch the legs for the family and some time out of the car for the audience. Used by the children as a chance to explore and play at ferocious pace, we are treated to hints at previous quarrels – young hitch-hikers and friends from the past are met with delight and quiet disdain by either adult. The focus here, however, lies away from the action. Lucia’s ever increasing awareness of the situation is based on sightings and moods rather than anything explicit and is excellently handled by Sotomayer.

The impressive camera work and collaboration with cinematographer Barbara Alvarez breathes life into what could otherwise be a claustrophobic affair. The vast Chilean landscape out the window belies the trapped nature of the journey and quickly becomes a character of it’s own - the lunar-like planes bringing a sense of isolation as well as familiarity.

The limited dialogue and near lack of narrative are considered and bold moves for a first time director but there’s a looseness here that ensures it seldom feels restrictive. It is away from the technical aspects that Thursday Till Sunday shines brightest however. This 26 year-old director succeeds in bringing a tone and atmosphere recognisable to all who see it. The childhood traits on show, from inventing secret languages and carefully measuring out drinks to the restless frustration of those long journeys, all ring true and are incredibly well observed. So too are the actions of the parents as tears are slyly wiped away and ‘brave faces’ put on in believable performances from Perez-Bannen and Giannini.

Those fond of a faster paced journey may wish to look elsewhere but Sotomayer has announced herself with an accomplished and elegiac debut.

Matthew Walsh

★★★★☆

Rating: 12A
Release Date: 5th April 2013 (UK)
Director: Dominga Sotomayor Castillo
Cast: Santi Ahumada, Emiliano Freifeld, Paola Giannini

The Place Beyond The Pines Review

Following the exceptional Blue Valentine, Derek Cianfrance is reteamed with leading man Ryan Gosling for The Place Beyond the Pines. The ambition in Cianfrance's sprawling 140 minute drama cannot be denied, despite waning slightly in its conclusion.

Pines sees a motorcycle rider (Gosling)  taking part in a series of bank robberies as a means of providing for his lover (Eva Mendes) and their child. The consequences of these robberies are further explored through the story of an ambitious rookie cop (Bradley Cooper), attempting to escape the corruption of his department.

Cianfrance and Ben Coccio's narrative is split into three clear sections - the first dealing with Gosling's character, the second with Cooper's and the third with their respective families. Given this structure, a  slightly disjointed feel  in the narrative is almost inevitable - most noticeably between the latter two segments.

The opening segment is by far the strongest - sticking with a simple premise, exploring how far someone would go in order to make amends and provide for their loved ones. This simple plot allows Cianfrance to focus on exploring some interesting character dynamics between Gosling and Mendes' characters. Gosling is exceptional as the well-intentioned motorcyclist attempting to do good (albeit in a completely wrong manner), proving exactly why he is one of this generation's much loved movie stars. The segment also features some truly electrifying, high-octane bank robbery sequences, shot with a clear sense of authenticity.

This is followed by the Cooper-lead segment, which also proves of some interest.  Here Cianfrance tackles a man caught between his morals and pressure by his corrupt peers, allowing Cooper to give a rich, emotionally-charged performance.  A menacing turn from the sensational Ray Liotta adds some further gravitas to this chapter. Here Cianfrance discusses similar themes to the previous segment, with Cooper's character feeling a sense of pressure to provide for his family and meet the expectations of his peers.

By the final segment, the runtime begins to feel slightly bloated and the subtle power of Cianfrance's screenplay loses its sharpness. This segment relies on far too many narrative coincidences, which hampers the previous authentic style of Pines and tries too hard to make connections with the prior stories.  Despite this dip in quality, the film remains beautifully shot with Sean Bobbit capturing the sheer spectacle of the Pined American exterior.

Pines is an ambitious watch, tackling simple yet powerful themes in an authentic and engaging style, despite being  slightly hampered by the overbearing final chapter. Ryan Gosling and Bradley Cooper are magnificent, both exploring the various limits one can be pushed to, and the consequences of these limits.

Andrew McArthur

★★★½☆

Stars: Ryan Gosling, Eva Mendes, Bradley Cooper, Rose Byrne , Ray Liotta
Director: Derek Cianfrance
Certificate: 15 (UK)
Release: 12th April 2013 (UK), 24th February 2013 (Glasgow Film Festival)

Watch UK Trailer For A Hijacking (Kapringen)

When you look at the Scandinavian market for television and cinema you must look back at it with jealousy at the constant level of  quality along with excitement, tension all in engrossing stuff. The latest film that will hit our shores comes from a former director of Borgen a popular TV series shown on BBC channels Tobias Lindholm  who has already directed The Hunt (Mads Mikklesen),now A Hijacking. Courtesy of the good folks at Arrow Films we now have the new UK trailer and poster for your visual entertainment.

Starring Pilou Asbæk (Borgen), Soren Malling (Borgen) in tense drama of a Danish freight ship that finds itself captured by Somalian pirates everyone onboard is taken hostage. What results is all the hostage caught in the middle of a game of cat & mouse between the hostages and shipping directors as they attempt to negotiate a ransom leaving the hostages no clue when or if they'll ever be set free.

I was fortunate to catch this film at last month's Glasgow Film Festival, it was a film I picked randomly but also on back of its reputation from it's film festival circuit especially from London. Its a slow burning burning film full of tension, it is violent on all levels especially psychically and emotionally becoming one of my favourite films of the festival.

I was pleasantly surprised how much I enjoyed A Hijacking and you can enjoy it when the film arrives in UK&Ireland 10th May with the American release coming 14th June.

Synopsis

A tense, chilling drama following the emotional journeys of a ship’s crew as they are taken hostage in the Indian Ocean, A HIJACKING was the stand out film at the London, Venice and Toronto Film Festivals 2012.The cargo ship MV Rozen is heading for harbour when it is hijacked by Somali pirates in the Indian Ocean. Amongst the men on board are the ship’s cook Mikkel (Pilou Asbæk) and the engineer Jan (Roland Møller), who along with the rest of the seamen are taken hostage in a cynical game of life and death. With the demand for a ransom of millions of dollars a psychological drama unfolds between the CEO of the shipping company (Søren Malling) and the Somali pirates

Sightseers Blu-Ray Review

Sightseers is the third film from Ben Wheatley, one of the top British directors working today. It is a dark, twisted comedy about a couple on a caravan holiday who go on a killing spree. Think Badlands but in the Peak District and with far more laughs.

The film is a fantastic advert for Britain, in more ways than one. It shows how we still have the capacity to make great movies and it also shows just how stunning some areas of our country are. Alice Lowe and Steve Oram star as the murderous couple and are simply brilliant. They also wrote the script which, while being bleak, is stunningly funny. I have been a fan of Alice Lowe since seeing her in and I hope that the success of this film will lead to us seeing her more on the big screen and indeed television. Her performance here is quite remarkable as she treads the fine line of looking lost and innocent but being deadly and dangerous at the same time. Oram, as her boyfriend, plays confused and lost to perfection, but when he turns on the menace he is genuinely frightening. Both the leads remind us just how good British comic talent can be, and I do hope that they will continue to write and star in films.

The actors had at one point tried to make the story as a television show and looking at it you could see it working in that format, but with the masterful direction of Wheatley this feels truly cinematic. It's simply gorgeous. There is almost a feeling of Sergio Leone, with intense close-ups mixed with huge landscape shots. As the couple descend more and more into violence and isolation, the locations become more breathtaking. Wheatley directs the comic moments in a wonderfully deadpan way, lingering on the characters and their sad lives; but he is equally adept at directing the violence. It is brutal and shocking but, cleverly, does not show too much.

The editing in Sightseers is very memorable and inventive. Wheatley's use of cutting and his juxtaposing violence with the mundane or odd moments is incredibly successful. His style of editing reminded me of Nicolas Roeg's work, and it is so nice to see someone trying to do something different and unusual and, more impressively, making it work.

Reluctantly, I have to say the film isn't entirely successful, however. While the first two thirds are hilarious and constantly take new turns and developments, the last third is a little more predictable and not quite as funny. Its true though that the story gets darker, therefore the fall in laughs is understandable. It reminded me somewhat of God Bless America, a film about a man and a girl going on a killing rampage in the US. It was directed by Bobcat Goldthwait (in my mind one of the top comedic directors working today) and was quite similar in basic story and structure but while it takes Sightseers a good hour before becoming slightly obvious, God Bless America manages it after about ten minutes. There have been many films about couples going on murder sprees and so to keep us from guessing where it is going to go it really needs to do something remarkably different and in the case of Sightseers this is where it falters.

This is my only problem with the film. Everything else about it is a true delight and I thoroughly recommend seeing it, and on blu ray if possible. It looks great and it is fantastic to see a low budget British film putting its money in all the right places. The blu ray also contains an amusing and informative Making Of, a blooper reel and audio commentaries.

Sightseers is without a doubt one of my favourite films of 2012. Its funny, frightening, and very, very British.

Harry Davenport

★★★★☆

Rating: 15
Release Date: 25th March 2013 (UK)
Directed By: Ben Wheatley
Cast: Alice Lowe, Steve Oram, Eileen Davies, Jonathan Aris

Buy Sightseers: DVD / Blu-ray


Win Sightseers On DVD: Enter Here (ends 7th April 2013)

GFF 2013: John Dies at the End Review

When I hear cult-auteur Don Coscarelli is working on a new film I get pretty excited, I read a synopsis and my excitement grows, Angus Scrimm (the Tall Man!) signs on for a cameo and I find out the film is based on a book reputed to be “unfilmable”. I swoon in my soul.

What you’ll notice first is that Coscarelli hasn’t sabotaged his aesthetic in taking his closest step into the main stream; the general look of the film and its cast, which includes the fantastic Paul Giamatti, may scare away some seasoned fans of that garage-feel of his early films. Don’t fret however, there’s plenty of his usual nonsense crammed in John Dies at the End to make up for that.

If there was a genre called fucking with the future, or unravelling the universe, then John Dies would definitely be a perfect example; it aint time travel and it aint really anything else. You just have to see it and try to let it happen. Essentially it’s the story of a new street drug that pushes the boundaries of human physics, and how two friends are dragged into a mess of alien invasion through the drug, but it’s so much more. It’s like a more elaborate Phantasm on acid.

John Dies flaunts Coscarelli’s signature black humour (see Bubba ho-Tep), those tooling-up sequences he deploys in all his films, a general feel of badass at more than a few points, and enough weird to do you the year. However, the film frequently threatens to be too bizarre for its own good and that will distance some viewers, at points it stretches patience especially in the last twenty minutes where any idea of acceptable narrative seems to boil off and leave a multi-coloured, fantastical, and wholly silly residue. If you consider this amidst the context then sure it pulls off. Time travel, supernatural encounters, aliens, and drugs, it’s difficult to criticise a film for being silly when there’s so much going on.

Chase Williamson and Rob Mayes hold their own throughout as Dave and John respectively, a pair of Coscarelli heroes if ever there was. Giamatti is great, as a wry and doubtful journalist, Doug Jones (he plays all your nightmares in del Toro films) pops up as an alien, and Clancy Brown plays an egocentric exorcist. Special mention goes to Glynn Turman as the cynical old-school detective caught up in something he doesn’t understand. Three guesses as to who I sympathise with most.

Earlier I mentioned context: that’s an important word when you consider Coscarelli’s CV. Don’t question his world too deeply, you won’t get answers, don’t pull a ridiculous face when things get crazy, because I promise it will get weirder. Sit back and watch, enjoy, savour every stupid moment courtesy of a sharp script and a director obviously having the time of his life.

The embodiment of the “Marmite Film”, John Dies at the End will polarise audiences and perhaps even Coscarelli fans. It is entirely unforgiving in its embracement of the bizarre, silly at times, hilarious at others, conceptually intriguing, and above all entertaining. Miss it if you dare.

Scott Clark

★★★★☆

Rating: 18
Release Date: 22nd March 2013 (UK)
Directed By: Don Coscarelli
Cast:  Chase Williamson, Rob Mayes, Paul Giamatti, Clancy Brown, Doug Jones

GFF 2013 Review: Stoker

If you can avoid the trailer, then for God’s sake do because here’s a film that benefits from going in blind. Park Chan Wook’s Stoker is a thing of undeniable beauty; a carefully crafted piece of art, and there’s a word I don’t go throwing around too often. Essentially it’s a story about sexual awakening against a backdrop of dysfunctional family politics, but as with most great films, it’s not in the idea: it’s the execution.

The first half hour may strain patience, but it’s worth it. Wook takes time to set up his near epic tales, but after that slow start the film starts winding tighter and tighter, releasing brief flurries of energy whilst maintaining the illusion of a melodrama.  Here is a film horrific and deeply unsettling, without giving itself over to the horror genre.  Early scenes of India in the basement are thick with suspense, and moments of mystery call up Hitchcockian influences.You’ll spend a lot of time wondering just what in buggery is going on until finally Wook delivers a fantastic phone-box realisation scene and the film, rather than falling into place, lifts.

Important to the horror aspect is Mathew Goode’s electrifying performance as India’s estranged uncle, a man who appears just after her father’s death and upsets the balance of the household. To be fair I had expected Goode would be on top form, but this is something different.  There’s so much going on under the surface, so many silent and manipulative glances that you need a second viewing to catch the subtlety, Goode’s performance is the prize of the piece. Wasikowska’s India is something of gothic beauty also, shifting from what could have been a tired Burton character to a solid Angela Carter heroine.  We should be hearing a lot more from her in the future if this is anything to go by.

As with every Clint Mansell soundtrack Stoker is a thing to behold, furthering those Hitchcock influences with epic strings whilst digging deeper into India’s slowly dawning mind state with heartfelt piano.

Wook’s keen sense of style and image are fantastic , perhaps even a career best. The Gothic grandeur of the colonial house is captured with apparent ease, every frame looks like a painting, every image is a goldmine, there’s enough symbolism here to fill a hundred books. Repetition and explanation of certain details allows Wook’s film to achieve a bizarre nostalgic quality. This works hand-in-hand with the vicious and cold quality of the night time sequences allowing the horror to take shape.

Kidman’s performance fits in somewhere here; as a detail. And a fine one.  Just as important as India or Charlie, Kidman’s performance is seductive, pathetic, and heart-breaking: her’s is the damaged thread that winds throughout, adding the most pure strain of heart-ache to Stoker.

Macabre, erotic, visually seductive, perfectly cast and performed, and flaunting a plot so thick with mystery and meaning you’ll feel your brain swell. Stoker may just be a genuine masterpiece from a genuine master.

Scott Clark

★★★★★

Rating:18
Release Date: 1st March 2013
Director: Chan-wook Park
Cast:  Mia Wasikowska, Nicole Kidman, Matthew Goode, Alden Ehrenreich

GFF 2013: Arbitrage Review

Richard Gere is known for being particularly selective over his roles in recent years. One cannot deny that it is a tactic that works - the past ten years have seen some of his strongest work from The Hoax to gritty cop thriller, Brooklyn's Finest. Gere's latest leading role in feature-film newcomer, Nicholas Jarecki's Arbitrage, maintains this high standard.

Arbitrage sees successful businessman Robert Miller (Gere) attempt to cover up fraudulent business activities and personal secrets from his associates and family. However, this grows increasingly difficult after Miller flees the scene of a car-crash that kills his lover, Julie (Laetitia Casta).

Both directed and written by Jarecki, Arbitrage proves to be a punchy, fast-paced thriller, remaining tense and gripping throughout. Seeing all facets of Miller's life gradually spiral out of control, as the businessman continually tries to wind them back in makes for a thoroughly engaging central narrative. As a result of his dishonest behaviour we see his family life crumble - particularly his relationship with his wife (Susan Sarandon), the future of his business come under fire and the eventual death of his lover. Who knew that life in the corporate world could be so exciting?

After the death of Julie, Arbitrage becomes an almost cat and mouse like thriller, as the police try and pin the car-crash on Miller. This further amps up the gripping tension and unease that courses through Arbitrage - with the viewer never quite sure if Miller will be caught or convicted. Unfortunately, the narrative power slackens towards the conclusion - with many integral questions going unanswered in a somewhat lazy finale.

The role of the troubled Miller allows for Gere to deliver one of his strongest performances in recent years. Seeing the actor as a man out of his depth, yet never willing to accept defeat - even if it means more dishonesty, is one of the endearing qualities of Arbitrage. Gere carries the central narrative with ease, continually reminding us of just how strong an actor he actually is.

Susan Sarandon also manages to shine with the smaller supporting role of Ellen, Miller's wife. Sarandon tackles the role with a subtle emotional power, bringing a sense of dignity and life to the the wife who knows more than she lets on. Further gravitas is added through Tim Roth's role as Detective Bryer, the man hoping to bring Miller to justice over his crimes.

Arbitrage is a taut thriller that holds the viewer in its vice-like grip from the onset with much debt to Richard Gere's magnificent central performance. Jarecki's screenplay and direction are largely excellent, even if the conclusion does feel somewhat dissatisfying.

Andrew McArthur

★★★★☆

Stars: Richard Gere, Susan Sarandon, Brit Marling,Tim Roth
Director: Nicholas Jarecki
Certificate: 15 (UK)
Release:18th February 2013 (Glasgow Film Festival) 1st March 2013 (UK)

GFF 2013 Review: The Paperboy

After a rough reception from critics at Cannes in May 2012, The Paperboy finally makes its way to the UK. Even before its general release, The Paperboy has become something of a modern trash classic thanks to director Lee Daniel's pulpy direction and eye for a scantily-clad Zac Efron.

Based on the 1995 novel by Pete Dexter, The Paperboy follows Miami Times reporter, Ward Jansen as he returns to his home of South Florida to exonerate innocent death row hick, Hilary Van Wetter (John Cussack). Alongside his younger brother, Jack (Zac Efron) and Hilary's fiancé, trashy femme fatale Charlotte Bless (Nicole Kidman), Ward sets out to prove the condemned man's innocence.

Lee Daniels is truly a man with a vision, The Paperboy is the film that he set out to make. Filled with a darkly Gothic Southern charm, Daniels' feature is chock-full of rich atmosphere - fully transporting us to the hot, sweaty world of 1960s Florida. This swampy, heat-soaked atmosphere feels like an apt backdrop for Daniels' themes of primal desires like lust and violence to play out. These run their course through Dexters' rich palette of characters from perpetually horny teen, Jack, to over-sexed Barbie doll, Charlotte Bless.

Fans of the book may feel that Dexter's narrative structure and character development have suffered through Daniels' artistic flourishes. Dexter's novel was a brooding read with a natural narrative structure, something that sometimes feels lacking from Daniels' adaptation. On occasion, The Paperboy feels like a disjointed, patchwork of loosely connected sequences which is likely to hamper your emotional investment in the narrative and characters. This lack of emotional investment, is not to say that The Paperboy is not enjoyable, it is a lot of fun.

Daniels' feature is filled with an endearing trashy-charm from the loud aesthetics to the kitsch soundtrack. This charm carries on into the performances too. Nicole Kidman is the clear standout, bringing a large helping of Southern gumption and lashings of trashy sex-appeal to the role of Charlotte Bless. However, there is also an a sense of vulnerability in Kidman's performance - Charlotte's blatant over-sexed demeanour works as a means of masking her insecurities, allowing the actress to give one of her strongest performances in recent years.

The role of Jack also allows Zac Efron to shine, with the actor finally being given the opportunity to showcase his talents in a darker, less-family friendly role. Daniel's voyeuristic gaze of the handsome, lust-filled Jack further thrusts into the sweaty, pulpy atmosphere of The Paperboy. Praise must also go to the wonderful Macy Gray, for a stellar comic turn which also brings themes of 1960s race relations into The Paperboy's frame.

The Paperboy is a thrilling, sweat soaked Southern-Noir, rich in atmosphere and directorial vision. The varying tone, camp aesthetics and powerful performances from Kidman and Efron completely overshadow any of the narrative inconsistencies. The Paperboy is a must-see.

Andrew McArthur

★★★★☆

Stars: Nicole Kidman, Zac Efron, Matthew McConaughey
Director: Lee Daniels
Certificate: 15 (UK)
Release: 18th February 2013(Glasgow Film Festival) 15th March 2013 (UK)

Watch The Adorable Trailer For Michel Gondry's Mood Indigo

Feeling a little woozy maybe a little whimsical? It's probably because your about to watch the first trailer for Michel Gondry's Mood Indigo (L’écume des jours).

Based on a 1947 Boris Vian's novel L'ecume des jours about a wealthy young inventor Nicholas(Romain Duris) who falls in love Chloe (Audrey Tatou)they marry.Unfortunately during their honeymoon Chloe takes seriously ill thanks to a water lilly sprouts in her lung and the only way to help is to surround her with fresh flowers but as time goes by the funds start to dry up.

Mood Indigo is like that Michel Gondry film made into one big  film, this is the French trailer however there's very little dialogue as the strength of the trailer is in  it's visual quality which simply gorgeous. Many Gondry fans, film critics have been waiting nearly 10 years for that film that can match what we loved in Eternal Sunshine Of The Spotless Mind, Mood Indigo might just be that film they have been waiting for. What can say without doubt this is uniquely a Michel Gondry film which is sure to be a hit in arthouse cinemas around the world.

Mood Indigo doesn't have a  release date confirmed however Studiocanal are handling the UK&Irish release , French cinephiles can see this 24th April. Mood Indigo also stars Omar Sy, Gad Elmaleh, Lea Seydoux.



Michel Gondry's last film The We & The I will be closing gala at next Month on 13th February at Glasgow Youth Film Festival and the following night you can see Romain Duris starring in the Opening Gala for Glasgow Film Festival starring in Populaire.