Last night, The Star Wars Show revealed a brand new Rogue One poster that may well be the best one yet.
Latest Rogue One poster!!
The ominous inclusion of a foreboding looking Darth Vader is a welcome inclusion. The features underneath the logo of the Shoretroopers walking through the ocean (filmed in The Maldives) will please those wanting something new, whilst fans of the original series will note the Tie Fighters and AT-ATs.
The trailer will drop later this morning. Stay tuned for more info!
I’ll be heading down to the Mayhem Film Festival in Nottingham tonight to catch the first night of action.
First up will be The Duke St. Workshop feat. Laurence R. Harvey. Presented in conjunction with Kinoclubb, the performance will feature an electronic live score accompanying Harvey (star of The Human Centipede 2) as he reads two H. P. lovecraft short stories: ‘From Beyond’ and ‘The Hound’.
Next is the film ‘Raw‘, which received its UK premiere at the BFI London Film Festival last week to rave reviews.
Finally, the UK premiere of Indonesian film ‘Headshot‘ will round off the proceedings.
I’ve just lost another hour of my life. This is becoming a huge problem. I lost two last night as well. I can’t help myself. Just. One. More. Go.
Addiction is a very serious thing, but it’s something that Hotdog Hurdles, the debut game by self-professed nerd Tom Santoro, is happy to embrace and encourage . As with many mobile apps, the beauty of the game is in its simplicity.
Initially, you play as a simply-drawn hotdog called Frank. The aim of the game is to not die as you jump over hurdles at a surprisingly well-attended athletics tournament. Every time you land a jump, you run faster and faster. You will fail, no question. It is a game of delaying the inevitable.
There is a strange hierarchy involved in the status of the fast food you can run as. Starting as Frank, you progress to Pops the Popcorn, Soda the Soft Drink, Angus the Hamburger and finally, the king of all fast foods, Don the Donut. A typical meal out then. These are earned by cashing in money earned on runs or through logging in on consecutive days.
Donuts are surprisingly good runners
It is an infinite runner and some people won’t like that, but as they go this is potentially one of the best on the market. All you have to do is beat your own high score (mine stands at a terrible 21, the world record is 34) or the score of your friends through the Apple Game Centre (it is currently an Apple-exclusive).
You get nothing for your efforts, not even a thank you. You just get more failure. But yet you click the play button.
In a world where there’s quite a lot to think about and get sad or angry about, something like Hotdog Hurdles is just what we need.
Hotdog Hurdles is available to download now from the App Store.
I recently enjoyed a brief holiday in the capital of Germany, Berlin. The city is rich with modern history and everywhere you look there’s a potential point of interest. I can honestly say it was one of the most educational and enriching holidays I’ve ever been on.
No discussion of the political landscape of Berlin over the last 100 years would be complete without mention of the music scene that grew organically within the city from the late 1970s onwards that produced some of the greatest works of the era, inspired by the unique make-up of a city split in two and equally inspiring those living there. It is a music scene that also arguably helped to bring down the wall (or factually if you are the German Foreign Office).
Spearheading the scene was David Bowie, who in 1976 was out of money and keen to break away from the LA drug scene that had facilitated his addiction to cocaine. It was there that he famously completed his ‘Berlin Trilogy’: Low, “Heroes” and Lodger [1], which kickstarted his career and helped him on his road to recovery.
If you’re in Berlin and have an interest in David Bowie the you’ll definitely want to make sure you sign up to the Berlin Bowie Walk, operated by the Berlin Music Tours company. For a relatively small fee you will be guided around the famous city for around three hours, taking in the outside of the famous Hansa Studios (where he recorded throughout his time there); Potsdamer Platz (you can now get the train there!); the Brandenburg Gate; the Reichstag, which was the site of his famous 1987 performance; and his flat in Schöneberg.
If you’re feeling especially adventurous, you can return on a second day and visit the inside of Hansa Studio, standing in the Hall by the Wall and looking out from the former control studio through the window from the same spot Bowie where famously wrote the lyrics to “Heroes” – the precise details of which were debated by the many Bowie übergeeks during my tour.
I’ve been purposefully scant on the details of the tour because I don’t want to ruin your enjoyment, but both sessions were truly special experiences and brought me closer to one of my favourite artists.
The studio tour was actually Depeche Mode focused, but that wasn’t a huge problem. In fact, it was great to be able to learn a lot about a band that are surprisingly famous outside the UK. They recorded most of their most successful music at Hansa and this was clearly a pilgramage for many of those on the tour. They run several tours that are focused on different artists, including U2 and David Bowie. Sadly as yet Lou Bega hasn’t been given a tour yet [2].
If I have one recommendation it’s that both tours overran on their expected finish time. This meant we got great value for money each day but if you have something else booked in (for example a visit to the Reichstag) then you should leave at least two hours at the end of the tour to do your next activity. On the walking tour you end up at Café Neues Ufer, which was a former favourite spot of Bowie and Iggy Pop to drink in – we ended up spending over two hours in there and didn’t want to leave!
These tours are excellent value for money and packed full of anecdotes from people who are passionate about their subject. When that subject is David Bowie, it’s a no-brainer!
[1] The trilogy is often referred to as such despite Low being written prior to Bowie’s arrival in Berlin and Lodger actually being recorded in Switzerland.
[2] Lou Bega recorded his infamous ‘Mambo No. 5’ track in the late 1990s with some of the producers who now work at Hansa, a fact recognised by the double-platinum proudly on display in the lobby area of the studio.
I’ve had a fantastic time over the first week of the BFI London Film Festival. I’ve laughed, cried, been angry and been confused by a rich plethora of cinematic delights.
Here is a link to all the films I’ve managed to catch so far:
A United Kingdom
La La Land
Frantz
Dancer
Creepy
Psychonauts: The Forgotten Children
Queen of Katwe
Here’s to the second week of the festival!
Set primarily in Germany in the immediate aftermath of the First World War, François Ozon’s latest film is an emotional story portrayed almost entirely in black and white. It revolves around Anna (Paula Beer), a woman who is living with the parents of her lost lover and supporting each other in their collective grief. That man is the titular Frantz (Anton von Lucke), who we learn has lost his life in battle during the war. When a Frenchman by the name of Adrien (Pierre Niney) shows up at Frantz’s grave to give his respects, he tells them of his close friendship to their mutually lost friend.
Adrien (Niney) and Anna (Beer)
It is based on the play ‘L’homme que j’ai tué’ by Maurice Rostand. Before writing his script, Ozon was unaware that the play had already been adapted by legendary filmmaker Ernst Lubitsch as the film Broken Lullaby in 1931, though when he watched the film he realised that it was a completely different treatment to the direction he wanted to go with Frantz. He wanted to give the focus of the film to Anna, who was on the losing side of the war, providing more empathy to her as the central character.
There is an interesting chemistry between Beer and Niney, both of whom are playing extremely complex characters. They share this individual that has had a huge affect on their respective lives and begin to grow closer. Providing convincing characterisations of such conflicting emotions is a challenge both rise to and it is this that elevates the film above being a wartime drama.
It was amazing to learn that this was Beer’s first performance acting as a French-language character. Many successful actresses couldn’t achieve what she has here in their first language let alone their second one. She revealed in a post-screening discussion that she had to learn and develop the script twice. Initially she developed the emotional responses to the words in her native German, before relearning the entire segments in French to ensure her delivery wasn’t lacklustre.
This is a truly moving film that gives an interesting point of view to the fallout from war that hasn’t often been explored before. Superb delivery from the two complex central characters means this comes highly recommended.
Documentary filmmaker Steven Cantor’s latest cross-examination comes in the form of Dancer, which tells the story of Ukrainian ballet dancer Sergei Polunin, who in 2010 became the youngest man to become the British Royal Ballet’s leading principal.
Sergei Polunin dances to Hozier
The film uses talking heads interviews blended with some exclusive home video footage to creature a portrait of a fragile artist. Polunin is shown as a man who knows little outside his art and is desperate to change the future for upcoming ballet dancers who he fears will make the same mistakes as he did. These mistakes led to him quitting the British Royal Ballet Feeling at the tender age of twenty-two, shocking the ballet world and disappointing his fans.
Most insightful are the interviews with his mother and father. Clearly huge sacrifices were made throughout his life to get him to where he is now. The film leaves it open as to whether either of them regret putting him through it, and it’s not something that ever really needs an answer. He certainly has a different life to the one he would have had if he’d stayed in Khersan, Ukraine.
The focal point of the film comes in the form of the Dave LaChapelle-directed video that went viral earlier this year. I urge you to stop reading and watch the video below on the largest screen you can find.
This video has, at last count, been viewed 16.3m times in the last eight months. That is an astonishing amount, but then it is an astonishing piece of art. It was choreographed by Jade Hale-Christophi, a ballet dancer with Polunin met at the British Royal Ballet and one of his closest friends. The purpose of the film was to announce his retirement and have that as his “final dance”, but the response was so great he decided to change tact, and instead wants to do guest appearances and one-off pieces of art.
This is a crucial thing for him. The reason he has struggled throughout his career is a lack of time to step back, ask himself what he really wants, and make an informed decision about the next career choice.
He also spoke after the screening about where ballet’s David Beckham is. I suspect after that video and this film, he need only look in the mirror to find him.
A fascinating examination of a tortured artist now seemingly on the straight and narrow.
Dancer will receive a DVD release in April via Dogwoof.
Walt Disney Studios may have a long history of releasing underdog sports films, but their latest live action is nothing like any of its predecessors. In fact, it’s a breath of fresh air, as the crowd discovered tonight at the UK premiere.
Set and filmed almost entirely in the slums of Katwe in Uganda, the film tells the story of Phiona (newcomer Madina Nalwanga), a child who learns to play chess under the mentoring of missionary Robert (David Oyelowo). Much to the initial dislike of her mother Nakku (Lupita Nyong’o), she excels at the game and quickly starts competing at international competitions, giving her the opportunity to escape from certain poverty.
David Oyelowo and newcomer Madina Nalwanga
At the heart of the creation of the film was Mira Nair, the female director who knows Uganda inside out (she met her husband whilst researching the film Mississippi Masala in 1989). She spoke prior to the screening of the importance of filming the entire film in Uganda and leaving a positive message about the country outside of the anti-colonialism that is a constant recurrence in films about Africa (though A United Kingdom is very good too!). There should be no worries that this is a risky move for Walt Disney Studios.
The triangle of central characters played by Nyong’o, Oyelowo and Nalwanga are what helps the film achieve so much. Whilst Robert acts as a much-needed father figure to Phiona, he in turn proves antagonistic to Nakku, a mother who is keen to protect her second-eldest daughter for fear of her making the same mistakes as her elder sister Night.
Indeed, it is Nyong’o’s turn in the film that, for me, makes it a true triumph. As the protective mother to a daughter she fears is getting into something too unfamiliar, the result is a strong-willed role model for black women (as she is in real life). This is sadly in short supply in the modern cinematic landscape. This is a topic that will doubtless be explored in BFI’s promising Black Star programme throughout October 2016.
Festival director Clare Stewart, director Mira Nair and stars David Oyelowo and Lupita Nyong’o at the UK premiere
Nair does a great job with the telling of a captivating story throughout the chess matches. This is tricky territory for a filmmaker. If too long was spent explaining it, there’s a risk of boring your audience. Spend no time on it at all and you lose the core of the story. Get the tone wrong and you look completely foolish. Time was spent making sure that the metaphorical importance of the game was reflected in the development of Phiona as a character. It works perfectly.
It was a joy to see East Africa looking so vibrant, brought to life with some beautiful shots and an uplifting story. A total triumph.
Queen of Katwe is in UK cinemas now and can also be pre-ordered for home-viewing.
Somewhere deep inside me was a sworded hope that maybe, just maybe, a family was in the screening of Psiconautas at Prince Charles Theatre and had a truly miserable time watching one of the most bizarre 75 minutes of cinema I have ever seen. Harsh, I know, but variety is the spice of life and Trolls 3D sold out weeks ago despite being in every cinema across the land in about two weeks.
Sorry.. what just happened?
The plotline is a difficult one to nail down. Based on a graphic novel by Alberto Vazquez, its origins lie in a 2011 short film titled Birdboy. After a short prologue, we are introduced to our two main protagonists. The aforementioned Birdboy is a fatherless creature who can only function whilst under the influence of drugs. His former girlfriend Dinki – a mouse – is trapped in a life ruled by her religion-mad mother, her father (who isn’t a mouse but wears a mouse mask) and a half-man-half-dog brother called Jonathan who his parents adore. She longs to escape with her two friends, but doing so proves to be not so easy when they live on a distopian hell island and are being hunted down by hilarious sentient alarm clocks.
They meet other characters along the way, from a panicked rubber duck to the titular tribe of forgotten children. There is a sense that Vázquez and Rivero are bursting with ideas and this bodes well for future works.
I’m so confused.
It is a wholly confusing experience that had no intentions of letting the audience expect the expected. There were moments of real hilarity and moments of true horror – a real rollercoaster of bemusement. The climax is nothing short of terrifying.
If you like your animation to be all warm and fuzzy then clearly this isn’t for you. But if you’ve ever wondered what it would be like to get trapped inside a Stanley Donwood nightmare then there could well be something here for you.
WARNING: This review is effusively positive. If you’re a misery-guts then please look away now.
Every once in a while you will go into a film knowing almost nothing about what you’re going to see and get absolutely blown away by a surprisingly perfect masterpiece. As you get further into your film-watching life, enjoying these moments becomes increasingly rare, so when a film like ‘La La Land’ comes along, you can’t help but be overcome by giddy excitement.
Damien Chazelle shot to fame in 2014 with his critically acclaimed and rather special jazz-bully drama ‘Whiplash’. ‘La La Land’ shares very few similarities with it, bar an affinity to jazz that also featured prominently in his debut feature ‘Guy and Madeline on a Park Bench’. It does expand on a topic explored in ‘Whiplash’: the ongoing internal conflict of artists pursuing their dream at the expense of every other aspect of their life.
If you enjoyed his first two feature films but thought he couldn’t “do” mainstream, then prepare to be proven absolutely wrong seconds into the start. It opens with an over-the-top musical song and dance number set amidst a traffic jam. It’s an explosive one-shot (though there may have been some clever linking between extended shots) that received a round of applause at the end from an appreciative audience. Rightly so – it was jaw-dropping.
‘La La Land’ is, at heart, a homage to traditional musicals, with a joyful soundtrack matched by a couple of mesmerising performances from the lead performers Ryan Gosling and Emma Stone. Gosling stars as Sebastian, a struggling jazz pianist going from poor gig to poor gig in LA, with dreams of owning his own jazz club to fend off the death of jazz. Stone is Mia, a young actress moonlighting as a barista at the Warner Brothers Studio sets who can’t get a break she deserves in the film industry. After a number of serendipitous meets, Seb and Mia start to fall for each other and, with both a figurative and a literal song and a dance, their romance explodes.
With Seb being a jazz expert/enthusiast/nerd and them both being performers, Chazelle has given himself the platform on which to produce a naturalistic musical that will doubtless make it more acceptable to those who don’t normally class themselves as musical fans. There is also evidence of a significant amount of effort put in by Gosling to perfect the piano shots, which were impressively all performed by him.
It’s a film so visually stunning it’s hard to take your eyes away from it. There is, however, never a risk that it was simply a platform to reference more familiar films of old. In a breathtaking final segment, we take a walk through memory lane with nods to a number of classic musicals, but they are simply nods in what amounts to one of the most perfectly-balanced final sequences I’ve seen in cinema. Gasps were audible around the auditorium.
The soundtrack is destined to stick around for years to come. Gosling/Stone duets “City of Stars” and “A Lovely Night” are both standouts, but it will be “Audition (The Fools Who Dream)” that will be vying for an Oscar early next year. A beautiful number written by Justin Harwitz, Benj Pasek and Justin Paul, it is left to Emma Stone to deliver an emotionally raw live performance.
The only downside for me is that I have to wait for another two months to see it again. A must see.
Cinema, etc. 