I’ve been lucky enough to attend the Logan Lucky Premiere in London tonight.
Here are some photos of us on the red carpet and collecting some swag!!
I’ve been lucky enough to attend the Logan Lucky Premiere in London tonight.
Here are some photos of us on the red carpet and collecting some swag!!
Sofia Coppola’s choice to take on ‘The Beguiled’, adapted from Thomas Cullinan’s 1966 novel ‘A Painted Devil’, could be considered a bold move. The novel served as the source material for Don Siegel’s 1971 film, also titled ‘The Beguiled’, with Clint Eastwood taking the lead role. Its popularity is evidenced by its 93% Rotten Tomatoes rating. A classic story about a soldier starring an all-time great film actor.
A simple remake would be drab, especially by Sofia Coppola. To reposition the whole story from the perspective of the women involved is a brilliant move and a gamble that pays dividends. The result is a swirling story of suspicion, falsities and lust that puts the central trio of Nicole Kidman, Kirsten Dunst and Elle Fanning at the forefront of the repositioned and wholly captivating story, reducing the central soldier figure to something akin to a supporting role.
The film is set in 1964 Virginia, USA, a prominent part of the Confederates States in the American Civil War. A young girl named Amy (Oona Lawrence) from a local Christian all-girls school is out picking mushrooms and stumbles across an injured solider. The man, Corporal John McBurney (Colin Farrell), is a soldier fighting for the Union Army of the north who finds himself critically injured and behind enemy lines. She decides to help him by taking him back to the school grounds. The head of the school, Miss Martha Farnsworth (Kidman), treats his wounds and nurses him back to recovery, whilst teacher Edwina Morrow (Dunst) and older student Alicia (Fanning) become immediately interested in this mysterious man who has unexpectedly entered their lives. This is the perfect invitation for McBurney, with little to lose, to begin a charm offensive and attempt to stay at the school and avoid returning to the war.
McBurney may have been reduced to a supporting role, but Colin Farrell makes the most of his screen time to make sure the frenzy of interest is well justified. As in the novel, the character is a man of Irish heritage and Farrell plays on the stereotypes of a cheeky and charming Irishman to great effect. His character needs to stay in the school for as long as possible and he does his best to ensure everyone there doesn’t want him to leave. For Amy he offers a best friend and father figure, for Alicia he offers lust, for Edwina he offers the chance to escape and for Martha he offers intelligent conversation and companionship. This plotting is ultimately his downfall, and when it is abruptly halted Farrell is equally adept at exploding with anger – the juxtaposition against his charm making his performance all the more shocking.
Coppola has crafted a film that lives in a completely different time to that of her last film, 2013’s The Bling Ring. It was a move she actively sought to make, that film inhabiting an entirely more ugly modern world of theft, celebrity and social media that marked a departure from the norm for the director. It was a very good film, but was less well received than the likes of Lost In Translation and The Virgin Suicides; films that have helped define her as one of the most distinctive and identifiable directors in modern cinema. If The Bling Ring failed to speak the language we were used to, Coppola makes sure her voice is deafening in The Beguiled.
It is Dunst that eventually becomes the standout performer in a strong ensemble cast. She has been through a lot on film with Sofia Coppola, from a 15-year-old lustfully oppressed girl in The Virgin Suicides, to a precocious queen in the form of the titular Marie Antionette. In The Beguiled, Edwina is a character that could feasibly be lost alongside strong showings from Fanning and Kidman in roles of women who more clearly know what they want. Edwina is far more nuanced, at a juncture in her life where she feels lost. She is a woman who feels she is losing time and wasting her best years in a place far removed from a life. When Farell asks her what her one truest wish is, she simply responds that she wants to go as far away as she can from her current life. In the end, it was this character that I felt most sorry for, far more so that McBurney or any of the other girls.
For anyone wondering whether or not Coppola had lost her knack after an extremely strong start, a steady middle and a potential blunder in the form of A Very Murray Christmas, you will be pleased to know that The Beguiled is 100% a return to form. It may not go down in history as a great – as is the case with Lost in Translation – but it’s a fine film indeed.
Note: For further reading on Sofia Coppola’s response to controversies surrounding the omission of a slave girl from the original novel, read this article. I don’t see it as relevant to the discussion on the film so haven’t mentioned it in the main body.
“Knowing is good, but knowing everything is better.”
So says Eamon Bailey, Tom Hanks’s character in the new science-fiction thriller The Circle. Well, you should take his advice. Knowing that this film is one you should watch for yourself is better than believing the dismissive reviews, because the fast-tracking to direct-to-streaming does a vast disservice to film that is both thought provoking and well executed.
The film stars Emma Watson as Mae, a young woman who begins a career at the titular company The Circle, working as a help desk assistant. She is helped through the door by an old friend called Annie (Karen Gillan), who has a considerable level of seniority at the company. It is headed up by the Steve Jobs-like Eamon Bailey (Hanks), a believably powerful visionary and motivational speaker at the top of the company. We follow Mae as she journeys into the company, becoming the saccharine champion for its upcoming products and turning herself into a genuine celebrity by becoming “transparent” and having live videos of her life 24/7 on the platform SeeChange.When I first saw the trailer for The Circle, I was sat in an AMC cinema in New York. It looked absolutely fantastic at the time and I’d already added it my my mental list of films I needed to see this year. I was, therefore, shocked to find out that it was side-stepping cinemas here in the U.K. and heading straight to Netflix. The production and distribution companies will certainly have their reasons for doing this – namely the critical planning and commercial failure in the U.S.A. – but I can’t help but think that it hasn’t been given a fair chance.
If you’re a fan of the Charlie Brooker series ‘Black Mirror’, you will be forgiven for feeling a sense of familiarity with the film. Not only is the story exactly the kind of thing that would be covered by Brooker’s brilliant series – indeed the recent episode Nosedive is a clear touch point – but the visual realisation feels like it is part of the same universe. As the page fills up with comments, likes, stats and charts, engulfing Mae as she carries on with her normal day-to-day life, I couldn’t help but wonder if there was a common element across the two productions. That said, Dave Eggers’s original novel was released in 2013 so it is quite feasible that it served as inspiration to Brooker, though the visual similarities are inescapable.This is a film that utilises Watson’s undeniable talents as an actress to good effect. Her character goes on a journey and Watson’s performance allows us to join her on it, despite some convenient jumps in her development. Her changing relationship with her family and best friends Annie (Gillan) and Mercer (Ellar Coltrane) are the backbone of the film. There is, of course, an extra poignancy with her parents as both Bill Paxton and Glenne Headly unfortunately passed away after filming was completed.
John Boyega, through no fault of his own, is something of a let down. His character, Ty, is one of the more obvious loose ends in the film. There is almost certainly a cut of this film that exists with more Boyega included. Instead, we are left with a character that looks on with menace in the background as the plot develops around him. His character is a co-founder of The Circle but he has fallen out of love with what his company has become. There’s a lot to work with there. Why not have a meaty argument with Hanks’s Eamon to reinforce his feelings?Indeed, there also seems to be a whole segment dropped from the film where Annie spirals into depression following Mae’s developing successes within The Circle, which left me wondering if I’d missed a whole segment out of the film (I hadn’t). Her jump from focused career woman to nervous wreck happens in an instant, apparently in the space of one short seminar. It’s this kind of thing that makes me wonder exactly who was calling the shots on the editing and whether they’d be better suited as a tree surgeon.
The 18-35 market in the U.K. would have been excited by this kind of film and it’s a failing of the marketing research that this wasn’t spotted. Ironically, I’m confident they have looked at analytical data and spotted the popularity of ‘Black Mirror’ on U.K. Netflix, which has led them to releasing it directly on to the platform. It’s just disappointing that this will never be released at cinemas.
To look down the listings at my local cinema and see a summer schedule full of mindless sequels, I can’t help but think the audience’s lack of imagination is being encouraged and nurtured by the larger studios’ inability to take risks.
I’m sad for everyone involved that this film won’t get a wider audience and I’m sad it was critically panned. There is an important message about modern life and the role of social media here. It’s a warning.
This film is surely,
Of all the Pixar Cars films,
One of the top three.
A sweet short film about a bully’s relationship with a lost and found box in a playground might just make your ticket to Cars 3 worth the entry fee.
Dave Mullins is a first time director but has been working with Disney since 1995 and Pixar since 2000, working in the animation department for the likes of Up, Monsters Inc., Ratatouille and Inside Out. It is clear that his attention to detail and love of a great story is at the heart of this film, which is brought to life wonderfully in a story that lasts only a few minutes.
The film opens with the lost and found box attracting the attention of the children in the playground of a school boy, encouraging them to play with the contents. However, the school bully J.J. begins teasing his class mates by taking away their toys and teasing them in the process. However, when the contents of the lost and found box come to life and start to turn the tables on him, he quickly learns a fast lesson in being nice to his peers, awakening memories he’s hidden inside himself that may be the real problem behind his poor behaviour.
It’s incredibly difficult to create something with such a large story and get the whole point across in a strictly limited timeframe, but Mullins and his team completely manage it. The short is, essentially, a silent film, but it has no difficulty in delivering a succinct but strong message.
The audience, which were mainly children, were completely captivated and gave a spontaneous round of applause at the end of the screening.
You can watch the opening 40 seconds below.
The moment has come for Disney fans! They will finally get a chance to see the lost animated film Kingdom of the Sun.
Originally set for release in 1999 and with a score of songs written by Sting, it was sadly axed after four years of production. It eventually was reworked and released in 2000 as The Emperor’s New Groove, which was well received on release and stood out as a highlight of a fairly mediocre period of the studio’s history. (My review can be found here).
The film has long been pined after by Disney fans and finally the studio has green lit a Blu-ray release date of 31st September for it.
Whilst the film isn’t a 100% finished production, it will be the entire film as far as it was completed. This means the full audio track is included, with the lead cast Eartha Kitt as the evil Yzma, Owen Wilson as the llama herder Pacha, Carla Gurgino as love interest Nina and David Spade as Emperor Manco. There’s no space for John Goldman and Kronk is also not featured. The lost songs by Sting are reinstated, including the tracks “Walk the Llama Llama”, “Snuff Out The Light” and the duet with Shawn Colvin “One Day She’ll Love Me”.
Where animated sequences are incomplete, we will get either uncoloured hand-drawn sequences or storyboard images, although the latter of these will only account for “7% of why we’ll see”.
Even more interestingly, the double-disc release will features the infamous documentary titled The Sweatbox. Filmed by Sting’s wife Trudie Styler, the 95-minute film covers the entire production process, from initial concept to Sting writing and recording his music, and the infamous meeting where the Kingdom of the Sun is shut down and the reworking begins. This ha been available on various online platforms but never on home media and never in HD.
The entire list of features across the two discs are:
– The Kingdom of the Sun (unfinished but restored film)
– The Sweatbox – a 2002 documentary by Trudie Styler covering the production period and cancellation of the original project.
– Isolated audio tracks for the soundtrack with lyric videos for “One Day She’ll Love Me” and “Snuff Out The Light”.
– Introduction from directors Mark Dindall and Roger Allers.
– Kronk’s Not Groove – a short film reimagining sequel Kronk’s New Groove without Kronk existing.
– Concept art gallery, including designs for unused McDonald’s toys and other unreleased merchandise.
– All bonus features currently included on the Emperor’s New Groove Blu-ray/DVD release.
Don’t you just wish this was a true story? The unfortunate reality is that this is an April Fools joke article.
However, like my joke article from last year for the Ewok Adventure Blu-ray release, I’m sure this will garner a lot of interest from fans around the world and will serve as evidence that something along these lines would be a great profit turner for Disney.
John Lee Hancock is busily carving out a name for himself as the creator of sanitised versions of the most successful business men in the history of humanity, treading perhaps where no director would dare through a labyrinth of red tape.
In 2013 it was Saving Mr Banks, Hancock’s portrayal of an important segment of Walt Disney’s life as he helped convince P.L. Travers to release the rights to Mary Poppins and shaped the now-classic motion picture. This time around he’s tackling the origins of one of the biggest global brands of the modern world: McDonald’s.
McDonald’s hasn’t had a successful time thus far being portrayed on screen. Outside the overbearing product placement that everybody hates (even though they often pay for significant portions of films), if you ask anyone whether or not they’ve seen a film about McDonald’s, they will more than likely start talking about one of two films: McLibel or Super Size Me. Both are excellent as films and even better in showing the company in an extremely negative light.
Or you may remember this film…
The Founder isn’t quite as negative towards the iconic brand as the recent memorable efforts, going a long way to provide a balanced view of the origins of the story. It may be sanitised but it is at least reasonably based on facts (to our best knowledge).
Michael Keaton plays Ray Croc, a driven but unsuccessful salesman who happens upon the first McDonald’s restaurant whilst trying to sell milkshake making machines. This restaurant is owned by Richard and Maurice McDonald (Nick Offerman and John Carroll Lynch) and they soon go into partnership to franchise the company and start growing it across the rest of USA.
The biopic serves two purposes for the company. Firstly, it portrays the McDonald brothers’ story as being as wholesome and family-friendly as any of the McDonald’s adverts that are create today. This was a family company that didn’t want to be taken over by the global powers, resisting all the way and almost unbelievably against making any profit. Looking at it cynically, it serves as an advert that champions the company’s family values.
Secondly, it portrays the man who turned it into a global power as self-driven, full of business acumen but at his most basic a self-centred, cold and heartless money grabber. We aren’t supposed to like him, though I can’t help but think that the characterisation will be a template for those wishing to succeed in business. I hope not – it would be a poorly-chosen idol.
The overall result is that we don’t feel encouraged to like our central character and it feels like the side of a story that aligns with the global branding message rather than one we can truly enjoy.
The problem is that Keaton is far too charismatic to not be liked and the Lynch/Offerman duo are sabotaging the success of the company at every turn. This makes the emotional journey slightly skewed as we try to take sides and don’t really know where to land.
Some will champion its subtlety but I don’t see it like that. I see it as a great actor shining through an advertising campaign disguised as a film.
Given the state of the political landscape right now, I don’t think it’s the film the world needs.