film

Eavesdropping at the Movies – IT

What is IT? Is IT any good? Is IT scary? How much of IT did Mike watch through his fingers? Why would he agree to see IT in LieMAX? Was he right about the bit with the sink? (Spoiler: He has googled it and discovered that he was wrong.)

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions.

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Eavesdropping at the Movies – mother!

What is Darren Aronofsky’s latest fever dream all about? Is the negative audience response fair? How good is Jennifer Lawrence, seriously you guys?

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions.

Eavesdropping at the Movies – Detroit

Why Detroit is the best film currently on release. Is John Boyega a star? Does Kathryn Bigelow get the respect she deserves? Is race the political unconscious of American cinema? Why hasn’t a great film on such a timely subject found an audience?

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions.

Eavesdropping at the Movies – American Made

Is it possible for a film about drug smuggling, weapon dealing, CIA-sponsored militias and getting ludicrously rich to be in any way immoral? Find out as we tolerate American Made so you don’t have to.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions.

Eavesdropping at the Movies – The Hitman’s Bodyguard

Can an action film that goes through Coventry be any good? Is it important that action scenes are funny? Is Gary Oldman a whore? All valuable questions. All answered in our chat about The Hitman’s Bodyguard. I think.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions.

We’re starting a podcast: Eavesdropping on Mike and José After a Movie

Together with José Arroyo of First Impressions, I’m starting a podcast. It’s tentatively called Eavesdropping on Mike and José After a Movie. I agree. The title is on the clunky side. But it can be slimmed down, and it’s growing on me. In fact, I won’t rest until the phrase “Eavesdrop and chill” is on everybody’s lips.

José explains in fabulous detail his ambitions for the podcast here. Two friends chatting after a movie, he says. What are our impressions, what struck us, what bored us? The cinema is a social space. We don’t just view movies there, we discuss them too. We all love movies, that’s why we’re there. Sometimes we listen in on others, sometimes we butt in. Sometimes they listen to us. Sometimes they can’t help but overhear. It’s the magic of the foyer.

He’s an old romantic. Me, I just like the sound of my own voice.

Anyway, our first (trial) podcast is out now. It’s about Girls Trip. Please do give it a listen and tell us what you thought. Is the title any good, do we sound sexy enough, what’s missing or excessive? How far did you make it before turning off? No feedback is bad feedback, except the bad feedback, which you should keep to yourself.

Source: Eavesdropping on Mike and José After a Movie

Saw: Hyperlink Horror

Saw Poster

If you haven’t seen the Saw films yet… watch them or spoil them. Make your choice.

Following the by-then de rigueur twist finale of the fourth instalment of Lionsgate’s yearly and, it seemed, unending Saw series (2004-2010), in which sort-of-serial killer Jigsaw (Tobin Bell) puts people through life-or-death ‘games’, the cinema lights came up but my friends and I didn’t move from our seats. We were already discussing what we’d just seen. Saw IV‘s central twist was arguably the most remarkable the series had featured yet: while Saw II‘s two plots take place not at the same time, as the intercutting leads us to believe, but several hours apart, Saw IV ups the ante considerably by revealing that it had taken place simultaneously with Saw III – the brilliance of the twist’s execution sees Agent Strahm (Scott Patterson), himself no doubt bedazzled by the series’ approach to plot structure, accidentally, and literally, walking in on Saw III‘s ending, seconds after it has taken place.

Because I’d done my homework and watched the previous three films in preparation, I had a better immediate grasp of what we’d witnessed than my friends did, and began to explain it as best I could as we slowly wandered out of the screen, but we’d barely made it to the corridor before my delineation of the plot attracted a small crowd of other moviegoers, and once I’d finished my piece, the floor opened, and an impromptu seminar began. Explaining the entire plot wasn’t as easy as explaining the twist, though, and our ensuing discussion incorporated the previous three films’ plot intricacies and particularly the backstory of Jigsaw, which was crucial to this latest film. I began to realise that this was part of the Saw experience itself: we’ve all had discussions about what a film’s message was, or what we thought of it, but our symposium was divorced from interpretation and analysis. We weren’t trying to work out what the film was communicating. We just wanted to know what the plot was.

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The 2014 List-O-Rama

Well folks, it’s been a year of seeing films, and a year of writing about them.

I didn’t see everything, and of everything I saw, I didn’t write about everything.

But don’t let’s stop that from having a fun time with a post that’s so simple to write it makes me feel guilty.

Here are my favourite ten films of 2014. And my least favourite five.

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Gone Girl

Gone Girl Amy Head

Released 2014. Directed by David Fincher. Screenplay by Gillian Flynn, adapted from her novel of the same name. Starring Ben Affleck, Rosamund Pike, Carrie Coon, Kim Dickens, Tyler Perry.

There’s no discussing Gone Girl without giving everything away from the first sentence, and this review leaves no plot point unexposed. Trust me, just see the film.

David Fincher is infamously exacting. While shooting Zodiac, his demand for precision and detail, expressed through shooting scenes upwards of 70 times before moving on, came under fire from some of his actors. It wasn’t the first time, and it won’t be the last. His response was simple: “The first day of production in San Francisco we shot 56 takes of Mark and Jake – and it’s the 56th take that’s in the movie.” Fincher knows what he wants to achieve, and won’t leave until he has it. For the viewer, it’s reassuring. I feel confident that what I see in a Fincher film is exactly what is meant to be there. Everything is deliberate and necessary.

What this means it that there exists nobody better suited to direct Gone Girl, a crime drama that is about, above all else, image management. Nothing is left to chance. It feeds us information slowly and deliberately, making us suspicious of every gesture, every line of dialogue, every pause. Sets are somehow bare and devoid of action, yet we know that there’s detail and purpose in everything, because we know Fincher.

It’s what any good mystery ought to be, but Gone Girl goes further. It’s not just about a how a woman disappeared and who’s responsible. Solving the crime is just part of the story. Gone Girl is about how the story is told. The different versions different people see or are given. How and why we lie or deceive. What we want others to know and how we get inside their heads to construct narratives they’ll believe. How people change, what they hide from others, how it comes out, rapidly over days or gradually over years, and the difficulty in knowing someone, or even knowing how much you know about them. It’s about the importance and power of perception and representation.

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The Riot Club

Released 2014. Directed by Lone Scherfig. Screenplay by Laura Wade, adapted from her play, Posh. Starring Max Irons, Sam Claflin, Holliday Grainger, Sam Reid.

Spoilers in the review, folks. Don’t fret, I’ll pay for the damage.

I once heard it said that all American stories are about race, while all British stories are about class. If there’s truth to that aphorism – and I think there is – then The Riot Club might be seen as an attempt to deliver the ne plus ultra of the British story. It articulates a hatred between quote-unquote “poor people” (also known as ‘the majority of the UK’) and the Bullingdon Club elite: the hatred of the poor coming from the characters; the hatred of the gentry coming from the film. It’s been an issue since long before I was born, but one which has experienced a surge in familiarity in the public consciousness since former Bullingdon Club member David Cameron took leadership of the Conservative Party. What’s different here is that it’s not dealt with as subtext or a secondary theme, as is typical. It’s actually quite remarkable and energising to see such a direct portrayal of a class distinction of which the entire country is aware and on which most people would surely declare an opinion, if not allegiance. The Riot Club attacks its theme from point-blank range…

… and yet it still manages to miss.

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