Photo Above: Hopscotch Poster © Nadine Aisha
Edinburgh-based poet and activist Nadine Aisha published a film adaptation of her poem ‘Hopscotch’.
Photo Above: Hopscotch Poster © Nadine Aisha
Edinburgh-based poet and activist Nadine Aisha published a film adaptation of her poem ‘Hopscotch’.
Imagine Dragons have announced they are working on their third album.
The ‘Radioactive’ hit-makers left a message to their fans on their Facebook page.
The message also provided a clip with the band’s new song for upcoming Sci-Fi blockbuster, Passengers starring Chris Pratt and Jennifer Lawrence.
Read about Passengers in our list of film previews.
The stars of Allied, Brad Pitt and Marion Cotillard, are preposterously beautiful people. It’s not fair, to be honest.
Place these two actors in any scene, and their presence can be somewhat show-stealing.
Not so in director Robert Zemeckis’ Allied, a film that from the start has a decidedly old-fashioned feel – in the best possible way. Both Pitt and Cotillard are classic movie stars, of a kind that is too rare these days. The movie itself has a somewhat timeless aura to it, often feeling as though Allied could have been filmed at any time over the past 60 years, apart from the odd modern flourish that Zemeckis brings to the screen. Continue reading Film review: Allied
by Nadine Schwizer
‘Fantastic Beasts and Where To Find Them’ premiered worldwide last weekend to the delight of Potter Heads.
The Harry Potter spin-off that is set in 1920s New York has already had huge box office success, taking a total of £15.3m over the weekend. The film has enjoyed the most profitable UK box office opening weekend of the year.
The film, written by JK Rowling, is set 70 years before the tales of Harry Potter and follows another English wizard and ‘Magizoologist’, namely Newt Scamander and his fantastic suitcase as they meander around New York City.
‘Fantastic Beasts and Where To Find Them’ wonderfully merges two dimensions, bringing together the nostalgia of the 1920s and the world of magic. Both these dimensions and the various beasts and creatures are brought to life through stunning digital effects.
The quirky yet strong cast created memorable scenes. Especially Oscar winner Eddie Redmayne brought his unique and captivating charm onscreen, which perfectly matched the nerdy character of Newt. However, the characters themselves seemed to lack in depth a little bit.
‘Fantastic Beasts and Where To Find Them’ is the first of a five-part series circling around the dark wizard Grindelwald – a name that is likely to ring bells among Harry Potter fans.
While there was only a minor focus on Grindelwald in this film, the ambiguous ending suggests the audience will be seeing more of him in the next four films.
In true Potter style, audiences have been left craving more.
‘Fantastic Beasts and Where to Find Them’ is out in cinemas now.
by Giulia Maccagli and Koldo Sandoval
The 23rd edition of the Italian Film Festival comes at the Filmhouse in Edinburgh, this year.
The Festival, running from the 4th until the 17th of March, has venues in Edinburgh, Glasgow, Dundee, and Inverness.
At the Festival, there is the best of the “cinema italiano”, currently on a high with the global and awarded success of Paolo Sorrentino, “Youth”.
Alongside established directors’ names, such as Sergio Castellitto, Cristina Comencini, and Gabriele Salvatores, there are also new film directors, as Edoardo Falcone and Laura Bispuri.
The Festival will see on its screen renown Italian actors, as Valeria Golino, Elio Germano, and Jasmine Trinca.
This year the Festival has a special focus on Luchino Visconti, an Italian theater, opera, cinema director, and screen-writer, in the occasion of the 40th anniversary of his death.
The 23rd edition of the Italian Film Festival is also welcomed by the Italian Government’s new support to the film industry with an investment of £300 million a year.
The final film in the British fantasy film franchise took the top prize at the Empire Film Awards 2012 in London last night.
Along with Best Film, Harry Potter and the Deathly Hallows: Part 2 scooped the award for Best Director, for David Yates. Accepting the award he commented, “It’s a real treat to get this from people who love movies,” referencing the fact that the awards are decided entirely by the public.
Harry Potter was not the only British film to emerge victorious, with Tinker Tailor Soldier Spy winning the awards for Best British Film, Best Thriller, and Best Actor, which went to self-proclaimed ‘veteran’ actor Gary Oldman. Oldman, who received his first Oscar nomination this year after 32 years in the industry, commented that he was delighted to be receiving an award voted for by movie-goers, “This is a very special award, because it isn’t political. There’s no agenda, it’s just movie fans and I will cherish this.”
Best Actress went to Olivia Colman for her harrowing portrayal of a battered house-wife in Paddy Consedine’s Tyrannosaur. “Although it doesn’t seem it, it was the most enjoyable experience I’ve ever had on set,” said Colman on accepting her award.
Another British film, The Inbetweeners, beat out raunchy comedy Bridesmaids to win the Best Comedy prize.
Listen to Katrina Conaglen and Kirsten Waller’s discussion of the awards in an Edinburgh Napier News podcast extra:
By Georgi Bomb
It was all about the suits and gowns last night as the BAFTA in Scotland New Talent Award ceremony took place at Glasgow Film Theatre.
Celebrating fresh young talent, awarding students, and highlighting the future of Scottish film, television and digital media.
The night belonged to Lou McLoughlan who received two awards for Best Director: Short Form and Best Student Work. His work, Caring For Calum was a moving portrait of a man looking after his father in the Scottish Highlands.
The horror genre was well recognised with Hanna Stanbridge winning Best Actor/Actress award for her role as Petronella in Outcast, an Edinburgh-based horror. Naysun Alae-Carew scooped Best Producer: Short Form for his zombie take on High School Musical, Zombie Musical.
Ewan Angus, Chairman of BAFTA in Scotland said: “In today’s current economic climate, it is especially important that we take the time to recognise the outstanding level of talent emerging from the Scottish moving image industries. Tonight demonstrates the enormous wealth of potential we have within Scotland, and we’re proud to be able to give the winners the recognition they rightly deserve.”
For the full list of winners, check out the website.
by Jane Bretin
Scotland is inaugurating its first silent film festival in Falkirk today. The Hippodrome Festival of Silent Cinema is set to last three days, from Friday to Sunday and will feature a number of all time
classics as well as less famous movies.
The festival includes the screening of a dozen films to suit all ages and tastes as well as an ongoing exhibition in the Bo’ness library. The exhibition retraces the evolution of cinema in the Falkirk area and highlights the importance of the 7th art to this day. Continue reading Seen but not heard
By Tony Garner
If someone stopped you in the street and asked you to hum a piece of classical music how likely is it that you’d turn to a film score for inspiration? From that slow-motion beach run in Chariots of Fire to Darth Vader’s Imperial Death March, music in the movies has long been a link between popular culture and the classics. Until now Scotland has had no great tradition in the genre, but Tony Garner has been finding out why that may be set to change.
What only can be described as a provocative and visually stunning picture, director Ari Folman has created a genre of innovative and often devastating scenes in the recently released, ‘Waltz With Bashir’.
Taking four years to complete, Waltz begins in 2006 with Ari meeting with a friend from the armed service period, who tells him of his recurring nightmare connected with his experiences from the 1982 Lebanon War. Folman is somewhat surprised that he cannot remember anything from this time. The conversation invokes a hallucinogenic flashback where Ari sees himself on the night of the massacre, a 19-year-old soldier emerging from the sea walking ashore underneath a flare-lit night sky. The reality of which, he is unable to explain.
The film follows Ari in his conversations with friends, a psychologist and the famous reporter Ron Ben-Yishai who was in Beirut at the same time, intrigued by his riddle, in a search of self-discovery, trying to piece together the complex puzzle scattered in his mind. What was he involved in, or not involved in.
He needs to discover the truth about that time and about himself. As Ari delves deeper and deeper into the mystery, his memory begins to creep up in surreal images.
Folman’s new film belongs to a rare yet exceptional style of film known as the “animated documentary”. The first recognized example of this is Windsor McKay’s 1918 12-minute-long, ‘The Sinking of the Lusitania’. which uses animation to describe and show the sinking of the Lusitania after it was struck by German U-Boat torpedoes in 1915.
To many, ‘Waltz With Bashir’ is how the recently released ‘Max Payne’ should have been shot, often delving into the surreal plains of film-noir, a style so relevant, it helps portray the confusion, flashback and uncertainty of the entire conflict so flawlessly. The animation style of the movie is a perfect tool to convey the tricks and survival mechanisms of the mind and memory, scening somewhat lurid, distorted and chemically enhanced colour schemes, adding to the already sombre tone of the conflict.
One such scene, described by a character in the film as place “tripped out on LSD”, is so vivid and tangible, one can almost smell the decay and feel the anguish and confusion felt by the soldiers. The sky lit up in deep yellow, pulsating with the trees amidst the ruin.
The film’s art director and illustrator, David Polonsky, has done a remarkable job. He lulls the viewer into a landscape where reality is wonky and woozy. From the interviews, the film frequently goes off into wonderful flights of fantasy and surrealism.
The film takes its title from a definitive scene from the movie in which one of the interviewees, the commander of Folman’s infantry unit at the time of the film’s events, grabs a heavy machine gun and “dances an insane waltz” amid heavy enemy fire, between walls hung with posters of Bashir Geyamel.
The 1982 massacres at Sabra and Shatila are a heavy imprint of horror and the destructive compulsions of the human nature, the horrors of war and the atrocities of which humans are capable. Waltz ends with a short segment of news archive footage of the grieving survivors, mothers and daughters mostly, shuffling through the streets, riddled with the bodies of loved ones.
What we are left with is a harrowing, vivid and unique portrait of war, leaving the audience in a daze of awe.
By Susannah Radford
It’s like fish without chips but Warner Bros. Pictures and Atlas Entertainment have done the unthinkable. The announcement that Buffy the Vampire Slayer would be relaunched as a film without the involvement of creator Joss Whedon has been met with shock by fans throughout the world.
Buffy the Vampire Slayer first burst onto the silver screen in 1992. Starring Kirsty Swanson and Luke Perry, the film bombed. It was the TV series which began screening in 1997 and starred Sarah Michelle Gellar and David Boreanaz that achieved global success and spawned the spin off series Angel. The series ran for 145 episodes and lasted until 2003.
Joss Whedon creator of the film and the TV series talked with his usual wit and humour to Kristin Dos Santos of E Online about his response to the film release. “This is a sad, sad reflection on our times, when people must feed off the carcasses of beloved stories from their youths—just because they can’t think of an original idea of their own, like I did with my Avengers idea that I made up myself.”
Closer to home, British fans express their feelings toward the news. Ewa Hibbert from Edinburgh says “Gerrr Aaaargh! I need a hug” [a reference to the closing screen credits of the TV show]. “No, no, not without Joss’ blessing and preferably with him writing and directing it. I think the original cast memebers are probably a bit too old to play their original roles, but it would be nice in a nostalgic way for some of them to be involved. In priniciple I’m not against a remake of the Buffy movie as it could be done better than the first time around, but I don’t think it’s a good idea to do this without Joss, our greatest living screen writer.”
Hibbert heaps further praise upon Whedon saying “he brings together wit, charm, warmth, honesty, acute observation, emotional depth, dramatic tension, and more wit. It’s not often that I laugh out loud, clap my hands in delight and sob my eyes out at a TV show. His dialogue and character development is dazzling in Buffy, and possibly even better in Firefly.”
She refers to Whedon’s ill fated show Firefly which was cancelled by Fox after only 14 episodes. The fanbase complained leading to a movie version of the series called Firefly being produced. The Buffy fan base is similar in its veneration of the series, so if the film is a hit, it is guaranteed success.
by Elliot Adams
The British Board of Film Classification (BBFC) has refused certification to Koji Shiraishi’s Gurotesuku, which was due to be released in the UK under the title of Grotesque. This puts the film in the company of an extremely select group to have earned the dubious honour of outright bans in the UK, being only one of three films to have been banned by the Board in the last four years, the others being Murder-Set-Pieces in 2008 and NF713 in 2009 – all three having been banned for their scenes of eroticised torture.
Japanese cinema has a long history of depicting this type of sadomasochism, from Masumura Yasuzo’s story of abduction Blind Beast (1969) through to Takashi Miike’s psychodrama Audition (1999). But Grotesque is more likely to now be associated with the controversial genre of ‘torture porn’ which originated in Hostel and Saw. BBFC Director, David Cooke claims these ‘18’ rated ‘torture porn’ films are surpassed by Grotesque’s “unrelenting and escalating scenario of humiliation, brutality and sadism” where the chief pleasure on offer is the “spectacle of sadism.”
This latest act of censorship marks the point at which ‘torture porn’ becomes unacceptable to the BBFC. But the uncrossable line is far from distinct to the outside observer. For example, Lars von Trier’s Antichrist was recently released by the BBFC without cuts. It depicts a similar, although highly aestheticisized, scenario to Grotesque. Both films have similar scenes of mutilation and torture and similar victims, so what exactly is the difference between the two?
For David Cooke however, the difference is clear. Grotesque‘s scenes of torture are clearly eroticised, whereas Antichrist uses torture and scenes of real sex to illustrate psychological turmoil and so is “not a ‘sex work’ whose primary purpose is sexual arousal. For these purposes Antichrist is very clearly not a ‘sex work’.”
Cooke’s remarks on Grotesque, which unlike American ‘torture porn’, emphasizes the sexual element implied by that label, will be seen by some as a valid rationale for its banning, and by others as a reason for viewing it.
It is hard to take this hype seriously in either case, especially when the film contains a particularly memorable scene in which a decapitated head bites the antagonist on the neck to the tune of Land of Hope and Glory. Whether the BBFC is protecting us from “moral harm” or indulging in nanny-statism will only become clear when the film emerges from the BBFC’s own darkened cellars and audiences are allowed to decide in the light of day.
by Andrew Moir
Dreamworks animated movie Monsters Vs Aliens topped the UK box office this week taking just over £4million. The success of the film both in the UK and internationally may be down to the influence of new 3D technology.
For an extra charge, cinemagoers can immerse themselves in a fictional world with the aid of special glasses. In the 1950s 3D films were made by studios afraid of losing audiences to television. They wanted to provide spectacle only the big screen could provide. Films such as House of Wax(1953) and Dial M for Murder(1954) proved to be a great success. The appeal was fleeting and despite occasional comebacks two dimensions remained enough for film lovers. Dreamworks Studio head of animation Jeffrey Katzenberg told Empire magazine that 3D revolution is akin to the introduction of Technicolor.
“People thought it was a gimmick, a distraction, but five years later all movies were made in colour.” According to the mogul cinema is just the beginning and 3D will be a part of everyday life. “It’ll be on your cellphone, on your laptop and on your television set.”
While this future may be distant Hollywood continuing to embrace the potential with many upcoming projects. These include the next Pixar film, Up; Steven Spielberg is producing a Tin Tin trilogy and James Cameron’s Avatar will be his first film since Titanic.
While the idea is to make 3D the norm customers are being charged far above that. One major cinema chain charges £2.25 extra for 3D screenings. As the revolution gathers pace it is film lovers who pay the price.
by Kirstyn Smith
The first thing to look out for is the number of lone, shifty-looking men in the auditorium. I don’t know what this anticipative audience expects from a film called Lesbian Vampire Killers, but I’ve a feeling they left feeling a bit disappointed.
Unfortunately, they weren’t the only ones. To give the film the benefit of the doubt, I looked upon it from two different perspectives.
At worst – and if you are a girl – the derogation and disparagement was astounding. Although I’m sure this will be explained away as ‘post-modern’ chauvinism, I noticed my feminist side rearing its head on a number of occasions, as I felt vaguely insulted throughout.
At best, I can simply describe it as an unoriginal, laddish film. I imagine that even those solitary, hopeful men might grow weary of so many gratuitous close-ups of hot lesbians stroking each other.
A strange, stacatto way of shooting is employed, and while at first this is interesting and different, it is not consistent, so when it returns intermittently throughout the film, this does begin to grate – something else we don’t need to distract us from an already weak plot. Whether this technique – along with some woefully bad acting from the lesbians – is supposed to be a spoof remains unclear. I hope, for the sake of everyone involved, that I’m missing something.
Horne and Corden seem to have fallen foul of ‘Mitchell and Webb’ syndrome: while resplendent on TV, (Gavin and Stacey is a very good show) this does not translate to film. However, they are still relative newcomers, but I do feel that – for just now at least – they should stick to the small screen.