Review: Cloud Atlas

Cloud Atlas is the most recent film of The Wachowski’s (most famously known for The Matrix) along with Tom Twyker. Adapted from the original book ‘Cloud Atlas’ the film flips between six story lines, ranging from the tale of a voyager (Jim Sturgess) in 1849 who makes friends with a slave (David Gyasi) while being slowly poisoned by a "doctor"(Tom Hanks). To a tribe living in post-apocalyptic Hawaii in the distant future who are repeatedly attacked by a group of cannibals and haunted by the devil (Hugo Weaving). The tale of a composer (Ben Whishaw) trying to make it big, his letters to his boyfriend (James D’Arcy) and his ultimate decline in metal health. The thrilling story of a journalist (Halle Berry) who helps discover the dodgy goings on in a nuclear plant, to the troubles of a publisher (Jim Broadbent) who ends up trapped in a care home where he and his fellow OAPs plan to escape. And lastly the life of a clone, (Doona Bae)  stuck repeating daily life and serving 'pure bloods' but who ends up turning into the voice of her kind.

All these stories are delicately intertwined showing the consequences that each life has on those in the past, present and future. Throughout the stories themes of love, exploration, courage, belief, faith, barrier breaking and the need to fight for what is important and just, are explored. What is painted upon you is a greater understanding of human nature and those traits that connect each one of us throughout time and space and impact on generations further down the line.

Each story line has multiple characters that are played by the same actors, which was no doubt a daring choice by Tom Tykwer, Andy Wachowski, Lana Wachowski. One that was pulled of effectively as I think it forces the audience to make the connection between each character and the relationships they have with the same people, but in different eras much more plainly obvious. Indeed I think that if this hadn’t been done, the overall effect of the film would have been a lot less powerful and would have ended up just being the confusing tale of different lives for many of audience members.

There are appearances from the either loved or hated Hugh Grant, annoying as he is in most repetitive roles, his presence in this film seems as I see it to be one of purposeful comic intent and so for all you Hugh Grant haters don’t let it put you off going to see what is a well written (if a little long) and directed film, essentially about connections in every form, with some beautiful acting from the likes of Doona Bae, James D’Arcy and Hugo Weaving – who you get to see transformed into a scary old woman, which was for me personally priceless.

Lydia Heathcote

Alternative Oscar Categories

Well, the Oscars are finally tomorow, but after months of hearing about Daniel Day-Lewis's method acting and Hugh Jackman's singing, aren't you a bit tired of it all by now? Unless someone spiked the Academy's drinks while they were voting and they decide that Silver Linings Playbook deserves best film and the whole night descends into chaos, (I pray that somewhere, in an alternate universe this happens.) there will be few surprises tomorrow night. Therefore we've taken it upon ourselves to think up some alternative categories that would definitely liven up the night.

(Winners in bold)

Worst Wig
Tommy Lee Jones - Lincoln
Javier Bardem - Skyfall
Ben Whishaw - Cloud Atlas

This really was a tough category, and, might I add, possibly my favourite. It truly amazes me that in the same year as such incredible make-up moments such as making Joseph Gordon-Levitt look like Bruce Willis, and making Anthony Hopkins look convincingly fat, actors are still forced to wear shocking headpieces for months on end. While Javier Bardem's blonde disaster may have been of his own choosing, Lee Jones was stuck in this nightmare as he was playing a real character. Poor guy. No wonder he constantly looks so pissed-off at awards ceremonies.

Worst Accent
Quentin Tarantino - Django Unchained
Tom Hanks - Cloud Atlas
Sam Rockwell - Seven Psychopaths

Quentin Tarantino is the scariest looking man in Hollywood. (Steve Bushemi is, in my opinion, a close second) This can be proved by the fact that, as I write this, I am using my hand to cover up his photo. Therefore it seems a little cruel that, not only does he decide to put himself in his latest picture, but he decides to do the worst Australian accent of all-time ever. What's ironic is that he - along with fellow nominee Tom Hanks for his dreadful attempt at being Irish - clearly thinks that he's really nailing it. Eeesh. Unlike Tarantino and Hanks, Sam Rockwell's impression of Colin Farrell is deliberately ropey (as seen at 04.06 here) but deserves recognition for being incredibly hilarious.

Most Tearful
Anne Hathaway - Les Miserables
Literally everyone in Les Miserables
Quvenzhane Wallis - Beasts of the Southern Wild

I'm going to imagine here that the reason why Anne Hathaway has won this award does not really need explaining but, just in case you haven't seen this film or are an idiot, I will briefly explain why - all she does is cry. In a very good and Oscar-worthy way, mind you, but nevertheless, half of her performance is crying, and the other half is singing. As, hence their nomination, is the case for pretty much everyone else in Les Mis. And if you've seen Beasts, then you will undoubtedly understand why adorable little Quvenzhane is tearful, and you will probably be welling up yourself just thinking about a certain scene. (I know I am.)

Worst Disguise
Russell Crowe - Les Miserables
The American hostages in Argo

RUSSELL, YOU'VE JUST GOT A CAP ON, WE STILL KNOW EXACTLY WHO YOU ARE! YOU'RE FOOLING NOBODY RUSSELL. Yet another of my many criticisms of Les Miserables - How does it take everyone a good twenty minutes to work out that their new buddy is just Javert in a cap? The audience worked it out in about a second because it is THE WORST DISGUISE EVER. And the same goes for Argo, the mind boggles at how hostages can suddenly escape Iran just by styling their hair differently and saying they're making a film. 

Best Beard 
Jason Segel - Five Year Engagement
Christoph Waltz - Django Unchained
Ben Affleck - Argo

Who doesn't appreciate a good beard? They can range from being a good way to add humour into a film (see above) or a way of making someone even more attractive than you ever thought possible (see George Clooney at the BAFTAs.) While Waltz and Affleck's facial decoration is kept pretty standard, Segel's is just plain biazarre. It certainly looks like no beard I have ever seen before, and this is what truly makes it so beautiful. Plus, and whether this is intentional or not, I have no idea, it looks so fake. But I think that just makes it all the more ridiculous. On a side note may I add that Waltz is the only actor here that uses his beard as a prop - several scenes in Django actually feature him stroking it/smoothing it down. But alas, there is no award for beard-stroking.


Best Bromance
Freddie Quell and Lancaster Dodd - The Master
Django and Dr. King Schutlz - Django Unchained
Marty Faranan, Billy Bickle and Hans Kielowski - Seven Psychopaths
Frank and Robot - Robot and Frank
Driss and Phillipe - The Intouchables

Films about Bromance have begun to dominate the box office in recent years. While they are usually comedies about stoners staring Jason Segel/Paul Rudd/Seth Rogen etc, I've decided here to use the term lightly in order to award Best Bromance to the film that best portrays male friendship. Therefore, it goes to The Master. I've sung its praises in our BAFTA Predictions post so I won't do it again, but the way that the film explores a friendship that almost boarders on unhealthy obsession and devotion is endlessly fascinating. May I also just note that the obvious winner for this award, Ted, is absent because, despite what the rest of the population think, I consider it a puerile and generally awful mess of a film. End of story. 

Best Soundtrack
Django Unchained
Moonrise Kingdom
Rust and Bone
Beasts of the Southern Wild
Seven Psychopaths

If it had been any other year, and any other Wes Anderson film, then he would've got this award, hands down. But alas, compared to the sixties-filled extravaganzas of The Royal Tenenbaums and Rushmore, Moonrise Kingdom falls a little short, despite being one of my favourite Anderson films. So Django is a worthy choice. From start to finish, it is filled with catchy and joyously anachronistic songs, and has already become an album that I'm addicted to. Props also have to go to Rust and Bone's Bon Iver-fest, Beasts of the Southern Wild's beautiful and moving score, and Seven Psychopaths mixture of 60's soul and my all-time favourite song by The Walkmen. 

Most Irritating Character
Broomhilda VonShaft - Django Unchained
Cosette - Les Miserables
Every Tom Hanks character in Cloud Atlas
Debbie - This Is 40
Dan - I Give It A Year

You have no idea how awful it makes me, having to be horrible about a black female protagonist in a Hollywood film, but it has to be done. Broomhilda is an awful character, and it honestly baffles me that she comes from the same man to create Beatrice Kiddo and Jackie Brown. While I understand that she may just be fulfilling the duty of a woman in a Western, to me Broomhilda is essentially Django's Manic Pixie Dreamgirl - she is simply there to help him along his spiritual and physical journey. Washington's portrayal of her doesn't exactly help, as all she does is look scared and scream. Anyway, lets move along as I'm getting really annoyed now. I don't think I'll even begin to describe the ways in which each character on this list has annoyed me, as we'll be here all day. 

Best Screen Chemistry
Marion Cotillard and Mattias Schoenaerts - Rust and Bone
Bradley Cooper and Jennifer Lawrence - Silver Linings Playbook
Joseph Gordon-Levitt and Emily Blunt - Looper
Jared Gilman and Kara Hayward - Moonrise Kingdom

I decided to avoid the easy option here and go for Silver Linings as, while it's undeniable that Cooper and Lawrence do have good chemistry, it's a little schmaltzy for my liking. Cotillard and Schoenarts pairing seems better as they are completely engaging and believable as two people attracted to each other, despite the unusual circumstances of the film. Kudos also has to be given to Joseph Gordon-Levitt and Emily Blunt, as the pre and post-coital scenes they share together are simply electrifying. 

Best Effort
Leonardo Dicaprio - Django Unchained (and, inevitably, The Great Gatsby)

Oh Leo, it happened again, didn't it? Despite your method acting - even going as far to smash open a glass and rub your blood on Kerry Washington's face - you still missed out on all the awards. God knows how much he hates Christoph Waltz right now - first he stars in a film with Kate Winslet, then he steals his Best Supporting nomination. Just remember Leo, even if the Academy don't love you, we still do.

Grace Barber-Plentie

Breaking Down the Best Picture Nominees of the Last 10 Years

We’re now at the end of awards season with the Oscars concluding on Sunday and it would seem that this year, Argo has Best Picture in the bag due to the Academy’s Ben Affleck guilt. Now that many of us are already suffering from Argo fatigue, I felt it was appropriate to look back to the other Best Picture nominees of the last ten years. So let’s take ourselves way back to 2003 and break this mother down. 

(Winners in bold)

2003
Lord of the Rings: Return of the King
Lost in Translation
Master and Commander the Far Side of the Yawn
Mystic River
Seabiscuit

Even if you are not a fantasy film kind of person, we can all appreciate the technical brilliance of LOTR along with the heartbreaking tale of friendship. So yeah, this one was a deserving winner and ten years later this film stills holds up very well. As for the other nominees: Lost in Translation is still a beautiful film and I will never understand the obsession with horse films like Seabiscuit.

2004
Million Dollar Yawn 

The Aviator 

Finding Neverland
Ray
Sideways

Look, I understand that Clint Eastwood is a legendary director but I am just not a fan and I think Million Dollar Baby is yeah, obviously great and Oscar-y but Lord, was it boring. Sideways, on the other hand, is a greatly underrated film with so many great performances and is simply better a better film.

2005
Crash (NO! NO! NO! NO! NO!) 

Brokeback Mountain (YES! YES! YES! YES! YES!) 

Capote
Goodnight and Good Luck
Munich

Ok, I’ll keep this short: CRASH SUCKS FOR SO MANY REASONS AND NOT JUST BECAUSE CHRIS “LUDICRIS” BRIDGES IS IN IT. It won because the Academy thought it was an “edgy” choice when really it was actually pretty safe. Brokeback Mountain, alternatively, is a film that will be hailed as classic and deservedly so because it a beautiful, compelling film that should have won. Now that’s over, can I ask if I’m I the only person who has never heard of the George Clooney directed Goodnight and Good Luck?

2006
The Departed 

Babel 

Letters from Iwo Jima
Little Miss Sunshine
The Queen

The Departed is easily one the best gangster films of all time and deserved this win so we’ll quickly move on.

2007
No Country for Old Men 

Atoneyawnment 

Juno
Michael Clayton
There Will Be Blood

Quick story: despite being a self-confessed film geek, I have never seen No Country for Old Men or There Will Be Blood. I know that some people would crucify me for this and because of this I will not pass judgement on this year. I will, however, note how cool it is that Juno, a teen comedy, is Oscar nominated?

2008
Slumdog Millionaire 

The Curious Yawn of Benjamin Yawn 

Frost/Nixon
Milk
The Reader

Slumdog is a superb film that is definitely deserves the win here. I mean, it has a dance sequence at the end! The Reader definitely does not have that, does it? Benjamin Button, however, is mind-numbingly dull and it’s hard to believe that a film so overlong is based on a short story.

2009
The Hurt Locker 

Avatar 

District 9
An Education
The Blind Yawn
Inglorious Basterds
Precious
A Serious Yawn
Up in the Air
Up
Ah yes, 2010 was the year in which the Academy decided to mix it up a bit and so they gave us another five films, which is great except the fact that IT IS TOO MANY FILMS. Anyway, Inglorious Basterds should have won this one. And it’s hilarious to think that Avatar was a frontrunner this year. Will anyone remember these films in ten years time? Of course not! Surely, the Academy won’t make this dumb mistake again?

2010
The King’s Yawn 

Black Swan 

The Fighter
Inception
The Kids are All Right
127 Hours
The Social Network
Toy Story 3
True Yawn
Winter’s Bone

Fun fact: They made that mistake again. Another fun fact: I saw all these films back in 2010 so if you would like to send me a medal in the post, please feel free to do so. Just like the year before, this is far too many films and, also like the year before, half of them suck. In my opinion, The Social Network was not just the film of 2010 but the film of the decade. Everything about it is flawless. Even Justin Timberlake’s foray into acting doesn’t ruin it.

2011
The Artist 

The Descendents 

Extremely Long and Incredibly Yawn
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of What
War Horse

Last year, the Academy made an even dumber mistake by cutting it from ten films to nine films and by doing so they missed the opportunity to nominate undoubtedly the best film of 2011: Drive. Overall, 2011 sucked for films. It sucked bad. So on that note, the charming Midnight in Paris deserved to win.

So, will Argo win on Sunday? Probably. Will it matter? Probably not. If we’ve learnt anything today, it’s that majority of the Best Picture winners of the last ten years don’t always deserve it and are often forgettable Oscar baiting films anyway.

Beth Johnston  

Review: The Impossible

For every wonderful thing I heard about The Impossible, I was left feeling wonderfully underwhelmed. The Impossible’s general impact reminded me of a Sunday night made-for-TV film, a lacklustre attempt to pull at your heartstrings.

The movie opens in with your prototypical middle class family, light-hearted banter on an airplane to exotic lands. This serves as our introduction to the family, and they seem…nice. That’s really the only way to describe them, because they lack any definitive character - within this film, their main characteristic is their victim status. Director Antonio Bayona does try and squeeze in some development at the beginning in a short period of time: the young sons bickering, the anxiety the mother experiences during turbulence - but it all feels a bit like a forced attempt to make the audience “connect”. Dimension is sacrificed for likeability, inevitably making them bland.

Admittedly, the special effects were impressively realistic - the tsunami’s force was depicted on screen with devastating intensity. Throughout, the backdrop of their surroundings conveys a ravished beauty of Thailand, in the wake of disaster. Visually this film is pretty superb, but it over relies on these aesthetics to carry it through its unfocused direction.

And it’s the misguided direction of The Impossible that disappoints me the most. Once we (spoiler alert) find out the entire family survives, and are in the care of people early on in the film, it’s only a matter of time before they’d reunite. Yet the majority of the film’s plot is centred around their search for each other - we know it’s inevitable that they’ll see each other again at home, so it seems a bit purposeless.

Bayona has chosen to focus in on the one family when making this film, but in doing so, the devastating impact of the tsunami on basically everyone else is background noise. This film is less about the tsunami and more about the impact the tsunami had on this particular family - who the audience aren’t even that connected with. Yes what happened to these people was awful, but what makes them so distinctive from everyone else, that we’re focusing on their narrative exclusively? The Impossible never reaches a purposeful end (spoiler alert) - it’s great the family are healthy and leaving the disaster and chaos behind - but what about everyone else? Basically, the focus of a smaller plotline in the context of a disaster where the unluckier stories are to a large extent brushed aside, comes off as indulgent.

The real-life family The Impossible is based on are Spanish, but in the film, they’re interpreted as a white, British family. I’m assuming this is as this film is targeted toward a Western audience, hence to increase the relatability factor the protagonists are intended to resemble the “typical” Western family, and thus this includes race. I think it’s sad really, that it was felt that this already harrowing true-life story needed to be adapted in this way, like this would draw out a deeper response. It’s sending out the message to the audience that they’d be more likely to identify with the suffering of someone their own race - when really, what should it even matter? As if we’re so egotistical, that we’re incapable of extending equal sympathy toward the plight of someone we don’t identify with on every single level. I get the idea of cinematic adaptation from real life to the screen, but this just seems like an unnecessary compromise of reality.

Overall, The Impossible clearly isn’t up there in my favourite films. It was heavy handed, unsubtle - it took a genuinely tragic, real-life event and turned into a clichéd affair. I know I’m in a minority, as almost everyone else I’ve spoken to were so moved - but The Impossible just didn’t connect with me at all.

Anita Bhadani

Top 5 Romantic Movies

I am besotted with romance in films, not only because I am a seasoned spinster fifty years before my time, but because ROMANCE IS SO LOVELY. Cheddar brimming as they are, romance films must feature two really flossy (floss = high level sass and sophistication) leads, a healthy amount of PASSION and occasionally a few tragic events. The classic happy ending makes my life, but is not necessary for the majority of anguish filled films this list applauds. I am by no means repelled by mountains of froth, but I do thrive for the clichéd classics we all know n cherish and for them alone.

5. Pretty Woman (1990)

Julia Roberts & Richard Gere

You've undoubtedly been trapped in Edward's grossly expensive hotel suite for the past twenty three years if you haven't yet seen Pretty Woman.

It's a classic for umpteen reasons, but mine is definitely the FABULOUS Julia Roberts as Vivian, an L.A. prostitute who in true romcom form, just happens to be picked up by a millionaire.

Although I personally have never been all that into Richard Gere, you can't help but like him for whisking Vivian into an entirely unrealistic world of strutting down streets to Roy Orbison, designer suits and meals with bigwigs. That in consideration, I would still rather he refrained from trying to uproot my tonsils on a grand piano.

Vivian actually likes him though and obviously he's keen on her, so he gains 8/10 for floss as far as I'm concerned. And for tackling that terrifying fire escape.

Best Scene: Vivian's iconic waltz and the outwitting of the bitchy shop assistants.

4. Ghost (1990)

Patrick Swayze & Demi Moore
Another iconic TREASURE. Molly and Sam are hideously happy together until bastard Willy Lopez (Rick Aviles) murders Sam on the botched orders of Sam's best friend. A horrifying betrayal, in all other words. Oda-Mae Brown (Whoopi Goldberg) is the fortune teller Sam stumbles across as he attempts to contact Molly. Molly is in danger. Oda-Mae puts it differently ("Molly, you in danger girl.") but I'm not even going to try and attempt to explain how magnificent she is. She is the gem of the film. All I suggest is you watch the clip of her ultimate floss (definitely 10/10) below:
http://www.youtube.com/watch?v=oAb2_-uv41Y
The ending of Ghost is absolutely traumatising. Sam ascending to Heaven with all the angels as Molly sobs with sad joy because it is THE LAST TIME SHE WILL EVER SEE HIM BECAUSE HE'S DEAD. Ugh. Agony.
Best Scene: Pottery. The Righteous Brothers. Unchained Melody. No more words necessary.

3. P.S. I Love You (2007)

Gerard Butler & Hilary Swank

First things first: the soundtrack. Best thing ever to frolic to.
Aside from that, there's Holly and Gerry, another New York couple MADLY IN LOVE. Until it comes to light that Gerry has died from a brain tumour right after the opening credits. The film is essentially Holly learning to 'live again' through Gerry's monthly letters, sent to help her move on.
I find this film absolutely tragic (which probably is tragic in itself) because it is just so SAD, imagine being on the brink of thirty and your soul mate going and DYING on you??!??!?!!?
Traumatic. Absolutely. I can't express my adoration for it enough, not only because it makes me want to flee to Ireland and swan around to Steve Earle, but because Holly's misery is so RAW and alongside that she has to deal with her husband's death whilst everyone else is moving on and doing new things..
It hurts my soul. It fatally wounds it. Unfortunately a lot of very misguided people think this film is awful (looking at you, Rotten Tomatoes) but I take it they are just not Gerard Butler fans.
Best scene: Holly & Gerry meeting again in a pub to Galway Girl. Weeping at the thought.

2. Dirty Dancing (1987)

Patrick Swayze & Jennifer Grey
Another Swayze extravaganza. Also another film I shouldn't have to elaborate on, because every person alive ever should watch this and marvel at:
a) Patrick Swayze.
b) THE DANCING (I can't dance, which is probably why I am so impressed by it in this masterpiece)
c) The soundtrack. Who doesn't yearn to roar down the highway to Eric Carmen yowling that his eyes are hungry???
d) Patrick Swayze.
e) THE LIFT. And also how at the end, Baby's mum says sternly, "Sit down, Jake" so Jake can't go and murder Baby's fun.
f) NOBODY PUTS BABY IN A CORNER.
Best scene: Baby and Johnny having the times of their lives, of COURSE.

1. Titanic (1997)
Kate Winslet & Leonardo Di Caprio

WHAT A FILM. Too many times my best friend and I have reenacted the ever memorable death scene. Jack? Jack? Wake up, Jack. Jack, wake up. JACK, WAKE UP. Why doesn't he? It has been said time and time again that he could have fit most comfortably on that bloody door, but did he? N O. There really is no need to summarise Titanic, as it is so beautiful and traumatic that not only did I cry the first forty thousand times I watched it, I sobbed dramatically in the cinema last April, and proceeded to live in a bubble of Celine Dion for the following (six) month(s).
It's also obvious that Leo's face is one carved by angels, and that one day many years into our marriage, an alternate version will be released, with myself playing Rose and Leo playing Jack once more. A Jack who lived.
Best scene: "I'm flying! Jack!"

Mollie Kerslake

Top 10 Best Movie Dates

So it's Valentine's Day tomorrow, a celebration where cynics like myself either have to keep their mouths shut while people gush over their presents and plans, or rehearse an angry monologue to spout every time someone dares wish them a "Happy Valentine's Day!" Personally, I've chosen the first option this year, and instead, due to my love of list-making, compiled a list of the best, romantic, and cutest movie dates of all time. They'll make you laugh, make you cry, or make you moan to your boyfriend that Pizza Hut simply isn't good enough this year.

(May contain plot spoilers)

10. Midnight in Paris

Sure, Woody Allen only shows us the very beginning of Gil and Gabrielle's date, but what could be a better start to a date than walking through Paris in the rain? Nothing, that's what.

9. Gregory's Girl

Poor old Gregory - all he wanted was to go on a date with the only girl in the school's football team, but instead he ends up marched around town, being passed from girl to girl, and forced to buy them chips. However, it all turns out to be part of a master plan laid out by Susan, who's always had a crush on Gregory. He may not have ended up with the girl he thought, but at least they had a good time.

8.  It's a Wonderful Life

Singing, dancing, talk of the moon - what more could one want for a first day? Stewart and Reed's chemistry in this scene is ridiculous, which keeps it romantic rather than soppy.

7. 10 Things I Hate About You

I think I can sum this one up in one sentence. Paintball with Heath Ledger. Yep, I knew I could.

6. Lady and the Tramp

Possibly the most classic movie date of them all! I really dread to think how many people will be doing this with their partners tomorrow. Nevertheless, it stands the test of time, as this scene is still kinda adorable.

5. Goodfellas

Guilty confession time - despite having a copy on video, and having it recorded on my telly, I STILL haven't got around to watching Goodfellas. But despite that, I'm well aware of this scene (My Mum has described it to me so many times that it must be ingrained into my memory.) and how cool it is. I really hope people still try and impress their dates by sneaking them through restaurants, because realistically, that would probably work on me. Also, Heineken did a really cool advert homaging this scene.

4. (500) Days of Summer

Back before I knew about stock characters like the Nice Guy and Manic Pixie Dream Girl, 500 Days of Summer used to be my favourite film. To my defense, I was going through a serious "just joined Tumblr and learnt who The Smiths are and started watching indie movies" phase, (haven't we all been through them?) but I swear to god, I could quote whole chunks of this film. While that may not be my proudest moment, I do still have a fondness for this scene in particular, purely because, well, it's absolutely adorable. And it's not every day that there's a Chinese family in your bathroom.

3. Before Sunrise

This film is basically just one long date, which makes it kinda hard to choose just one scene from it. Scary 90's Ethan Hawke persuades cool 90's Julie Delphy to abandon her plans and spend the night with him in Vienna, which she does (?!) and they basically just spend the whole night wandering around and talking. That. Is. Literally. It. Despite the ridiculous plot, it does kinda work, mainly because you actually give a damn about the characters, and really want them to end up together. Also, apparently people really like this film because it has spawned two sequels - Before Sunrise and the soon-to-be-released Before Midnight.

2. Pulp Fiction

I'm still in two minds about whether this counts as a "date" seeing as nothing romantic actually happens between Vincent and Mia, but this is one of my favourite scenes from one of my favourite films by one of my favourite directors so let's just let it slide shall we? Again, this scene is a case of good screen chemistry, - Daniel Day-Lewis was allegedly going to play Vincent which I CANNOT imagine - oh and let's not forget the infamous dance scene. If this diner exists, I am saving all my pennies and going.


1. Blue Valentine

Ah, the bitter irony that the top clip on my list isn't even on youtube. Oh well, I think anyone who's seen Blue Valentine will know that it's simultaneously one of the most bitter and romantic films about love ever made. The latter can definitely be applied to Dean and Cindy's first date. (I studied this section of the film in Film Studies last year so forgive me if I get analytical...) They chat on a bus, get ice cream, talk about themselves... they find the date going so well that, in order to impress each other, they start acting more and more shy and childish. Cindy shows Dean her "talent" - being able to sing the names of all of the Presidents - and Dean retaliates by playing ukulele. Just like the rest of the film it feels fresh and uncliched but also adorable, one of those filmic moments that you'll keep coming back to if you need a pick-me-up.

Grace Barber-Plentie

BAFTA Predictions

It's that time of year again - the time to don the little black dress, down several glasses of champagne and practice looking gracious and pleased when you don't win something. Or, for us normal people, it's the time of year again to sit on the sofa with a jumbo bag of popcorn, cooing over Keira Knightley's dresses. And what would an awards ceremony be without some predictions? Here are our nominations for tonight's BAFTA ceremony.

Best Film
Argo
Les Misérables

Life Of Pi

Lincoln

Zero Dark Thirty

What I want to win: I’ve only actually seen two of these films, but I feel that I know them all so well that I’m able to pass judgment on them without having to see them. So, Argo please. I’m sure I’m among the millions of people who never thought they’d be writing these words, but Ben Affleck’s gone from strength to strength in his directing career. This film was tight, captivating, and full of drawn-out scenes filled with so much tension that I thought I’d end up screaming in the cinema. Plus, it’s based on a true story, and we all know how much Awards voters love that.

What will win: It’s a tie between Lincoln and Les Mis. BAFTA tend to favour British films, plus it’s directed by previous award-winner Tom Hooper, so it stands a pretty big chance. But, saying that, Lincoln has the most nominations, plus, well, it’s directed by Spielberg, stars Daniel Day-Lewis and is a historical epic. Need I say any more?

Snubs: Well, where to start? Beasts of Southern Wild, which has received a suprising amount of Oscar nominations, has been severely snubbed here, as has Moonrise Kingdom, which has received a shameful one nomination from both Oscar and BAFTA. Why do you hate cute indie films guys? Django Unchained and Seven Psychopaths both should’ve been nominated, but everyone knows that they would never win. From this year’s nominations it’s clear that BAFTA favours heavy, “based on a true story” (wherever possible) films over imaginative indies, or violent films with a comical side. Sorry, do I sound a little bitter?

Grace Barber-Plentie

Best Director
Michael Haneke - Amour
Ben Affleck - Argo
Quentin Tarantino - Django Unchained
Ang Lee - Life Of Pi
Kathryn Bigelow - Zero Dark Thirty

Who I want to win: I don't feel passionately that SO AND SO DEFINITELY DESERVES TO WIN but I think I'd like to see Lee or Tarantino win the most out of those nominated.

Who will win: Despite all the hype around Argo (as well as my own prejudice against Matt Damon's best friend), Ben Affleck feels like a safe bet for Best Director and I would be very surprised (and a little bit glad if I'm being truthful here) if Affleck didn't win. It just feels like this is his year to flounce away with a lot of the top awards. The films with the most nominations are Lincoln (11), Les Miserables (9), and Life of Pi (9), but strangely enough, Steven Spielberg and Tom Hopper haven't been nominated for Best Director this year - so Life of Pi's popularity this year makes me feel like Ang Lee is probably still a contender for the award, especially as he managed to make a film based on a book that many people claimed was completely unfilmable.

Snubs: I'm not particularly outraged that Hooper and Spielberg weren't nominated, but to be honest, I was expecting Paul Thomas Anderson to get a nomination for The Master this year.

Shayane Lacey


Leading Actress

Emmanuelle Riva - Amour
Helen Mirren - Hitchcock
Jennifer Lawrence - Silver Linings Playbook
Jessica Chastain - Zero Dark Thirty
Marion Cotillard - Rust and Bone

What I want to win: My kind heart would like to see Emmanuelle Riva win for her heartbreaking role in Amour, especially at the end of a long career. On the other hand, I’d love if Jennifer Lawrence won because OH BOY, she was fantastic in Silver Linings Playbook. But y’know, it’s only the beginning of her career: it’s not like if she doesn’t win now, she never will!

What will win: I kind of feel like this one will go to Jessica Chastain, based purely on how well she is doing awards-wise.

Snubs: HUSHPUPPY! Seriously, Quvenzhané Wallis (A name that the copy and paste button was created for) is a revelation and at the age of nine has achieved more than I ever will. Surely she could have taken the place of Dame Helen? Also, no Naomi Watts?

Beth Johnston


Leading Actor
Ben Affleck - Argo
Bradley Cooper - Silver Linings Playbook
Daniel Day-Lewis - Lincoln
Hugh Jackman - Les Misérables
Joaquin Phoenix - The Master

Who I want to win: Sorry, what was that? I couldn't hear you over the sound of my indignation at Christoph Waltz only being nominated for Supporting Actor AGAIN. Aside from that, Joaquin Phoenix wholeheartedly deserves this award. The Master is an astonishing film simply filled to the brim with breathtaking performances. Phoenix's performance is be hard to watch during most of the film, purely because he wholeheartedly commits to playing such a broken and complicated character. The audience is left unsure of whether to pity or hate this character, and I consider that to be a sign of a good actor.

Who will win: It's a three horse race here - either Lincoln sweeps the board and Daniel Day-Lewis (not entirely undeservedly) wins yet another trophy, the BAFTA board want to vote British and Hugh Jackman wins, or, controversially, Bradley Cooper manages to charm everyone.

Snubs: It does feel deeply insulting to nominate Django Unchained for everything but leading actor, especially as Jamie Foxx does deliver a pretty damn good performance as the titular "silver-tongued devil". Continuing the J-theme, the constantly over-looked John Hawkes added yet another strong performance to his list as a polio-ridded journalist keen to lose his virginity, but alas, was completely overlooked across the awards board.

Grace Barber-Plentie


Supporting Actor
Alan Arkin - Argo
Christoph Waltz - Django Unchained
Javier Bardem - Skyfall
Philip Seymour Hoffman - The Master
Tommy Lee Jones - Lincoln


Who I want to win: Things are getting tricky here, mainly because this, Leading Actor and Supporting Actress are the only three categories where I've seen all but one of the films nominated! (yes, you guessed it, I still haven't seen Lincoln.) I think I'm tied between Philip Seymour Hoffman and Christoph Waltz here, as their performances were, as usual, exceptional. However, despite my deep loathing of Skyfall, Javier Bardem and his extraordinary hair was its only redeeming feature.

Who will win: It's a tie between Bardem as I'm positive that Skyfall has to win something, and Lee Jones if Lincoln goes on a rampage tonight.

Snubs: Leo DiCaprio smashed his hand open in Django Unchained to get an Oscar, and isn't nominated for anything. You've gotta feel for the poor guy.

Grace Barber-Plentie


Supporting Actress
Amy Adams - The Master
Anne Hathaway - Les Misérables
Helen Hunt - The Sessions
Judi Dench - Skyfall
Sally Field - Lincoln

Who I want to win: I always forget that Amy Adams is a "proper" actress as the first film I saw her in was Enchanted, therefore I was pleasantly surprised at how brilliant she was in The Master. I will also grudgingly accept Anne Hathaway winning as, while I'm not her biggest fan, her twenty minutes in Les Mis were probably the most decent section of it.

Who will win: It's gotta be Hathaway, right?

Snubs: For once, I can't think of anyone.

Grace Barber-Plentie

Cinematography 
Anna Karenina - Seamus McGarvey
Les Misérables - Danny Cohen
Life Of Pi - Claudio Miranda
Lincoln - Janusz Kaminski
Skyfall - Roger Deakins

Life of Pi is both what I think deserves to win and my prediction for what will win Best Cinematography - but I think that Skyfall is definitely in with a chance to win as well and I don't feel that Miranda is enough of a safe bet for the award to completely rule out Deakins. 

Shayane Lacey

Rising Star
Elizabeth Olsen
Andrea Riseborough
Suraj Sharma
Juno Temple
Alicia Vikander

This is a pretty awesome award as it’s the only publicly voted award throughout award season: however, it can be terribly fan biased i.e. Kristen Stewart in 2010 – all the other nominees are much more deserving.

Who I want to win:  I would like to see it go to Elizabeth Olsen purely for being the only Olsen capable of acting, but also for her performance in Martha Marcy May Marlene.

Who will win: I can see Juno Temple taking this one: she’s been around for years now and her teeny role in The Dark Knight Rises has given her some more exposure to mainstream audiences. Also, her hair is the best.

Snubs: I’m kind of surprised Ezra Miller wasn’t nominated and I would have loved Rebel Wilson to get some love because she completely stole Pitch Perfect and Bridesmaids.

Beth Johnston

Review: Les Miserables (Again)

Fabulous, I was told. "I cried three times," People said. "So amazing, you must see it." Reluctant as I was, I allowed myself to be dragged to a Screening Room 3 to watch the bloodbath take place. I tried to make a run for it, but by this point it was already too late. My fate was sealed.

My first most obvious observation was the singing. Constant yowling. All I wanted to ponder was what I'd be eating afterwards; instead I was assaulted by the sight of a new celebrity bursting onto screen every couple of seconds, no doubt with a touching ballad to deliver. Apparently, I am uncultured. I didn't realise Russell Crowe was Russell Crowe until the bitter end. Twice I asked my tearful friend "why won't he just fuck off?" only to be greeted with sobs.

What was so sad about it?! Hugh Jackman finds his way eventually. He and young Cosette (Courgette) get away and Russell Crowe ends up leaping to his death. Everything is fine! Only then does Hugh Jackman's pride get the better of him, causing him to race away, leaving the freckled man from My Week With Marilyn (allegedly goes by the name Eddie Redmayne) to marry irritating, doe eyed Amanda Seyfried (Courgette, all grown up).

The only highlights were Helena Bonham Carter and Sacha Baron-Cohen. I love Helena in pretty much everything ever, so she was a given. They were brilliant at being yellow toothed and penny pinching. I particularly enjoyed when they crashed Courgette's wedding. Not quite how Busted would do it, but still in a vastly tasteless and unashamed manner.
I probably should have appreciated this film, but to be honest the McDonalds I devoured afterwards was much more exciting.

Mollie Kerslake

Review: Hitchcock

Every year there seems to be an influx of films based around similar unique subjects. Who could forget last year when we saw the atrocious-looking Mirror Mirror go head to head with the also pretty poor Snow White and the Huntsman? Well, this year it seems to be the turn of the “the story behind the historical event/person” film. First came Hyde Park on Hudson, which saw Bill Murray do his best turn as FDR, welcoming the King and Queen of England for a weekend of bonding, Hot Dogs and revelations. The film promised audiences the “real” story, based on diaries by Franklin’s second cousin and lover, Daisy, and while the premise was interesting, the film was pale in comparison to Tom Hooper’s Oscar-Winner The King’s Speech, featuring the same royals. And now, with Anthony Hopkins donning a fatsuit, we have Hitchcock.

The film centres on the development and filming of Hitchcock’s seminal Psycho, taking us from the moment he first reads Robert Bloch’s book, to its first screening. As well as this, it offers us a side-plot based around Hitch and his wife Alma’s (as played by Helen Mirren, making the best she can out of an uninteresting script) marital difficulties after her friendship with an old writing partner is rekindled. It’s not exactly hard to guess which of these storylines flourish, and which fails. Sadly, just like Hyde Park on Hudson, Hitchcock’s makers seem to think that the most fascinating element of the film is “the man behind the myth”, and focuses most of the film on his personal life, rather than on the making of the film itself. While this may just be my interest in cinema talking, I found the parts of the film that detailed the filming process and casting to be more interesting than the rest. While it can be said that audiences enjoy learning more about their favourite influential figures, it is sometimes more interesting to see what you already know interpreted in a new way.

So, while there are elements of Hitchcock which work, overall the film just doesn’t spark as much excitement as it should, considering that it is based on one of the most influential directors of all time. Hopkins and Mirren, alongside supporting turns from the likes of Scarlett Johansson and Toni Collette are convincing enough, and at a length of just over an hour and a half, the film never feels too drawn out, and is always able to keep your attention. However, unlike most of Hitchcock’s oeuvre, it severely lacks charisma, charm and thrills. 

Grace Barber-Plentie

Take Two Review: Les Miserables

At Real to Reel, we know that if you want to see a film, it's easy to either be completely swayed by someone else's opinions before you've even seen it, or reject their views entirely. Therefore Take Two provides you with not one but two reviews in order to give you two perspectives of the newest releases The best things really do come in twos. 

Since it’s unlikely I’ll be able to fulfil my life’s dream of running away from school and joining the theatre, I did the next best thing: skiving off to see Les Miserables! I was enchanted from the beginning; it’s grandiose, intense, and fresh. Gripped, by the end found myself wishing it could’ve gone on forever.

Valjean (Hugh Jackman) is an honourable man, imprisoned for seventeen years for stealing a loaf of bread to feed his starving family. The movie opens on his eventual return to freedom, where his initial weary hope is crushed by the contempt he is treated with by the people. Embittered and resentful, Valjean is at last given a break in the form of a Bishop extending an act of selflessness toward him. His life is transformed, and in turn, so are the lives of those that surround Valjean as he starts a chain of good deeds.

This is director Tom Hooper’s second film, following his debut The King’s Speech. Hooper effectively takes advantage of the benefits film as a medium offers as opposed to stage: the cinematography depicts both the clean streets and the darker side of 19th century France, with a cold, vivid beauty. There are times however, where the supposedly rougher scenes come off slightly polished - a bit more bravery could be afforded here.

The decision to have all songs performed live on set was a brave one - and one that definitely paid off. If the vocals were to be pre-recorded, Les Mis wouldn’t have that same spontaneity, that electricity that contributes to the passion of the film. It maintained the fervour you’d find in a musical performance, while also exploiting the benefits of film. Admittedly, a few of the vocals (Russell Crowe) aren’t ones I’ll be re-visiting on the soundtrack, but I feel within the film each song conveys pure, believable emotion: and that to me, is far more important than pitch-perfection.

The stand-out moment for me was definitely the cast’s rendition of 'One Day More' - all the plotlines intertwined and the actors all seemed to feed off each other’s energy - so magical. Anne Hathaway’s breathy, half sobbed I Dreamed a Dream drew me in also, her performance so heartbreakingly genuine. Hathaway really stood out for me throughout this film in general, her depiction of Fantine as a shy, desperate girl was to me a lot more real than the slightly overblown Broadway manner Fantine tends to be portrayed in. Helena Bonham Carter was delightful to watch as Madame Thénardier too - she oozed endearing, whimsical charm all through. In contrast, I found Sacha Baron Cohen’s (Thénardier) performance a bit forgettable, but Carter’s eccentric show more than made up for it.

Basically, if you’re at all into engaging, dramatic storylines, emotionally-charged songs, and the thrill of REVOLUTION, I’d for sure recommend this film to you. You’ll be struggling to keep yourself from singing along…

Anita Bhadani

Les Miserables - to date it has grossed $141 million in the USA and been claimed an 'emotional masterpiece'. But is it really all that? No doubt many of us shed a tear as Eponine died with her unrequited love intact and young Gavroche died at the merciless hands of his own countries people. But does it compete with the West End theatre productions? Or is it perhaps better?

One thing that I do appreciate about Les Mis being turned into a film is that it has brought its tragic story to the masses. In an economic climate where most of us can't afford to just pop down to the West End and most (myself included) can not be bothered to read the huge 1500
page book, this seems a perfectly viable option to try and offer people a little culture.

Unfortunately Tom Hooper’s film is a little floored. Firstly I would like to address his excessive use of close ups, I believe he was trying to pass on to us as the audience the true pain of these sorrowful
characters which I can understand, but all I got from it was a bit of a distorted view of the world these characters inhabit and a whole lot of Anne Hathaway's spit. On stage you cannot close up on an actors
face, and yet you can still absorb the chilling emotions passed on, perhaps maybe through the voice and music is how this is mainly achieved (Hooper should have allowed voice and music to do its job in the film).

This leads me on to the singing. I respect the idea to record the actors singing live and in whole think it was quite effective, apart from the odd line by Eddie Redmayne and poor Russell Crowe. Even the singing lesson didn't help him. Samantha Barks - now that is a voice to admire, although admittedly I don’t think she brought anything new to the role of Eponine. The only thing I would say is that the songs didn’t give me goosebumps, perhaps this is because it is a film and so not a live medium, but live the songs of Les Mis (unless you’re unfortunate to get a truly bad cast) shake you to the bone.

Russell Crowe. I don’t believe this is exactly his finest role. Mainly due to his inability to sing which caused his representation of Javert to be... lacking. The darkness in Javert's heart just did not show. On the other hand I found that in general Anne Hathaway’s performance was rather adequate for Fantine. Adequate. Hugh Jackman, Eddie Redmayne, Aaron Triet and Daniel Huddlestone made the film, with much needed comic relief brought in the form of Sacha Baron Cohen and Helena Bonham Carter - in a predictable role again, although this time I will let it slide. Amanda Seyfried, I refuse to even mention.

The death of Fantine did seem like the climax of the film, rather than the fight scene, which was set up similarly to the classic Les Mis theatre set, and sadly just didn’t work on screen. On stage it feels
impressive - with tables and wardrobes filling the stage, extravagant lighting and explosions going of left right and centre, the atmosphere is huge! In Tom Hooper’s film it appeared small and a little pathetic, like 20 men hiding under your dining room table.

Admittedly the last scene of the film was powerful. The camera pans over the deceased characters as they sing (a lot less shrilly than a theatre cast) 'Do You Hear the People Sing'. Well we definitely do! And it was much more than could be achieved in the theatre. Despite my criticisms, I was indeed crying by the end of it. So if you enjoy a good cry and the sight of Eddie Redmayne’s freckled face, it’s definitely worth seeing.

Lydia Heathcote