Tag Archives: Acting

Day for Night launches distribution arm with first two UK theatrical releases

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Day for Night is delighted to announce the launch of its distribution arm with its first two theatrical titles HI-SO (Aditya Assarat, Thailand) and THURSDAY TILL SUNDAY(Dominga Sotomayor, Chile).

 

The second film from award-winning Bangkok based Thai-American director Aditya Assarat (Wonderful Town) HI-SO had its world premiere at Busan International Film Festival and European premiere at Berlinale (Forum). HI-SO premieres in the UK on 1 March 2013 at Curzon Renoir. Set against the backdrop of a post-tsunami Thailand, Aditya Assarat’s second film features Thai film star Ananda Everingham in a bittersweet tale of love, memories and belonging. Day for Night is pleased to welcome director Aditya Assarat for a Q&A following the UK premiere as well as for a second screening on 2 March 2013 at Hackney Picturehouse. Both screenings will be followed by receptions sponsored by Chang Beer.

Ananda Everingham in HI-SO (Aditya Assarat, Thailand)

 

Day for night’s second release comes in April 2013 with much talked about Chilean director Dominga Sotomayor‘s debut feature THURSDAY TILL SUNDAY which won the prestigious Tiger Award at International Film Festival Rotterdam 2012 and has since been selected for more than 60 film festivals worldwide, including London Film Festival 2012.

 

 

Day for Night founder Sonali Joshi said:

 

“We’re really excited about this new venture into distribution which has evolved as a natural extension of our film curatorial activities. Our aim is to develop a slate of films that represents some of the freshest and most distinctive titles from around the world – a curated library of films with a particular focus on outstanding up-and-coming filmmakers.

 

“We’re delighted to present Aditya Assarat’s second feature, HI-SO as our first title – a film that is reminiscent of François Truffaut’s classic, DAY FOR NIGHT, hence it seemed a natural choice to launch our distribution activities with this beautifully atmospheric film.”

 

HI-SO is released in the UK on 1 March 2013. THURSDAY TILL SUNDAY is released in the UK on 5 April 2013.

Top Tips on Independent Film Making from Ollie Kepler’s Expanding Purple World

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5 top tips for shooting an independent film

 

Arnold Maude, Associate Producer on Ollie Kepler’s Expanding Purple World, shares his light-hearted tips to ensure you keep your sanity and things run smoothly when shooting an independent production:

1.       Cleanliness is next to Godliness: Have enough clean clothes for the duration of the shoot. You may think you can recycle but depending on the conditions of the shoot this could be an unpopular choice with the rest of the crew!

 

2.       Location, location, location: When scouting for locations consider transport and parking. If you’re filming in the capital Film London can help but if you’re going off the beaten track you may find yourself stuck feeding meters.

 

3.       Hello? Is anyone home? You don’t want to turn up on the first day of filming and find yourself unable to access your location – especially not with crew waiting and your actors due to appear. Make sure you not only have the phone number of the key-holder but also his flatmate’s number and that of a handy neighbour. Just in case. Is this paranoia or experience?

 

4.       You’ve got mail: As you begin preproduction you will receive an ever-increasing deluge of emails which will pile up like a tanker load of poured concrete. Start organising your email folders now when it’s quiet because when things get going it’ll be like feeding a troop of monkeys all screaming for your attention.

 

5.       Friends with benefits: Don’t cast your friends, at least not in a main role (unless you’re friends with Hugh Grant or similar in which case my advice to them is not to act in your film). This is about credibility, casting your mate is a good way to lose any you may have. Casting actors who may not necessarily be famous but of whom the industry is aware makes you a more credible proposition.

 

Ollie Kepler’s Expanding Purple World is screening at select cinemas across the country from Monday 18th Feb – Thursday 21st Feb, the independent production by Fruitcake Films is unlike most artistic representations of mental illness.  www.olliekepler.com

 

And because we are feeling generous….5 (more) top tips for shooting an independent film

 

There are a range of legal barriers and production problems you might encounter when working on an independent film project. Arnold Maude, Associate Producer on Ollie Kepler’s Expanding Purple World, shares his top five tips to avoid the most costly errors:

 

1.       Digital Production: Learn as much as you can about the technical side of production. As digital production becomes ever more dominant if you don’t know the lay of the land you are going to get lost in the binary jungle. Get a guide if you can. You don’t need to remember the specifics but an understanding of the issues and processes involved will be invaluable.

 

2.       Credibility: Credibility is one of the most useful things to have when putting together a film. If you can afford it, one of the easiest ways of establishing credibility is to join the Producers Alliance for Cinema and Television (PACT). PACT membership signals you are guaranteeing a level of professionalism as you must meet certain minimum production standard. Membership will establish your production as a serious one.

 

3.       Soundtrack: If you have heard a song on the radio you can’t afford it – even if the band says you can use the song, they won’t own the rights. You need two sets of rights – the Synch rights and the Master Use license. This is where unsigned bands shine. They can be very generous and are often just happy that you want to use their music. Pay them something; even if it’s only a token.

 

4.       Cameras: I’ve seen people agonise over what camera they should use before they had even written the script! There’s not much point in trying to figure this out in advance of preproduction as you will eventually discuss it with your Director of Photography. Technology moves on at such a pace it’s pretty nigh impossible to predict what the situation will be in a years time. By the time you get into preproduction an entire new generation of digital equipment could be available.

 

5.       Script Clearance: If you want to sell your film in the US you will need to have the script cleared by a specialist agency and then have a lawyer look over the report. The US is an incredibly litigious nation and if, for example, you accidentally use the name of an existing business then you open yourself up to a possible lawsuit. For protection against legal action you’ll need script clearance in order to obtain Errors and Omissions insurance.

Tuppence Middleton interview for Black Mirror

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You’re in the new series of Black Mirror and you’re in an episode called ‘White Bear’ which is shrouded in secrecy. What can you reveal about it?

It mainly focuses on a young woman who wakes and she doesn’t remember who she is, in a world that she doesn’t recognise anymore. Everyone she meets is either incredibly hostile towards her, or they just film her. My character bumps into her helps her. I’ve been living in this world and I’m very used to it, and I become her guide.

 

Your character is called Jem. What’s her story, what do you know about her?

In the story you know that she’s become hardened by this world and she knows the ins and outs of. She is very independent and initially would rather travel on her own, but she just happens to come by Victoria and is forced to take her under her wing. Her main goal is to stay alive. When we were talking about the character we almost wanted her to come across as a bit like a computer game character, like a bit of a Tank Girl – she’s very tough.

 

Presumably there’s not an awful lot of back story or detail about her. Does that make it difficult to play a role like that? Or does it give you a blank canvas which is quite fun to fill out?

Yeah I liked the fact she was quite mysterious, she doesn’t give away too much. She gives away enough about the world for Victoria to understand but she doesn’t give away too much about herself and I think she’s quite a guarded and lone figure. I think the more mysterious she is to Victoria the better.

 

Lenora Crichlow [who plays Victoria] said the shoot was pretty intense in terms of it being very long days and not quite knowing what was going to be around the next corner. Did you find that as well?

Yes I mean it was kind of tough in a great way. I don’t think I’ve ever run so much in my life. I was doing ADR [voiceover work] for it today and it was, I’d say, 90% doing breaths for running. We were very active and it’s kind of fun doing things like that because I’m not like that at all – I hate even going to the gym, so being an active action girl is quite fun for me. I mean it was tough, it was long days and we were filming mostly outside for two weeks and almost every day it would pour down with rain. We were usually quite cold and wet and running for hours but it was quite fun.

 

Presumably with the plot being what it is, it quite added to the atmosphere it being rainy and dark?

Yes it really helped. I’ve just watched a little bit of it back and there’s that really weird sky when it’s like winter and it’s raining and it’s so cold, it’s almost like a completely white-grey sky. It really looks like the end of the world has come.

 

What was it that attracted you to the part?

A million things. I am a huge fan of Charlie Brooker and I thought the last series of Black Mirror was one of the best things I’d seen on TV for ages. As soon as the audition came up I was like ‘oh god I have to get that.’ I just love Black Mirror, and Carl the director. I was just really confident he could do a good job and he seemed to have a really good vision. And like I said it’s a part totally unlike myself, apart from being tall, which I think is why I mostly get cast as these sort of parts, I’m not at all like that. I’m not this kind of action girl. It was something really different for me.

 

When you’re going up for an audition like that, something that you really want to get, does that make you a lot more nervous, and how do you deal with that?

Yeah it makes you more nervous, but then you turn that into determination. You can’t let it get the better of you. Ultimately when you’ve got something you really want, it’s more about showing how passionate you really are about it and when you get to actually meet the director and meet the producers and stuff and talk about the role and talk about the script then it’s great because you can input your ideas in the initial audition. So you get carried away with how enthusiastic you are about it as opposed to how nervous, and you come back and think ‘I have no idea how that just went’. I’m terrible at judging it, and then you get the call and it’s amazing, so I was really pleased, it’s a brilliant job.

 

In your relatively short career so far you’ve worked with some amazing names – just picking a few David Tenant, James McAvoy, Emma Thompson, Timothy Spall, Danny Boyle, Sean Bean. How have you managed to squeeze that all in into such a short time?

I have no idea, to be honest, because when I first started, there would often be periods where I wasn’t working for a few months. I think the gaps just gradually get smaller and the roles you do become bigger, either in the sense that you’re taking more of the lead role or it’s a small role in a more prominent thing, a kind of step up in terms of who you’re working with. The more people I work with like that the more I learn from them. Emma Thompson, I was working with her for a day or two, but you learn so much even in that short amount of time. It’s great, I mean it’s kind of strange because you think about all those names after you’ve done it but when you’re doing it, they’re just people who are also doing a job. You just have to think like that and, yes, it’s such an amazing learning opportunity and I think I’ve been lucky to work at all since I left drama school because so many people don’t. I am thankful that it’s been with some amazing talent.

 

There’s been a huge variety in your work – you’ve done everything from comedy to horror to more arthouse stuff. Is that an intentional thing to keep moving genres, to stretch yourself like that?

Yes completely. I mean I’ve been sort of lucky with the genres actually but I guess it’s more for me about finding parts that interest me and scripts that interest me. I think I always want to do something different to the thing I’ve just done and I always want to play a part different to one I’ve played before. It’s just about finding variety and I get an instinct very quickly about a script whether I like it or not. Over the four-and-a-half years I’ve been working, although it’s not long, I think you start to build up your own taste. I think it’s just constantly about keeping me on my toes and having a challenge rather than playing something which is second nature to me.

 

Who are the people working in your industry who you most admire?

That’s such a hard question. I was really lucky working with Danny Boyle because he was definitely on the list. There are definitely lots of directors I’d love to work with, I mean in a crazy world I’d love to work with Tarantino. Obviously there’s too many actors to mention that I’d want to work with but I think you really get drawn towards certain directors as well and I say there’s definitely certain directors I’d want to work with. David Fincher I think is great, David Lynch.

 

Most people when they leave drama school maybe do an apprenticeship in theatre but you’ve slightly bypassed that. Do you want to do theatre as well?

Funnily enough I’m starting to rehearse for a play on Monday. It’s just a short run – it’s on throughout March at the Jermyn Street Theatre, a Graham Greene. You spend most of the time at drama school training for theatre and then I just happened to come out and do film and TV because my first job was a film and it paved the way for the rest of my work. I absolutely can’t wait for rehearsals to start for the play. I think it is going to be a really different discipline and a different experience for me. Yes I’d definitely like to do more of it but I think you tend to get more work in one area and maybe that will change in a few years’ time when I’m a bit older. At the moment I’m happy with the way it’s going and I’m looking forward to trying my hand at a play.

 

What ambitions do you have left? What do you really want to do with your career?

I guess primarily it’s always about making work that I like, being in films from scripts that I love and not compromising on that, and just to make it into a career and not working for three years and then I stop working. I want to be working into my eighties. If I live that long!

 

Black Mirror: Whiter Bear is on Channel 4 at 10pm on Monday 18th February. Interview thanks to Channel 4.

Hitchcock Film Review

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‘The Master Of Suspense’, Alfred Hitchcock, hangs over cinema like an all seeing spectre. His work and technical flourishes are so viscerally imprinted on cultural psyche that even someone who has never seen one of his films would still recognise his touch at a glance. Any biopic of such a looming figure (both metaphorical and literal) has huge boots to fill and it’s a task that Sacha Gervasi of Anvil! The Story Of Anvil fame has attempted with a dramatization of behind the scenes of  one of The Master’s most celebrated works.

 

1960: Worried that age is catching up with him and his talent slipping away, Alfred Hitchcock (Anthony Hopkins) boldly settles on the controversial pulp novel Psycho as his next project. It’s lurid subject matter sees him meet refusal from Paramount Picture executives so he takes the unorthodox move to finance the film himself putting at risk his reputation and house together with his wife and longtime collaborator Alma Reville (Helen Mirren). The drama follows them and their efforts to make the picture whilst confronting their own marital stresses.

 

Whilst it may be unfair to immediately compare Hitchcock with another film of similar subject matter, it cannot help but be cursed to have been released in the wake of television movie The Girl starring Toby Jones as the titular director. Whilst not without its flaws, that film presented a darker, more complex view of the man in regards to his supposed infatuation and harassment of Tippi Hedren whilst making the follow up to Psycho, The Birds. Whether or not you agree with the account, it added  layers of credible complexion to a figure whose dry comedic wit and physical appearance dominate public perception of him. Here Anthony Hopkins dons the fat suit and the make up and makes a good stab at the hangdog expression and the constantly  bemused vocal tones. However whilst Hopkins provides the surface for Hitch, what’s beneath amounts to little more than a running checklist of all the well known tics and traits. He liked his food and drink, had the fondness for blondes, was something of a bully on set and so forth. This unfortunately leans more towards mimicry than performance. The supporting cast fare little better. Whilst you can argue that psychical likelihood is not the cornerstone of a biopic performance, neither Scarlett Johansson and Jessica Biel convince as Janet Leigh and Vera Miles respectively. James D’Arcy is surprisingly uncanny as Anthony Perkins yet is given very little to do whilst fine character actors Michael Stuhlbarg and Kurtwood Smith are given practically walk on roles.

 

Of all the principal performances Helen Mirren as Alma easily steals the show. Nobody quite corners the market as strong willed supporting roles quite like she does and she provides Hitchcock with a passionate line that it needs badly. The marriage interludes hinting at Alma’s resentment of her husband’s success and lack of her own adulation do drift towards soap opera material yet Mirren turns it around and manages to convey a fiery will that sees her husband and his projects through. Another intriguing, if brief performance comes from Michael Wincott as Ed Gein, the serial killer whose bizarre and horrific crimes influenced the novel of Psycho (they also served to be the inspiration for another landmark American horror title; The Texas Chain Saw Massacre). Hitchcock imagines Gein in a number of scenarios, taunting him with references to the darker, sadistic sides of the director’s personality. The darkly amusing opening shot of the film sees Gein beating his brother to death with a shovel only for the camera to pan and reveal Hitch who breaks the fourth wall in his Alfred Hitchcock Presents persona. Eye catching as these scenes are they mark a conflict of tone of the film. We get hints of Hitchcock’s psychological impulses and dark desires yet Gervasi never acts on them or brings them fully to the fore. Rather the more potentially questionable sides of his personality are cast aside in favour of playful admiration and constant name dropping of stars and films of the period. It tries to be edgy yet comes off as surprisingly toothless.

 

All in all Hitchcock feels like its treading water when a terrific, meaty subject matter lies just  beneath it. Hopkins and Mirren do their best but the playful idolization becomes too much of a distraction. You could argue that the movie would more benefit those who are unfamiliar with Psycho and Hitchcock. That may be true but then why would you watch this over Psycho or any of the great man’s work?

The Best Television Shows On Right Now

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We live in a golden age of television. Film and Television used to be completely separate, but now Martin Scorsese is producing Boardwalk Empire and movie stars frequent TV. The quality just keeps getting higher. Frost did a survey of our readers for the top television shows on right now, and here they are.

Breaking Bad

Breaking Bad is crack in television form, and aptly so as it is about a chemistry teacher who starts to sell meth after being diagnosed with lung cancer. It is by far one of the best things on television. I have never met someone who had a bad word to say about it.

Homeland

Like most people I was addicted to Homeland and I am already excited about the new series. Homelands big advantage is the chemistry between the characters. Brody, played by Damien Lewis, was supposed to be killed off in the first season but the chemistry between Lewis and Claire Danes’s Carrie was too good and he was kept on.

The Good Wife

One of the finest legal dramas. Julianna Margulies is brilliant as Alicia Florrick. The Good Wife is now in it’s fourth season and still going strong.

Game of Thrones

Game of Thrones is exciting and original. It is also not scared to kill of it’s lead characters. It is brilliant television and I am not just saying that because some of my friends are in it.

Boardwalk Empire

Boardwalk Empire is set in Atlantic City, New Jersey during the Prohibition era. It stars Steve Buscemi as Nucky Thompson and Kelly MacDonald as Margaret Schroeder. It is produced by Martin Scorsese and you can tell. Every scene is beautiful and the costumes are great. Has a great mixture of real and fake characters.

Dexter

The show about a serial killer who only kills other serial killers is genius. The next season will be the eighth and possibly last. All of the characters are amazing. Michael C Hall as Dexter is brilliant, and real life ex-wife Jennifer Carpenter plays his sister, Debbie. Who is possibly one of my favourite characters on television.


Covert Affair

Season Three of Covert Affairs was my favourite yet. Piper Perabo plays the CIA operative who falls in love easily. Season three had you on the edge of your seat. A show that has come into it’s own.

Revenge

Trashy TV at it’s best. It is like Dallas, but with a grudge.

Whitney

Hilarious comedy from comedian Whitney Cummings. It may not be well known in the United Kingdom but it deserves a wide audience for its cracking scripts that leave you laughing so much it hurts.

The Killing

I have to admit I have not seen this yet but promised to put it in as everyone else I know loves it, and is jealous that I have never seen it and have it to look forward to.

Suits

Brilliant legal drama now in its second season. On the run from a drug deal gone bad, Mike Ross, a brilliant college-dropout, finds himself a job working with Harvey Specter, one of New York City’s best lawyers. The relationship between Mike and Harvey is brilliant and, like The Good Wife, it has a strong female lead as one of the partners in the law firm.

The Big Bang Theory

The show is now the most watched show. It is funny and smart and the characters of the awkward physicists are likeable, lovable and rich in depth. Endlessly watchable.

How I Met Your Mother

Getting ready for its ninth and final season, where we will finally find out who the mother is. It is both popular and a cult classic. Ted searches for the woman of his dreams in New York City with the help of his four best friends. The cast of Josh Radnor, Jason Segel, Cobie Smulders and Neil Patrick Harris are all brilliant.

True Blood

Sexy, naughty, violent. In a world where vampires have “come out of the coffin”, Sookie Stackhouse, a telepathic waitress, discovers a new world of different creatures when she meets Bill Compton, a vampire.

Mad Men

A drama about one of New York’s most prestigious ad agencies at the beginning of the 1960s, focusing on one of the firm’s most mysterious but extremely talented ad executives, Donald Draper. This show is a big hit and the costumes have sparked a thousand fashion trends.

Sherlock

A modern update finds the famous detective and his doctor partner solving crime in 21st century London.
Benedict Cumberbatch is brilliant as Sherlock. The last episode of the last season was endlessly debated.

Downton Abbey

Beginning in the years leading up to World War I, the drama centers on the Crawley family and their servants. This was a runaway success on both sides of the Atlantic, making huge stars of all of the cast.


Don’t Trust the B—- in Apartment 23

Chloe is a New York party girl with the morals of a pirate who bullies and causes trouble for her naive small town roommate June. Krysten Ritter and Dreama Walker are brilliant and James Van Der Beek sends himself up beautifully.


New Girl

After a bad break-up, Jess, an offbeat young woman, moves into an apartment loft with three single men. Zooey Deschanel is deserving of her own show.


Suburgatory

A teenage girl moves from the city to the suburbs. Jane Levy is brilliant and sarcastic, the script is amazing. Witty and brilliant.

Agree or disagree? Comment below.

Django Unchained | Film Review

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Quentin Tarantino is a filmmaker whose name and ego seems to precede his films by quite a substantial degree. Since bursting onto the independent scene with the fantastic Reservoir Dogs in the early 1990’s his reputation and title as a ‘saviour’ of contemporary American cinema has grown rapidly, winning an astonishingly loyal fan base and even coining its own phrase; ‘Tarantinoesque’ which commonly refers to the trademark motormouth and foul mouthed dialogue that he revels in. Yet for the admiration that has been heaped upon him, Tarantino has found himself under growing accusations of plagiarism, violence for violence’s sake and the inability to rein in his work, spiralling off in all directions and drawing out what are essentially ‘B-Movies’ into epic lengths. His latest, his long planned Western, is arguably guilty of all of these and yet is handled with such bravura and panache that when all is said and done there is no denying that whether for better or worse, you are at the mercy of a force of nature behind the camera.

 

Shortly before the outbreak of the American civil war, Django (Jamie Foxx) is freed from a chain gang by Dr. King Schultz (Christoph Waltz), a dentist turned bounty hunter who needs Django to identify a gang of outlaws he is hunting down. Quickly realising that Django has talent for the trade, Schultz forms an alliance to give him his freedom and rescue his wife Broomhilda (Kerry Washington) from the plantation she has been sold to. It is a journey that will take them across a surreal and profane landscape and ultimately to the doorstep of the extravagant and sadistic slave trader Calvin Candie (Leonardo DiCaprio) and his unnervingly loyal servant Steven (Samuel L. Jackson).

 

Tarantino has made no secret of his love of the Western genre (though he has referred to this new work as a ‘Southern’). Motifs and visual allusions to the classic Spaghetti westerns of the 60’s and 70’s adorn his previous films along with the now typically anachronistic use of music from Ennio Morricone to present day rap tracks and  everything in between. Django Unchained feels more like a sponge for pop culture than just a straight homage. That it works as well as it does is a testament to how horribly addictive Tarantino’s aesthetic is at its best. Profane soliloquies trip off the tongue, cameras swoop and crash zoom with grace and claret soaks the surroundings to a hysterically overemphasised effect. There is a killer in joke in which Franco Nero, the Italian superstar famed for playing the titular Django in a series of Italian westerns, meets his American namesake. The films setting, both historical and social, has brought controversy for Tarantino’s supposed fixation with racial epithets but the swerve and swagger on display as well as the overall theme of retribution puts aside accusations of racism on his part. As he did with Inglorious Basterds Tarantino has taken an idea (or at least a cinematic idea) of history that is emblazoned on our minds and has taken a switchblade to it and crafted a piece of postmodern beauty out of it (if beauty is the word you can use). He does this more effectively than he did in Basterds and in similar vein Kill Bill Vol.2 where he was indeed guilty of spinning off into a fan boy tangent and making the parts more than their sum. Whilst I do think the third act of Django could be tightened somewhat, it never becomes dull or trying. Long dialogue driven scenes, notably one set around a dinner table late on, throb with tension and a knowing wit. The payoffs are exceptionally enjoyable. It’s not just verbally that Tarantino excels; a jaw droppingly violent shootout stands next to the House Of Blue Leaves showdown in Kill Bill as proof he should be considered an action director of note.

 

Django Unchained also serves as a reminder for Tarantino’s other exceptional trademark; his ability to elicit magnificent performances from his ensembles. After the accolades he received for Inglorious Basterds it is no surprise to see Christoph Waltz reunite with the director and a joy it is to. He would seem to have been put onto this Earth for Tarantino’s words to have the pleasure of his delivery. His Schultz is savvy, charming, deadly, is smarter than everyone in the room and knows it. There is a line comically alluding to Schultz’s English being a second language. Whichever language which he delivers in (English, German or French) he remains masterful. Leonardo DiCaprio is clearly having a ball flitting effortlessly back and forth between comically debonair and psychopathic rage. Watch out for the scene where he loses his temper and smashes a glass with his hand. The result is not faked. Having spent many years playing the incredibly straight faced and dramatic lead, he proves a perfect foil for a more extravagant and comedic turn. Here’s hoping he plays to the advantage. Brilliant as these two are the films is very nearly stolen by Samuel L. Jackson as house servant Steven. The Uncle Tom from hell, balding, limping and in a constant state of bewilderment/silent rage Jackson relishes the ultimate in reverse stereotyping. It’s a role that if misjudged could have come across as extremely uncomfortable. Under his performance, it’s a scary and hysterical joy. Another larger than life performance could tip things too far over the edge yet Jamie Foxx wisely decides to play down any caricatures. His Django is a man of few words and big actions and when there are words they come like daggers. It’s a performance of quiet electricity.

 

Django Unchained is not perfect by any stretch. Part of me still would very much like to see Tarantino whittle down a project to under two hours and some of his choices of direction still raise an eyebrow. He casts himself in a cameo role with a bizarre and quite frankly terrible Australian accent that proves he should genuinely stay behind the camera than venture in front of it. Minor faults aside this is something of a comeback for Tarantino, ironic that he is considered the master of comebacks for actors. His devotees would argue he never went away but this is definitely in the upper tier and reminds you of his best. It’s like a shot of tequila; it burns the throat but the aftertaste is terrific.

 

Flight Film Review

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You may think that Flight is an air disaster movie, but you would be wrong. It is a film about addiction and consequence, but do not let that put you off. This dazzling and adult film from Robert Zemeckis is a punchy, entertaining and thrilling look into the life of Whip Whitaker, a pilot who is introduced to us in the opening scene in a hotel room with empty bottles, cigarette butts, a naked women and cocaine. The cocaine he then snorts because he is working that day and has to go and fly a plane.

The role of Whit Whitaker is played by Denzel Washington, and, boy, does he go for it. Washington really is one of the best actors that we have. He is just excellence personified. As the pilot that can fly better when high and drunk than other pilots can do sober, his charisma makes you like him, even when he is pressing his self destruct button over and over again. His character’s arrogance is beautifully played by Washington, ‘Nobody could’ve landed that plane like I did.’ An investigation is launched into the crash and the people surrounding Whit are trying to get him off, but is he?

John Goodman’s drug dealer is always underscored on entrance to a Rolling Stones tracks and the supporting cast are all first class. Kelly Reilly is also very good as a drug addict who Washington tries to save.

I loved this film. An entertaining, adult look into addiction and people trying to connect with each other. Go see.

Suits Season Two Preview

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Suits was a legal drama that lived up to the hype when it premiered last year. The tale of two lawyers, one experienced and one a drop out who blags his way into a firm that only takes Harvard graduates, was entertaining and smart. So there is no surprise that Suits is back for season two.

The Suits series 2 premiere (from Thursday 24th January, 9pm ) is a strong start into the new season.

Spoiler Alert.

Jessica finds out that Mike did not go to Harvard and lied to get into the firm. She tells Harvey to fire him but he can’t. Will his job be saved?

Elsewhere in the episode a women who has had her book idea stolen goes up against Mike, who decided to help her.

Their is a great relationship between Harvey and his secretary, Donna.

Rachel drunk dialed Mike after they kissed but he did not get the message because it was deleted. As Rachel tells Donna, it was a ‘kiss good enough to drunk dial’. Will they get together?

Some top quotes from the episode:

Are you mad at me? Good. If you are mad it means you are not panicking.

We are at a funeral and you are quoting Highlander? Yeah, a lot of people die in it. It seemed appropriate.

Brilliant college drop-out, Mike Ross (Patrick J. Adams) continues to live a lie in the highly-anticipated second series of the excellent legal drama. Guided by his cocky and confident boss, Harvey Specter (Gabriel Macht), Mike continues to fool those around him that he is a fully-qualified lawyer.

Suits is still on form. Great entertainment.

Jessica knows about Mike. She lets Harvey know that she knows too and puts pressure on Harvey to get rid of him before he hurts the company. While Harvey must decide whether or not to keep Mike on staff, the firm’s co-founder, Daniel Hardman (recurring guest star, David Costabile) returns after a prolonged absence following the death of his wife. Despite claiming to be a changed man, it is clear there is no love lost between Daniel and Jessica and Harvey must choose sides.