A list of the new films being released across the UK, from Friday 4 March 2016. Use the Find Any Film website for details of which cinema nearest to you will show these movies.
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Author Nicholas Sparks’ (The Notebook, The Best Of Me, et al) chronicling of young love continues with this adaptation of his novel about a young couple who fall in love until the girl’s involvement in a car accident upends their lives. See the official website for more; this will be showing all over the UK.
The big release of the week is the Cohen brothers’ latest comedy about the kidnapping for ransom of a major Hollywood star (George Clooney) who is bumbling his way through a big budget, ancient Rome epic. Josh Brolin plays real-life producer Eddie Mannix, Scarlett Johansson is an Esther Wlliams style actress and Tilda Swinton is the gloriously named gossip columnist Thessaly Thacker. See the official website for the trailer and details; it will be playing all over the UK.
The Walking Dead‘s Sarah Wayne Callies stars in this horror. A tragic accident takes the life of a family’s young son. The inconsolable mother learns of an ancient ritual that will bring him back to say a final goodbye. She travels to an ancient temple, where a door serves as a mysterious portal between two worlds. But when she disobeys a sacred warning to never open that door, she upsets the balance between life and death. See the Fox webpage for more. The film will be showing across the UK, but use Find Any Film for your nearest cinema.
We rather liked this documentary about French New Wave director Francois Truffaut’s interviews with (and subsequent book about) the film director Alfred Hitchcock. Read our review above for more, but the film is now out on general release, showing at these key cities.
Journalism is currently the hot topic in cinemas, the release of this film coming hot on the heels of Spotlight winning Best Film at the recent Oscars. This movie follows a scoop about a US President who is alleged to have shirked his war duties. But, in the cold light of media analysis, does the evidence stand up to scrutiny? Robert Redford and Cate Blanchett star. It will have a wide release, so check Find Any Film for your nearest participating movie venue. The official website has the lowdown.
In the heat of the summer in a lonesome house in the countryside, nine year old twin brothers await their mother’s return. When she comes home, bandaged after cosmetic surgery, nothing is like before and the children start to doubt whether this woman is actually who she says she is. Showing at key cities only, check out the trailer to see if this one for you.
Richard Gere plays a man who finds himself suddenly living on the streets. He befriends a season veteran of homelessness and begins to repair his relationship with his estranged daughter. Showing at key cities only, check out Cold Iron’s webpage for the trailer.
And on Thursday 10 March…
The sci-fi series continues, Beatrice and Tobias venture into the world outside of the fence and are taken into protective custody by a mysterious agency known as the Bureau of Genetic Welfare. Theo James and Shailene Woodley co-star. See the official website for more, this will be showing at just about every cinema in the UK.
A list of the top 5 films being screened on UK TV channels during the 2015 Christmas and New Year period, in order of when they are being screened.
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Maysa Moncao’s film review of the documentary about the creation of the seminal biography of film director Alfred Hitchcock, authored by fellow director Francois Truffaut, via the Toronto International Film Festival.
If you desire to be more than an ordinary film-goer, you should spend some of your time reading ’Hitchcock/Truffaut’.
Director: Alfred Hitchcock. Woolf & Freedman/Selznick.
Cast and Crew
Producers: Michael Balcon/Victor Saville.
Writers: Michael Morton, Alfred Hitchcock.
Camera: Claude L. McDonald.
Sets: Alfred Hitchcock.
Betty Compson, Clive Brook, A.B. Imeson, Daisy Campbell, Henry Victor.
A tale of two polar opposite twin sisters, Georgina and Nancy (Compson) – one craves the party life in Paris, the other is a good girl with a ‘soul’ (the shadow of the film’s title). Mixed in with this is a gentlemanly American (Brook) who ends up romancing both following a joke played by one of the girls.
One of the ‘Hitchcock five’, a number of previously lost or rarely seen movies made in the silent era by the director Alfred Hitchcock because the copy of the film had degraded to such a degree they were deemed unwatchable. The films were released in 2013 by the BFI to much fanfare following the committed efforts of film restorers.
The White Shadow is not one of the better films and this isn’t just because a third of the film is lost forever. Co-producer Balcon said in 1969 that the film was rushed into at the time as they were desperate to retain Compson, a popular actress at this time in Britain and then later in Hollywood, as a leading lady (she had just helmed their hit Woman to Woman) before she returned to the states.
Big mistake as this film tanked at the box office and the results show with a thin and frustratingly dull plot. Think of one of the most boring story-lines in Downton Abbey without the words. It doesn’t help that a segment of the film is missing entirely leading to a shocking jump in the story where several characters have either died or changed beyond recognition; the script was obviously silly but this is compounded further at this point.
Amongst the amusing silent movie period discrepancies are the tourists who change their travel plans so they can hook up with a total stranger on a boat and the sensitively worded police communications (which thankfully have improved since 1924) on missing person letters, explaining to frantic loved ones that “thousands go missing and are never seen again”.
The restorers are to be praised whole heartedly for their own masterful cinematic wizardry. International teams must have been run ragged cleaning and re-framing this little batch and richly deserve the plaudits heaped on them. Although there a few brief moments during the film when the original film stock’s disintegration was too much to overcome, it never detracts from watching the film and reminds us again of the quality work that has gone in here.
Director: Alfred Hitchcock. British International Pictures (BIP)
Producer: John Maxwell. Writers: Alfred Hitchcock, Eliot Stannard. Camera: John J. Cox. Music: Mira Calix (2012 reissue). Sets: Wilf Arnold.
Betty Balfour, Jean Bradin, Ferdinand van Alten, Gordon Harker.
Spoiled heiress Balfour defies her father by running off to marry her handsome but poor lover (Bradin). But Daddy (Harker) has a few tricks up his sleeve to show his daughter who is in control.
Hitch’s effervescent silent comedy stars the irrepressible and mostly adorable Balfour (so called the British Mary Pickford, though here she’s far gamier and raucous than eternal child of the screen Pickford ever was) and is as delightful as the bubbles up your nose that champagne itself can bring.
Hitch was never the master of comedy, but when he attempted one they were clever and efficiently produced. Champagne is an of-it’s-time frothy confection on the surface, but underneath runs a vein of cutting social observation. Hitch’s sly swipes at the frivolously hedonistic ‘It’ girls of the day have more than just a whiff of mendacious commentary. Perhaps this explains the ‘fun’ that comes from the storyline as Balfour is hoodwinked by all around her, veritable torture for such a flibbertigibbet.
His attention would always be on the visuals and there is an awesome opening shot, as a champagne bottle’s cork and contents explode over the camera, cutting directly to the point of view of a club reveller downing a glass of bubbly, the dancers in front of him magnified through the side of the glass. There is an ingenious trick shot later, aboard a rocking ocean liner, the crew lurching to and fro in perfect unison. Later, Balfour appears to whizz in and out of Bradin’s view as he succumbs to sea sickness.
Balfour has buckets of charm as the original 24 hour party girl. Bradin is good looking but otherwise vacuous as the socialist minded boyfriend whom she adores.
This reissue, from the British Film Institute, features an intriguing, other-worldly score from Calix, who herself described her music as “psychedelic”. Audiences will certainly agree; it may take a little getting used to. It’s interesting to note how a different score can totally change the meaning and appreciation of a silent film. Calix makes eerie use of violins during the opening, as shrill and nerve jolting as those Bernard Hermann would utilise in Hitch’s Psycho (1960). It is a slightly epileptic modern jazz, almost discordant but never displeasing, like a pleasant hangover. The original vocals, by the Juice vocal ensemble, are almost a sibilant wail and veer from Madonna’s ‘Papa Don’t Preach’ to Pink’s ‘Get the Party Started’, suitably complementing the kooky acoustics.
A tasty and satisfying vintage that has been made glorious for modern eyes and ears.
It’s Hitchcock, Hitchcock, Hitchcock – the director’s silent comedy Champagne, restored by the BFI is to be streamed live this Thursday at 7:30. You can watch it here.