arte.tv

Fancy watching something cultural for the weekend? Take a look at the brand new English-subtitled free on demand offer by Arte!

Arte - the Franco-German channel of culture and leading European producer of quality documentaries, news and info magazines, short films, drama, music TV and more launched last week (17^th Nov 2015) a brand new online TV offer with English and Spanish subtitled programmes available to anyone with an internet connection in the UK and worldwide at www.arte.tv/en and www.arte.tv/es. Take a look at our pick of the week below;

Paris-Berlin: Destinies Intertwined - four part mini-series (click on titles to watch)

The capital cities of France and Germany have developed throughout three tumultuous centuries of history; a fruitful rivalry between two fascinating cities. The series narrates, in four episodes, the evolution of the two capitals: a fascinating duel that results in two opposing models, neither possible without the other. Admiring or critical, an example or a contrast, neither city can ever be indifferent to the other.

Produced by Frédéric Wilner, the series offers a stunning bird's eye view of the two cities whilst offering a detailed look at their entangled roots. Since the 1700s, five wars have been fought between Paris and Berlin. Each defeat has only increased each side's hunger to overcome the opponent. The competition has proven to be a driving force for innovation and creativity on both sides, catalysing the development of new cityscapes.

Political and social events have left their mark on architecture and urbanism. This ambitious series charts that history through the stories of these two unique cities.

Episode One: Brothers and Foes - In 1650, París had 350,000 inhabitants, and Berlín barely 15,000. This first episode is the story of a fascination: the fascination that drives a small city called Berlin to look towards the prestigious city of Paris for inspiration.

Episode Two: The Race to Modernity - In 1806, Napoleon's troops enter Berlin. The French occupation increases Prussian nationalism, but also causes a dramatic modernisation of the kingdom and its capital. By 1870, Berlin is nipping at Paris' heels - but following a very different urban model.

Episode Three: Face to Face - France suffers a terrible humiliation in the Hall of Mirrors in Versailles; the conqueror is now the conquered. This third episode recounts the transformation of Berlin, now an imperial capital, while Paris gradually revives the notoriety of yesteryear…

Episode Four: The Shock - After World War One, Paris was able to rise from the ashes, but Berlin continued to suffer the aftermath. The situation is soon made far worse by Hitler's madness and envy.

Further programmes to enjoy online at www.arte.tv/en

A selection of documentaries (culture, history, society, science, geopolitics, exploration and investigation): Climate Special, Paris-Berlin Destinies Intertwined, Europe of Writers

ARTE's flagship magazine shows: Tracks, Arte Reportage, Metropolis

Also featuring: Mapping the World, Square, FutureMag, Yourope, Vox Pop, Xenius, Street Philosophy, the BiTS web magazine and more.

Live recordings from shows on the ARTE Concert platform: world music, theatre, opera, pop, rock, jazz or dance.

ARTE in English and ARTE en español are available online and feature subtitled versions - in English and Spanish respectively - of a selection of 600 hours of fact-based European programmes, excluding the channel's newscasts, drama and films. This selection of programmes will encompass ARTE's flagship magazine shows, including web programmes, a large number of documentaries embodying the channel's editorial line, and live recordings of performances. An average of 11 to 12 hours of new programmes will go online each week, for 7 to 90 days.

17th Jio MAMI Mumbai Film Festival

The 17th edition of India’s biggest film festival, the 17^th Jio MAMI Mumbai Film Festival in association with the STAR India, announced its stellar program line-up which includes new programming sections, special screenings and events. Taking place from October 29th to November 5th in Mumbai, the film festival celebrates the diversity of Indian and international cinema, showcasing the latest cutting-edge independent projects, avant-garde art house films, alongside genre offerings from Bollywood and Hollywood, with a focus on international cult movies.

The festival's presenting sponsor is Reliance Jio Infocomm (RJIL) and Associate Sponsor Partner STAR India. Mrs Nita M. Ambani, Founder & Chairperson, Reliance Foundation has been announced as Co-Chair, Mumbai Academy of Moving Image (MAMI) along with Chairperson Kiran Rao. The Festival Director is renowned writer and film critic, Anupama Chopra.

Other members of the new Board of Trustees of MAMI are Filmmakers Farhan Akhtar, Zoya Akhtar, Karan Johar, Vishal Bharadwaj, Vikramaditya Motwane, Dibakar Banerjee, Actors Riteish Deshmukh and Deepika Padukone, Mr. Anand Mahindra, Chairman & MD, The Mahindra Group, Mr. Ajay Bijli, Chairman and MD, PVR Ltd, Mr. Siddharth Roy Kapur, MD, Disney and Mr. Manish Mundra, Founder and CEO, Drishyam Films. These eminent personalities, outstanding achievers in their respective fields, are bringing together their expertise and experience to give Mumbai and India a bigger, better and even more exciting 17th edition of the Jio MAMI Mumbai Film Festival.

Starting May 15^th when the call for entries was announced, the 17^th Jio MAMI Mumbai Film Festival received an unprecedented number of entries of movies this year. The selection committee, programmers and curators selected the best films and have taken a decision to screen nearly 190 films in feature/documentary/short films categories.

Speaking about the return of the festival, Kiran Rao, Chairperson, 17th Jio MAMI Mumbai Film Festival in association with Star India said: “We are thrilled to announce that Jio MAMI 2015 will present, two Excellence in Cinema awards – one to an international personality and the other to an Indian. I’m also kicked to announce that our international Excellence in Cinema award will be given to the iconic Israeli filmmaker Amos Gitai who has created landmark films and won laurels around the globe including two Palme D’Or nominations. Our Indian Excellence in Cinema award will be given to two legendary screenwriters who changed the course of Indian cinema and created several classics – they are none other than Salim Khan and Javed Akhtar. We are also introducing a special section called ‘Half Ticket’ for kids, which will have an exciting slate of children films from around the world.”

Mrs Nita Ambani, Founder and Chairperson, Reliance Foundation & Co-Chair, MAMI Board of Trustees, said, “I am honoured with the appointment and the faith that the MAMI Board of Trustees has reposed in me. I thank them for inviting me to be a part of this movement that will showcase the best of Indian and world cinema. Jio MAMI deserves to be recognized as one of the best film festivals in the world. We are convinced that Jio will have a lot to do with films, and films will have a lot to do with Jio.”

Uday Shankar, CEO, STAR India said, “Star India believes in content that inspires a billion imaginations and moves the nation forward and MAMI is all about celebrating the joy of cinema. By supporting this festival we want to do our bit to fuel imagination that we all know has the power to change the world.”

Announcing the stellar program line-up for the festival, Anupama Chopra, Festival Director, 17th Jio MAMI Mumbai Film Festival said, “We are here because of the generosity of many people.  Foremost among them is Jio and our associate sponsor – STAR India. And I also want to thank our third partner – the Government of Maharashtra. Our aim is to create a movie-soaked week in which you can see the best of Indian and international cinema. We want to foster a cultural exchange, enable conversations and shape a cinematic sensibility.”

For more information on MAMI and the upcoming 17th Jio MAMI Mumbai Film Festival scheduled to be held from 29th October- 5th November 2015, visit: www.mumbaifilmfestival.com The film screenings will take place at PVR Juhu, PVR Citi Mall, Andheri, PVR LP, Phoenix Mills, PVR Ghatkopar and Regal-Colaba. To attend, viewers can register online at http://in.bookmyshow.com/mami/ or visit registration counters at the festival venues listed above.

SUPERSTAR SALMAN KHAN GOES BACK TO HIS ROMANTIC ROOTS FOR RAJSHRI PRODUCTIONS FAMILY DRAMA PREM RATAN DHAN PAYO

Releasing this Diwali on 12 November 2015

India’s leading man Salman Khan will resume his popular mantle of romantic hero in the eagerly anticipated family drama Prem Ratan Dhan Payo, releasing internationally on 12^th November 2015 through Fox Star Studios. The film sees the coming together, after over a decade, of Salman Khan and legendary film studio Rajshri Productions, as they collaborate once again for an enchanting story of family values, love and morality.

Director Sooraj R. Barjatya pens the story and screenplay of the film featuring an esteemed cast comprising: Salman Khan, Bollywood darling Sonam Kapoor (Ranjhana, Aisha), Neil Nitin Mukesh (New York) and Anupam Kher (Hum Aapke Hain Koun, Baby, The Silver Linings Playbook), amongst others. The beautiful, melodic musical score is by popular songwriter and vocalist Himesh Reshammiya together with Sanjoy Chowdhury.

Salman Khan, who rose to prominence as Indian cinema’s favourite romantic screen icon in such Rajshri Productions mega hits as Maine Pyar Kiya, Hum Aapke Hain Koun and Hum Saath Saath Hain, will again assume the role of the ‘Prem’, a character that historically places the institution of family and familial relationships at the epicentre of his life.

Prem Ratan Dhan Payo tells the story of Prem ‘Dilwala’, a happy go lucky man who does ‘Ramleelas’ (stage plays based on Lord Rama) in Ayodhya, India. He knows all the Shlokas (Vedic songs) by heart and the purity of the scriptures resonates in all his pranks and fun. All that he earns, he donates to a charitable fund which is run by Princess Maithili. He is enchanted by the simplicity of her nature, her leading a normal life and yet being brave enough to save people in the middle of floods, and sets out to meet her. Prem Ratan Dhan Payo is about Prem’s journey to meet Princess Maithili and the purity of the bond that they share. The film represents the unconditional love that all families must have for each other.

This Diwali, Prem Ratan Dhan Payo promises a grandiose tale that sets the scene perfectly for an opulent, dreamy and spell-binding, feel-good family drama, to captivate the hearts of cinema-goers the world over.

Prem Ratan Dhan Payo releases internationally on 12^th November 2015 through Fox Star Studios.

The First Annual UK Web Festival: UK Web Fest Sunday 25th October 2015

The First Annual UK Web Festival: UK Web Fest Sunday 25th October 2015

Reviewed by Gail Spencer

Setting the scene, the first UK Web Festival showcasing the best of the series that shake and move on digital platforms, was given its theatrical outing at The Prince Charles Cinema in the heart of London's West End.  This little and much loved theatre historically has been the home of the cult, the brave and Avant Guard for the best part of a quarter century, if not longer. More recently screening all nighters of varying directors and actors of note, it is the best place to show an all day event devoted to the new and up and coming. The fest is to showcase in other cities across the UK and Northern Ireland, 69 in total.  A brave and noble - as well as potentially exhausting ambition. 

Given how difficult it is to acquire funding for features, the short, or the web series may well be the chosen format for new directors to make their mark and this was an eclectic mix chosen from all over the world.  Unusually presented by a professional compere, unheard of and hitherto not experienced in any festival attended by this writer, this cut the strands nicely into segments which made the day travel painlessly, the norm is the opposite. The series episodes were selected by those submitted, and from the point of view of the viewer, of those screened - like with any other screenings, it is important to note the talent among the submissions. The question hanging in the air is if this format and mode of delivery is going to be any the fairer or accessible to new talent than the feature presentation put across via traditional means. Download to Own and Video On Demand have been with us for some time: more appealing as ways and means to the technical - phone obsessed generation. What came across loud and clear is that this is a youth market. 

Some of the offerings however were very aware of the historic mores of genre in presenting parodies of that gone before: The Pantsless Detective (USA) using the imagery, style and language of old school noir, the delightful and very funny Big Shots Series (France) left the horror and comic genres in tatters literally with the silhouette animations of the well loved franchises tearing each other apart. More of this would be more than welcome and the best of that on offer gave rise to the notion that to move forward, web series directors and storytellers should still look back. Surprisingly, given the values and tastes of the youth market, the horror as drama was not present.

2020: The Series was a Science Fiction par excellence with a technophobic tale of Cronenbergian proportions: the future has us all wearing contact lenses with our immediate selves dealing with virtual choices in social media pointing fingers into space 'liking' and 'choosing' at random. ELBA - Napoleon's Legacy mixed the Sci-fi with the historic, unsurprisingly from Italy. Cam Girls (USA) was creepy, as was the intent in depicting the dark side of web cam based voyeurism: the internet based dating covered in the funny How to be Gay with the voyeurism here - the audience sharing the fly on the wall mockumentary. Cupid - a UK outing was a skit on the speed date, mocking the despairing and the desperate. Wannabes acutely satirised the world of the am dram student - the lead in this instance 'Felicity' displaying a richly self aware performance in depicting the poor duck acutely devoid of self awareness. 

The stand outs of the day were four pieces that had the potential, qualities and style to be taken seriously in the vein of narrative, acting, structure and pace. The Invisible Man (USA) was very self knowing in its homage to the 1950s outings of the same name. Brought into a modern context but with all the hysteria of the era from whence it came, the central and supporting characters were engaging and funny. This could hold its own as a series - though The Film Lab (Aust) works in the same way as did the incredibly wonderful season of geek depictions on testing urban myths, scientifically.  This was less of a series than a couple of teasing set pieces posing questions on film questions (such as can directors work better with a beard), comes out of the same school of thought that poses 'do men who look like Kenny Rogers make better Dads? This would be the cult item and could and should be run as cinema ads in the 'Don't' mock trailer style given to us via the cine literacy of Tarrantino for the Grindhouse Double Bill. The First Musketeer (UK/France) was an historic drama with evident thought love and care, not to mention high production values and all of the usual needs of plush historic drama were on show with a credits list that ran nearly as long as the short. The narrative was tight and dialogue delivered with an eye on period but without a hint of stilt.

The finest in terms of doing its genre service and giving a nod to the past, was 'Wallflowers.' Post Friends the plight of the singleton in the city may appear to have no further territory to cover, though the bed hopping ways, the pathos and the ineptitude of those seeking solace comes in a timely fashion to cinema goers in the wake of The Lobster a drama where we - the loner and the lonely are placed in the context of a group forced to couple. The story with Wallflowers though follows in much the same dramatic context as did the 'Dear John' series shown in the 1980s, with Ralph Bates playing the lead at a singles support group getting together at a community centre for a weekly pep talk by a deranged leader. In secret the singles couple and in doing so fail to embrace their singledom in the way the mentor dictates, the acts of wanton defiance though being more that than out of genuine love and need for it. Wallflowers was pitch perfect in showing, and doing just what is says on the tin, providing a good look at those who are not asked to dance and does so with quality, style and class. 

Of the items chosen here, the plush and satisfying First Musketeer won an award for best UK web series, Wannabes, and 2020 were chosen also, so it would appear though this is a new area for most reviewers……a new judgment criteria isn't necessarily needed.  The first UK Web Fest is a breath of fresh air, with a look towards new talent and the heart and brains to give it a needed platform.

Phantom: When Katrina Kaif wanted to fire guns!

All of us have seen Katrina Kaif mesmerizing the audience with her acting talent, stunning looks and spectacular dance moves, but now Katrina is all set to do something novel. Katrina Kaif will reportedly sport her action avatar in the upcoming film 'Phantom', as she is geared up to do some breath-taking action stunts in this flick. In Phantom' Katrina Kaif plays an ex-RAW agent on a mission along with the character of Daniyal played bySaif Ali Khan. The action sequences of Katrina in 'Phantom' will reveal a whole new story. According to the director Kabir Khan ‘Phantom' will be Katrina’s finest performance so far. There's an underwater sequence, where Katrina had to be about 40 feet below water, which was riskier than the kind of stunts she did in Ek Tha Tiger.

In another sequence of the film shot in ‘Beirut’, the duo is shown being chased by a Syrian tank. As per the script, Saif Ali Khan was supposed to fire machine gun at the chasers, while Katrina Kaif was supposed to take cover. But while shooting the scene, Katrina insisted she wanted a piece of the action. “In that scene, Saif and I are in a jeep and a Syrian army tank approaches us. Saif had to leap towards the machine gun and open fire on them. When the shot was set up, our action director had conveniently thought that the jeep's driver and Saif will be firing the guns and I will crouch and hide near the door. I explained to Sham Kaushal, the stunt director that I play an ex-RAW agent, trained adequately for combat. Then why do Saif and the army guys get a chance to shoot while I am expected to hide!” Katrina Kaif is quoted as saying by The Times of India. Katrina explained this to director Kabir Khan when he came on sets. He agreed with Katrina’s point of view and made her fire guns in the scene.

‘Phantom’ will hit theatres on August 28. So if you want to see how deadly a beauty like Katrina Kaif looks while shooting bullets, get your tickets booked in advance.

SHORT SYNOPSIS: 

Phantom is a political thriller set in the volatile climate that exists in South Asia. Constant terror attacks against India have left the Indian people feeling vulnerable and angry. The Indian government and security agencies are helpless as the masterminds of the attacks are out of reach. When an infiltrator with plans to attack India is caught, the Head of India’s security agency and his team take matters into their own hands. The film follows the protagonist Daniyal, whose journey to seek justice takes him to India, Europe, America and the volatile Middle East. Local assets in various countries help Daniyal, including Nawaz Mistry who works for an American security agency. Daniyal and Nawaz are drawn into a battle of wits with a shrewd and ruthless enemy. With the enemy hot on their heels, Daniyal and Nawaz against all odds try and finish the job they had set out to do. Along the way they find out that in a mission like this there is always a price to pay, in this case a very personal price.

VITAL STATS:

Film:                                  Phantom

Release Date:                August 28, 2015

Screen Format:             Cinemascope 

Sound:                              5.1 Dolby Digital

Runtime:                          148 mins

Language:                        Hindi 

Subtitles:                          English 

Genre:                               Political Thriller

Producer:                         Sajid Nadiadwala and Siddharth Roy Kapur

Associate Producer:     Rakesh Madhotra

Direction:                         Kabir Khan

Cast:                                 Saif Ali Khan and Katrina Kaif

Story and Screenplay:  Kabir Khan and Parveez Shaikh

Director of Photography: Aseem Mishra

Music:                               Pritam

Editor:                               Aarif Sheikh

Production Designer:   Rajat Kapoor, Sukant Panigrahi, Zeina Nawar, Paul McCulloch

Sound Design:                Debasish Mishra

Costume Designer:       Subarna Ray Chaudhuri

Brothers set for release 14 August 2015

Brothers marks power-packed partnership between Akshay Kumar & producer Karan Johar

Brace yourself for a cinematic explosion of love, fraternal rivalry and high drama as “Brothers” sets screens ablaze this 14^th August. Released by Fox Star Studios worldwide, the high-octane family drama stars international icon Akshay Kumar along with Sidharth Malhotra (Ek Villain), Jacqueline Fernandez (Kick) and Jackie Shroff (Dhoom 3) in pivotal roles.

Directed by trailblazer Karan Malhotra (Agneepath), known for extracting inspiring performances from his actors and sending his audiences on an emotional, cathartic journey, Brothers has been produced by renowned filmmaker Karan Johar, under his Dharma Productions banner, along with Lionsgate Films and Endemol India. The film’s music has been penned by duo Ajay-Atul who have delivered hit soundtracks for blockbusters such as PK, Agneepath and Singham.

Anticipation around the release of “Brothers” is mounting given the union of an esteemed cast and crew, spearheaded by Karan Johar, Karan Malhotra, Akshay Kumar and Sidharth Malhotra.

Brothers is the story of a broken family, set in the world of mixed martial arts and underground street fighting. Akshay Kumar plays the role of Sidharth Malhotra’s elder brother; both siblings are martial arts fighters locked in a fierce rivalry for victory in the ring. The gritty family drama required intense physical training and fitness aficionado Akshay Kumar left no stone unturned. Akshay, along with co-star Sidharth Malhotra, worked relentlessly on a gruelling fitness regime, both requiring highly controlled diets, prolonged martial arts training sessions and weight lifting. The actors look mean and rugged in the film’s trailer and are seen flaunting super toned physiques.

Karan Johar’s cinematic experience traditionally places the family unit and entangled relationships centre-stage. “Brothers” promises to live up to the expectation as audiences will get aboard the rollercoaster of emotions that engulf a family, brimming with tension between two warring brothers.

Synopsis:

Gary Fernandes (Jackie Shroff), a former alcoholic and street-fighter, returns home after serving a prison sentence of 10 long years to find that the wounds of the past still haunt his family. His two sons, David (Akshay Kumar) and Monty (Siddharth Malhotra), who had parted ways as kids, are grown men now, but are still bitterly estranged. Gary himself carries the burden of his guilt. His elder son, David is an ex-fighter turned school teacher.  He and his wife Jenny work hard to make ends meet and to provide the best they can for their ailing daughter Poopoo.

Troubled financial circumstances drive a desperate David to return to the world of street fighting. While, Monty struggles with his lonely complex existence. An alcoholic, he is active in the world of street fighting, but lacks focus and determination. He strongly yearns for the acceptance, love and respect of his family. As the story unfolds, we see the journey of these three men, as they seek to find redemption and healing.

Meanwhile, the arrival of ‘Right to Fight’ is announced in India — the biggest international event in mixed martial arts history. Both brothers, at the crossroads of their lives, end up enlisting to fight in this ‘Winner-takes-all’ event. And it is here after an age of estrangement, unknown to the two siblings, they finally stand to face off with each other and against their personal demons, in the ultimate final battle.

It is said, that when a deep injury is done to us, we can never recover until we forgive. With twists and turns, pouring emotions and edge-of-the-seat action, will this final battle between the two brothers repair old wounds?

Brothers releases internationally on 14^th August 2015 through Fox Star Studios India.

Masters of Sex: Season Two

Reviewed by: Gail Spencer

For those not in the know, Bill Masterson (Michael Sheen) and Virginia Johnson (Lizzy Caplan) were the sex survey pioneers who put a post war society right in terms of telling us all what we did or didn't do with our parts - by ourselves or with others. It paved the way for further surveys (such as The Kinsey Report and a lot later and considerably less in depth, The Hite Report).

The first season of the dramatisation does what all first seasons should: it contextualised the drama, introduced us to the main characters, their journeys and the socio economic wallpaper which helps or hinders the central character - the survey itself. For both the seasons this is what is encouraged to root for with all else, including the personal lives of the main characters fitting into either the timeliness of the survey, or proving that the world is not yet ready for it. Bill Masterson starts out with an impeccable record in adept and personalised fertility treatments - by the end of Season One, the filming of a climax from the POV of a cervix (still interesting to see today), is just not cutting the mustard with the bursars and fund givers at the hospital where the survey has been carried out. At the same time we have a growth in Magazines for Men, the Civil Rights Movement is cutting its teeth and we are still prescribing lobotomies for homosexuality. Skin Flicks are on the rise..

The cameos and support that we get in Season One are still with us to an extent but are less dramatically important: the personal relationship between Bill and Virginia is the feature of this season, picking up from where we were left with Bill declaring an unshakable attraction and need for his research partner.  This tends to grate after a while: we know that Virginia is a progressive, before her time woman, but the 'are they having sex out of attraction or research need?' question posed to viewer is annoying. Obviously these guys are big league in love and need each other physically and vocationally. It may well be that the acceptance of this will be drawn out over the next season.

The storylines cleverly refer to something going on in the sociological ether: Libby Masterson (Caitlin Fitzgerald) has a 'negro' nurse for her new born, who has a brother who is co-incidentally a civil rights activist who later in the season has a very progressive mixed race Days of Heaven like relationship with her. The best performances of this season are the prostitute come secretary Betty DiMello (Annaleigh Ashford) wise cracking and realistic, with a fuller account of her life and relationship with moneyed hubby.  The wonderful brain in a suit Dr Lillian DePaul  (Julianne Nicholson) grows closer to Virginia during the course of this bundle of episodes whilst her cervical cancer takes a hold. This provides one of the more appealing and stronger storylines. Disappointingly, there is hardly any reference to her campaign for compulsory smear testing which was a solid company story thread to the sex survey in the first season.

The period detail is as ever spectacular, maybe a little overdone in part: the clothes worn by the women a little too couture for the 'money too tight to mention' plotlines. The weakest link is the moral deterioration of Bill: the admiration for him wanes in this season, his decent into what appears to be alcoholism, his demons and troubles with his mother (ghost of bad Dad), his emotional and sexual impotence with Libby become boring, as does his personal failure to fully recognise the essential role of Virginia in his life and work. The need for blow jobs in alleyways is mysterious. It is nonetheless an engaging watch with sympathy felt for the characters and their goals. 

Available now on DVD

Mad Max: Fury Road

Director: George Miller 2015

Reviewed by: Gail Spencer

Back in the day, films were made from concepts and ideas, with little revenue and the popularity would justify a couple of sequels. The original Mad Max (1979 and hereafter MM)was made for $200,000, put both Ozploitation and Mel Gibson on the map (he had made a soapy soppy TV movie with Piper Laurie called 'Sam' before MM, but the post-apocalyptic outing of George Miller made him a megastar). Prior to the need for risk aversion in film making, the likes of MM were cult hits and made tons of money. Figures on The Numbers (dot) com suggest that the release of Mad Max: Fury Road will inspire a new found interest in the original three. Prior to the onset of found footage and The Blair Witch Project, MM held the record for least outlay/most receipts ratio. It spawned two sequels (the third starring a camp Tina Turner at the height of her eighties success and a top hit to go with it). This release is supposed to be an addition to the triumvirate as opposed to a (yawn) remake of a well-loved classic. 

Mad Max: Fury Road is an incomprehensible mess as a narrative with relatively little time or patience with character development or motive concerning itself mostly with pace, action and production design. A fantastical amount of machines were made for the film and it takes place in the context of a car chase and escape mission. This will appeal to the video games market and it is consciously aware of the predominantly male, young target audience who will whoop it up. 

There are continuity flaws which are gapingly sufficient to drive a manmade diesel fuelled truck through, the biggest example is the consistent and irritating switch of a semi oiled/clean face of Furiosa, played by the ever gorgeous Charlize Theron, who is rescuing five wives of the arch villain who regardless of cramped conditions, tons of dust and dirt, manages to adorn pure white clothing and flawless skin throughout the proceedings. . 

It begins with the hero Max (played by the wonderful and brilliant Tom Hardy, worthy of much better) making, or rather breaking his way out of an imposed existence, reminiscent of the production design and story premise of Apocalypto where there is a barely controlled madness overseen by an oligarchy of despots, with, in this instance, those in control depriving the citizens of water.  Max spends most of the film wearing a hideous metal face mask on the front of a car driving at a squillion miles an hour being chased by at least twenty more cars, one of which has a guitarist on top of it playing a guitar that omits fire.

The consistent  and irritating flashbacks we are given POV Max, have no context, structure or explanation, mostly in the form of a deranged child. Everyone is stark raving mad with no historical context presented of a better existence, but just the need for hope and redemption. 

The noise is the biggest star in the feature. It was/is deafening, but the effort in the machinery, the action sequencing and the driving skills impressive sufficient to be breath taking. The makeup and costumes, very impressive and the 2nd and 3rd AD's (assistant directors) will have worked very hard. It is worth seeing for the spectacle that it is, but in spite of its impressive action, it lacks the staying power of the original: all effort is made after viewing to get the noise out of the head of the viewer. 

There is a controversial pop video somewhere with the scene of a scream being blown into the face of an old lady with sufficient force to ripple the skin. Go prepared for similar treatment and effect. 

Some number crunching: Mad Max in 1979 cost $200,000, but to date has taken $99,750,000. This is a budget to takings ratio of 498/1. Mad Max: Fury Road cost $140,000,000 to make and has taken (at time of press), $229,989,536. To be the equal of its predecessor, that figure would have to grow to 69 billion, 720 million. Yeah, right. That's doable. Somehow somewhere the cult classics of now, tapping into the social mores of now are being made, or thought about. Pray that is the case. 

On general release now.

Far from The Madding Crowd

Director: John  Schlesinger: 1967

Reviewed by: Gail Spencer

There are some scenes in cinema that stay with you forever: when Gabriel Oak (Alan Bates) loses his entire flock over a cliff then shoots the sheep dog responsible, it wrenches guts. This film, rightly and in timely fashion is being rereleased as the remake (with the unremarkable and overrated Carey Mulligan) is on general, theatrical release. The actors in this film are all at their career peaks with some major acting chops collectively under belts by the time this sumptuous and beautiful treat hit the screens. Terry and Julie (Terrance Stamp and Julie Christie) both of them so attractive and alive with 1960s swinging London clout, feel a little out of place. Julie came to this drama, with Darling another JS feature as comparison. 

It is adapted from the novel by Thomas Hardy, and brings to life the nasty love triangle (or quadrangle) with Bathsheba the focus of affections of three very different men, but does so whilst giving us a view of rural life in England. Like The Witchfinder General, the English countryside is as much the unintentional star as the rest of the impossibly good looking players. Peter Finch as the lovesick Lord of the Manor type - a tad scenery chewing in his fits of pique - his outbursts a little hard to believe from someone from that time with evident money and stature. 

It feels often that the characters are caricatures or deliberate cliché with real motive and action elusive. Gabriel, by far and above the best of the three men should be wondering around with a long blade of grass hanging out his mouth, wellies on covered in mud, with white farmers tunic. The interactions between Finch (William Boldwood) and Stamp (Captain Troy) are embarrassing to watch with the deliberate one upmanship looking decidedly like it may turn into a cheesy duel, with one slapping the other in the face with a gauntlet. There is an abundant and inexplicable lack of control in the expression of emotion, which is hardly characteristic of the English.  This lies in stark contrast to the adaptations of say, Jane Austin where the characters are constrained but below the surface lies a bastion of motive frustrated by social mores of the time.

Bathsheba grates as a character. She seems superficially emancipated taking control of a farm and subsequent harvests - dealing with staff and the housekeeping, but the interactions with the men who find her so impossibly beguiling are extremely irritating.  No one in their right mind would send a card with a proposal as a joke, however this woman does and no-one believes she is mad. The playfulness is never fully explained. Captain Troy feels like the character in the song 'Soldier, soldier - will you marry me?' and the choice Bathsheba makes like the character singing it. The best bits by far are those that depict the life of that incidental to the main characters. There is a lovely around the table al fresco sing along with Bathsheba enjoying her workers, drunk on ale - the smell of grass is almost in the air. It's like the barn building sequence in Witness, evocative, pleasing giving us a real sense of collective simple enjoyment of a particular way of life. 

The film is, like the lead characters beautiful to look at and at times deeply atmospheric, but the characterisations lacking depth or explanation of motive.

Available now as a rerelease on DVD

Gail Spencer

Listen Up Phillip

Director: Alex Ross Perry,  2015

Reviewed by Gail Spencer

As is the norm, Eureka! Is right on the money in giving us this delight of a film. Set in New York, it follows the lives of interconnected folk in the big city - all of whom are involved in some way in the creative industries (writing/PR/photography)with the central character, Phillip, played by Jason Schwartzman representing a budding novelist and his lot. So then, we are looking at a lot of intense introspection and observations about relationships. But this is NOT Woody Allen. This has far more wit and is sharper in its delivery methodology.

To a certain extent, it has no equal: like Dogville, the Lars Von Triers film, the narration come voice over accompanies the action/conversations in the film but does so with tongue in cheek reference to actual truth. The truth is inverted by both players and narration - whose job it is to provide some insight as to intent of characters but puts it across in a way which involves the audience in the delusions. What is being told in the narration is a version of what is going on, but so is the interpretation of realities as expressed by the characters. 

It is a very clever film and belongs up there with My Dinner With Andre as a small, indie gem that will resonate with intelligentsia, academia and the navel gazing in a way few films achieve but many attempt. It could and would translate well in French and is near to them emotionally as a quiet comedy of manners. Whilst the film is set in New York, the city itself is not made part of the cinematic landscape. In a quiet way it deals with ambition, disappointment (both romantic and vocational) the strains of city life, cultural stereotyping, the need for company and solitude, the creative impulse, disappointment with life and people, and the constant battle in art to consistently outdo your best and keep up with the creative Jones's. 

The central character though is not anywhere as interesting as Ike Zimmerman (played by an older, white haired Jonathan Pryce), the mentor/writer that Phillip has attached himself to - but is in no way trying to emulate. The narration begins with Phillip confronting a girlfriend of the past as he goes to meet her but she is 25 minutes late. His acerbic and nuts need to express every emotion and whim just as he experiences it manages to alienate his entire world: this is especially true of his decision to NOT go through the process of publicising his work and going through the marketing mill. Whilst all artists would probably agree to hating this aspect of their work, this fellow has the ego system to believe that his work can live without it. 

His raison d'etre is to berate those closest to him and has absolutely no emotional intelligence whatsoever: his girlfriend is as, if not more successful than he is but his belief that she will keep him in her life, regardless of the fact he spends considerable time out of it, is totally lost on him.  The version of himself he believes in is fed by Ike, who does often deliver the most misogynist sentiments, usually to his berating and beautiful daughter, Melanie (Krysten Ritter). One of the funniest segments is when the career of Ike is explained through an on screen retrospective of Ike and his works which includes a book entitled 'Women & Madness' and he explains to Philip whilst watching women walking around an academic faculty 'they will always want far more than we can ever give.' 

None of the characters are likeable, there is no one, or situation to root for, this never really matters - it’s the wit and humour which appeal and drive the film. There is also a consistent reminder of the writer's dependency on drink. Ike never stops hitting the 25 year old single malt whenever he starts to make a point. The clichés are there but are self knowingly put. 

Each character in turn has a perspective but this is not delivered in a way that has us believe that we need the component parts to complete perspectives or story. The character of Ashley, played by the appealing and talented Elizabeth Moss (Peggy in Mad Men) is easily the sanest and most grounded of them all - though in reality would have dumped Phillip at first sojourn (Phillip goes to Ike's country retreat for an entire summer). The dialogue is just superb and the entire works is carried by a gentle jazz score, which unlike Gershwin in Allen's Manhattan doesn't hit over the head with a 'this is New York' message. The score - like the architecture and attitudes, deal with New York very subtly.  

The only flaw is the sometimes irritating camera work: a party scene at Ike's retreat is very hard work (like watching the location establishing shots in NYPD Blue)which for the rest of the film is great (the focus on each character in close up to watch all nuances of emotion and thought) in this sequence feels busy. That aside this is a perfect film and all attempts should be made to see it and own it. 

In general release in the UK/Ireland from June 5th.

Tokyo Tribe

Director: Sion Sono

Reviewed by: Gail Spencer

Gutsy, violent, funny and relentless - this film is strange, an acquired taste for sure but unbelievably compelling. For openers, we are introduced to its unique premise and delivery via rap: the entire film is given to us in rhyming couplet - but with the visceral qualities usual in some of Asian Extreme. 

The director, a well-loved Japanese talent brought us Love Exposure, brings together a piece that has influences East and West - Gangs of New York is here, chambara (the special effect of fierce and pulsating bloodletting after amputations), Battle Royale (in costume), and even West Side Story. The rivalry and cruelty is off set by the humour, and whilst not an easy watch, the combination of the two works well. 

As a starter for ten, we are introduced to the film in its first sequence with a very tiny (aren't they always?), attractive policewoman, after her shirt is torn open has her bare breast held at knifepoint.  One running gag is a phallus/receptacle used as a fast orgasm inducing tool by a gang boss, who rolls his eyes right into the back of his head at the point of ecstasy. Sounds nasty but is as funny as hell. Pitch this against the imagery of granny Hip Hop DJs serving music to the neon streets of Japan. 

The delight of this film is the self-awareness of the work - it knows that its extreme depiction of rival gangs in the future Tokyo should not be taken too seriously. It has noted the gang culture of the West (LA in particular) and taken things a little further…..progressive indeed to depict female beatboxers. We are talking here about a culture that brought us scatting (smearing faecal matter on ones partner during sex, not to be confused with jazz improvisation) and bukkake (the extreme covering of women in a lot of semen). The violence and sex, though intimated more than put on display is hard core, but so is life in the world on display: it never looks or feels gratuitous. 

Inspired and adapted by a manga comic, the central set piece is a dining hall, not dissimilar to the set up in The Cook, The Thief, his Wife and Her Lover, and a lot of the action takes place here, in a brothel and on the streets themselves. All the actors look about nineteen apart from what appears to be a deranged middle aged woman who dances in a high leg cut cocktail dress whilst violence and mayhem is all about her and her middle aged male counterpart, who likes a weird from of public release, dressed in gold larme suit, the kind one would expect from a 1980s Bryan Ferry. Surreal and seductive, the film sometimes feels like a David Lynch with mad and extreme characters doing their thing in the most inappropriate settings. 

This film has to be seen to be believed, but is a cult classic in the making. 

In selected theatres from May 22nd.

SCRIPT YOUR OWN HOLLYWOOD CLASSIC

Budding writers urged to pen alternative endings to blockbuster movies

A new writing competition is challenging movie buffs and writers to come up with their own endings to classic films.

Ever thought Star Wars should have seen Luke Skywalker and Darth Vader go off for some father/son bonding? Or what if ET hadn’t got home? Could Casablanca’s ‘this could be the start of a beautiful friendship’ have taken the characters off in a different direction?

The possibilities are endless - as wide as your imagination.

You might not win an Oscar for it, but Alternate Endings, sponsored by cartridgesave.co.uk, invites entrants to write a new ending to a film of their choosing in no more than 750 words.

An A-list judging panel, made of up of respected film critic Kevin Bourke, lecturer in film Andrew Moor and scriptwriter Martine Roche will read through all of the entries before deciding on the finalists and winner.

The shortlisted entries will be invited to a glitzy Oscar-style evening, the ’Alties’ at Home MCR, formerly the Cornerhouse, where the finalists will be invited to present their alternate endings to the judges, and the winner will be announced.

In addition, the winning writer of five categories; Best Comedy (inc. rom coms), Best Action and Adventure, Best SciFi, Fantasy or Horror, Best Family or Animation and Best Drama or Thriller will receive £250, plus a year’s membership to Odeon cinemas.

Budding Hollywood scriptwriters can get hints and tips from the judges, plus full details of how to enter, at http://www.cartridgesave.co.uk/thealties

Judge Kevin Bourke believes everyone has got an alternate ending tucked away waiting to be unleashed. He says: “Every film has twists and turns right up to the end, that’s why we love them so much. Imagining a different twist than the one you see on screen is something everyone has done in the cinema.

“It’s best to start with a film you really love and characters you know inside out - that will make it easier to imagine how else their story might have played out.

“After that, it really is limitless, these people are under your control and you can come up with a finale more explosive than anything Spielberg, Coppola, Scorcese or Orson Welles could imagine!”

Ian Cowley, managing director of cartridgesave.co.uk, comments: “We are massive movie fans and love the idea of challenging writers to imagine ‘what if…?’ with their favourite films from over the years.

“It’s the ultimate director’s cut - to re-do a classic movie the way they’ve always wanted to see it.”

Closing date for entries is the 28^th August 2015.

Vidhu Vinod Chopra's much anticipated Hollywood venture, Broken Horses, is all set to release on 10 April 2015.

The legendary film-maker, who has always set a new benchmark for the Indian film fraternity and has made some of the most memorable movies that India has cherished like the Munnabhai series, 3 Idiots, Mission Kashmir, Parinda, among several others, has once again decided to reinvent the wheel. He has stepped out of his comfort zone and with Broken Horses he becomes the first Indian filmmaker to make a Hollywood Production - it is the first Hollywood film produced, directed and written by an Indian!

Set in the shadows of the US–Mexico border gang wars, Broken Horses is an epic thriller about the bonds of brotherhood, the laws of loyalty, and the futility of violence. The film has been co-written by Vidhu Vinod Chopra and Abhijat Joshi (PK, 3 Idiots, Lage Raho Munnabhai, Mission Kashmir) and it based on an original story by Vidhu Vinod Chopra.

“It’s been a pleasure to work with Vidhu Vinod Chopra on one of the most anticipated movies of this year, ‘PK’. He has an impeccable track record and we are happy to collaborate with him on his first Hollywood project ‘Broken Horses’.  As a studio we have always believed in building and fostering great professional relationships and opportunities like these help us strengthen them further”, says, Amrita Pandey, VP and Head, Marketing & Distribution, Studios, Disney India.
 
Vidhu Vinod Chopra says, “Making a film in Hollywood was extremely challenging, it’s the first time ever that an Indian has written, directed and produced a Hollywood film. But the challenge turned out to be a lot of fun. It was very fulfilling for me as a filmmaker.  I am delighted that UTV Motion Pictures has come on board to market and distribute the film in international markets."

Broken Horses’ cast features - Vincent D’Onofrio (The Judge, FULL METAL JACKET, MEN IN BLACK), Anton Yelchin (LIKE CRAZY, STAR TREK, ALPHA DOG) and Chris Marquette (ALPHA DOG, THE GIRL NEXT DOOR). The cast includes popular Spanish actress, Maria Valverde (Exodus), Thomas Jane, and Sean Patrick Flanery.

Broken Horses will be marketed and distributed by UTV Motion Pictures in international markets.