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23
DEC
Will 2009 Be Bang On Trend?

As the sun sets on 2008 and a great year in cinema comes to a close, we're now looking forward to the coming 12 months' celluloid treats. As Gok Wan might say, the last year was right on trend for film fans’ love of superheroes, Judd Apatow comedies and Will Smith blockbusters but what can they expect in 2009? 

 

Well, there is certainly some residual influence with the likes of X-Men Origins: Wolverine and Watchmen, Funny People and Seven Pounds filling the superhero/Apatow/Smith quota but in amongst all the big-budget sequels, critically-acclaimed independents and animated features, the real watchwords of 2009 will be biopics, literary adaptations and prequels.

 

Why in only in the first few months of the new year we’ve got the likes of Che Parts One and Two, Anvil: The Story Of Anvil, Bronson and Tyson bringing the true-life tales in either dramatic or documentary form; The Lovely Bones, The Curious Case Of Benjamin Button and Revolutionary Road will be cribbing from their original source material; and Angels And Demons, Star Trek and Friday The 13th will be delving into untapped franchise chapters in the hope of a big box office payout.

 

Judging by movie fans’ peccadillos over the years, I’d say this is a safe bet and if anywhere knows what people want it’s Hollywood - but have I got it wrong? Is Tinsletown really as predictable as I think it is? Will it pull the old switcheroo and give us a year of unexpected treats or do the same old thing and focus group all of the originality out of our entertainment? Hell, I don’t know but I’m gonna have fun finding out…

 

What do you think will be the big theme of 2009? Leave your comments below…

 

Glen Ferris

18
DEC
John Williams to compose a super theme for the president-elect

Two weeks before America went to the polls and the night after the last rather bad-tempered presidential debate, the annual Al Smith Dinner, at which tradition maintains election candidate should give a light-hearted and self-depractory address to the assembled politicos, was held in New York. In the democratic canditate's brilliantly written and as always eloquently delivered speech he addressed the oft-asked question “Who is Barack Obama?”:

Contrary to rumours you may have heard, he joked, I was not born in a manger. I was actually born on Krypton and sent here by my father Jor-El to save the planet earth.

The rest of course was history: America voted and superman won.

Now the transition team have announced the programme of entertainments for Obama's inauguration on January 20th which includes musical selections from the US Marine Band, Aretha Franklin and the San Francisco Boys and Girls Chorus. For movie fans at least, the most eye-catching feature of the day will be the piece of music played by legendary cellist Yo-Yo Ma and violinist Itzhak Perlman along with pianist Gabriela Montero and clarinetist Anthony McGill, to be delivered immediately before the president-elect takes the oath of office. The piece they play will be composed and arranged by Hollywood’s most successful and famous composer, the one-and-only, five-time-Academy-Award-winning legend John Williams.

But what if any musical cues will the composer take from his own movies?


Découvrez John Williams!

 

Williams first made a name for himself writing the tunes for 70s disaster movies such as The Poseidon Adventure and The Towering Inferno. We now know his work as almost always portentous, but the president-to-be might find the foreboding theme (click above to listen) from Paul Newman and Steve McQueen’s classic about a burning building lacking those qualities of hope that Obama claims his presidency is all about.


Découvrez John Williams!

But Williams need to despair, there are plenty more options. The Imperial March from The Empire Strikes Back (click above) was the next piece to cross my mind, but on a little further reflection I think you'll agree that it isn't at all suited to Obama's call for change. Indeed it would be a much tighter fit for the historic images that many hope we'll one day see, when Bush (the Emperor) and Cheney (Darth Vader) take the long walk to prison after their conviction for war crimes.


Découvrez John Williams!

There's always the famous theme from Home Alone (click above) whichwould be a suitably celebratory, chirpy overture for what is bound to be a memorable day.

But let's not stop there. It should also be remembered that Williams has already done presidential for the score of Oliver Stone’s JFK (sorry, no clip - but believe us it would work a treat) though while it undoubtedly ticks all the boxes for an inauguration - militaristic: check; patriotic: check; dignified but emotional: check - it could also come across as being in tremendously bad taste to intentionally recall the tragedy that befell Jack Kennedy - the last truly great hope of America - less than three years into his first term.

When all’s said and done, and though it might be arrogant, conceited and pompous we’d have to urge Mr Williams to take his lead from the president-elect himself. Let's have something as heroic and romantic as the Obama and his story; a triumphant march filled with sufficient doubt as to suggest an endearing sense of humanity; a theme that conveys both optimism and struggle.

In fact, come to think of it, Mr Williams, Maestro, we implore you: don't get clever, don't get smart, don't get cocky and don't show off; all we need is a four-piece rehash of your 1978 Superman theme (click below) - that is, unless any Screenrushers have got a better suggestion?


Découvrez John Williams!

SL

10
DEC
Charlie Kaufman explains Synecdoche to Stephen Colbert

If you liked the quirkiness of Being John Malkovich, if you were baffled by Adaptation and left broken hearted though strangely uplifted by Eternal Sunshine of the Spotless Mind then you're going to love their scriptwriter's latest, Synecdoche, New York starring Philip Seymour Hoffman and a whole host of incredible acting talent, which is being released in the UK May 15th next year.

Last night, Charlie Kaufman - who has also directed Synecdoche - was challenged by Stephen Colbert to describe the impossibly complex movie using the words 'feel good' and 'sassy chihuahua' - see what happened below.

The Colbert ReportMon - Thurs 11:30pm / 10:30c
SL
04
DEC
Let's let Hollywood take the dross!

For those in the business of movie punditry there’s a horrible temptation to gush at every little piece of even slightly interesting movie news. We froth with unbridled excitement at the mere mention of a film or performance that might, when it eventually hits our screens, divert and distract us for more than a few minutes. I’m afraid to say that this temptation looks to me more like a trap when it comes to today’s, let’s face it, really rather depressing news that Russell Brand is grooming Hollywood scriptwriters to come up with a winning treatment to remake Arthur – the Oscar nominated Dudley Moore vehicle - in which Brand would take on Dud’s role of  a millionaire playboy caught between the moon and New York City.

Sachsgate

Now, I was hoping it would be possible to have a rant about this without tossing in my ten-cents worth on the Sachsgate scandal - remember, that minor news event when Jonathon Ross came over all Peter Cook on Brand's Radio 2 show by profaning the already questionable reptuation of an elderly actor’s granddaughter while Russ winced in the corner like a silly schoolboy - but whenever I think of Brand I can't help but compare this infamous broadcast with the legendary Bill Grundy interview of the Sex Pistols (brilliantly dissected in Julien Temple’s Filth and the Fury here,) where Rotten and Co – in a live broadcast remember, and at a time when words like fuck and shit were a genuine taboo – quickly got into their stride after an initial moment of coy-embarrassment. It took a good bit of time and the freedom that comes with a pre-recorded show to drag Russ Brand out of his prude shock and try to outdo the endlessly amusing Ross.

I was also reminded of the most outrageous of the Derek and Clive sketches – the one where Derek is explaining how he once tried to get into the Guinness Book of Records with the world's longest trail of snot but his wife failed to Polaroid it before the chain broke – which descends into a particularly brutish description of spousal abuse. The look on Dud’s face in this clip shows that he knows his friend was going too far – he was both embarrassed by and powerless in the face of Cook’s genius. And just as Dud could only bring himself to throw in a few expectoratory fucks, so Russ was unable to escape the ‘I fucked your granddaughter’ riff and move the skit onto genuinely satirical or even mildly funny comedic ground. With this comparison in mind, perhaps it’s only fitting that Russ, like Dud, should conquer Hollywood while Ross languishes in BBC exile.

At this stage I must admit to being a moderate champion of some of Russell’s work. I remember seeing his act at the Secret Policeman’s Ball a few years ago and being deeply impressed by the unity and erudition of his performance. He seemed to be doing something that no-one had done in comedy for a while. He had created a strange character that was one part Byron, one part Sid James and a wholelotta Kenneth Williams, and that was refreshing at the time. Unfortunately he seems stuck in this character. And so any attempt to perform (cf. Forgetting Sarah Marshall) will always fail to escape the rather narrow confines of his acting talent: his 'Booky Wook' may well be a work of genius but any extended exposure to his unrehearsed verbosity leaves one aghast at that flurry of camped-up ooohs and ahhhs, ‘aints and wots which most of his comic impulses feed off.

Brit Comics Stateside

It takes a lot of talent for a British comedy star to conquer America. We may speak the same language but our different comprehensions of what makes funny seldom dovetail.

Peter Sellers was a genuinely great actor with the ability to find a universal, sometimes absurd, always mesmerising, humour in any role and America fell at his feet, but John Cleese has never been able to completely shake off the yoke of Basil Fawlty; Steve Coogan, despite a memorable turn as himself in Jim Jarmusch’s Coffee and Cigarettes, will never fight free of Alan Partridge which our trans-Atlantic cousins don't even find funny, nonetheless that same audience made Rowan Atkinson’s Bean a hit whilst stopping well short of making its star a star; Sacha Baron Cohen has become a huge star by doing over there exactly the same as what he did over here - that said, where he was once a satirist he is now a clown and nothing he does from now on in will ever have the staying power of a Clouseau or a Strangelove; and while that other 11 O’Clock Show veteran Ricky Gervais seems to be playing it smart by doing very little, he will always be Ricky Gervais – a foil that works on the small screen where the actor gradually morphs into the characters of David Brent and Andy Millman but is a much more difficult thing to pull off on the big screen.

Staying Home

So where does that leave our homegrown comedy hopes on the big screen? Must we simply shut up and keep schtum until the next Richard Curtis film (The Boat that Rocked) grips us in its smugly sentimental tendrils?

Happily the answer is no. A great duo of comedic royalty is tiptoeing towards the multiplexes and you might not even know it. Their names are Armando Iannucci and Chris Morris. Of course I hope you’ve heard of them: they were the trailblazers who spearheaded an entire generation of British acting talent from Steve Coogan to Simon Pegg; from The Day Today and Brass Eye to The Thick of It and Nathan Barley they have each constantly tested and probed the very limits of what is funny and acceptable whilst always remaining both challenging and hilarious. Happily esconsed in the comedy pantheon, they peer down from time to time as if to say to the likes of Russ and Ross ‘we’ve seen it all before’ and now (we’re happy to tell/remind you) they’re each working on their first feature films.

Morris – whose brilliantly dark satirical mind has been behind such projects as Jam and the BAFTA winning short-film My Wrongs 8245-8249 and 117 and has proven that he is not afriad to find ripe humour in subjects as diverse and provocative as drug-crazes, suicide and paedophilia – is currently working on a comedy about homegrown jihadis preparing for a suicide attack on British soil; while his old friend Iannucci, the Oxford Professor of Broadcast Media, has written and directed a big-screen follow up to his award winning political satire The Thick of It; starring Steve Coogan (yes, him again), James Gandolfini and a host of actors from the TV show, In The Loop is set for release next year.

All of which is just to say that you mustn’t get depressed like I did this morning about Russell Brand becoming a big flowery American star, nor despondent at Richard Curtis coming out with another crummy film. Instead you should be looking forward to the very best of British talent finally finding the exposure and attention that only the silver screen can deliver. Afterall, with brilliant tried and tested comedy finally finding its way into cinemas to join other breakthrough British talent like Shane Meadows and Steve McQueen (if you’ve not see his Hunger yet, you must, and right now!) as well as proven artists such as Terence Davies, Mike Leigh and Ken Loach – all of them telling British stories that are at once funny, sad, moving and entertaining – you should be, like me, happy to let the dross sod off to Hollywood while we hold on to the genius!

SL

02
DEC
How Many DVDs Are Too Many?

I recently discovered, while trying to pack up the expansive detritus that is my life in order to move home, that my DVD collection fills seven large boxes and an old wooden chest that was previously likely used for storing numerous bottles of rum, bananas and tropical spiders, or medium-sized stowaways with rickets. If we conservatively allow, say, 60 DVDs per box, plus 70 in the chest, that means I own at least 490 DVDs. I believe this qualifies as a sickness. But what is a respectable amount of DVDs to own before you cross the road from Collector Town in Iredeemable Geeksville?

That means that, allowing for the occasional perk-of-the-job freebie, I've spent the best part of £4,000 on movies (which could explain why I'm wearing shoes with holes in them). Which would be perfectly fine if they were all really good DVDs, but, while trying to find hangers-on to eliminate, I discovered that I possess - and paid good money for - Mannequin, Baby: Secret of the Lost Legend, Lost In Space (crap film with Joey from Friends, not kitschy, but semi-respectable TV show) and something relating to Riverdance (for the sake of my mortal soul I have to believe my memory that this came with my first DVD player, bought when there were roughly 4 titles to choose from, two of which were rural British comedies about unshaven factory workers taking a turn for the musical). What would ever possess a person to watch one of those repeatedly? I have now managed to part with about a quarter of my discs - bye-bye Legend and The Mummy Returns - which still leaves with a hardly necessary 300-and-something. But I can't stop. And I've not even started on Blu-rays, which are already into the twenties in a few months.

Can you boast more DVDs than me? Could you ever throw any out? Does anyone have the number for Discaholics Anonymous?

Olly Richards

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