Against the odds, and at times against our better judgement, the Failed Critics Podcast has made it to its first birthday! So light the candles, eat some cake, and dust off your beer bongs as we celebrate our first year together.
This week sees us look back on our reviews from the last twelve months with What We’ve Been Watching: Second Opinion. Films to get a second-look from our colleagues this week include Before Sunrise (which Gerry hated when he watched it last year) and (500) Days of Summer (which wound James up something chronic in 2012). We also get second opinions on Sightseers, Trollhunter, Rust and Bone, and The Divide. We also answer those burning issues we asked you to put to us, and get a shocking confession from Steve regarding Citizen Kane.
Join us next week for the retooled and rebooted ALL NEW Failed Critics Podcast. It’ll be the same contributors and sound quality, but we might out up some new curtains or something. Oh, and we’ll be reviewing Iron Man 3.
With nearly a quarter of the year already a distant memory, James Diamond presents the notable releases and hidden gems in UK cinemas from April through to June.
Spring is turning into the new Summer in terms of the big studio blockbusters, and getting the jump on your rivals this early in the year can work out heavily in a film’s favour if it’s good enough (Avengers passed the $1 billion mark before The Dark Knight Rises even saw the inside of a multiplex last year). Marvel has opted for a repeat of that strategy with the release of Iron Man 3 on 26th April, and they’ll be hoping for similar success from Shane Black’s take on Tony Stark. Personally, I just think it’s great to see Shane Black getting the kind of backing that Joss Whedon received last year. It genuinely seems like the age of the blockbuster auteur.
Iron Man 3 isn’t going to have it all its own way in terms of the sci-fi blockbuster landscape though, with the Tom Cruise vehicle Oblivion getting its UK release on 12th April. Cruise plays one of the last remaining drone repairmen, looking after the surface of Earth which was deserted by humanity decades before, following a brutal war with an alien race. From its Wall-E-esque beginnings, it’s clear that the film soon descends into an all-action shoot-em-up and conspiracy thriller, also featuring Morgan Freeman and Andrea Riseborough.
This really is a month of action, with ‘Die Hard in the White House’ thriller Olympus Has Fallen (17th April) stealing a march on a very similar looking White House Down (released in September) and making the brave choice to be a violent adult action film in a world where the Die Hard and Taken franchises have chosen to appeal to a child audience. We also get our second glimpse of Dwayne ‘The Rock’ Johnson in as many weeks as he follows up GI Joe: Retaliation with Snitch; a film apparently based on the true life story of a father who went undercover for the FBI to get his son out of trouble.
I wish The Rock was my dad.
Also released this month is the unnecessary, but potentially great Evil Dead remake, as well as the latest Michael Winterbottom /Steve Coogan collaboration The Look of Love, which has been impressing audiences at Sundance and Glasgow Film Festival.
Another month, another highly anticipated sci-fi blockbuster sequel. Star Trek Into Darkness (no colon there? Really? Sounds like a film about hiking) arrives in the UK on 9th May, and first impressions have all of us at Failed Critics very excited. The first instalment of the reboot series was impressive, but things look like getting a whole lot bigger, darker, and Benedict Cumberbatchier in the sequel.
The following week the UK will get its first look at another big budget, 3D and CGI’d beast of a blockbuster in the shape of a screen adaptation of F. Scott Fitzgerald’s classic novel The Great Gatsby. Wait, that can’t be right. I have a feeling that The Great Gatsby in 3D is either going to be incredible, or one of the worst films of the year. Baz Luhrmann doesn’t tend to do shades of grey.
This month also sees the release of a couple of sequels, with their respective franchises suffering very different fortunes at the moment. While The Hangover Part III (24th May) looks like being another experiment in ever decreasing comic returns in a series that started reasonably well and then went off a cliff, Fast and Furious 6 looks like being the biggest and most utterly bonkers instalment of a franchise that people had written off as irrelevant years ago.
How did they do it? Two words: The Rock.
Also out this month is a foreign language film to get those of you who don’t mind reading your movies excited. A Hijacking was one of my favourite films of Glasgow Film Festival, and it finally gets a UK release on 10th May. Written and directed by one of the creators of Borgen, it tells the harrowing story of a Danish freighter hijacked by Somali pirates in quite harrowing and ultra-realistic style.
Every year we see films with a similar narrative start point going up against each other. Years ago it was Armageddon and Deep Impact. A few years later we had Melancholia and Another Earth, while last year we saw two excellent ‘cops trapped in apartment block’ movies in The Raid and Dredd. This summer a couple of ‘deserted Earth and the fight for humanity’s future’ blockbusters coming out within a few months of each other. I’ve already written about Oblivion, but 7th June sees the release of After Earth, the latest film from the crossword wrapped in a Sudoku that is M. Knight Shyamalan. It’s got plenty of star power though, starring Will Smith in one of his rare screen appearances, and his son Jaden Smith.
The big release this month is the return of Superman in Zac Snyder’s Man of Steel. Clunkily billed as ‘Produced by the Director of The Dark Knight Trilogy’, the early trailers suggest that Snyder may have toned down the visual style that made 300 and Watchmen so great to look at. I’m looking forward to this, but I have a nagging suspicion that this might be Snyder doing a Nolan impression, and that’s a worry.
World War Z starring Brad Pitt is out on 21st June, and it seems to have fallen into the trap of thinking that the kids today just aren’t scared by shuffling zombies any more It’s a shame, as I really enjoyed the book and I think it may have been better produced as an HBO miniseries, rather than a bog-standard zombie flick that is World War Z in name only. We shall see.
A far more entertaining look at the end of the world could be found in Evan Goldberg and Seth Rogen’s This Is The End. The setting is a party at James Franco’s house, and a variety of celebrities end up facing the apocalypse together. While there is definitely the potential for this to be horrifically self-indulgent and only funny to those on set, the trailer holds up very well and the cast list is a veritable who’s who of US comedy. Fingers crossed.
Rounding off this preview is Joss Whedon’s new film. Considering his last film was a near 3 hour epic that made over $1 billion at the box office and resurrected the superhero ensemble movie, it’s typical Whedon that his next release is a black and white Shakespeare comedy that he filmed in his house with his close friends over a couple of weeks. Much Ado About Nothing got rave reviews at Glasgow Film Festival last month, and word is that it could be one of the great adaptations of the Bard’s work.
After what feels forever (or at least as long as a Judd Apatow film), my Glasgow Film Festival experience is well and truly under way. This is by far the biggest, and most prestigious film festival I have attended, let alone covered in any kind of blogging capacity. There is a definite buzz in the air, as the great, good, bad, and unheard converge on this fair city to celebrate film.
And is a fair city, despite what people might have you believe. When I mentioned to friends and colleagues that I was off to Glasgow for a week, I had to immediately add ‘to cover a film festival’ to avoid the kind of looks I usually reserve for fans of The Only Way is Essex. That said, you could hold a film festival on the hard shoulder of the M25 and I would think it was the most magical place on Earth.
Note to self: copyright motorway hard shoulder film festival idea.
Yesterday I had the pleasure of meeting the lovely Steven Neish (@popcornaddict) and Amy Taylor (@TrashTaylor), and had originally planned to record our conversation for the one-off festival podcast I’m producing. Unfortunately I got too caught up in excitable tweet up chat, and before I knew it I had to run off to see my first film. We’ve rescheduled for Sunday, when we’ll all have some films under our belt.
So it was a relaxed start to the festival for me yesterday, with just one film. Michael Winterbottom‘s fourth (if you count The Trip) collaboration with Steve Coogan, and once more they’ve produced a character study of an often-misunderstood, egocentric, and uniquely British celebrity. The Look of Love is a biopic of Soho peep show ‘legend’ and one-time richest man in Britain Paul Raymond. It details his successful business exploits, but focusses on the many women in his life; particularly on his relationship with his daughter. It’s an enjoyable film and the soundtrack, visual style, and casting of a number of British comic talents make the first half a good-natured romp.
The biggest problem I had with the film was Coogan’s performance, which at times bordered on Alan Partridge going to a fancy dress party as Tony Ferrino. That observation alone feels mean-spirited and snarky though, and can we really blame Coogan for having created such an iconic character that audiences struggle to differentiate between him and his alter-ego?
The real stars of The Look of Love are the female cast, in particular Anna Friel as Raymond’s wife Jean, Tamsin Eggerton as his ‘muse’ for the launch of his first magazine, and Imogen Poots as his daughter Debbie, who spends her life desperate for his validation. Poots is appearing later in the festival in A Late Quartet, and is fast becoming an actress of immense talent.
Today’s pick of the festival is Stoker – The first English-language film from Chan-wook Park (Oldboy, Sympathy for Lady Vengeance) is the art-house equivalent of a new Star Wars film. One of the most unique directors working in film today presents a twisted midnight-black tale about young India Stoker’s (Mia Wasikowska) infatuation with the creepy uncle (Matthew Goode) who comes to stay after the death of her father. Nicole Kidman continues her career renaissance (you can also see her in The Paperboy at Glasgow Film Festival) as India’s fragile mother.
Stoker is showing at Cineworld at 4.30pm today.
The Failed Critics coverage of Glasgow Film Festival is sponsored by Brewdog Bar Glasgow – providing award-winning beers and brilliant food in one of Glasgow’s friendliest bars.
We would have spent most of the festival there regardless, so we’d really like to thank them for their generous hospitality.
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