Archive | April, 2016

Captain America: Civil War has a little help from your friendly neighbourhood Spider-Man

29 Apr

 

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Did Harry Hill cause all this? Friends become foes in Captain America: Civil War

Early reviews of Captain America: Civil War have been such raves, it’s hard not to feel a twinge of disappointment. Certainly at the IMAX 3D five-minutes-past-midnight screening I went to last night in Leicester Square, the crowd whooped and stayed in droves till the Easter egg at the end of the long, long credits, despite it by then being long after 3am. And certainly it’s a lot better than Batman V Superman, whose premise it uncannily emulates: humans fear superhumans, try to put the dampeners on their tendency to destroy tall buildings with a single bound, and inter-superhero struggle results.

 

But I miss the light touch Joss Whedon brought to the first Avengers movie – an uncannily sure blend of focused plot, mighty action sequences, sparky dialogue, and sometimes unanticipated characterisation. The villainous plot behind Captain America: Civil War is, in the cold light of day, so contrived, silly and unreal to any genuine motivation as to be not remotely worth explaining. And though there are jokes, and thrilling action sequences, there’s little that feels really original or fresh.

Am I asking too much? It’s a sign of Marvel’s extraordinary output that I’m even expecting all these things in a comic-book blockbuster. Definitely it’s terrific fun and definitely it’s worth seeing, if you like this sort of thing; a four-star sort of rating. It takes off big time after a couple of hours, when some unexpected Marvel characters join the clash of clans – including a little help from your friendly neighbourhood Spider-Man, back with Marvel Studios at last and paving the way for yet another reboot of the franchise in 2017. It’s delicious seeing how each uses his or her special powers to counter the others’.

But to say it’s the best Marvel movie yet (© Empire magazine)? Let’s hope Marvel Studios have more tiger still left in the tank. 

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Set The Thames on Fire goes LOCO with Noel Fielding, Sally Phillips and Sadie Frost

23 Apr

 

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The flooded, dystopian London of Set The Thames on Fire

“I saw the script, which called for me to play a transvestite, paedophile drug addict, and thought: ‘typecast again’!”

This is Noel “The Mighty Boosh” Fielding in the Q&A session following the UK premiere on Thursday of Set The Thames on Fire, answering how he came to be in a movie that comes on like Withnail and I directed by Terry Gilliam by way of Peter Greenaway and set in a dystopian retro-Dickensian London in which the Thames has burst its banks.

The BFI Southbank is an unexpectedly conventional setting in which to see one of the most original, daring and visually ravishing British debuts in years. Set The Thames on Fire was opening the LOCO comedy festival, and that was peculiar too, since despite boasting Noel Fielding and Sally Phillips in the cast, and having moments of the blackest humour, it’s as much tragedy as comedy: “An agony in three acts”, as it rather grandly announces at the start.

“I’ll turn you into a glove puppet next time!” Fielding calls out to a man in a gimp suit escaping from him in terror, in his key scene. “I’ll wear you like a fucking suit!” In pigtails and a frilly petticoat over fishnet tights and a gigantic white codpiece, Fielding is equal parts terrifying and hilarious; but at the Q&A, leaping down the aisles in silver boots to offer the mike to questioners, so clearly wanting to be centre-stage that the film-makers eventually invited him up to share the platform – “You might regret that, I’m very drunk” – he is simply hilarious.

Sally Phillips was also in the audience. Playing a fortune-teller whose father used to run the town, before the hateful, bloated, perverted Impresario took over, she gives the film its moral heart and emotional charge. She’s a revelation. In one scene she recalls Bob Hoskins in his magnificent long closing close-up in The Long Good Friday.

Sally appreciated the challenge of a non-comedic role. “I was expecting to play the whoreish landlady,” she said, of the part which went to the film’s co-producer, Sadie Frost. “But Ben [Charles Edwards, the director] swapped us round. I was astonished by how confident and comforting he was to work for in every area – and what an incredible-looking film it is from one so young.”

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Makers of Set The Thames on Fire interviewed, left to right: writer/composer Al Joshua, director Ben Charles Edwards, producer/actor Sadie Frost, and comedian Noel Fielding; LOCO co-founder Jonathan Wakeham standing, right.

Sadie Frost, too, was happy to big up her young director. “I’ve known Ben a long time,” she said, “and he’s so comfortable directing the cast and crew. No one’s made me into a muse before – but he did! I’ve been in every short film he’s made. We [at Blonde to Black Pictures] saw talent in him but thought he needed some discipline, so we said if you jump through this hoop and that hoop we’ll make a feature with you.”

The hoop project, however, worked only so far. Ben’s never been afraid to bend a few rules to protect the film he wants to make. “To get it commissioned,” he said in answer to a question about the film’s spectacular look, “I stood in front of the  producers and just lied! I said there would be just six special effects – I think in the end there were more like 104.”

Al Joshua, who wrote the screenplay, based the main characters of Art and Sal on himself and Ben – they shared a flat together in east London years ago. A brilliant musician who had previously achieved cult success with the band Orphans & Vandals, he also took over duties as composer when the original score commissioned failed to match the film’s romantic but decidedly off-kilter tone, by which time he had only a couple of weeks to come up with the whole thing.

“Some of the melodies had been in my head a long time,” Al said. “But I didn’t even have a computer , so Ben gave me an iPad with his rough cut on it, and I sat there with a guitar and piano. Music has to pull the whole thing together. There’s a main theme that reoccurs in different forms – there’s a waltz at one point, piano at the end – and which sums up Art’s character.”

Al proved even stubborner than Ben when it came to protecting his vision. “I turned up to the derelict studio where he and the musicians were recording the score,” said Ben, “and said I wanted to hear it, but Al put a padlock on the door and wouldn’t let me in!”

Somehow, it all came together far better than all involved dared hope; Sadie revealed she is in the final throes of negotiating a distribution deal that would give Set The Thames on Fire a September release.

It’s not, perhaps, the easiest sell: the main character is gay, it’s peopled with bizarre grotesques, and it has more uses of the “c” word than the BBFC may appreciate. But when so many low-budget British films re-tread the same old gangster, horror or kitchen-sink clichés, it’s incredibly refreshing to see one that aims for the stars. This is one of the most startlingly original and ravishing films to come out of Britain since Ben Wheatley. Judging by the rapturous response of the packed house at the BFI Southbank, there is absolutely an audience for it.

Show it, to paraphrase Field of Dreams, and they will come.

 

 

To infinity and beyond: my articles for The Guardian on The Man Who Knew Infinity

8 Apr
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Jeremy Irons and Dev Patel star in The Man Who Knew Infinity, filmed in Trinity College, Cambridge where the real-life maths duo of GH Hardy and Srinivasa Ramanujan worked

The latest in a long line of films about improbably brilliant maths minds, The Man Who Knew Infinity, opens in UK cinemas today. I won’t review it here, since I’ve written a whole raft of stuff about it for the Guardian as “branded content” (in other words, the film company pay the Guardian to carry relevant articles), so you would be rightly sceptical about my impartiality.

As it happens, I did really like the film – Jeremy Irons deserves an Oscar nom imo as the emotionally repressed Cambridge don who takes poor young Madras maths prodigy Srinivasa Ramanujan (Dev Patel) under his stiff upper wing, and though it has emotional heft it doesn’t dumb down the maths – but rather than going on about it, let me just direct you to some cool stuff on the Guardian website I put together around the theme:

Could you be a maths genius? I got Mensa, the High IQ Society, to set a quiz. Even my brain-box son got stumped halfway through, so yes, it ain’t easy. But it requires no advanced maths knowledge; it’s more a test of reasoning. Leave me a Comment if you get through it, I’ll be impressed!

Are you smarter than an 11-year-old? Stumped by the above quiz? Then try this one, taken from sample Key Stage 2 maths papers. If you can’t do this one, best keep quiet about it.

The Beauty of Maths – in pictures. I love this one, though it was a bugger to research and write the captions for, when my Maths doesn’t extend beyond A Level (and even then I struggled incredibly hard to attain my lowly C grade). If nothing else… Look! Mandelbrot! Pretty pictures!

And a bunch of other stuff: Galleries, trailer, Dev Patel and Jeremy Irons on the making of the film… and if you look at today’s Guardian, that’s my cover wrap round G2, that is 🙂