Thursday, 31 December 2015
My Top 20 Films of 2015
20. Slow West
19. Electric Boogaloo: The Wild, Untold Story of Cannon Films
18. Carol
17. The Second Mother/Que Horas Ela Volta?
16. It Follows
15. National Gallery
14. Spring
13. Brooklyn
12. Baahubali: the Beginning [above]
11. Clouds of Sils Maria
10. Foxcatcher
9. Whiplash
8. 45 Years
7. Inside Out [above]
6. Love is Strange
5. Eden
4. Mad Max: Fury Road
3. The Last of the Unjust/Le Dernier des Injustes
2. Home from Home: Chronicle of a Vision/Die andere Heimat: Chronik einer Sehnsucht
1. Bridge of Spies
Sunday, 27 December 2015
For what it's worth...
for the weekend of December 18-20, 2015:
1 (new) Star Wars: The Force Awakens (12A) **
2 (new) Sisters (15) **
3 (2) The Good Dinosaur (PG)
4 (new) Dilwale (12A) **
5 (1) The Hunger Games: Mockingjay - Part 2 (12A)
6 (3) SPECTRE (12A) ***
7 (new) Bajirao Mastani (12A) ****
8 (5) Christmas with the Coopers (12A)
9 (4) Bridge of Spies (12A) *****
10 (re) It's a Wonderful Life (U) *****
(source: theguardian.com)
2 (new) Sisters (15) **
3 (2) The Good Dinosaur (PG)
4 (new) Dilwale (12A) **
5 (1) The Hunger Games: Mockingjay - Part 2 (12A)
6 (3) SPECTRE (12A) ***
7 (new) Bajirao Mastani (12A) ****
8 (5) Christmas with the Coopers (12A)
9 (4) Bridge of Spies (12A) *****
10 (re) It's a Wonderful Life (U) *****
(source: theguardian.com)
My top five:
1 (1) Inside Out (U) ****
2 (2) Ant-Man (12) ***
3 (3) Jurassic World (12) **
4 (4) Mad Max: Fury Road (15) ****
5 (6) Joe and Caspar Hit the Road (12)
6 (9) Pitch Perfect 2 (12) **
7 (re) San Andreas (12)
8 (7) Amy (15) ****
9 (5) I Believe in Miracles (12)
10 (re) Fast & Furious 7 (12) ***
(source: lovefilm.com)
2 (2) Ant-Man (12) ***
3 (3) Jurassic World (12) **
4 (4) Mad Max: Fury Road (15) ****
5 (6) Joe and Caspar Hit the Road (12)
6 (9) Pitch Perfect 2 (12) **
7 (re) San Andreas (12)
8 (7) Amy (15) ****
9 (5) I Believe in Miracles (12)
10 (re) Fast & Furious 7 (12) ***
(source: lovefilm.com)
My top five:
Top five films on terrestrial TV this week:
1. The Wizard of Oz [above] (New Year's Eve, five, 3.55pm)
2. An American in Paris (Monday, five, 10.50am)
3. Mary Poppins (Sunday, BBC1, 1.50pm)
4. Willy Wonka and the Chocolate Factory (Wednesday, ITV1, 12.30pm)
5. From Russia with Love (Boxing Day, ITV1, 11.25pm)
2. An American in Paris (Monday, five, 10.50am)
3. Mary Poppins (Sunday, BBC1, 1.50pm)
4. Willy Wonka and the Chocolate Factory (Wednesday, ITV1, 12.30pm)
5. From Russia with Love (Boxing Day, ITV1, 11.25pm)
Wednesday, 23 December 2015
For what it's worth...
for the weekend of December 11-13, 2015:
1 (1) The Hunger Games: Mockingjay - Part 2 (12A)
2 (2) The Good Dinosaur (PG)
3 (3) SPECTRE (12A) ***
4 (4) Bridge of Spies (12A) *****
5 (5) Christmas with the Coopers (12A)
6 (7) The Lady in the Van (12A) ***
7 (6) Black Mass (15) **
8 (9) Krampus (15) ***
9 (10) Carol (15) ****
10 (8) Victor Frankenstein (12A) **
(source: theguardian.com)
2 (2) The Good Dinosaur (PG)
3 (3) SPECTRE (12A) ***
4 (4) Bridge of Spies (12A) *****
5 (5) Christmas with the Coopers (12A)
6 (7) The Lady in the Van (12A) ***
7 (6) Black Mass (15) **
8 (9) Krampus (15) ***
9 (10) Carol (15) ****
10 (8) Victor Frankenstein (12A) **
(source: theguardian.com)
My top five:
1 (1) Inside Out (U) ****
2 (2) Ant-Man (12) ***
3 (new) Jurassic World (12) **
4 (4) Mad Max: Fury Road (15) ****
5 (new) I Believe in Miracles (12)
6 (3) Joe and Caspar Hit the Road (12)
7 (7) Amy (15) ****
8 (new) The Bad Education Movie (15) **
9 (5) Pitch Perfect 2 (12) **
10 (6) Ronaldo (PG)
(source: lovefilm.com)
2 (2) Ant-Man (12) ***
3 (new) Jurassic World (12) **
4 (4) Mad Max: Fury Road (15) ****
5 (new) I Believe in Miracles (12)
6 (3) Joe and Caspar Hit the Road (12)
7 (7) Amy (15) ****
8 (new) The Bad Education Movie (15) **
9 (5) Pitch Perfect 2 (12) **
10 (6) Ronaldo (PG)
(source: lovefilm.com)
My top five:
Top five films on terrestrial TV this week:
1. The Wizard of Oz (Christmas Day, five, 3.10pm)
2. Finding Nemo (Christmas Eve, BBC1, 3.50pm)
3. It's a Wonderful Life [above] (Christmas Eve, C4, 2.15pm)
4. Raiders of the Lost Ark (Monday, BBC1, 1.45pm)
5. Back to the Future Part II (Christmas Eve, ITV1, 11.25am)
2. Finding Nemo (Christmas Eve, BBC1, 3.50pm)
3. It's a Wonderful Life [above] (Christmas Eve, C4, 2.15pm)
4. Raiders of the Lost Ark (Monday, BBC1, 1.45pm)
5. Back to the Future Part II (Christmas Eve, ITV1, 11.25am)
"Bajirao Mastani" (Guardian 23/12/15)
Dir: Sanjay Leela
Bhansali. With: Priyanka Chopra, Deepika Padukone, Ranveer Singh, Mahesh
Manjrekar. 158 mins. Cert: 12A
Since the millennium,
the writer-director-composer Sanjay Leela Bhansali has fashioned a series of
ornate wonders from mythological and historical material. He broke through with
2002’s Shah Rukh Khan-starring Devdas,
then delivered 2005’s affecting Black
– an expressionist The Miracle Worker
– before going for broke on 2013’s Ram-Leela,
casting Deepika Padukone and Ranveer Singh as the eponymous star-crossed
lovers. With Bajirao Mastani,
another epic tableau scattered with jewels and rose petals, Bhansali retains
his Ram-Leela leads and channels David Lean – albeit a Lean
with something far spicier than starch in his underwear. The result may be the
cinema’s most seductive monument to marital infidelity.
Singh’s Bajirao –
warmonger-in-chief of the 18th century Marathan regime – is
introduced playing away: leaving decorous wife Kashi (Priyanka Chopra) at home,
he’s sent to liberate the besieged Bundelkhand region, where he falls into
stride with local warrior princess Mastani (Padukone). Victory assured, they
repair to hers to compare scars – “Your wound is deep, let me see it,” Bajirao
insists, a line more Geordie Shore
than Mughal Empire – but it appears a one-time thing; once the blood cools, our
hero returns to family life. For Mastani, however, this battle isn’t over:
soon, she’s riding into court, demanding further satisfaction from the man she
loves. Uh-oh.
Bhansali’s
dramatising an ugly business, yet long stretches confirm this director is
incapable of framing anything other than an entirely captivating shot: this is
a film that plays out to the forgiving flicker of candlelight, and knows full
well the pleasures of letting the eye roam. After Prem Ratan Dhan Payo, it’s this year’s second Hindi film to
construct a glittering Palace of Mirrors, although Bhansali can’t resist adding
extra layers of polish: surfaces so reflective they beam a prototypical cinema
into adjacent suites, a lilting song, “Deewani Mastani”, in which Padukone
makes pop culture’s greatest use of a mandolin since R.E.M.’s “Losing My
Religion” and Bhansali paints the screen Indian Ivy.
The director handles
his performers with similar sensitivity and intelligence, and all three offer
real star turns, thereby avoiding fading into some singularly lavish scenery.
Padukone’s Mastani, a Mughal Alex Forrest, displays a steely determination in
the face of her hosts’ contempt that proves oddly ennobling. Chopra never
allows Kashi to become an afterthought: those eyes register a wife’s hurt every
bit as vividly as they have happiness elsewhere. And Singh’s bullet-headed
Bajirao, forever charging into uncharted physical and emotional terrain, marks
another fine showing from one of Bollywood’s most versatile leads: we spot
exactly why this bad boy commands the loyalty, even lust he does.
The second half rests
upon this sympathetic idea of the hero as akin to a buff, dreamy Henry VIII –
not some love rat, but a man of appetite, spoiled for choice. Here, Bhansali
details Bajirao’s attempts to reconfigure his household to better reflect the
contours of his heart, chiefly by insisting these women – one Hindu, one Muslim
– be treated as equals. It’s typical of the dignity Bhansali lends to this
triangle’s points that the women aren’t set to catfighting, rather dancing
together; no matter whether this is historically accurate, as filmed it
provides a model of flexible sisterhood, not to mention as harmonious a
setpiece as anything Jane Russell and Marilyn Monroe shared in Gentlemen Prefer Blondes. (Evidently
Bajirao begged to differ.)
There’s perhaps no
dressing up the downer ending – which at least reflects the era’s limited
tolerance for forward thinking – and the once-torrid energy relents a little as
the leads suffer in solitude. Yet overall, Bajirao
Mastani sounds many more progressive notes than most recent Western costume
dramas: it’s the work of a filmmaker recruiting in-every-sense hot leads to
cast off their traditional garb and attempt something that feels very modern.
In so doing, Bhansali has thrown down a sapphire-studded gauntlet to
established chart-topper Shah Rukh Khan’s rival Christmas release Dilwale; that it lands so delicately,
and yet so potently, is the surest sign we’re in the hands of an artist.
Bajirao Mastani is now playing in cinemas nationwide.
Tuesday, 22 December 2015
"Dilwale" (Guardian 21/12/15)
Dilwale **
Dir: Rohit Shetty.
With: Shah Rukh Khan, Kajol, Varun Dhawan, Kriti Sanon. 158 mins. Cert: 12A
2015 was the year the
commercial cinema stepped up in the matter of monetising nostalgia. In the
West, the Spielberg/Lucas copyism of Jurassic World and Star Wars: The Force Awakens raked in megabucks by cosying up to established fanbases, as did SPECTRE by extracting 007 from the real
world (and real-world peril) Skyfall placed
him in and instead returning the character to those fantastical lairs he’d
escaped a half-century ago. With Dilwale,
Bollywood follows suit. In its title and casting, Rohit Shetty’s film trades
heavily on fond memories of Dilwale
Dulhania Le Jayenge, the 1995 landmark that was still enjoying regular
rotation in one Mumbai cinema as late as this February.
What’s initially so
discombobulating here is that that film’s stars Shah Rukh Khan and Kajol should
be reunited in a very different movie. Where the original was a lush, keening
romance, the new one foregrounds elements of those pulpy crime stories about
one sibling getting inextricably drawn into another’s risky business. The good
brother here is Raj (Khan), a former tough who reformed upon opening an auto
repair shop. Yet one of the hot-rods parked under his roof is trickier to
handle than most: this is younger brother Veer (Varun Dhawan), who – while
attempting to impress the winsome Ishu (Kriti Sanon) – crosses a fearsome drug
dealer.
An extended pre-interval
flashback clarifies matters a little. Here, we learn that the beardless Raj
only turned thug after he, too, stepped in to assist a damsel in distress – and
after the thoroughly boysy beginning, it’s something of a relief when Kajol
shows up, still possessed of the best eyebrows in the business (chief rivals:
Camilla Belle, Lee Pace, Eugene Levy), as Raj’s beloved Meera. Thus can Shetty
make a narrative point of having history repeat itself, and for at least its
first half, Dilwale provides functional
enough holiday entertainment.
It’s clear Khan’s
rare, Cary Grant-like ability to strike up a chemistry with anyone placed in
front of him hasn’t diminished over the past two decades. With Kajol, it’s a
given, and a joy – and, for this lovestruck Raj, something of a liability – but
there’s also a warmth to his interactions with Dhawan that steers the garage
scenes away from flimsy Fast & Furious-ism. (The Khan-less scenes, full of grown men wailing like kids,
overdo the wacky sound effects, and the less said about Dhawan’s impromptu Love, Actually homage the better.)
Shetty keeps his end
up by ensuring the action scenes remain coherent: the punches land with
uncommon force for a 12A-rated movie, and the crisp editing is such you can see
the drivers in the cars flipping over at 80mph. While it’s transitioning
between genres, you ride along. Trouble arrives, however, once Dilwale enters its ultimate destination:
the dud second half feels copied-and-pasted in from some Big Bollywood Book of
Star-Crossed Lovers, tossing out one implausible, indigestible chunk of
melodrama after another. It’s not just the stars who’ve been reunited, but all
those narrative and visual tropes that have curdled into cliché.
The lovers’ fringes
still blow up as they turn towards camera in slow-motion; tragic developments
occasion torrential rainstorms. Shetty’s clinging at numbing length to what’s
worked before, and this of all seasons, that may prove as much limitation as
consolation. The 1995 Dilwale’s title
translated as The Bravehearted Will Take the Bride, and the boldly beautiful Bajirao Mastani surely has that prize
sewn up this Christmas. The new Dilwale
has the star power to pick up those unlucky bridesmaids shut out of adjacent
screens, but everybody’s evening, everybody’s legacy, might have been better
served by returning the original to circulation.
Dilwale is now playing in cinemas nationwide.
Wednesday, 16 December 2015
"The Ridiculous 6" (Guardian 16/12/15)
The Ridiculous 6 **
Dir: Frank Coraci.
With: Adam Sandler, Terry Crews, Jorge Garcia, Luke Wilson. 119 mins. No cert
And so does the
universe correct itself: in the week of the most anticipated film ever made, a
new Adam Sandler release trickles onto Netflix. Depending on temperament, spoof
Western The Ridiculous 6 will mark
either a seachange or merely a plumbing adjustment – it’s the first feature
Sandler’s Happy Madison Productions has pumped directly into living rooms, a
breakthrough that recalls that scatological Stewart Lee aside about paying towatch E4. Despite production line troubles – several Native American extras
quit in protest at the project’s insensitivity – the final cut still features
characters named Beaver Breath and Never Wears Bra, played by Caucasians in
brownface. For Sandler, it’s business as usual.
Though the title
suggests a Barron Knights-style takedown of The
Magnificent Seven or The Hateful
Eight, the jokeless prologue hints Team Sandler really wanted to ride
horses as they did the rubber rings of the Grown-Ups
series. Matters turn notionally comic only after Sandler’s outlaw Tommy “White
Knife” Stockburn assembles a gang to spring kidnapped pop Nick Nolte. A
low-rent pub quiz answer in waiting, these are: Rob Schneider in orangeface as
a Mexican whose burro has explosive diarrhoea; Taylor Lautner as a gap-toothed
yokel; Jorge Garcia as a man-mountain mountain man; Luke Wilson as a gunslinger
driven to booze by his part in the Lincoln assassination; and Terry Crews as a
pianist compelled to come out as black.
Sandler’s go-to story
guy Frank Coraci (The Wedding Singer,
Click) at least returns from New
Mexico with a widescreen-looking movie. Yet the lax two-hour running time is
the only other sign anybody’s stretching themselves in the new medium; the
material canters along in that mild, PG-13 groove Sandler’s been stuck in for a
decade. Its less-than-blazing campfire scene sees Lautner reheating Andy
Samberg’s “cool beans” catchphrase from 2007’s Hot Rod; Never Wears Bra (Sandler’s wife Jackie) gets leered at in
longshot. Among the cameos, John Turturro’s baseball-improvising pioneer
garners chuckles, as does Vanilla Ice’s jive-talking Mark Twain. Yet while
avoiding A Million Ways to Die in the West’s smugness, Sandler rejects anything so energetic as Seth MacFarlane’s
taboo-goosing in favour of cheery inanity.
Peer through this
dopey haze long enough, and you can’t fail to notice the cavalier racial
attitudes, the endlessly pliable women; you’d have every right to be outraged,
were it not now par for the Sandler course. The
Ridiculous 6 sees a cannily advised operator giving his fanbase what they
want, this time without the hardship of having to leave their La-Z-Boys: a
brand has been expanded, with no more effort than is required to open a bag of
Cheetos. More troubling is what this collaboration says for Netflix, first
positioned as an alternative production-distribution model, now apparently
throwing money after the same pointless-to-questionable content as every other
studio. In 2015, orangeface surely isn’t about to become the new blackface, is
it?
The Ridiculous 6 is now streaming on Netflix.
For your consideration: my Critics' Circle Award votes
Best Actor
1. Jeremy Renner, Kill the Messenger
2. Ben Foster, The Program
3. Matt Damon, The Martian
4. Kamal Haasan, Papanasam
5. Paul Dano, Love and Mercy
(Honourable mentions: John Cusack, Love and Mercy; Jason Bateman, The Gift; Jean Dujardin, The Connection)
Best Actress
1. Brie Larson, Room
2. Louane Emera, La Famille Bélier
3. Sarah Snook, Predestination
4. Juliette Binoche, Clouds of Sils Maria
(Honourable mentions: Rooney Mara, Carol; Cate Blanchett, Carol; Regina Casé, The Second Mother, Charlize Theron, Mad Max: Fury Road, Toni Collette, Glassland)
Best Supporting Actor
1. Jesse Plemons, The Program
2. Domhnall Gleeson, Brooklyn
3. Michael Sheen, Far from the Madding Crowd
4. Jake Davies, X+Y
5. Peter Mullan, Sunset Song
(Honourable mentions: Ben Chaplin, War Book; Tom Hardy, Mad Max: Fury Road; John Turturro, Mia Madre; James Rolleston, The Dark Horse; Rafe Spall, X+Y; Alex Lawther, X+Y; Eddie Marsan, X+Y)
Best Supporting Actress
1. Kristen Stewart, Clouds of Sils Maria
2. Elizabeth Banks, Love and Mercy
3. Rose Byrne, Spy
4. Sally Hawkins, X+Y
5. Karin Viard, La Famille Belier
(Honourable mentions: Emma Thompson, The Legend of Barney Thomson; Jo Yang, X+Y; Maxine Peake, The Falling; Florence Pugh, The Falling; Rachael Sterling, Sixteen; Eva Green, White Bird in a Blizzard)
Best British/Irish Actor
1. Mark Rylance, Bridge of Spies
2. Tom Courtenay, 45 Years
3. Colin Farrell, Miss Julie
4. Richard Johnson, Radiator
5. Tom Hardy, Legend
(Honourable mentions: Michael Fassbender, Slow West; Idris Elba, Second Coming; Jack Reynor, Glassland; Peter Ferdinando, Hyena)
Best British/Irish Actress
1. Saoirse Ronan, Brooklyn
2. Charlotte Rampling, 45 Years
3. Agyness Deyn, Sunset Song
4. Nadine Marshall, Second Coming
5. Maisie Williams, The Falling
(Honourable mentions: Bel Powley, The Diary of a Teenage Girl; Emily Blunt, Sicario; Carey Mulligan, Far From the Madding Crowd; Rebecca Hall, The Gift; Olivia Colman, London Road)
Young British/Irish Performer
1. Maisie Williams, The Falling
2. Milo Parker, Mr. Holmes
3. Florence Pugh, The Falling
4. Jake Davies, X+Y
5. Kai Francis Lewis, Second Coming
Director of the Year
1. Steven Spielberg, Bridge of Spies
2. Edgar Reitz, Home from Home: Chronicle of a Vision
3. George Miller, Mad Max: Fury Road
4. Andrew Haigh, 45 Years
5. Todd Haynes, Carol
(Honourable mentions: John Crowley, Brooklyn; Mia Hansen-Løve, Eden; SS Rajamouli, Baahubali: the Beginning; Pete Docter, Inside Out; Miroslaw Slaboshpitsky, The Tribe; David Robert Mitchell, It Follows)
Best Screenplay
1. Pete Docter, Meg LeFauve and Josh Cooley, Inside Out
2. Andrew Haigh, 45 Years
3. Nick Hornby, Brooklyn
4. Phyllis Nagy, Carol
5. Olivier Assayas, Clouds of Sils Maria
(Honourable mentions: Matt Charman & Joel and Ethan Coen, Bridge of Spies; Edgar Reitz and Gert Heidenreich, Home from Home: Chronicle of a Vision; Peter Landesman, Kill the Messenger; Andrew Niccol, Good Kill; Gerard Barrett, Glassland; James Graham, X+Y; Gregg Araki, White Bird in a Blizzard)
British/Irish Breakthrough
1. John Maclean, writer-director, Slow West
2. Morgan Matthews, director, X+Y
3. Gerard Barrett, writer-director, Glassland
4. debbie tucker green, writer-director, Second Coming
5. Harry Macqueen, writer-director, Hinterland
(Honourable mentions: Ivan Kavanagh, writer-director, The Canal; Rob Brown, writer-director, Sixteen; Rebecca Johnson, writer-director, Honeytrap)
My annual lists of the twenty best and ten worst films of 2015 will run in the final week of the year.
Tuesday, 15 December 2015
"Judge Singh LLB" (Guardian 14/12/15)
Judge Singh LLB ***
Dir: Atharv Baluja.
With: Ravinder Grewal, B.N. Sharma, Sardar Sohi, Anita Devgan. 137 mins. Cert:
12A
Legal minds are
forever seeking precedent, yet the Punjabi indie Judge Singh LLB may stand as the first socially conscious courtroom
drama to open on an image of two men noisily voiding their bowels into a ditch.
It’s a leftfield set-up, to say the least: in the hunt for something with which
to clean up, one of these lowly squatting souls uncovers the body of a woman
apparently slain in an honour killing by her brother, the son of a prominent
politician. From there, the situation develops quickly. The politico bribes
police to frame the deceased’s partner; isolated defecation gives way to a
broader constitutional mess. Soon enough, everyone’s got dirty hands.
Within these initial
movements, there are surely the makings of a Grishamish potboiler, and – as
early viewers have detected – the beginnings of a wry comment on Modi’s India.
Such robes, however, cloak a Capraesque slacker comedy; some career-minded
Western screenwriter might tidy it up to enable another Adam Sandler vehicle.
Our hero Judge (Ravinder Grewal) – and yes, that’s his given name – is only passing
as a legal eagle in order to impress the family of his bride-to-be. Naturally,
he has the misfortune to initiate this pretence as the aforementioned case
comes to trial; naturally, he winds up having to defend the patsy against the
pitiless machinations of the state.
Of course, this is
wildly implausible – so implausible, in fact, that writer-director Atharv
Baluja doesn’t trouble to explain how this case gets assigned to this rookie.
Corner-cutting prevails throughout the film: its handheld camerawork and
occasional continuity blips suggest a production shot on the hoof during
recesses in real-life chambers. Matters get especially frenetic around the
intermission, as Judge’s deception is exposed, and you wonder whether Baluja
can pull it back. Yet elsewhere the film proceeds with a wealth of enthusiasm
and spirit: this is the kind of scrappy underdog production that wins us over
early and – even through its muddle-headed stretches – keeps giving us reasons
to cheer for it.
Partly, it’s the
actors, who are skilfully cast and no chore whatsoever to watch. The gently
nerdy Grewal builds a genuinely sweet relationship with B.N. Sharma as Judge’s
father/landlord: the pride they take in one another’s achievements, even after
we learn that dad has been borrowing his son’s underpants, remains touching
indeed. And Sardar Sohi’s wily turn as state prosecutor T.S. Brar, whose
pre-trial routine includes combing three strands of hair across an otherwise
gleaming bonce in the Homer Simpson style, proves very effective in
demonstrating the merciless attack dog our dreamy hero must either become, or
overcome, if there is to be anything like a fair trial.
Editorially, Baluja’s
film still verges on the pipsqueak, as naïve in its belief that virtue will out
as any movie casting Jimmy Stewart as a plain-spoken public servant. Yet the
stakes are certainly raised, not least when Brar – and this really is a
precedent – urinates into our hero’s fridge. And one clever development
involving mobile toilets suggests what might be achieved should the right
resources be placed in conscientious hands: an end to all this public
excretion, if nothing else. Time will tell whether the Judge’s rousing
summation – delivered in a gleaming white turban – helps restore a measure of
justice within India. As entertainment, however, Judge Singh LLB overrules most of one’s objections.
Judge Singh LLB is now playing in selected cinemas.
Friday, 11 December 2015
For what it's worth...
for the weekend of December 4-6, 2015:
1 (1) The Hunger Games: Mockingjay - Part 2 (12A)
2 (2) The Good Dinosaur (PG)
3 (3) SPECTRE (12A) ***
4 (4) Bridge of Spies (12A) *****
5 (new) Christmas with the Coopers (12A)
6 (5) Black Mass (15) **
7 (6) The Lady in the Van (12A) ***
8 (new) Victor Frankenstein (12A) **
9 (new) Krampus (15) ***
10 (7) Carol (15) ****
(source: theguardian.com)
2 (2) The Good Dinosaur (PG)
3 (3) SPECTRE (12A) ***
4 (4) Bridge of Spies (12A) *****
5 (new) Christmas with the Coopers (12A)
6 (5) Black Mass (15) **
7 (6) The Lady in the Van (12A) ***
8 (new) Victor Frankenstein (12A) **
9 (new) Krampus (15) ***
10 (7) Carol (15) ****
(source: theguardian.com)
My top five:
1 (1) Inside Out (U) ****
2 (2) Ant-Man (12) ***
3 (3) Joe and Caspar Hit the Road (12)
4 (4) Mad Max: Fury Road (15) ****
5 (5) Pitch Perfect 2 (12) **
6 (new) Ronaldo (PG)
7 (7) Amy (15) ****
8 (6) Nativity 3: Dude, Where's My Donkey?! (U)
9 (9) Fast & Furious 7 (12) ***
10 (8) San Andreas (12)
(source: lovefilm.com)
2 (2) Ant-Man (12) ***
3 (3) Joe and Caspar Hit the Road (12)
4 (4) Mad Max: Fury Road (15) ****
5 (5) Pitch Perfect 2 (12) **
6 (new) Ronaldo (PG)
7 (7) Amy (15) ****
8 (6) Nativity 3: Dude, Where's My Donkey?! (U)
9 (9) Fast & Furious 7 (12) ***
10 (8) San Andreas (12)
(source: lovefilm.com)
My top five:
Top five films on terrestrial TV this week:
1. Con Air (Friday, five, 9pm)
2. Toy Story 2 (Sunday, BBC1, 2.45pm)
3. Toy Story (Saturday, BBC1, 3pm)
4. Aladdin (Sunday, C4, 5.20pm)
5. The Prestige (Saturday, BBC2, 10.45pm)
2. Toy Story 2 (Sunday, BBC1, 2.45pm)
3. Toy Story (Saturday, BBC1, 3pm)
4. Aladdin (Sunday, C4, 5.20pm)
5. The Prestige (Saturday, BBC2, 10.45pm)
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