Cast Confirmed For “Final Installment Of The Skywalker Saga” Star Wars: Episode IX

Lucasfilm have this evening announced the new and returning cast members for the next installment of Star WarsEpisode IX

Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Kelly Marie Tran, Joonas Suotamo, and Billie Lourd are all returning to their respective roles. Also confirmed to return is Bill Dee Williams as Lando Calrissian, Anthony Daniels as C3-P0, and Mark Hamill as Jedi Master Luke Skywalker!

In a surprising move, the late Carrie Fisher’s General Leia Organa will appear in Episode IX, with J J Abrams using previously unseen footage that was shot during The Force Awakens

“Finding a truly satisfying conclusion to the Skywalker saga without her eluded us. We were never going to recast, or use a CG character. With the support and blessing from her daughter, Billie, we have found a way to honor Carrie’s legacy and role as Leia in Episode IX by using unseen footage we shot together in Episode VII.” – J J Abrams

Richard E. Grant and Naomi Ackie will be two new faces in a galaxy far far away as they join the cast for Episode IX. Legendary composer John Williams will return to score the film too!

Filming will begin August 1st and the wait begins until December 2019 for the film’s release!

Who are you most excited to see in Episode IX?

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It’s Not Your Star Wars…

Written by Dan Massey

A long time ago in a galaxy far far away… People used to behave in a decent respectable way towards each other.

There has been a tonne of furore of late regarding ‘Star Wars’; the films and the fandom. More specifically, the treatment of talented actors, directors, producers and crew behind the latest installments in the ‘Star Wars’ legacy since it’s sale to Disney. Particularly post ‘The Last Jedi’, and pre the release of ‘Solo: A Star Wars Story’, the atmosphere has reached toxic levels. The treatment of Rian Johnson, Kelly Marie Tran & Daisy Ridley, amongst others (but who I see targeted the most) is nothing short of disgusting and shameful. The idea to boycott a ‘Star Wars’ movie to prove a point and hurt the company and talent producing it is sad, especially from so called ‘fans’, who in truth are only doing themselves out of seeing a fun ‘Star Wars’ film on the big screen.

The reality breaks down like this; it’s absolutely fine to dislike a film, to criticise a story, character or a performance. It’s not ok to harass, bully and abuse hard working people who worked on those films.

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Yet all this got me thinking, what really are the issues the fandom has with the Disney iterations of ‘Star Wars’? The answers are complex and varied. A common criticism of ‘The Force Awakens’ was that it was a rehash of ‘A New Hope’. One of the most common criticisms of ‘The Last Jedi’ was that it was too different, a total disregard for the structure and lore of ‘Star Wars’. Another common theme amongst those who dislike everything Star Wars has done since TFA, is that “diversity and ‘social justice warrior-ism’ is being forced down our throats”.

A female protagonist? A black protagonist? An apparently sexually-ambiguous character? A female stormtrooper captain? A feminist, equal-rights focused droid? Asian and Mexican characters?

Well, that’s crazy, unrealistic and only included to force diversity upon us, let’s go back to the original films where all was good, men dominated the screen time and the Admiral of the resistance army was a fucking fish. Seriously, it’s a movie containing all kinds of Alien races, so let’s not get caught up on the race, gender and sexuality of the characters being unrealistic. It’s tiring, and while you aren’t racist or misogynistic if you dislike these films, you probably are if your reason for disliking these films is because of the inclusion of POC and female actors getting bigger, more important roles.

The most disappointing thing about all this, in my opinion, is that ‘Star Wars’ has always had deep-rooted messages and themes about society, politics, inclusion, failure, redemption, balance and inner conflict. It always had an overriding message of hope. The newer films take these themes and crank them up further than their predecessors. That’s a good thing; and reflects that society today is more open-minded, inclusive and accepting. George Lucas’ original vision was to create something that could provide moral guidance, a sense of spirituality that could transcend religion;

I see Star Wars as taking all the issues that religion represents and trying to distill them down into a more modern and easily accessible construct […] I put the Force into the movie in order to try to awaken a certain kind of spirituality in young people”

Obviously, mentioning George Lucas brings up an important point in the discussion, ownership. Now, as fans, we’re all important. As people, all of our opinions matter. None of that gives you ownership of ‘Star Wars’. IT’S NOT YOUR STAR WARS. ‘Star Wars’ doesn’t exist to be what you want it to be, it exists to be what the creators wanted to be. ‘Star Wars’ owes you nothing, so boo-hoo if the story hasn’t gone the way you wanted it to in your own mind.

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Now, I was born after the OT, saw them and fell in love with them as a kid. I’m old enough to remember ‘The Phantom Menace’ being released in cinemas, the line going all the way down the road, everyone in costumes, a full 16 years after the release of ‘Return of the Jedi’. 16 years. And it actually wasn’t very good. None of the prequel trilogy was actually great, and that was George Lucas telling the story George Lucas wanted to tell. 16 years! So spare me the talk of Disney ruining SW with its story direction and release schedule. We’re getting great ‘Star Wars’ movies almost every year. It’s a huge galaxy, there’s a million stories to tell, as long as the films are good and fun, there should be no issue. Who cares who makes them, so long as they’re good. George Lucas gave us three amazing films, followed by 3 average films and Jar Jar Binks.

So let’s look at the aforementioned issues; TFA being too similar to past ‘Star Wars’ stories. Lucas himself said that the stories always repeat, because that’s human nature. That was his vision for the expanded ‘Star Wars’ galaxy over time; and they do. Luke, a poor boy from nowhere, had incredible Force powers, and rose up to become the galaxies great hope against the evil of the Empire. In the prequel trilogy, Anakin, a poor orphan boy from nowhere, had incredible Force powers and rose up to become the galaxies greatest hope before succumbing to the Dark Side and becoming the greatest evil in the galaxy. TFA, Rey, a poor orphan girl has incredible Force powers, rises up to become the next great hope against the evil of the First Order. You could even make a prequel trilogy about Ben Solo’s rise and fall into Kylo Ren. That’s how in-sync the stories are. AND IT’S EXACTLY AS GEORGE LUCAS INTENDED IT.

Yet, it’s different. The themes of balance are much more present. Internal conflict, not only in force-sensitive people, but in a stormtrooper? The mindless soldiers of the Empire/First Order. That alone raised so many exciting new questions and possibilities, the exploration of the moral compass and conscience of Finn has been fantastic and fresh. Kylo Ren explores the inner conflict and pull of the light and dark more than any other character in previous ‘Star Wars’ films. It’s different because it’s more in touch with modern world views. It’s different because it doesn’t matter who you are, where you’ve been or what you’re past is.

“Let the past die, kill it if you must”.

That line, apply it to the original films. The Skywalkers? The last of that bloodline is now Kylo Ren. Rey? A nobody. Snoke, unimportant, didn’t matter. Bold new steps in the way we tell ‘Star Wars’ stories, yet in line with how we tell Star Wars stories. It completely drives the saga in new directions while being faithful to the original ideals. Good vs bad, balance, inner conflict and redemption.

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In terms of Rey being a ‘Mary Sue’, why does nobody ever mention that Luke is the biggest Mary Sue of them all? He’s amazing at everything and quite easily dispels the pull of the Dark Side without a tonne of effort or sacrifice. I love that ‘The Last Jedi’ particularly explores the idea of Luke as a failure, to himself and to Ben, and the wider universe by his self-imposed exile. I love that there’s redemption for Luke, and his death is a sacrifice after finding inner peace and faith in the force again, knowing that Rey will restore balance and be the light vs Kylo’s dark. A large part of why I love that is because it’s such a fresh take on a central ‘Star Wars’ theme, failure. Obi Wan failed Anakin, and ultimately, he paid the price. His death was sacrificial, but willing, as he had found inner peace, and knew Luke would take up the mantle for the light vs the darkness.

Ultimately, ‘Star Wars’ doesn’t owe anyone anything, it’s not your ‘Star Wars’,  and people should be grateful that we get so much good SW content so often these days, whether it matches how it should of been in your head or not. Trust me, its better than waiting a decade and a half for a movie that didn’t match what you expected. But even when the prequel trilogy didn’t hold up in quality compared to the OT, that was fine. Agree to disagree, discuss what you’d have preferred and your critiques by all means. But, above all, be a decent person and resist the dark side of online abuse and bullying.

Feel free to leave your thoughts in the comments below, or discuss with us over on Twitter – @JUMPCUT_ONLINE

 

Peter Rabbit

Year: 2018
Directed by: Will Gluck
Starring: Rose Byrne, James Corden, Domhnall Gleeson, Daisy Ridley, Margot Robbie

Written by Jessica Peña

With an obsession for the cheap laugh and dull dialogue, ‘Peter Rabbit’ fails to capture a lasting impression of a moral lesson. The film is adapted from ‘The Tale of Peter Rabbit’, the children’s book written and illustrated by Beatrix Potter, which were later adapted into an animated series on the BBC network as ‘The World of Peter Rabbit and Friends’. The story of the peculiar, blue jacket-wearing rabbit has blended itself into British history as a best-selling classic. There’s a comfortable joy in the way the stories taught readers how to dream beyond our own boundaries and take a leap into new adventure. Peter’s treks into Mr. McGregor’s garden boasted an innocent curiosity in his little rabbit world. Heck, the stories even made eating vegetables look so fun! ‘Peter Rabbit’ paints a weak imagination of the classic, mischievous rabbit. If we want to get straight to the point, it is a film targeting children, so it’s hard for that audience not to like it, but the film hops around too many laughs to be compelling for the average viewer.

Domhnall Gleeson is the redeeming villain we can’t help but love. Sure, he’s a little extreme and comical, but it honestly works so well and makes ‘Peter Rabbit’ a little more enjoyable to watch. This young McGregor gets fired from his position as floor manager at Harrods and finds himself staying in the inherited countryside home, living beside the kind hearted Bea (Rose Byrne) and her furry companions. Gleeson’s McGregor is so intent on keeping the animals out of his garden that he pulls out measures like electrical fences and bolted mesh to doors. The rabbits, led by Peter’s self proclaimed “character flaw,” quickly devise ways around it, using very meticulous tricks to scare the young McGregor out of the house and far away from Bea’s affection.

The film brings some charm here and there as the rabbits are mischievous to no end. Peter, voiced by late night host, James Corden, declares some sort of turf war and his siblings reluctantly agree. McGregor faces hysterical misery in the form of bear traps, stepping on rakes, and even electrocutions that kids will get a kick out of. It would be a lie to say its target audience of the young age wouldn’t enjoy the antics. It has inventive, quirky obstacles. They make up the majority of the film, but ultimately find no release. Its sentimental value peeks here and there, but offer little to no redemption for what it’s cast over the legacy of the children’s book.

Rob Lieber and director Will Gluck really try to make these rabbits so human and trendy in mannerisms that it becomes grossly too much. Sony Pictures even received backlash for “allergy bullying” stemming from a scene where Peter slingshots a blackberry into McGregor’s mouth after it’s been revealed he has a serious allergy to those. It has been debatable online, but one thing that’s evident is they could’ve easily done without that bit. In picking out ways to use carrots, other vegetables, and nature itself into play, ‘Peter Rabbit’ tries very hard to barrade the viewer with so much gag laughs that it falls short in carrying emotion all the way through. There’s a whimsical and pure energy that is lacking. The closest to the source tale is probably Rose Byrne’s Bea. She loves her rabbits unconditionally and we really buy into her good nature and how she just wants to have a happy life, possibly with Thomas, but certainly not if her furry friends are being hunted. She’s the fresh air of humanity that helps reel the mayhem back in.

There’s perhaps too much vulgarity in terms of the nature of these animals. The writers thought it’d be tasteful to include a modern edge of pop culture, but it’s honestly flat. It’s not very faithful in the sense of whimsy and proper behavior. Gleeson and Byrne save this film only as much as they can. We can go as far as to say Gleeson is wasting his talent in this. There’s a small payoff in moral that will translate to kids, but it is short lived as the bulk of the film shadows it in cheesy hilarity. ‘Peter Rabbit’ is enjoyable enough to catch our hearts for a moment or two, but is sadly mistaken if it thinks it’s being a clever, modern take on Beatrix Potter’s children’s books.

Jessica’s Rating: 5/10

Star Wars Episode VIII: The Last Jedi

Year: 2017
Directed by: Rian Johnson
Starring: Mark Hamill, Daisy Ridley, Adam Driver, Carrie Fisher, John Boyega, Oscar Isaac, Gwendoline Christie, Domhnall Gleeson, Andy Serkis, Laura Dern, Benicio Del Toro.

WRITTEN BY CHRIS GELDERD

This 2017 American sci-fi fantasy is written and directed by Rian Johnson and is the sequel to 2015s ‘The Force Awakens’, the second of the New Trilogy and ninth in the overall Star Wars saga.

Following the destruction of Starkiller Base at the hands of the Resistance led by General Leia Organa (Carrie Fisher), the brave heroes find themselves mercilessly hunted by the First Order under the command of General Hux (Domhnall Gleeson) and Supreme Leader Snoke (Andy Serkis).

As the Resistance attempts to survive the First Order, young Jedi in training Rey (Daisy Ridley) seeks the help of Jedi Master Luke Skywalker (Mark Hamill) to join the fight and defeat Snoke and his powerful apprentice, Kylo Ren (Adam Driver).

Emotions will be pushed to breaking point as Rey discovers shocking truths about key fighters in the Resistance and First Order, and Luke Skywalker himself, which will force everyone to question just where their destiny lies within the galaxy and which side of the fight they are truly on…

I’m going to say it from the off here – I walked out of the midnight showing of ‘The Force Awakens’ and ‘The Last Jedi’ a little disappointed. Not for J.J. Abrams’ thrill ride, but for the new episode from writer/director Rian Johnson. ‘The Last Jedi’ is a blend of all that works from the prequels and original trilogy, but sadly lots that doesn’t. The result is a film that delivers on the most part, but stumbles along the way and gives, I think, little payoff for a film that should offer more resolutions than headaches.

Maybe I will feel different on the second viewing with a clearer head? Or maybe that’s me as an avid Star Wars fan desperate to find more in this blockbuster than I originally found.

We are catapulted into the fall-out from ‘The Force Awakens’ in a typical Star-Warsy narrative that is tried and tested; a number of stories running parallel that converge at the end. The late Carrie Fisher has far more to do this time around leading the Resistance again as General Leia Organa. Oscar Isaac is back as passionate pilot Poe along with John Boyega as Finn and newcomer Kelly Marie Tran as Rose, a maintenance worker for the Resistance. It is this group, along with Laura Dern as the ‘is she good / is she bad?’ Admiral Holdo, that are the ones scrabbling around trying to simultaneously fight against and flee from the First Order.

On the other hand, we have Daisy Ridley’s Rey and Mark Hamill’s Luke Skywalker seeking to understand each other, the Force and the state of the galaxy at war. On the OTHER other hand, Adam Driver’s Kylo Ren and Domhnall Gleeson’s General Hux ham it up for all it’s worth as the brash, short-fused, volatile but merciless First Order agents.

As you can see, it’s a busy narrative with lots of new and old characters, new planets, species and technology. And as you suspect, there is a lot of waste and a lot of back and forth that messes up the flow. The Resistance has a lazy plot that revolves around breaking a secret code on-board the biggest Star Destroyer in the First Order fleet to allow their ships to flee. So much time is spent on this task that is made out to be much easier to do than it really should be, giving Boyega, Tran and co. reasons to forge relationships and run around on the very prequel-esque digital world of Cantonica and Canto Bight. It detracts from the main flow of the story and is very digital, compared to the practical worlds of Takodana and Jakku from ‘The Force Awakens.’

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The CGI here and throughout is very noticeable. It’s not 100% polished, but because there is so much it’s far easier to spot. From Snoke’s digital body to dozens of new alien species and much more gravity/physics defying action, it reminded me more of the flamboyant CGI of the prequels than the restrained, minimal CGI J.J. Abrams introduced us to. As I said, some of the prequel material worked, much didn’t. ‘The Last Jedi’ plays out like a new modern entry wrapped up in a prequel skin.

It’s a busy film, and the secondary narrative detracts from what we are here to see – the return of Mark Hamill as Luke Skywalker and his relationship with Rey. We get this and more, and it’s wonderful. A highlight of the film is seeing the two bicker, argue try to understand each other, exploring lore from the past and touching on the future. Hamill is not the Jedi we last saw on Endor, but a world-weary, scared and bitter hermit questioning his own existence and the Force itself. He draws us into his story and the spark between him and Ridley grips you, wondering just who is right and who is wrong.

And on the subject of Luke; his Porgs. Not as annoying as you’d expect, and rather amusing in a restrained way. They are NOT the new Ewoks, believe me, and the best of the various digital creatures we have here (the Canto Bight ones truly pointless if you ask me).

But with constant interjections from a slightly boring Resistance story, it becomes frustrating being drip-fed so much about Luke, Rey and Kylo that while it is electric to watch, Johnson doesn’t offer clear resolutions to questions raised in 2015. I felt short-changed by many outcomes, and annoyed at what seemed to be a waste of established material. To be honest, at times I didn’t know if I was watching the middle of a trilogy or the end of one. As both stories crank up to converge, my mind’s eye saw ‘The Empire Strikes Back’ blended with ‘Return Of The Jedi’ in a mish-mash of sequences that, while hitting the humour, emotion and action just right, were just too rushed and hap-hazard to take in. Even the Battle Of Hoth-esque finale  (spot the Gareth Edwards solider cameo!) is pretty boring, un-eventful and jammed with digital creations that I was turning off even when a certain character brushed his shoulder off. It felt too much, too late.

I was seeing things I didn’t want to see happen. Outcomes I didn’t want to witness. Characters go when I couldn’t see a reason for.  The film itself is immersive, don’t get me wrong. There are some really beautiful shots and really tender, well executed moments developing our heroes and villains. I just felt the outcomes were either cheap or rushed.  Even the score by John Williams is devoid of anything standout, and the only motifs that roused me were ones recycled from the Original Trilogy for a truly sentimental impact.

You can see, I am torn, and I’m annoyed that a Star Wars film has made me feel like this especially following such a blistering opening chapter.

As I said, I felt the trilogy was wrapping up towards the end of this. It was strange. Where will they go from here? J.J. Abrams needs to really add something new to ‘Episode IX’ because questions and motives are still clouded and over-looked all for dramatic effect, and opportunities have been missed. While I buy into this new galaxy and always will be an avid fan, I need more to invest in for this current battle between good and evil to give me chills the way that all closing chapters should. Because to me it feels Johnson has peaked the trilogy far too soon.

CHRIS’ RATING: 5.0/10.

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Murder on the Orient Express

Year: 2017
Director: Kenneth Branagh
Cast: Kenneth Branagh, Michelle Pfeiffer, Daisy Ridley, Josh Gad, Johnny Depp, Judi Dench, Penelope Cruz, Willem Dafoe, Leslie Odom Jr.

Written by Jo Craig

A packed Friday night screening jostling with curiosity from a varied audience sees Kenneth Branagh’s adaptation of Agatha Christie’s ‘Murder on the Orient Express’ as an impressive turnout for the classic enigma’s opening night, prompting a relentless interest we as a nation have in a good whodunit with an itch to solve the crime before the protagonist. Furrowed brows, swift chuckles and an envy for lavish conduct awaits on this expedition, but instead of partaking in the detective work more is to be gained from kicking off Jessica Fletcher’s slippers and settling for spectator as a sedative to preclude headache.

Previously made for the big screen in 1974 by Sidney Lumet and Albert Finney, ‘Murder on the Orient Express’ joins Hercule Poirot, the greatest detective in the world on his most puzzling case, becoming the sole investigator of a murder on-board the long-distance passenger train while travelling on its isolating journey from Istanbul across Europe. Transporting an opulent array of passengers, it’s Poirot’s duty to catch the killer before arrival and keep his head above its surrounding secrecy.

Humour is not a common factor when it comes to productions in the crime genre of late, however Poirot’s resume equips us for a level of tongue-in-cheek quips that colour his meticulous problem solving and is a component that’s used to the advantage of Kenneth Branagh’s retelling. Performing on and off camera validates the skippers acting flair and stability with directing, not to mention his dazzling blue eyes that looked as if the universe existed within them against the niveous scenery. Comic timing contrived on both sides of the 65mm camera remained impeccably placed from the outset and operated as the features redeeming asset when the plot bottle necked but ultimately became a distant memory during the last quarter. Branagh’s emphasis on Poirot’s obsessive trait towards “unbearable” imperfections addressed an insecurity that stuck, despite being labelled unshakeable and supplied a quirk to the police work.

Daisy Ridley and Josh Gad kept the 1930’s current for modern day viewing and worked a vital freshness into the timeless mystery that was threatened with regenerated humdrum. Ridley’s Mary Debenham teases with a bubbly demeanour but is frequently deprived of independence, while Gad’s theatrical background sufficiently peddles his engagement as the shady MacQueen. Pfeiffer and Depp remain sturdy as the backbone to a polished cast while maintaining the progressive gravitas alongside Branagh, unlike Dame Judi Dench who became outclassed by her servant Olivia Coleman, whose fleeting but expressive role surpassed Dench’s few humorous lines. Performances from a dreary Cruz, and doctor on-board Leslie Odom Jr. are forgotten amongst larger personalities, adding extra baggage to an already crowded compartment that demanded extra scrutiny.

A long-winded introduction presenting the movie as a character piece rather than a wholesome thriller emerged as wasted time when arriving at the films core, presenting the crime’s foundation as a careless interjection into the narrative which ultimately caused a detachment from Poirot’s deliberating, abandoning all hope of solving the puzzle with him. This late addition of a critical layer to the plot, combined with a plethora of identities and jigsaw pieces caused major brain cramps when tasked to juggle them all at once, all the while trying to decipher Branagh’s often incomprehensible speech that muddled a decent French accent every time Hercule got excited. A retrospective scene delved into a fitting noir-scope which brought punch to the denouement and bound any loose ends, but stretched into a dragging conclusion that begged for the inspector’s no-nonsense psyche to halt its runaway manner.

Hair-raising scenery of snowy mountains and vertigo-summoning drops were efficient in contrast to a packed locomotive interior, with credible cinematography from Haris Zambarloukos (‘Thor’) and Rebecca Alleway’s (‘The Duchess’) convincing set decoration that brought the allure of the era and a rather majestic looking choo choo. Branagh’s clever trick in the director’s chair pinned our stellar actors to the background as much as the foreground, encouraging the viewers to look beyond the spotlight for evidence like the cunning detective.

As it stands, no vehicular journey is without shoogling as ‘Murder on the Orient Express’ plays to its strengths as a kitsch conundrum with Hollywood’s most glamorous, almost excusing its accelerated second act pace and a platter of redundant clues that lend no hand to budding crime aficionados who haven’t read or watched the original material. Viewers young and matured will certainly get a thrill from Branagh’s version as an alternative to family Cluedo night and ‘CSI’ re-runs, with the exception of Branagh’s quality act hiding behind a two-layered, preposterous moustache.

Jo’s Rating: 6.0 out of 10            

Darkness Rises In Brand New ‘Star Wars: The Last Jedi’ TV Spot

“In Lucasfilm’s ‘Star Wars: The Last Jedi’, the Skywalker saga continues as the heroes of ‘The Force Awakens’ join the galactic legends in an epic adventure that unlocks age old mysteries of the Force and shocking revelations of the past”

Directed By: Rian Johnson
Cast: Daisy Ridley, Mark Hamill, John Boyega, Carrie Fisher, Oscar Isaac, Andy Serkis, Gwendoline Christie, Domhnall Gleeson, Adam Driver, Laura Dern, Benicio Del Toro, Billi Lourd
Release Date: 14th December 2017

Rey and Kylo Ren Take Centre Stage In Brand New ‘Star Wars: The Last Jedi’ Trailer

“Luke Skywalker’s peaceful and solitary existence gets upended when he meets Rey, a young woman who shows strong signs of the Force.”

Direct By: Rian Johnson
Cast: Daisy Ridley, Mark Hamill, Adam Driver, John Boyega, Domhnall Gleeson, Oscar Isaac, Carrie Fisher, Andy Serkis, Laura Dern, Benicio Del Toro, Gwendoline Christie
Release Date: 14th December 2017

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Watch This Space: 9th – 15th October

Every Monday we will be recommending films that are on TV that week, films playing at the cinema, and also remind you of those brilliant films hiding on streaming services, such as Netflix and Amazon Prime, and possibly in your own collection.

In Cinemas

Blade Runner 2049: Fans of the original have waited 35 years for a sequel to ‘Blade Runner’, and last week their wish was granted. It may not be receiving the best numbers at the box office, but fans and critics alike can’t help but share their love the this masterpiece. Our full review will be on site later today!

Star Wars: The Last Jedi: Whilst we know it’s not December yet, we thought we’d take this opportunity to remind you that tickets for ‘The Last Jedi’ go on sale Tuesday AM (UK), and with them comes a brand new trailer! We’ll have it up on site as soon as it hits the web!

The Mountain Between Us: Idris Elba and Kate Winslet are stranded after a tragic plane crash. They must forge a connection to survive the extreme elements of a remote snow covered mountain. ‘The Mountain Between Us’ opened in UK cinemas last Friday, and our full review will be up soon!

On TV

Monday

Se7en (1995): If you discount ‘Alien 3’ because, well, who wouldn’t, ‘Se7en’ was our introduction to a master filmmaker. David Fincher has blessed us with numerous films that rightfully earn their place on countless best films ever lists, though arguably none have managed to be as high on said lists as ‘Se7en.’ It’s a crime noir starring a pre-Fight Club and Morgan Freeman as they investigate a string of murders all based on the seven deadly sins. It’s a deceptively clever thriller that keeps you engaged, guessing, and shocked at some of the truly messed up ways the sins have been visualised as murder scenes. On a personal note, ‘Se7en’ is one of my favourite films of all time. This film can be watched and rewatched countless times and you will still find new things to love about it, right up until it’s brilliant, soul-crushing climax.

 

Tuesday

Southpaw (2015): Directed by Antoine Fuqua and starring Jake Gyllenhaal, ‘Southpaw‘ is the gritty drama about a successful pro boxer who goes off the hinges after his wife is shot at a press event. Gyllenhaal delivers a strong and heavyweight performance as Billy “The Great’ Hope, a husband and father who wins titles in the ring, but ultimately loses himself outside. He’s on top of the world, beating opponents to a pulp with a fight fueled by anger. Hope must rehabilitate himself in order to take back his life and the custody of his daughter. Gyllenhaal’s character is aggressive and the onscreen punches are impressive. If you want something decent and gritty that isn’t afraid to throw punches, this is your film. Catch this knockout boxing drama on Film4 at 9pm.

Wednesday

Locke (2013): One of Tom Hardy’s most astonishing performances makes for an audacious film. Almost entirely a one-man monologue delivered over the course of a long night-time road trip. We watch as Locke slowly unravels and details of his career and personal life are revealed through a series of confessional phone conversations. Remarkable that this film was made at all and I’m very glad it was. Alongside ‘The Drop’ – one of Hardy’s best but underseen roles. Highly recommend.

Dirty Dancing (1987): An iconic soundtrack runs throughout this 80s classic, set in the 60s and telling the tale of a summer romance. Rich girl Baby meets bad boy and dirtier dancer Johnny and an illicit affair is sparked. Throw in a watermelon, a botched abortion and a corner where NOBODY puts Baby and you have one of the most quotable films of a generation. Again, if you haven’t seen it, why not? Rectify this immediately!

The Green Mile (1999): In the season of Stephen King adaptations, why not visit one of the most profound and heart-breaking? Tom Hanks (one of Hollywood’s most reliable actors) stars as Paul Edgecomb, who accompanies men down the ‘mile’, the walk cons take to the chair, to the death. When he meets the simple and naive John Coffey (played to perfection by Michael Clarke Duncan), a giant of a man accused of murdering two young girls, Paul begins to question John’s guilt.

Legally Blonde (2001): Elle Woods (Reese Witherspoon) has everything: hot shot law student boyfriend, top spot in a prestigious sorority house, a stellar fashion sense, and the most infectiously lovely personality. When her sure-to-be future husband unceremoniously dumps her for being too blonde, she is determined to win him back. Using her unstoppable willpower and wit, she gets into Harvard Law School, and brings all her charm, a splash of pink and her chihuahua with her. Riotously fun and positive, Legally Blonde is the perfect antidote to the darker nights.

Thursday

License to Kill (1989): Rewind 17 years before Daniel Craig made James Bond a badass, and you’ll find Timothy Dalton doing it just as good if not better this time in the darkest 007 film of all. Going up against drug baron Robert Davi with the aid of the kick-ass Carey Lowell, Dalton shoots, stabs, water-skis, parachutes and punches his way into the heart of a dangerous drug cartel to bring them down from the inside in a mission of revenge. Blistering action, brutal violence and a real film of it’s time. The world wasn’t ready for a darker 007. Well, they are now. Enjoy!

Titanic (1997): What can be said about the biggest film in the world? I can’t imagine there are many people left who haven’t seen it. It’s a classic tale of boy meets girl, girl meets enormous blue diamond, iceberg meets boat, floating door not big enough for two people. Despite all the cliches, the second half of the film is still quite thrilling and visually spectacular. Get it in your eyeballs.

Friday

GoldenEye (1995): The Cold War is over, but there are plenty of reasons for James Bond to thrill us in the wake of a 6 year absence from an early end to Timothy Dalton’s run in 1989. Old and new cast and crew come together to take 007 to new heights with classic elements laced with a new, modern twist. Pierce Brosnon re-introduces Bond to a new generation of fans going up against rogue agent Sean Bean from bringing the world to it’s knees with a hi-tech super-weapon. With death-defying stunts, loud action sequences, a rousing theme and all the martinis, girls and guns we’ve come to expect from 007, it’s a new era but one that proves nobody does it better still.

Last Action Hero (1993):  The film that easily divides many Arnold Schwarzenegger fans, this is actually far cleverer than it appears and delves into the self-parodying track of spoofing the action genre and Hollywood in general. Director John McTiernan makes sure the action is played out tongue-in-cheek as we jump from inside the silver screen and beyond when Arnie goes up against villain Charles Dance. As long as the film is understood to be a mockery of the thing it tries to be, it comes across more enjoyable than if watched to be a serious actioner. And don’t worry, there are many Arnie one-liners a plenty here. “Iced that guy, to cone a phrase!”

Twilight: Breaking Dawn Part I (2011): The Twilight Saga lives on with its second to last installment, based on the novel Breaking Dawn. Bella Swan, the average girl who fell hard for vampire stud Edward Cullen, gets married and soon becomes impregnated with a half-mortal, half-immortal child. Seen as a potential threat to the local wolf pack and humans, the Cullen family must help Bella survive her pregnancy, and protect their livelihood in Washington. The young Kristen Stewart and Robert Pattinson reprise their roles in this fairytale drama that grossed big box office numbers among book and film fans alike.Catch the popular endearing story on E4 at 9pm.

Gladiator (2000): It’s Friday, and we all know what that means. A cosy night in, all snuggled up in front of the TV with snacks aplenty. And what better way to spend your Friday evening by watching Ridley Scott’s epic ‘Gladiator’, a 155-minute spectacle that throws you into the gladiator pits of Ancient Rome. With mesmerising cinematography by John Mathieson and career-defining performances from Russell Crowe and Joaquin Phoenix, ‘Gladiator’ is an epic that stands shoulder-to-shoulder with other grand, cinematic spectacles like ‘Lawrence of Arabia’ and ‘Ben-Hur’. A must-see.

 

Hiding Online / In Our Collection / Out This Week

 

Wonder Woman (2017): Yesterday we were treated to the final ‘Justice League’ trailer in which we saw Wonder Woman, along with Bruce Wayne, assemble the League to save the world. As of today, ‘Wonder Woman’ is yours to take home on DVD/Blu-ray in the UK! With it’s record breaking run at the box office almost complete, we can probably expect more records to be broken on her home release.

Ace Ventura: Pet Detective (1994): Allllrriigghhttyy then! 1994 was a very good year for Jim Carrey. During this breakout year he starred in not one, not two, but three comedy classics. Dumb and Dumber and The Mask were great for Carrey to showcase his talents, but Ace Ventura was the one that he really was allowed to let loose in. With his rubber face cranked up to 11 and his limbs in a non stop hurricane of madness, Ace is a character that Jim Carrey looked like he had the best time playing. It shines through in his performance. The premise is simple. Ace Ventura is hired by the Miami Dolphins to find their missing mascot, Snowflake the Dolphin. What follows is 87 minutes of pure 90s gold. With support from Courtney Cox and Sean Young, Jim Carrey’s Ace Ventura Pet Detective is an easy, fun comedy which will keep you entertained for all its duration. They don’t really make them like this anymore so catch it while you can.

Fast Five (2011): The Fast and Furious franchise, whether you love it or hate it, can be an entertaining breakaway from the mundaneness of everyday life. The absurd car chases, the improbable yet insanely fun shootouts, even the fast-paced fight sequences in which the franchise is renowned for is especially present in the fifth instalment; ‘Fast Five’. Arguably the best in the now 8-film series, ‘Fast Five’ is relentless in its presentation, and with the addition of Dwayne Johnson’s hulking Hobbs joining the rest of the charismatic roster, ‘Fast Five’ rejuvenated a franchise that most felt was on its way out. Popcorn entertainment has never looked so good, so be sure not to miss it!

The Notebook (2004):  If you’re a hopeless romantic, the latest addition to the Netflix roster is for you. Adapted from a Nicholas Sparks novel (king of the rom-com), The Notebook is a story of everlasting love told in two timelines. With notes of The Princess Bride (‘Always’) and Romeo & Juliet (forbidden love), the lead characters are so irresistible to root for. Ryan Gosling and Rachel McAdams as Noah and Allie bring to screen one of the most authentic representations of first love and teenage love, one that is sure to make you feel sentimental. Watch this under a blanket with a hot cup of cocoa.

A huge thank you to contributors this week: Dave Curtis, Chris Gelderd, Jessica Peña, Rhys Bowen-Jones, Fiona Underhill, Corey Hughes, Sasha Hornby

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First ‘Peter Rabbit’ Trailer Hops Its Way Online

“Peter Rabbit, the mischievous and adventurous hero who has captivated generations of readers, now takes on the starring role of his own irreverent, contemporary comedy with attitude. In the film, Peter’s feud with Mr. McGregor escalates to greater heights than ever before as they rival for the affections of the warm-hearted animal lover who lives next door.”

Direct By: Will Gluck
Cast: James Corden, Margot Robbie, Daisy Ridley, Domhnall Gleeson, Elizabeth Debicki, Rose Byrne
Release Date: 16th March 2018