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Dan Jolin

Dan Jolin

Articles (19)

The 100 best comedy movies: the funniest films of all time

The 100 best comedy movies: the funniest films of all time

It’s easy to make a funny movie. Making a classic comedy is an entirely different matter. It’s one thing to make audiences laugh in the present, but to keep them laughing through the ensuing decades is one of the most difficult tricks in cinema. Because as society changes, so does our sense of humour. What’s hilarious in 1923 might bomb in 2023, and one generation’s laugh riot is another’s laugh riot is another’s ‘huh?’.  That makes ranking the best comedy films of all time particularly difficult. You first have to ask, what makes a comedy truly great? There’s many criteria, but one of the most important is durability. Can it withstand the test of time, and stay funny five, ten, 100 years down the road? Making that determination isn’t easy. So we called in some help. To put together this list, we asked comedians like Diane Morgan and Russell Howard, actors such as John Boyega and Jodie Whittaker and a small army of Time Out writers about the movies that make them chuckle the hardest for the longest period of time. In doing so, we believe we’ve found the 100 finest, most durable and most broadly appreciable laughers in history. No matter your sense of humour – silly or sophisticated, light or dark, surreal or broad – you’ll find it represented here.  Recommended: 🔥 The 100 best movies of all-time🥰 The greatest romantic comedies of all time🤯 33 great disaster movies😬 The best thriller films of all-time🌏 The best foreign films of all-time

The 50 best World War II movies

The 50 best World War II movies

War has long fascinated filmmakers, going back to the birth of cinema, but none have proven so endlessly enthralling as World War II. It’s understandable, given the remarkable scale of the destruction, the atrocities it involved and what it represented in the grand scheme of human history. So many movies have been made about the conflict, it almost stands apart from other war movies as a genre unto itself – and we’ll almost certainly see many more over the coming decades. It’s a daunting task, then, to choose the best World War II movies ever made. That’s why, along with polling our well-studied TimeOut writers, we also called in an outside expert to come up with this definitive list: Quentin Tarantino, a man who knows a thing or two about making a great WWII film. Among the selections, you’ll find wide-scale epics, personal dramas, devastating documentaries, historical revisions and even a comedy or two. War, as we all know, is good for absolutely nothing – but at least we have these films to help make some sense of it. Written by Tom Huddleston, Adam Lee Davies, Paul Fairclough, Anna Smith, David Jenkins, Dan Jolin, Phil de Semlyen, Alim Kheraj & Matthew Singer Recommended: ⚔️ The 50 best war movies of all-time🎖️The best World War I movies, ranked by historical accuracy💣 The 101 best action movies of all-time🇺🇸 The 20 best Memorial Day movies

The Black Phone

The Black Phone

⭑⭑⭑✩✩ Basada en una historia corta del hijo de Stephen King, Joe Hill, The Black Phone explota el peor temor de todos los padres: que su hijo sea arrebatado en la calle por un depredador sombrío, para que nunca más se le vuelva a ver con vida. Pero su enfoque no es la angustia de la generación anterior (de hecho, el padre principal aquí, interpretado por Jeremy Davies, es un alcohólico abusivo y arrepentido), sino la pesadilla que sufren los jóvenes secuestrados, principalmente Finney Shaw de 13 años (Mason Támesis). Residente del norte de Denver en 1978, Finney es el último de una serie de niños encarcelados en un sótano lúgubre por un secuestrador en serie conocido como "The Grabber", interpretado por Ethan Hawke, quien pasa la mayor parte de la película escondido detrás de una serie de espeluznantes máscaras de demonio. Suena como una visualización ultrasombría, pero el director y coguionista Scott Derrickson (que se reúne con Hawke por primera vez desde Sinister, hace 10 años) le da a la película una sensación propulsora de sala de escape, presentando a la resistente Finnie con un rompecabezas por resolver; cómo liberarse de esta terrible situación antes de que los juegos de "Naughty Boy" de The Grabber lo acaben. De vuelta a casa, su valiente y divertida hermana menor Gwen (Madeleine McGraw) está experimentando útiles visiones de sueños psíquicos. Mientras tanto, las víctimas anteriores de The Grabber (todos adolescentes) llaman a Finney por un teléfono desconectado, p

Todo en todas partes al mismo tiempo

Todo en todas partes al mismo tiempo

⭑⭑⭑⭑✩ El multiverso claramente está teniendo un momento. Después de que Marvel nos diera varios Spider-Men y Doctor Stranges en sus dos últimas películas, ahora tenemos al dúo de directores los Daniels (Kwan y Scheinert, Swiss Army Man) explorando el mismo meta-territorio de mundos paralelos, pero a su idiosincrásica manera. El concepto es genial, maduro con jugo cómico y lleno de emociones visuales. Los habitantes de otro universo han descubierto una manera de saltar a la mente de sus seres alternativos y absorber sus habilidades (similar a cómo Neo podía descargar kung fu en The Matrix). Pueden lograr esto haciendo algo específicamente inesperado, como comerse de repente una barra de bálsamo o profesar amor por alguien que apenas conocen. Esto abre la puerta a un maníaco episodio de 139 minutos de loca acción. Presenta a Michelle Yeoh, como Evelyn Wang, propietaria de una lavandería que pierde la vida y alterna valientemente entre varias identidades. Esto incluyen una estrella de acción de artes marciales no muy diferente de su yo de la vida real; una chef de teppanyaki que descubre que su colega es controlada en secreto, al estilo Ratatouille, por un mapache parlante; y una mujer con hot dogs en lugar de dedos. Los Daniels hacen malabarismos con bromas tontas y visuales extraños como dadaístas. Pero aunque la película se excede un poco con un tiempo de ejecución, nunca se sale de sus bisagras por completo. Los conceptos pesados ​​(nihilismo y existencialismo) se aligeran p

Why 2022 is going to be the biggest year ever for fantasy on screen

Why 2022 is going to be the biggest year ever for fantasy on screen

When cinemas around the world first began to reopen after those dark, locked-down days of spring 2020, one of the first things that screened in the UK was a Harry Potter marathon. Meanwhile, in July, an almost-20-year-old movie appeared in the British box-office top five: the extended cut of The Lord of the Rings: The Fellowship of the Ring. Sure, new movies were thin on the ground but there was another conclusion to be drawn: people craved fantasy.  More than a year on and that hunger is being catered for in epic style. The two behemoths we’ll be digging into on streaming and TV in 2022 are both fantasy prequels: Amazon has its epic new The Lord of the Rings, while HBO returns to Westeros with its Game of Thrones follow-up House of the Dragon.  And the money behind them would stretch even the Iron Bank of Braavos. By the end of the original Game of Thrones, HBO was spending $15 million per episode, and it’s unlikely it will be downsizing. Amazon, meanwhile, bought the rights to JRR Tolkien’s books for a staggering $250 million in 2017, and has committed an estimated $150 million to the first season of its ‘Lord of the Rings’ show. It launches on September 2 and will be the most expensive TV series ever made.  MORE 2022 TRENDS:🚆 Why train travel is going to be on your 2022 bucket list🌳 From parklets to urban forests: how cities will get a whole lot greener in 2022🎶 How ABBA’s 2022 virtual concerts could change the face of live music Streaming giant Netflix has joined the

The 50 coolest filmmakers in the world right now

The 50 coolest filmmakers in the world right now

What makes a filmmaker cool? In the heyday of the studio system it might have been about creative autonomy, an office on the lot and the studio barman knowing how to mix your Martini. In the heady, revolutionary days of the ’60s and ’70s, a devil-may-care attitude, radical new stories to tell, and ideally a beard of some description might have marked you out as the hipster’s auteur of choice. Times have changed, though. The moviemaking world has fewer boundaries, more entry points and finally, slowly but surely, more hunger to share stories by women and people of colour.  There’s a long way to go but we wanted to celebrate a time of gradual change by singling out the filmmakers who are genuinely moving the dial. The ones swinging for the fences in their choice of material and the way they’re bringing it to the screen. They’re not all new names – you’ll find some old stalwarts on here – but they all have in common a restless urge to do something different, exciting, bold. They come from across the planet and reflect all genres, and every kind of movie and moviemaking style. To take it a step further, we’ve asked a few of them – Rian Johnson, Barry Jenkins and Lynne Ramsay, among others – to share what makes them tick as movie lovers: the scenes that make them laugh hardest, the cinemas they stan for, the cities that inspire them, and the movies that have left them cowering in the back row. Even the posters that they had up on their bedroom walls growing up. Turns out that a lo

Eight brilliant board games for movie lovers

Eight brilliant board games for movie lovers

If Christmas sapped your desire to trudge around the Trivial Pursuits board and the current situation has robbed you of your urge to fleece your family at Monopoly, maybe it’s time to give clear some space on your dining room table for something a bit different. If you love the movies they were based on, why not give these tie-in games a spin?

The 100 best comedy movies

The 100 best comedy movies

The best comedies in the history of cinema achieve more than just making you laugh (although, granted, it’s not a great comedy if it barely makes you crack a smile). Classic romcoms like ‘Notting Hill’ have us yearning for true love while teen movies like ‘Mean Girls’ get us cringing at memories of being too dorky to join the cool gang at school (and ‘10 Things I Hate About You’ ticks both boxes). Then there are the political satires, like ‘The Death of Stalin’, which serve up uncomfortable truths alongside the funnies. And finally, when we need to get into the festive spirit, the Christmas film archives are crammed with titles that leave you giggling into your eggnog.  All of which makes choosing the 100 best comedies of all time a little tricky. To help us with the task, we enlisted the help of comedians (such as Russell Howard and Diane Morgan), actors (John Boyega and Jodie Whittaker, among others), directors and screenwriters (including Richard Curtis), as well as several Time Out writers. So the next time you need something to turn that frown upside down, you’ll know where to start. RECOMMENDED:  London and UK cinema listings, film reviews and exclusive interviews

‘Crown’ın setinden bildiriyoruz

‘Crown’ın setinden bildiriyoruz

Tarihi anlar göz önüne alındığında, İngiliz siyasetindeki en önemli olaylardan biri 4 Mayıs 1979’da gerçekleşti. Birleşik Krallık’ın ilk kadın başbakanı olan Margaret Thatcher, Downing Sokağı’na akın eden heyecanlı muhabirlere ilk demecini bu tarihte vermişti. Sert bir öğretmeni hatırlatan ses tonuyla Thatcher, “İngiliz toplumunun bana duyduğu güveni sarsmamak için durmaksızın çalışacağım,” demiş ve Assisili Françesko’dan bir alıntı yapmıştı. “Nerede uyuşmazlık varsa, oraya uyum getiririz.”   ‘The Crown’ın dördüncü sezonunda, Kraliçe Elizabeth’in (Olivia Colman) başbakanları kabul ettiği salona adım atan yeni isim Gillian Anderson oldu. Anderson gerçek hayatta dizinin yaratıcısı Peter Morgan ile birlikte. “Bir gün ‘Sence Margaret Thatcher’ı oynayabilir misin?’ diye sordu,” diyor Anderson. “Neden sorduğunu hemen anladım. Thatcher ile, burada paylaşamayacağım bazı ortak noktalarımız var. Ama onu canlandırabileceğimi düşünmeseydim, Peter’a ‘Bu ne cüret!’ diye cevap verirdim.” 2020’nin başlarında, henüz karantina başlamamışken, bir zamanlar ‘Big Brother’ programına ev sahipliği yapmış olan Elstree Stüdyoları’ndayız. Stüdyo şimdi, başbakanın mavi tuğlalı evinin gerçekçi bir yorumunu, daha doğrusu evin ilk katını barındırıyor. Üstte ve arkada ise devasa bir yeşil ekran bulunuyor. Bu kısımlara VFX aracılığıyla binanın geri kalanı eklenecek. Diğer tarafta ise Buckingham Sarayı var. Sanki ikisi kasti olarak karşılıklı yerleştirilmiş. Dizinin dördüncü sezonunda Margaret Thatcher ve Kr

Visitamos el set de la nueva temporada de The Crown y platicamos con la actriz Gillian Anderson

Visitamos el set de la nueva temporada de The Crown y platicamos con la actriz Gillian Anderson

En cuanto a momentos históricos, este es uno de lo más importantes en la política inglesa. Es el 4 de mayo de 1979 y la primera mujer en ser Primera Ministra del Reino Unido se para afuera del número 10 de la calle Downing. Apoyada por el partido conervador, da al conglomerado de reporteros entusiasmados su primera entrevista como ministra. “Me esforzaré incesantemente para cumplir con la confianza que el pueblo de Gran Bretaña ha depositado en mí”, entona en esa voz inconfundible de maestra severa, antes de citar a San Francisco de Asís: “En donde hay discordia, traigamos armonía”, empieza seriamente. Debajo de un peinado con demasiado spray para el cabello, la Dama de acero se disuelve en una risa al estilo de la actriz Gillian Anderson.  Entendí por qué me pidieron que interpretara a Thatcher. Es decir, ella y yo tenemos muchas similitudes, que no voy a compartir con ustedes. En la cuarta temporada de la serie de Netflix The Crown, Anderson se convierte en la sexta actriz en compartir una habitación con la reina Isabel II (actualmente Olivia Colman). Su media naranja es el creador del show, Peter Morgan; "Un día él dijo: “Hmm… ¿Crees que serías capaz de interpretar a Margaret Thatcher?”’, recuerda Anderson. “Entendí por qué me preguntaba. Quiero decir, Thatcher y yo tenemos algunas similitudes, las cuales no compartiré con ustedes. Pero si no hubiera pensado que podría ser capaz de hacerlo, hubiera dicho: “¿Cómo te atreves?”’.  Es la parte previa al encierro de 2020 y la n

On set of ‘The Crown’: how Netflix brought Thatcher’s Britain to life

On set of ‘The Crown’: how Netflix brought Thatcher’s Britain to life

As historical moments go, this is one of the biggest in British politics. It is May 4 1979, and the UK’s first-ever female prime minister stands outside 10 Downing Street. Clad in starchy Tory blue, she gives the excited crush of newshounds her first interview as premier. ‘I’ll strive unceasingly to fulfil the confidence and trust that the British people have placed in me,’ she intones in that unmistakable, stern-schoolmarm voice, before quoting St Francis of Assisi. ‘Where there is discord, may we bring harmony,’ she begins earnestly. ‘Where there is truth, may there be… Oh fuck it! I forgot that bit!’ Beneath a heavily hairsprayed ’do, the Iron Lady melts into the laughing form of Gillian Anderson. I understood why I was asked to play Thatcher. I mean, she and I have some similarities, which I won’t share with you In season four of Netflix’s ‘The Crown’, Anderson becomes the sixth actor to share an audience chamber with Queen Elizabeth II (currently Olivia Colman). Her other half is the show’s creator, Peter Morgan. ‘One day he said: “Hmm. Do you think you’d be able to play Margaret Thatcher?”’ Anderson recalls later. ‘I understood why he asked. I mean, Thatcher and I have some similarities, which I won’t share with you. But if I didn’t think I might be able to do it, I would have said: “How dare you!”’ It’s the pre-lockdown bit of 2020, and Anderson’s remarkable transformation isn’t the only one in evidence. We’re on the backlot of Elstree Studios, once home to the ‘Big Br

Mark Stanley: moving on from ‘Game of Thrones’ to ‘Sulphur and White’

Mark Stanley: moving on from ‘Game of Thrones’ to ‘Sulphur and White’

Mark Stanley’s next two films (released this week and next) make for a great ‘dark corners of the male psyche’ double bill. First out is ’Sulphur and White’, in which he plays real-life stockbroker David Tait, who was horrifically abused as a child in South Africa and came close to suicide. Then there’s ‘Run’, the Springsteen-inspired fictional tale of small-town Scottish fish-factory worker Finnie, who reverts to his reckless boy-racing days as a response to his cul-de-sac existence. Both are a world (or two) away from ‘Game of Thrones’, which kickstarted his career, and for which he’s still best recognised.  With ‘Sulphur and White’ and ‘Run’ being released so close together, and both coming after 2017’s ‘Dark River’, it seems you’re very attracted to playing men on the edge, with troubled pasts. ‘I think you’re right. I try to look for variation as much as possible, but when you group those three together, it’s people who are dealing with deep, dark secrets and that level of adversity. Also, of the real people I’ve had the privilege of playing, a lot of them tend to be survivors, people who’ve had huge problems and come out the other side. Especially with David Tait [in “Sulphur and White”]. I don’t know why that it is, because I’m actually quite a happy-go-lucky guy! [Laughs]’ Did you spend much time with the real David Tait while researching ‘Sulphur and White’? ‘I did. Initially we met for a good afternoon, probably four hours. We sat and talked, and after that he allow

Listings and reviews (43)

The Whale

The Whale

4 out of 5 stars

Darren Aronofsky no és un director que faci pel·lícules fàcils. Ja sigui l'addicció a les drogues ('Rèquiem per un somni'), la malaltia terminal ('The Fountain') o l'autolesió obsessiva ('The Wrestler', 'Black Swan'), aborda temes difícils de cara, presentant reptes profunds al seu públic, especialment els de caràcter sensible. I ho fa de manera brillant. Tot i ser una adaptació d'una obra de teatre (del dramaturg nord-americà Samuel D. Hunter) i estar ambientada gairebé íntegrament en un sol lloc, 'The Whale' no n'és una excepció. De fet, s'assembla més a 'The Wrestler' del 2008, tot i que més que la lluita professional suïcida, és l'augment de pes extrem i l'aïllament social que defineixen el seu personatge principal. Charlie (Brendan Fraser) és un professor universitari afligit i destinat a un apartament que està desesperat per tornar a connectar amb la seva filla alienada abans que el seu cor malaltís s'esgoti.  Gràcies a uns sorprenents treballs de maquillatge amb pròtesis (del maquillador canadenc Adrien Morot) que d'alguna manera fan que l'antic George of the Jungle sigui totalment reconeixible però totalment transformat, 'The Whale' ofereix diversos moments angoixants, sobretot les escenes on Charlie endrapa qualsevol cosa que pugui menjar.  No obstant això, el film no és ni tant trist ni tant voyeurista com podria haver estat. Charlie no és ni un objecte de ridícul (com sovint ho són els personatges de les seves característiques a Hollywoodland), ni el focus del fàst

The Whale

The Whale

4 out of 5 stars

Darren Aronofsky is not a director who makes easy films. Whether drug addiction (Requiem for a Dream), terminal illness (The Fountain) or obsessive self-harm (The Wrestler, Black Swan), he tackles difficult subjects head on, presenting profound challenges to his audience – especially those of a sensitive disposition. And he does it brilliantly.  Despite being an adaptation of a play (by American playwright Samuel D Hunter) and set almost entirely in a single location, The Whale is no exception. In fact, it bears closest resemblance to 2008’s The Wrestler, though rather than suicidal pro wrestling, it’s extreme weight gain and social isolation that define its main character. He’s a grieving, apartment-bound college tutor named Charlie (Brendan Fraser), who’s desperate to reconnect with his alienated daughter before his ailing heart gives out. Thanks to some astonishing prosthetic make-up work (by Canadian make-up artist Adrien Morot) that somehow makes the one-time George of the Jungle totally recognisable yet utterly transformed, The Whale serves up several distressing moments – not least the scenes where Charlie brutally gorges himself on, well, whatever food he can find. Yet it is not the grim, voyeuristic grind it might have been. Charlie is neither an object of ridicule (as characters of his girth often are in Hollywoodland), nor the focus of disgust and derision. Aronofsky and Hunter (adapting his own work) ensure he’s compellingly textured and, for all his flaws, deeply

The Whale

The Whale

4 out of 5 stars

Darren Aronofsky no es un director que haga películas fáciles. Ya sea la adicción a las drogas ('Réquiem por un sueño'), la enfermedad terminal ('The Fountain') o la autolesión obsesiva ('The Wrestler', 'Black Swan'), aborda temas difíciles, presentando profundos retos a su público, especialmente los de carácter sensible. Y lo hace de forma brillante. Pese a ser una adaptación de una obra de teatro (del dramaturgo estadounidense Samuel D. Hunter) y estar ambientada casi en su totalidad en un solo lugar, 'The Whale' no es una excepción. De hecho, se asemeja más a 'The Wrestler' de 2008, aunque más que la lucha profesional suicida, es el aumento de peso extremo y el aislamiento social que definen a su personaje principal. Charlie (Brendan Fraser) es un profesor universitario aquejado y confinado en un apartamento que está desesperado por volver a conectar con su hija alienada antes de que su corazón enfermizo se agote. Gracias a unos sorprendentes trabajos de maquillaje con prótesis (del maquillador canadiense Adrien Morot) que de algún modo hacen que el antiguo George of the Jungle sea totalmente reconocible, pero totalmente transformado, 'The Whale' ofrece varios momentos angustiosos, sobre todo las escenas donde Charlie engulle cualquier cosa que pueda comer. Sin embargo, el filme no es ni tan triste ni tan voyeurista como podría haber sido. Charlie no es ni un objeto de ridículo (como a menudo lo son los personajes de sus características en Hollywoodland), ni el foco del as

The Black Phone

The Black Phone

3 out of 5 stars

Based on a short story by Stephen King’s son Joe Hill, The Black Phone trades on every parent’s worst fear: their child being snatched off the street by a shadowy predator, never to be seen alive again. But its focus is not the older generation’s anguish (in fact, the main parent here – played by Jeremy Davies – is an abusive and remorseful alcoholic), rather the nightmare suffered by the young abductees, primarily 13-year-old Finney Shaw (Mason Thames). A resident of North Denver in 1978, Finney is the latest in a string of kids imprisoned in a dingy basement by a serial abductor known as ‘The Grabber’ – portrayed by Ethan Hawke, who spends the majority of the movie hidden behind a series of creepy demon masks. It sounds like ultra-grim viewing, but director and co-writer Scott Derrickson (reuniting with Hawke for the first time since Sinister ten years ago) gives the film a propulsive escape-room feel, presenting the resilient Finnie with a puzzle to be solved: how to break free of this horrific predicament before The Grabber’s ‘Naughty Boy’ games finish him off. Finney, you see, has help. Back home, his plucky and amusingly sweary younger sister Gwen (Madeleine McGraw) is experiencing handy psychic dream-visions. Meanwhile, The Grabber’s previous victims (all teenage boys) call up Finney on a disconnected telephone, to provide clues and whisper advice from the grave. Ethan Hawke leaves you in no doubt of his flair for villainy So this is not a horror in the traditional sen

Everything Everywhere All at Once

Everything Everywhere All at Once

4 out of 5 stars

The multiverse is clearly having a moment. After Marvel gave us several Spider-Men and Doctor Stranges in its last two movies, we now have director duo ‘the Daniels’ (Kwan and Scheinert, Swiss Army Man) exploring the same meta-territory of parallel worlds, but in their own ultra-idiosyncratic way. The concept is a doozy, ripe with comedic juice and packed with visual thrills. The inhabitants of another universe have discovered a way to jump into the minds of their alternative selves and absorb their skills (similar to how Neo could download kung fu in The Matrix). They can achieve this by doing something very specifically unexpected, like suddenly eating a stick of lip salve or professing love for someone they barely know. This kicks open the door for a manic, 139-minute episode of madcap action. It requires Michelle Yeoh – as losing-at-life launderette owner Evelyn Wang – to gamely toggle between several identities. These include a martial-arts action star not so different from her real-life self; a teppanyaki chef who discovers that her colleague is secretly controlled, Ratatouille-style, by a talking raccoon; and a woman with hotdogs for fingers. The Daniels juggle silly gags and weird visuals like cackling Dadaists  The Daniels juggle silly gags and weird visuals like cackling Dadaists. But while the film over-indulges itself a little with an inflated runtime, it never totally comes off its hinges. The heavy concepts (nihilism and existentialism) are lightened by their

The Suicide Squad

The Suicide Squad

4 out of 5 stars

You may be wondering whether this is a remake of, or a sequel to, David Ayer’s 2016 Suicide Squad. After all, it’s the exact same DC-comics-based concept (a bunch of incarcerated supervillains must undertake a highly deadly black-ops mission). It even stars several of the same actors, including Margot Robbie as the sociopathic Harley Quinn, Joel Kinnaman as straitlaced team leader Rick Flag, and Viola Davis as cold-hearted boss Amanda Waller. It’s a reasonable question. But one which new writer-director James Gunn (Guardians of the Galaxy) answers by effectively saying: ‘Don’t worry about all that. Let’s just have some fun.’ For Gunn, fun constitutes letting rip with some extreme violence that bloodily dispatches many of the movie’s extensive ensemble (the clue is in the title), while keeping the gags coming thick and fast. He positively revels in the inherent silliness of his beloved, dime-store source material. Cinematically, Gunn draws on all the gritty men-on-a-mission war movies of his childhood (The Dirty Dozen, The Guns of Navarone, Where Eagles Dare). Here the setting is a fictional Latin American island, where our antiheroes must shut down an old Nazi research facility. But into this ammo-and-camo setting he gleefully lobs a talking, walking shark (voiced by Sylvester Stallone), a guy infected by multicoloured, cosmic polka dots (David Dastmalchian), a toilet-seat-helmeted vigilante who claims he’d kill any man, woman or child to protect peace (John Cena) and a giant

Vivarium

Vivarium

3 out of 5 stars

Opening with distressing but perfectly natural footage of a cuckoo hatchling shoving the rightful occupants out of their nest, ‘Vivarium’ is hardly subtle in its central conceit. The plight of Gemma (Imogen Poots), an infant-school teacher, and Tom (Jesse Eisenberg), a gardener, isn’t directly analogous, mind you. It is not their need to breed that is exploited, but their millennial desperation to get on the property ladder. After being taken to a sprawling, soulless, suburban development by an uncanny estate agent (Jonathan Aris), they soon discover the place is a kind of extradimensional prison from which escape is apparently impossible (a bit like Bexley). Its purpose? To entrap them into parenthood, bringing up a baby which isn’t as human as it looks. There are shades here of Jonathan Glazer’s ‘Under The Skin’ and Vincenzo Natali’s ‘Cube’, too, though first-time director Lorcan Finnegan has more satirical concerns, underpinning his nightmare with Charlie Brooker-ish black (mirror) comedy. Yet, despite an intriguing, promising setup and Poots and Eisenberg’s easy chemistry (previously seen in last year’s ‘The Art of Self-Defense’) this particular puzzle box doesn’t click together as well as you’d hope. As Gemma and Tom spiral downward into an increasingly surreal domestic hell, you’re not so much impressed by its eventual revelations as left wondering why, despite a rather predictable coda, so many questions are left unanswered. 

Run

Run

3 out of 5 stars

Though it’s set in a small, ailing Scottish coastal community, ‘Run’ channels a big, loud American myth. Namely the one so eloquently expressed by Bruce Springsteen in ‘Born to Run’, this low-budget drama’s key inspiration, that fast cars and the open road offer an ideal escape route from humdrum, Nowheresville small-town existence. Mark Stanley plays Finnie, a thirtysomething father of a teenage son (Anders Haywood), who at the end of yet another long, tedious day gutting fish, decides he’s had enough. He sneaks off with his son Kid’s Honda Civic, accidentally gaining Kid’s pregnant girlfriend (Marli Siu) as a passenger, and desperately relives his reckless boy-racer past. Pale and sunken-eyed, Stanley renders Finnie as a living ghost, almost: a hollow thing haunting his own life. It’s an arresting performance, complemented by director Scott Graham’s visuals. For much of the film, we see the world from Finnie’s behind-the-wheel perspective, hazed and defocused by a rain-lashed windscreen, with the sound of drunken shrieks and shouts echoing from the streets just off screen. He’s not so much going through hell as through limbo. A predicament worsened by the fact he can see his own recent history repeating itself through Kid. With a 77-minute running time, a small cast and only a few locations, it’s a compact, stripped-back drama, that has a dogged commitment to its theme that renders it rather one-note, with little to add once its point has been made. But thanks to the seat-c

Run

Run

3 out of 5 stars

Aunque se desarrolla en una comunidad costera escocesa pequeña y enferma, Run canaliza un gran y ruidoso mito estadounidense. A saber, el que Bruce Springsteen describe en “Born to Run”, la inspiración clave de este drama de bajo presupuesto, en el que los autos veloces y la carretera abierta ofrecen una ruta de escape ideal, en un pequeño pueblo de Nowheresville. Mark Stanley interpreta a Finnie, un padre de 30 años con un hijo adolescente (Anders Haywood), quien al final de otro largo y tedioso día destripando peces, decide que ya ha tenido suficiente. Se escabulle con el Honda Civic de su hijo Kid, convirtiéndo accidentalmente a la novia de Kid (Marli Siu) como copiloto, reviviendo desesperadamente su pasado imprudente. Pálido y con los ojos hundidos, Stanley representa a Finnie como un fantasma viviente; una cosa hueca que atormenta su propia vida. Es una actuación deslumbrante, complementada por las imágenes del director Scott Graham. Durante gran parte de la película, vemos el mundo desde la perspectiva detrás de la rueda de Finnie, empañado y desenfocado por un parabrisas azotado por la lluvia, con el sonido de chillidos y gritos que resuenan desde las calles justo fuera de la pantalla. No está pasando tanto por el infierno como por el limbo. Una situación empeora por el hecho de que puede ver su propia historia repitiéndose a través de Kid. Con un tiempo de ejecución de 77 minutos, un elenco pequeño y solo unas pocas ubicaciones, es un drama compacto y despojado, que

El llamado salvaje

El llamado salvaje

3 out of 5 stars

Harrison Ford tiene mucha experiencia trabajando con coestrellas grandes y peludas, pero en El llamado salvaje, su peludo compañero es un poco más realista que Chewbacca, un collie de St Bernard-Scotch llamado Buck, el protagonista de esta última adaptación de la novela de Jack London, de 1903. Si estás familiarizado con la historia o has visto alguna de las innumerables adaptaciones, sabrás que el héroe secuestrado atraviesa una serie de aventuras humanas en el territorio canadiense de Yukón: tira de trineos, esquiva avalanchas y enfrenta a osos pardos , antes de pelear con un lobo, mostrando su lado salvaje. Esta versión, lo diferente es que no fue filmada completamente en vivo. Salvo un par de cabras, todo el elenco de animales se procesó por computadora, mientras que nuestro héroe perruno es interpretado por el experto en captura de movimiento Terry Notary (El planeta de los simios: (R)evolución). Los resultados son, en el mejor de los casos, mixtos. Mientras que el director Chris Sanders (Cómo entrenar a tu dragón) es capaz de lograr piezas de acción e interacciones entre humanos y perros, que serían una gran demanda incluso para el artista canino más versátil, Buck tiene un aspecto ligeramente falso y carece de lo tangible a un perro real.  Afortunadamente, Ford es su habitual carisma (y completamente real) como un hombre amablemente gruñón. La exuberante cinematografía de Janusz Kaminski también es una compensación considerable. Aunque a veces se vuelve un poco blanda,

The Call of The Wild

The Call of The Wild

3 out of 5 stars

Harrison Ford has plenty of experience working with big, furry co-stars, but in ‘The Call of the Wild’, his hairy companion is a little more down to earth than Chewbacca. A St Bernard-Scotch collie, Buck is the protagonist of this latest adaptation of Jack London’s 1903 novella. If you’re familiar with the story or you’ve seen any of the other umpteen adaptations, you’ll know the dognapped hero goes through a series of human-sidekicking adventures in the Yukon – pulling sleds, dodging avalanches and facing down grizzly bears, before tussling with his wolf ‘ancestor’ wild side. The curveball in this version is that it’s not entirely live action. Bar a couple of goats, all of the animal cast is rendered in CGI, while our pooch hero is performed by motion-capture expert Terry Notary (‘Rise of the Planet of the Apes’). The results are, at best, mixed. While director Chris Sanders (‘How to Train Your Dragon’) is able to pull off action set pieces and human-dog interactions that would be a big ask for even the most versatile canine performer, Buck has a slightly fake look and lacks the tangible reach-out-and-pat charm of an actual dog. It’s the uncanny (or uncanine-y?) valley writ large. Fortunately, Ford is his usual charismatic (and entirely non-CG) self as a kindly-grouchy frontiersman. Janusz Kaminski’s lush cinematography is a sizeable compensation too. Although it gets a bit mushy at times – with a vision of nature that is frankly fantastical (the animals don’t talk, but they

The Rhythm Section

The Rhythm Section

3 out of 5 stars

Superficially, this espionage action-thriller bears the hallmarks of a ‘female Bond’ movie. After all, it’s the handiwork of the studio that runs the 007 franchise, it’s based on the first in a long series of novels (by British writer Mark Burnell, who’s also written the script), and it has all the globetrotting trimmings of a prestige spy flick. But ‘The Rhythm Section’ is a scrappier, more grounded beast. Though played by Blake Lively with a pristine English accent and an apparent disregard for her own physical wellbeing, Stephanie Patrick is no slick operator with a licence to kill. She starts out as a broken woman, ravaged by grief and reduced to prostitution and heroin addiction. But her thirst for vengeance for the murder of her family in a terrorist bombing spurs her to seek training as an assassin by a cynical ex-MI6 agent (Jude Law). Her transformation is obviously comparable to Anne Parillauld’s in 1990’s ‘La Femme Nikita’, but even once she’s ‘live’, Stephanie is ill-prepared for the harsh realities of this deadly game. She’s prone to mistakes and clumsy gaffes, clearly out of her depth, both in terms of her physical capability and moral certitude. Well, to begin with, at least. Cinematographer-turned-director Reed Morano (‘The Handmaid’s Tale’) astutely shoots these slapdash missions with a handheld, POV-focused immediacy and intensity, at times recalling Paul Greengrass’s ‘Bourne’ films and, in one superb car chase, ‘Children of Men’. Sadly, however, the plot and

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2022年世界のトレンド:ファンタジーがエンタメ業界を席巻

2022年世界のトレンド:ファンタジーがエンタメ業界を席巻

世界が最初のロックダウンを経験した2020年前半のことを思い出してみたい。春先に始まった暗黒の日々が明けた7月、営業を再開したイギリスのいくつかの映画館が最初に企画したのは『ハリー・ポッター』の一挙上映だった。 一方、同月のイギリスの映画興行成績のトップ5には、20年近く前の作品である『ロード・オブ・ザ・リング』のエクステンデッドカット版が登場した。当時、新作映画が少なかったことは確かだが、そうなったのにはほかにも理由がある。それは、人々がファンタジーを求めていたということだ。 ファンタジー作品の製作ラッシュ それから1年以上がたった今、ファンタジー作品を渇望する気持ちは、最高の布陣で満たされつつある。2022年は2つの巨大かつ、人気ファンタジー作品の前日譚が大手動画配信プラットホームやテレビで公開されるためだ。Amazonが配信を予定しているのは、壮大な『ロード・オブ・ザ・リング』の新作、HBOでは『ゲーム・オブ・スローンズ』のスピンオフとなる『ハウス・オブ・ザ・ドラゴン』の放送が控えている。 これらの作品に掛けられている予算は、(『​​ゲーム・オブ・スローンズ』に出てくる)ブレーヴォスの「鉄の銀行」を長持ちさせるほど、潤沢。HBOはオリジナルの『ゲーム・オブ・スローンズ』のファイナルシーズンで、1話につき1,500万ドル(約17億円)を費やしていたが、今後の製作費も縮小される見込みはない。 一方Amazonは、2017年にJ・R・R・トールキンの著作『指輪物語』の映像化権を2億5,000万ドル(約288億円)という驚異的な金額で購入。9月2日(金)にスタートするテレビシリーズ版『ロード・オブ・ザ・リング』の第1シーズンには、推定で1億5,000万ドル(約173億)を投じている。 もちろん動画配信大手のNetflixも、この絶好の機会を黙って見ているわけではない。同サービスでは、2018年にSF・ファンタジーが人気ジャンルになって以来、新作のオリジナルコンテンツのほぼ3分の1が同ジャンルのものだ。 分析会社のAmpere Analysis社は「Netflixは高度な顧客分析で加入者の嗜好(しこう)の変化に迅速に対応している。SFやファンタジーの需要が増えれば、コンテンツの量も増える」とレポートしている。 人々がファンタジー作品を求める理由 この需要の原動力は何なのだろうか。ファンタジーは人々を現代のストレス、特にテクノロジーの複雑さから開放し、過去に少し似つつも実際の歴史に縛られていない世界へと導いてくれる。SFが抗争しなければならない暗黒世界を扱う傾向があるのに対し、ファンタジーは理想化された牧歌的な世界が、存亡の危機に直面する物語を描くことが多いといえる。 作家で哲学者のG・K・チェスタトンは、20世紀の変わり目にこう指摘した。「おとぎ話は子どもに悪や醜いものの観念を与えているのではない。そうしたものは、すでに子どもの中にも、世界にもあるもの。おとぎ話が最初に子どもに与えるのは、化け物を倒すことができるという明確な発想だ」 つまりファンタジーは、単純なヒロイズムという安心感と、多くの場合、魔法という明るい輝きを与えてくれるもの、と捉えることができる。 Lord of the Rings. Image: Amazon Prime 今世紀の初め(9.11のわずか数カ月後に)『ロード・オブ・ザ・リング』と『ハリー・ポッター』が映画化されるまで、ファンタジーはマニアックで恥ずかしいもの、80年代のB級映画のネタでしかなかったが、メインストリーム

Entrem al rodatge de ‘The Crown’: la sèrie que ho peta a Netflix

Entrem al rodatge de ‘The Crown’: la sèrie que ho peta a Netflix

Tots alguna vegada, i més d’una, ens hem passat hores i hores davant la pantalla mirant una sèrie. Probablement una d’aquestes sèries que es converteixen en vici és ‘The Crown’, el drama de Netflix que dona vida al regnat d’Elisabet II al Regne Unit. Si parlem de moments històrics en la política britànica, el 4 de maig del 1979 va ser transcendental, quan per primera vegada una dona, Margaret Thatcher, es convertia en primera ministra. I si parlem de moments històrics de ‘The Crown’, el dia en què Gillian Anderson va acceptar donar vida a Margaret Thatcher  va ser, també, vital. Avui entrem al set per saber exactament com sota una laca molt espessa, la ‘Dona de ferro’ es desfà en la forma riallera de Gillian Anderson.  Netflix “Vaig entendre perquè m’ho va demanar. Vull dir, Thatcher i jo tenim algunes similituds, que no compartiré". Els aficionats a la sèrie tenen marcat en vermell al calendari el mes de novembre i és que ha estat en aquest mes que ‘The Crown’ ha estrenat la quarta temporada, que ens endinsa al govern de Thatcher, la ‘Dona de ferro’. I és aquí on Gillian Anderson fa el seu debut a la sèrie. Però, com Anderson va arribar a Thatcher? El creador d’aquesta sèrie, Peter Morgan, va dir un dia: “Hmmm. Creus que series capaç d’interpretar Margaret Thatcher?”, al que Anderson va contestar: “Vaig entendre perquè m’ho va demanar. Vull dir, Thatcher i jo tenim algunes similituds, que no compartiré". Els estudis Elstree, on una vegada hi va haver la casa del ‘Big Brot

Entramos en el rodaje de 'The Crown': la serie que lo peta en Netflix

Entramos en el rodaje de 'The Crown': la serie que lo peta en Netflix

Todos nos hemos pasado horas y horas delante de la pantalla mirando una serie. Probablemente una de estas series que se convierten en vicio es 'The Crown', el drama de Netflix que da vida al reinado de Isabel II en el Reino Unido. Si hablamos de momentos históricos en la política británica, el 4 de mayo de 1979 fue trascendental, cuando por primera vez una mujer, Margaret Thatcher, se convertía en primera ministra. Y si hablamos de momentos históricos en 'The Crown', el día en que Gillian Anderson aceptó dar vida a Margaret Thatcher fue, también, vital. Hoy entramos en el set para saber exactamente como, bajo una laca muy espesa, la 'Mujer de hierro' se deshace en la forma risueña de Gillian Anderson. Photograph: Des Willie/Netflix “Entendí por qué me lo pidió. Quiero decir, Thatcher y yo tenemos algunas similitudes, que no compartiré". Los forofos de la serie tienen marcado en rojo en el calendario el mes de noviembre, ya que ha sido en este mes cuando ‘The Crown’ ha estrenado la cuarta temporada, que nos adentra en el gobierno de Thatcher, la 'Mujer de hierro'. Y es aquí donde Gillian Anderson hace su debut en la serie. Pero, ¿cómo Anderson llegó a Thatcher? El creador de la serie, Peter Morgan, le dijo un día: "¿Crees que serías capaz de interpretar a Margaret Thatcher?", a lo que Anderson contestó: "Entendí por qué me lo pidió. Quiero decir, Thatcher y yo tenemos algunas similitudes que no compartiré".Detrás de los estudios Elstree, donde una vez estuvo la casa de '

Here’s three good reasons to check out a new exhibition on anime superstar Mamoru Hosoda

Here’s three good reasons to check out a new exhibition on anime superstar Mamoru Hosoda

1. He’s the new MiyazakiNot since Hayao Miyazaki (‘Spirited Away’) has an anime director had as much worldwide acclaim. Mamoru Hosoda’s last film, ‘The Boy and the Beast’, made a humongous £40 million in Japan. His latest, ‘Mirai’, premiered at Cannes to a standing ovation. 2. His films will give you all the feelsHosoda’s stories are both touchingly intimate and beautifully fantastical. ‘Wolf Children’, his 2012 film in which a single mother has to raise two half-werewolf kids, was a tribute to his mum, who had died three years earlier. His latest, ‘Mirai’, about a time-travelling four-year-old, was inspired by his experience of becoming a dad. Take a hankie.   ©2018 STUDIO CHIZU             3. He’s getting his own London exhibition Noho Studios in Fitzrovia is hosting ‘an interactive visual experience’ based around his films this month. Get along and find out why he’s an animation legend.  ‘The Works of Mamoru Hosoda’ runs Sat Oct 13-Oct 20 at Noho Studios and is free to attend. Opening hours are 10am-6pm, apart from Mon Oct 15 (10am-3pm). ‘Mirai’ screens at the LFF on Sat Oct 13-Sun Oct 14 and is in cinemas from Nov 2. Looking for more animated gems? Discover the 100 best animations ever made.

Altın yumruk: 'Joe Cole'

Altın yumruk: 'Joe Cole'

‘A Prayer Before Dawn / Şafaktan Önce’den daha eziyetli bir film seti düşünemiyoruz. Bangkok’taki yıkık dökük bir hapishanede çekilen film, uyuşturucu müptelası boksçu Billy Moore’un hayatından esinleniyor. Şiddet dolu bu film için doğal olarak darbelerle mücadele edebilecek bir başrol oyuncusu gerekmiş. Şanslı isim ise ‘Peaky Blinders’daki John Shelby rolüyle tanıdığımız, 29 yaşındaki Londralı oyuncu Joe Cole olmuş. Cole, rolü kabül ettiği için hiç pişman olmadığını söylüyor. ‘A Prayer Before Dawn’ hayli özveri gerektiren bir filme benziyor. Rolü neden kabul ettiniz? Hep böyle bir rol aramıştım. Erkek karakterleri irdeleyen ‘Bronson’ veya ‘Hunger / Açlık’ gibi hapishane filmlerinin hikayelerini son derece iyi anlattıklarını düşünüyorum. ‘Offender’ adlı, genç suçluların kaldığı bir hapishanede geçen bir filmde oynamıştım. O da bu konuya değiniyordu. Ama gerçek birini, bir bağımlıyı, ilginç bir adamı canlandırmak bambaşka. Bedenimi bir araç gibi kullandım, her şeyimi riske atmama sebep olacak fiziksel ve duygusal bir yönü vardı. Rolü kabul ettiğimde, “Vay canına, çok zor olacak. Hadi bakalım.” demiştim. Gerçekten acı çekiyormuşsunuz gibi gözüküyor. Mümkün olduğunca gerçekçi olması için uğraştık, yani birkaç şişliğe ve sıyrığa hazırlıklıydık. Jean [yönetmen Jean-Stéphane Sauvaire] uzun sahneler çekiyor, bu yüzden her yumruk ve tekme, hedefine ulaşıyor. Makyaj sanatçısı vaktinin çoğunu dev kesikleri ve morlukları kapatmaya harcadı. Taylandlı boksçular ve eski mahkumlarla çalışm

Netflixで西遊記がスタート、1978年の堺正章版を振り返ってみよう

Netflixで西遊記がスタート、1978年の堺正章版を振り返ってみよう

動画配信サービス『Netflix(ネットフリックス)』が、4月27日(金)よりオリジナルドラマシリーズ『孫悟空の遊勇伝』の配信をスタートさせた。伝説的な子ども向けテレビシリーズ『西遊記』(堺正章が孫悟空を演じ、1978〜1979年にわたって放送された)を見たことがある人は、大好きだったはずだ。もし好きでなかったとしても、風変わりな孫悟空を知るのは今からでも遅くない。ここで1978年に放送された、堺正章版を再確認しよう。 1. テーマソング 1978年に放送された『西遊記』のテーマ曲は、日本のバンド、ゴダイゴが演奏した。この軽快なテーマ曲は、今でもほとんどの人が番組のタイトルを『モンキーマジック』だったと誤解している理由である。親しみやすさのレベルを正確に表していると言える。 2. 子ども向けブルース・リーだった 『燃えよドラゴン』には若すぎた? 孫悟空は、子どもの格闘技入門テレビ番組だった。ドラマは、毎回ハイキックの闘いで終わっていた。当時、学校の校庭は少林寺拳法の訓練所に変身した。 3. 悪い手本がいた 品行方正なテレビの世界では、ヒーローの猿(堺正章)は笑えるほどわがままで、自己中心的である。たとえば最初のエピソードでは、仏に尿をかけたため、天国を追い出されてしまうのだ。 4. 猪八戒 孫悟空の友だちには、陰気臭いかっぱと愛されキャラで食いしん坊な豚の悪魔、猪八戒がいた。くだらないうえに、武器は熊手だった。それでもみんな大好きだった。 5. 本当に変わっていた 孫悟空はペットの雲に乗り、指に息を吹きかけることで猿の戦士たちを召喚できる。男のはずの三蔵法師を、明確な理由もなしに、女性(夏目雅子)が演じていた。このことについて何か問題があっただろうか?それもない。 6. 奧深くもあった エピソードは毎回、「みんなの思いで世界を作る」という言い回しで始まり、孫悟空は仏の教えに夢中であった。知らないけど。もしかしたら少しは身に染みたのかも。いや、それはないだろう。 7. そのレガシー ネットフリックスの新番組は、16世紀の中国の小説『西遊記』からインスパイアされた最新の解釈である。本作に関するアニメシリーズやビデオゲームなども作られており、ゴリラズのデーモン・アルバーンとジェイミー・ヒューレットによるオペラまであった。魔法が消えることはないのだ。 公式サイトはこちら 原文はこちら

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