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Odd List Louisa Mellor Dec 17, 2012
We've plucked 13 potential little beauties out of the 2013 UK film line-up, feat. sci-fi, comic-book, horror, comedy, thriller & more...
Look ahead to the UK films coming out in 2013 and you’ll see a diverse landscape of filmmakers, genres, actors, budgets and ideas. Next year brings us something new from Joanna Hogg, and something else from Danny Dyer. Irvine Welsh’s Filth will almost certainly live up to its title, but the Absolutely Fabulous film? We’ll see.
Al Pacino’s playing King Lear, and Stephen Mangan’s playing Postman Pat. Shane Meadows is making a film about the Tour de France, and Nigel Cole is making a film about an otter. Steve Coogan will be a porn baron, Bridget Jones will have a baby, Nick Frost will dance the salsa, Martin Freeman will save Santa, and Sean Bean, bless the man, will probably die.
None of »
Everyone’s current favourite Sherlock, Benedict Cumberbatch, has been announced that he’ll be joining the panel that also include the welcome addition of Marley and Touching The Void director Kevin Macdonald and legend film critic Mark Kermode. The five shortlisted nominees chosen by the jury will be announced on 7th January, when public voting will open and the winner will be announced at the Ee British Academy Film Awards on Sunday 10 February 2013.
Here’s your lovely, full and official press release:
Ee today announced that British actor Benedict Cumberbatch has joined the jury for the newly named Ee Rising Star Award. The jury met yesterday to decide the five nominees – the winner will be voted for in January by the British public. The nominees will be announced on Monday 7 January 2013 at BAFTA HQ and the winner will be announced at the Ee British Academy Film Awards on Sunday 10 February »
- Dan Bullock
Empire is pleased to announce that we’ve been asked to join the star-marking jury that will decide the shortlist for this year’s Ee Rising Star Award.The award, which honours a young actor or actress who has demonstrated exceptional talent and ambition and has begun to capture the imagination of the British public, has become an integral part of the Ee British Academy Film Awards over the last few years, and the winner will be announced at next year’s awards on Sunday, February 10.Chris Hewitt, News Editor and host of the Empire Podcast, was our representative on the Ee Rising Star Award jury, which thrust together a smattering of film journalists, from the mighty Mark Kermode to Charles Gant to Metro’s Larushka Ivan-Zadeh, Grazia’s Paul Flynn and Shortlist’s Jonny Pile, and figures from the film industry, including Touching The Void director Kevin Macdonald, casting director Nina Gold, »
From Vertical Limit to Touching the Void and a few inbetween, the history of mountain climbing films won’t lead to an extensive discussion, but at this year’s Sundance it looks like formidable entry has entered the arena. Announced in the line-up yesterday, we’ve already got the first trailer for Nick Ryan‘s intense-looking documentary The Summit. Telling the [...] »
- Jordan Raup
Britain has had a huge impact on the film industry and is responsible for some of the greatest cinematic pieces ever shown. The Golden Age of British cinema is generally considered to be between the years 1945 to 1955, yet it appears as if the British film industry is currently in the middle of a renaissance with a surge of critically acclaimed films over the past twenty years.
This list is an attempt to commemorate those films, which in recent times have really sought to break the mould and put British cinema on the map. I have tried to be consistent in picking films that, as well as being excellent in themselves, have also done something truly unique either in the subject matter, in the way they are filmed or in their approach to a topic.
These films are my top five British films of the past twenty years. If you disagree »
- Chris O Connor
New World is a four-part series written by Peter Flannery and Martine Brant and is a follow-up to the Devil's Whore, which aired in 2008 and featured a cast including Andrea Riseborough, Dominic West, Michael Fassbender and John Simm.
The Channel 4 head of drama, Piers Wenger, said: "It's terrific and I want to make it as soon as we can. I would love it to be on screen next year.
"I don't want to say too much about it but it has a connection to The Devil's Whore and it takes place across two continents. The clue might be in the title."
Elsley has written a nine-part drama, »
- John Plunkett
Chicago – Clocking in at a shade under two-and-a-half hours, Kevin Macdonald’s hugely informative yet leisurely paced documentary plays like the condensed version of a top-drawer TV miniseries. There’s even enough fade-outs for one to mentally insert commercial breaks. Yet for music buffs, the need to see this footage on the big screen undoubtedly justified its theatrical release.
As someone only vaguely familiar with Bob Marley, I found myself completely captivated by this picture, which tells the story of a life purely through in-depth interviews and archival footage. Though the film perhaps could’ve benefitted from more concert footage, the context in which the footage is presented is always enlightening, and at times, very moving. Marley’s messages of peace and unity resonate not only through the power of music, but through the methods in which the filmmakers explore the origins of Marley’s beliefs.
Blu-ray Rating: 4.5/5.0
In sequences »
- firstname.lastname@example.org (Adam Fendelman)
Directed by Kevin Macdonald.
A documentary about the life, death, and legacy of Rastafarian, reggae-legend, Bob Marley.
Going through a string of directors, the ultimate Bob Marley documentary would have got postponed indefinitely were it not for Kevin Macdonald. The Scottish-born director might not have been the most sought after person for the project (Hollywood heavy-weights such as Martin Scorsese and Jonathan Demme being signed up for some time) but his enthralling filmography that included the documentary Touching the Void and Oscar-winning The Last King of Scotland clearly gave the studios confidence in him.
Macdonald’s knack for story-telling is perfect for recounting the uplifting and poignant story of the iconic Marley. Plus, unlike past films trying to do the same, the director brings forth an assortment of friends or family that give stories and opinions not documented until now. »
Considering the extraordinary levels of access that he's been granted both to interviewees and archive recordings, it would have been easy for Kevin Macdonald's vibrantly exhaustive documentary Marley (2012, Universal, 15) to become little more than a hagiography. Although the tone is indeed broadly celebratory (Ziggy Marley gets an executive producer credit, and family members feature heavily on screen), Macdonald still manages to delve beneath the public adulation, painting a credible and engrossing picture of a troubled youth who grew into a cultural giant, often at the cost of his family life.
Describing his approach as "more traditional" than such previous works as Touching the Void, Macdonald intertwines interviews, stills and concert footage with some spectacularly scenic views of Jamaica as he traces Marley's mixed-race roots (his father was a uniformed white man who looked at home on a horse) to find a search for »
- Mark Kermode
In 1997 Frenchman Frederic Bourdin persuaded an American family he was their missing teenage son. Now a new film revisits the events, uncovering an even murkier tale
After his film became a word of mouth hit at the Sundance festival in January, British director Bart Layton was flown to Hollywood for "a mad tour" of the big studios. When he got there, though, he realised no one quite knew what to make of his work. "People are desperate to find categories," he says. "They say, is it documentary? Is it fiction? Americans refer to everything that isn't documentary as 'narrative', but I would absolutely argue that this is a narrative film."
"This" is a documentary called The Imposter, the story of Frédéric Bourdin, a mixed-race Parisian who, in the late-90s, adopted the identity of Nicholas Barclay, a boy seven years his junior. Bourdin's age – 23 – and appearance – stubbled and swarthy – didn't »
- Damon Wise
This month's Sight and Sound dropped through my letterbox this morning, and in it contained their once-a-decade Top 10 Films of All Time, as voted for by critics and filmmakers. If you've been living as a recluse in your own personal Xanadu, Orson Welles, who's been number one for the past half century, got Citizen Kaned by Alfred Hitchcock's Vertigo (James Stewart).
In the issue, Sight and Sound also included "100 sample entries" representing "edited highlights of the 358 voting entries we recieved for the 2012 Directors' Poll." The whole bunch will be available online from 22nd August, but until then, here's Part 3 of our own sample of your favourite filmmakers' favourite films...
City Girl (Murnau)
To Be or Not to Be (Lubitsch)
Citizen Kane (Welles)
The Apartment (Wilder)
The Shining (Kubrick)
North by Northwest (Hitchcock)
The Third Man (Reed)
Raging Bull (Scorsese)
- Chris Villeneuve
A timely look at scenes involving watches and clocks
This week's Clip joint is by Maddy Potts. Think you can do better? Email your idea for a future Clip joint to email@example.com
Clocks – the ticking over of hands or the neon glow of shape-shifting digits – an obvious but surprisingly diverse metaphor. They indicate the passing of time, they suggest ageing and they create suspense. They're the visual cue for a concept otherwise tough to portray in cinema – the almost incomprehensible inevitability of time. Characters can run out of it, be up against it or waste it, but the humble clock will play the lead in the cliche. For that reason, timepieces have found themselves being double-checked, wound up, smashed and hung on to for dear life in some of the most iconic moments in cinema.
- Guardian readers
Peter Davies, who was an outspoken teacher 28 years ago, is back in the classic ITV documentary
A long-lost subject of the classic ITV documentary series that began as 7 Up is returning after a 28-year absence. Peter Davies has gone back to the series after his last appearance in 28 Up when he was a young leftwing schoolteacher and caused a press furore over his criticism of the Thatcher government's education policy. His reason for returning? To promote his new band.
You might be forgiven for being a bit depressed about that (and the band's rather ironic name, The Good Intentions). You might think that this classic documentary series, regarded as the first reality show, was above the monomania and self-promotion that imbues all the shows it has spawned.
And, of course, it is. Because Peter proves an amiable and engaging subject in episode one of Michael Apted's latest series – now »
- Ben Dowell
Life in a Day, 2011.
Directed by Kevin Macdonald.
Executive Produced by Ridley Scott.
Life in a Day is a crowdsourced documentary from director Kevin Macdonald (One Day in September, Touching the Void, The Last King of Scotland, State of Play) and Ridley and Tony Scott's Scott Free Productions that was created in partnership with YouTube and was initially created as a way to celebrate the fifth birthday of the popular video-sharing site. The project began life in July 2010, when YouTube users were invited to submit videos recorded on July 24th, 2010 in an effort to chronicle that particular day in history.
The resulting 4,500 hours of footage - coming from more than 80,000 submissions across 192 countries - was then edited down into a single film by producer Ridley Scott, director Kevin Macdonald and film editor Joe Walker. The soundtrack was composed by Tony Scott's regular collaborator Harry Gregson-Williams and also features »
Rating: 4 out of 5 stars
It is a perpetually taxing question for documentary filmmakers; how should one view their subject? Aim too broadly and fans will be disappointed, but a trained focus also invites dangers of crafting a doting hagiography. Kevin MacDonald’s long-gestating Bob Marley documentary has finally arrived, and appears to have found a way to answer this question, providing an intimate glimpse into the singer’s life while remaining accessible enough to the casuals.
Marley is perhaps best comparable to Cameron Crowe’s recent Pearl Jam Twenty doc which, while an adequate study, came off as vaguely disingenuous as the band members self-consciously spoke of their own aversion to fame. MacDonald’s film, obviously lacking access to the man himself, leaves it to the friends and family left behind to paint a more genuine – yet no less intimate – examination of one of pop culture’s most popular and enduring figures. »
- Shaun Munro
It was hardly a hit with the upscale critics and is saddled with a title that's not exactly multiplex-friendly, but Salmon Fishing in the Yemen nevertheless is the top new release at the UK box-office, opening with a highly creditable £1.17m. In a week where a record 17 new releases competed for the attention of cinemagoers, this adaptation of the Paul Torday novel proves once again the power of the older, middle-class, Middle England audience that has already proved so potent this year with the success of The Iron Lady and The Best Exotic Marigold Hotel. While Salmon Fishing lacks older cast members equivalent to Meryl Streep and Jim Broadbent, or Judi Dench and Maggie Smith, it was clearly pitched at this market, with newspaper ads including endorsements from Woman & Home, »
- Charles Gant
Kevin Macdonald's three fictional movies have taken him to Idi Amin's Uganda, Washington DC and the northern reaches of Roman Britain. They're all thrillers of various kinds, as are Touching the Void and One Day in September, the tightly focused, feature-length documentaries that preceded them. Touching the Void centres on a dangerous expedition by two British climbers in the Peruvian Andes in 1985 and uses interviews with the real participants and simulated scenes played by actors. One Day in September is about the massacre of Israeli athletes by Arab terrorists at the 1972 Olympics and, in addition to interviews and archive footage, employs computer graphics to explain the course of events.
His new film, a cinebiography of Bob Marley is a bigger, baggier and simpler thing. It's the story of a man »
- Philip French
Spring is here, folks! New love and life are upon us now that the dreary, ice-cold fingers of winter have withdrawn. Loosely translated into the logic of releasing films, this means documentaries and romance melodramas abound! They pop up from studios like daisies from freshly hoed lawns. Head to theaters this weekend and take in the sweet love of soldiers, vampires, Rastafarians, and even chimpanzees. And don’t forget to stop and smell the flowers on your way.
Zac Efron is “The Lucky One” in the adaptation of Nicholas Sparks’ novel opening in theaters this weekend. A marine stationed in Iraq, Efron’s Logan is saved from certain death when a photo of the beautiful Beth (Taylor Schilling) distracts him. Though he originally plans to find and thank her for unknowingly saving his life, Logan ultimately keeps the story to himself once they meet, but hangs around just, well, ‘cause. »
- Emma Bernstein
There’s a lot of new releases hitting cinemas this week with the major ones being kidnap-thriller Gone, Sci-Fi Actioner Lockout and comedy drama Salmon Fishing in the Yemen. The trailer for Gone has been on in cinemas for what seems like months now, and the more I see it, the less interesting it becomes. Lockout looks suitably bonkers and could well prove to be a real guilty pleasure from the sound of reviews I’ve been getting. Meanwhile Salmon Fishing in the Yemen looks like it may be a little too saccharine and mumsy for some tastes, but who knows, the trailer may be slightly misleading.
Of last week’s offerings, it’s Cabin in the Woods which has been receiving all the plaudits with everyone I know who has seen it telling me “don’t let anyone spoil it for you” and “watch it without knowing what happens »
- Rob Keeling
Kevin Macdonald was said to be a popular choice of director when it came to seeking family co-operation in this apparently definitive portrait of the life and work of Bob Marley. You can understand why. Macdonald, as witnessed in his previous documentaries, such as Touching the Void and One Day in September, is a safe pair of hands, a calm and scrupulous film-maker who won't intrude himself on the narrative in his charge. He's no Nick Broomfield, still less Werner Herzog. The drawback to this cool approach is a tendency for his films to be straight-laced and slightly impersonal: his style never allows for much spontaneity. »
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