Sunday, 16 January 2011

The Cinema Experience

Right then. This has been coming for some time, but I can delay no longer. What the ‘hell’ is going on in multiplex cinemas these days?!

Let me set out my stall on this one… I’m a film lover. I think that’s obvious. In fact it’s my love of film that saw me end up working as an assistant manager for the UK’s leading cinema chain for 18 months several years ago. This cinema was one of the few that regularly hosted UK film premiers outside of the West End and is the ‘local’ cinema for many well known London based actors, directors and producers, a cinema with a reputation for quality service and viewing experience. So perhaps I have a certain view on this.

Now perhaps I’m being unreasonable, or just over expectant, but I would have hoped that at least ‘some’ of the senior management in cinemas these days might actually give a damn about what their customer’s experience. There are a lot of things to care about, but these are all elements that should surely be standard and not limited to the few big name or elite locations. Fundamentally, there is one thing that accounts for a great cinema experience; eye for detail, specifically eye for detail in customer service and presentation quality.

Customer Service
The first thing that pisses me off is not being able to see what’s playing at what time. This is more noticeably a recent problem with the migration to automated notice boards that are on the back of the box office walls, this is a problem if you don’t know what’s on, particularly when you’re stuck at the back of the queue. The most annoying part of this is that even if you can read the display the rotation of the films and times is such that you either have to wait forever to find what you’re after, or the rotation is too fast and you don’t have a time to find the start times!! Here’s an idea… show the bloody lot on one board at the same time!! And show them so I can read them whilst in the queue.

This way of advertising times creates 2 customer service issues: you either have to leave the queue to find the showing times or you could leave your decision until you get to the front of the line. Option 1 allows the queue time to grow further, something which might cause further issues later, whilst option 2 (the seemingly frequent selection for the thoughtless masses) slows the progress of the queue while decisions are made. All this takes up time and causes annoyance for those that otherwise showed up with what would normally be considered ‘enough’ time and starts the whole experience poorly.

“You could look up the times in advance”, I hear you say. Yes, I could, and frequently do, but there are many occasions for which my choice of film will be decided by the time at which I arrive at the cinema, especially if my trip into town has had other purpose. So this argument does fall down.

Now the queue; I expect to queue for popular releases, especially on opening weekends, which is why I usually show up early, if not just to get a good seat (see my guide to the perfect cinema seat – if you’re as sad as I am!), but knowing there is a new big release and still only offering one box office assistant is ridiculous. Sort your shit out!! If you want the admissions to make budget, make sure that you can sell tickets in time for customers to get seated with the house light on!! Additional time queuing for tickets might mean that customers are less likely to buy food and drink, and unless things have massively changed since my time, this is where cinemas rake it in, because of the mark up.

So surely, multiplex managers, this first point of contact with your customers is important? So why can’t you get this right? Especially if your name has ‘deluxe’ in it! Not a very deluxe experience.

Cinema customer service shouldn’t just finish in the snack bar either. The bigger the film, the wider the audience and the more likelihood for disruption, so why, when cinemas are legally bound to have staff in attendance for fire regulations, do management not oblige those same staff to periodically attend the auditoria and ensure people aren’t pissing about and disturbing other customers?!

Presentation Quality
Were staff employed in the above fashion more frequently they could be also monitoring the quality of the screening. I don’t see why I should have to leave my seat and miss some of the film just to track down a staff member to tell them the picture is out of focus!

Getting the aspect ratio or scope of the picture right at the start of the film is yet another seemingly regular incredulity that crops up. Having paid the ever increasing admissions I don’t expect to have to watch the start of the film missing the tops of peoples heads!! Again if someone were present this would be spotted and I wouldn’t have to miss the start of the film. Bastards! It shits me no end when I do find a staff member only to receive a vacant look lacking all understanding of what the issue is.

These things crop up all too often and perhaps for those in attendance a little less regularly they would all go unnoticed, but this is too frequent for me not to vent about.

The cinema should be a place of escapism and enjoyment. I wish it was always so.
TC

Guide To The Perfect Cinema Seat

STEP 1

Sit in a central seat no further than one third of the way from the front of the auditoria

That’s it. Simple!


Ok, maybe some explanation…

• The audio in this part of the cinema is near its optimum and therefore should offer great quality
• With the screen filling about 75% of your field of vision you can become more absorbed and you’ll be less likely to be aware of those around you
• People hear more of what’s going on in front of them; so with fewer people in front of you the less likely it will be to have distractions
• Kids like to sit at the back
• Disruptive people gravitate towards the back (like back in high school)
• Sitting this far forward means there are fewer people in front of you to talk and go to the toilet

Other Seating Options:
For important films and especially in cinemas that offer allocated seating, buy enough tickets to ensure you won’t have to sit next to people. Because you know it makes sense… and people suck.
TC

Film Review: The Green Hornet (12A)



THE PLOT
Britt Reid (Seth Rogen) is the slacker son of newspaper magnate James Reid (Tom Wilkinson). Following his father’s death Britt lashes out against his strict upbringing by getting drunk and decapitating James’s memorial statue. In the process, he and servant/mechanic/martial arts expert Kato (Chinese pop star Jay Chou) save a young couple from being assaulted by a band of muggers. It’s here that Britt realizes his childhood dream of being a superhero and takes on the persona of The Green Hornet with his trusty sidekick Kato. Together they set out to take on the bad guys whilst pretending to be bad guys themselves (for some reason).

THE REVIEW
Being that Seth Rogen co-wrote and executive produced this film, the slacker that he is so stereotyped for was always going to show up in this film, although here it’s more tolerable and less over-the-top than many of his previous outings. That Rogen plays down his ‘type’ is of some credit.

Jay Chou is great as Kato and steals most scenes either with faltering sarcasm or kick-ass action. It is the relationship and specifically the dialogue between Rogen and Chou’s characters that is this film’s strength, but not enough to make this a good film.

Christoph Waltz is Chudnofsky, the cities crime boss and The Green Hornet’s arch enemy, as Reid and Kato go about destroying his empire and stealing his glory. Academy Award winner Waltz was very disappointing, all but reprising his award winning role from Inglorious Basterds, but less sinister and without the quirkiness; the characteristics that made the character great. This could be due to Rogen’s writing or Michel Gondry’s directing, but Chudnofsky comes across as a dull caricature of Col. Hans Landa.

Cameron Diaz plays the tottie, and that’s about it! Her character is all but obsolete and neither enhances the plot nor the entertainment factor.

Another gripe with this film is the fact that the studios and producers are mugging the audience of their cash by taking a conventional film and adding half a dozen 3D scenes in post production, somehow justifying a hike in admission of almost 30%. Thieving bastards! Perhaps they knew it would bomb after the opening weekend once word got out about how average a film it really is and they figured they should cash in early!

THE VERDICT
There are fun moments here, to be sure, but this is a largely forgettable film.
TC

Director: Michel Gondry
Writers: Seth Rogen and Evan Goldberg (screenplay) and George W. Trendle (radio series "The Green Hornet")
Stars: Seth Rogen, John Cho, Christoph Waltz and Cameron Diaz
Running Time: 119 Mins

NOW SEE THE TRAILER...


UK Release Date: 14th January 2011

Sunday, 9 January 2011

Film Review: The King’s Speech (12A)



THE PLOT
Prince Albert, second in line to King George V’s throne, is beset by a severe stammer, an infliction incongruent with his position and responsibilities. Albert and his wife Elizabeth (the Queen Mother to be) have spent years seeking help to eradicate the problem so that he might fully engage in his duties as Prince Royal. Together they have both found some solace in the fact that Albert’s elder brother David will one day assume the Crown, leaving Albert out of the lime light.

Australian Lionel Logue becomes the latest in a long line of speech therapists to attempt a ‘cure’ but his unconventional methods and familiar ways are cause for tension and aggravation. Logue’s methodologies and unsolicited counselling show some promise that are duly put to the test when Albert is thrust upon the throne following the scandalous abdication of his brother, now King Edward VIII. And all this at a time of great unrest under Hitler’s looming shadow.

The newly crowned King George VI must deliver a history defining speech to rally and encourage his subjects across his vast Empire.

THE REVIEW
In relative terms this is a simple storyline, removed of much of the political intrigue and tensions of 1939, but these are ever present and add a backdrop to the story that provides gravity and engenders the weight of responsibility Albert fears so much. His fear is not due to weakness but to his understanding that his position holds a great responsibility to rule his people well that they might consider him with pride.

Colin Firth portrays Albert brilliantly; there is no other word for it. Simply brilliant. Subtle and commanding, terse and good humoured, caring but frequently aloof are all the qualities Firth brings convincingly to the role. Every scene with Geoffrey Rush’s Logue is fantastic as he plays the straight talking therapist. To watch the relationship form between these two is a cinematic joy. The irreverence Logue holds for position, title and graces are wonderful to watch and expertly played out by Rush. Every scene featuring these two is a delight, often underplaying the gravitas of the world around them or subtly touching on them.

The sets are perfectly recreated and aid to establish the background of the characters privileged opulence or common standing; settings for which each man looks uncomfortable and out of place in the other’s environment. The camera work frames every scene beautifully and provides a momentum to what could otherwise have been a dull period piece.

The dialogue is well scripted and engaging, delivered by Rush in particular with a wryness that always leaves a smile or evokes a guffaw.

Helena Bonham Carter provides understated support as Elizabeth, adding additional depth to the already strong cast including Guy Pearce as a visually convincing David/Edward VIII and Michael Gambon’s George V. These all play support to a magnificent Firth. The nuances and gestures of an aristocrat at pains to overcome a speech impediment are delivered convincingly and with seeming ease. Be under no illusion, Firth is this year’s award season’s leading man and worth the price of admission alone to see a master class of characterisation.

This is not a film about history, royalty or class difference, although all these are present. At its core, this is simply, and wonderfully, a film about friendship and overcoming adversity, delivered with good humour and lightness of touch. The relationship between Logue and ‘Bertie’ develops in uneasy fits and starts with an informality that is easily engaging.

Informative, interesting, intriguing and insightful as this film is, the feeling this film develops in the audience is a happily entertained one.

THE VERDICT
The King’s Speech is an Oscar certainty that will leave you thinking and smiling hours and even days later. A great script is backed up with fantastic acting and beautiful cinematography. A must see. (and yes, I’m effervescing!)
TC

Director: Tom Hooper
Writer: David Seidler (screenplay)
Stars: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce and Michael Gambon
Running Time: 118 Mins

NOW SEE THE TRAILER...


UK Release Date: 7th January 2011

AWARDS
Golden Globe Winner - Best Performance by an Actor in a Motion Picture – Drama: Colin Firth
Golden Globe Nominee - Best Motion Picture - Drama
Golden Globe Nominee - Best Performance by an Actor in a Supporting Role in a Motion Picture: Geoffrey Rush
Golden Globe Nominee - Best Performance by an Actress in a Supporting Role in a Motion Picture: Helena Bonham Carter
Golden Globe Nominee - Best Director - Motion Picture: Tom Hooper
Golden Globe Nominee - Best Screenplay - Motion Picture: David Seidler
Golden Globe Nominee - Best Original Score - Motion Picture: Alexandre Desplat


BAFTA Winner - Best Film: The King’s Speech
BAFTA Winner - Outstanding British Film: The King’s Speech
BAFTA Winner - Original Screenplay: The King’s Speech: David Seidler
BAFTA Winner - Leading Actor: Colin Firth for The King’s Speech
BAFTA Winner - Supporting Actor: Geoffrey Rush for The King’s Speech
BAFTA Winner - Supporting Actress: Helena Bonham Carter for The King’s Speech
BAFTA Winner - Original Music: The King’s Speech: Alexandre Desplat
BAFTA Nominee - Director: Tom Hooper for The King’s Speech
BAFTA Nominee - Cinematography: The King’s Speech: Danny Cohen
BAFTA Nominee - Editing: The King’s Speech: Tariq Anwar
BAFTA Nominee - Production Design: The King’s Speech: Eve Stewart, Judy Farr
BAFTA Nominee - Costume Design: The King’s Speech: Jenny Beavan
BAFTA Nominee - Sound: The King’s Speech: John Midgley, Lee Walpole, Paul Hamblin, Martin Jensen
BAFTA Nominee - Make Up and Hair: The King’s Speech: Frances Hannon


Academy Award Winner - Best Picture: Iain Canning, Emile Sherman and Gareth Unwin, Producers
Academy Award Winner - Directing: Tom Hooper
Academy Award Winner - Actor in a Leading Role: Colin Firth
Academy Award Winner - Writing (Original Screenplay): Screenplay by David Seidler
Academy Award Nominee - Actor in a Supporting Role: Geoffrey Rush
Academy Award Nominee - Actress in a Supporting Role: Helena Bonham Carter
Academy Award Nominee - Art Direction: Production Design: Eve Stewart; Set Decoration: Judy Farr
Academy Award Nominee - Cinematography: Danny Cohen
Academy Award Nominee - Costume Design: Jenny Beavan
Academy Award Nominee - Film Editing: Tariq Anwar
Academy Award Nominee - Music (Original Score): Alexandre Desplat
Academy Award Nominee - Sound Mixing: Paul Hamblin, Martin Jensen and John Midgley

Film Review: 127 Hours (15)



THE PLOT
This is the true story of Aron Ralston, a young adventurer always looking to push himself to extremes. Whilst canyoning in the Utah desert, Ralston becomes trapped, when his hand is wedged under a boulder following a fall down a crevasse. So begins 127 hours trapped with little supplies and no chance of rescue, leading to a desperate and squeamish conclusion to save himself.


THE REVIEW
Following up from Danny Boyle’s Oscar success with Slumdog Millionaire (2008) this latest storyline has the potential to be a misfire. To convey a tale that revolves around a single central character stuck down a hole for 5 days yet remain engaging is a visual challenge; a challenge Boyle meets in style.

Clever photography and editing, combined with the usual Boyle talent for picking a soundtrack, made this work. The film hinges on Franco’s portrayal of Ralston and Boyles storytelling, and both were on top form.

Not previously a particular Franco fan I thought his performance was first rate. Aron’s gradual decline as the days pass, his sometimes erratic behaviour, the visions and ultimately desperation are what you would expect of anyone surviving in such harsh conditions. And survive he does, intelligently rationing food and water, making use of anything ready to hand (pardon the pun) in an effort to save himself. For Franco to pull this off is a credit to his ability, for him to pull it off this well is truly impressive.

Boyle successfully manages to convey the passing of time in a relatively short film. This alone is note worthy and no mean feat, as it keeps the audience on the edge of their seats knowing that time is ultimately against him.

This is a simple plot that in less skilled hands could have so easily fizzed, but it works. Boyle and Franco bring humour to a dire situation, breaking the tension they perfectly create, only to continue a moment later to build the tension further still. I can’t believe many people would go into this film not knowing the inevitable outcome, but the nicely worked and positively squeamish ending will be a piece of cinema history that will prove hard to forget; all the more for the knowledge that this is a true story.

THE VERDICT
127 Hours is entertaining, compelling and unsettling all at once; a great piece of storytelling from Danny Boyle that few others could envision, let alone deliver. James Franco puts in what could become a career defining turn that hinges on his performance.
TC

Director: Danny Boyle
Writers: Danny Boyle and Simon Beaufoy (screenplay), Aron Ralston (book "Between a Rock and a Hard Place")
Stars: James Franco, Kate Mara, Amber Tamblyn, Treat Williams and Clémence Poésy
Running Time: 94 Mins

UK Release Date: 7th January 2011

AWARDS
Golden Globe Nominee - Best Performance by an Actor in a Motion Picture – Drama: James Franco
Golden Globe Nominee - Best Screenplay - Motion Picture: Danny Boyle, Simon Beaufoy
Golden Globe Nominee - Best Original Score - Motion Picture: A.R. Rahman

BAFTA Nominee - Outstanding British Film: 127 Hours
BAFTA Nominee - Director: Danny Boyle for 127 Hours
BAFTA Nominee - Adapted Screenplay: 127 Hours: Danny Boyle, Simon Beaufoy
BAFTA Nominee - Leading Actor: James Franco for 127 Hours
BAFTA Nominee - Original Music: 127 Hours: Ar Rahman
BAFTA Nominee - Cinematography: 127 Hours: Anthony Dod Mantle, Enrique Chediak
BAFTA Nominee - Editing: 127 Hours: Jon Harris
BAFTA Nominee - Sound: 127 Hours: Glenn Freemantle, Ian Tapp, Richard Pryke, Steven C Laneri, Douglas Cameron


Academy Award Nominee - Best Picture: Christian Colson, Danny Boyle and John Smithson, Producers
Academy Award Nominee - Actor in a Leading Role: James Franco
Academy Award Nominee - Film Editing: Jon Harris
Academy Award Nominee - Music (Original Score): A.R. Rahman
Academy Award Nominee - Music (Original Song): If I Rise - Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
Academy Award Nominee - Writing (Adapted Screenplay): Screenplay by Danny Boyle and Simon Beaufoy

Tuesday, 4 January 2011

Film Review: The Way Back (12A)



THE PLOT
Poland 1940, at the time of the Nazi-Soviet pact and Polish officer, Janusz Wieczak (Jim Sturgess) is falsely accused of anti-Communist espionage and sent to a Siberian gulag in the most harrowing of conditions, a supposedly inescapable prison. After what seems a mere few days (supposedly some weeks or months) Janusz escapes, along with six inmates including Farrell’s Valka and Harris’ Mr Smith. Their destination: India, via many thousands of miles through Russia, Mongolia, China and Tibet.

THE REVIEW There’s not a lot more of the plot requiring explanation. Essentially they escape, enduring some of the harshest terrain and climates the world could offer. Along the way they collect orphan street urchin Irena (Saoirse Ronan), and lose others of their number

The panoramas and vista are beautifully captured, somewhat of a Weir trademark, but sometimes feel almost rushed. In fact whilst this is not a short film, you get the feeling that that much of it was left on the cutting room floor. Perhaps this could be where some of the character development might also have ended up. And here we get to the nub of the issue surrounding this flick, the script. Enticing a plot as this true story presents, the character development is just not there. The lead character barely leads, to the point where this feels more of an ensemble affair, but it lacks the essence of an ensemble performance. The acting is credible from all parties, particularly Harris and Farrell but The Way Back never really soars.

THE VERDICT Good acting and dramatic panoramas are let down by a weak script leaving the audience uninvolved, engendering no genuine empathy. Not the great film this epic story could have been.
TC

Director:
Peter Weir

Writers: Keith R. Clarke and Peter Weir (screenplay), Slavomir Rawicz (novel)
Stars: Jim Sturgess, Ed Harris, Colin Farrell, Gustaf Skarsgård, Saoirse Ronan and Mark Strong
Running Time: 133 Mins

NOW SEE THE TRAILER...


UK Release Date: 26th December 2010


AWARDS
Academy Award Nominee - Makeup: Edouard F. Henriques, Gregory Funk and Yolanda Toussieng