X-Men: First Class tops the UK box office

UK box office top ten and analysis for the weekend of Friday 4th - Sunday 6th June 2011...

The latest installment in Fox's X-Men franchise debuts in first place at the UK box office, but a weekend haul of £5.4m has to be considered less than 'First Class' considering that the figure - which includes over £2m from two days of preview screenings - is just over half the £10.4m opening enjoyed by The Hangover Part II. Discounting previews it's the weakest opening for the franchise but nevertheless, it's good enough to put X-Men: First Class in pole position as Todd Phillips' comedy sequel slips down to second place with another £3.8m, while Pirates of the Caribbean: On Stranger Tides also falls one spot to third and remains the highest earner in the top ten with a cumulative gross of £26.7m.

Along with X-Men: First Class, there are another three newcomers in the chart this week, the highest of which is the 3D concert movie JLS: Eyes Wide Open, which debuts in fifth (one place behind family comedy Diary of a Wimpy Kid 2: Rodrick Rules), with acclaimed racing documentary Senna and Bollywood comedy Ready opening in seventh and eighth respectively. Meanwhile, heading towards the foot of the chart is animated comedy Rio (down to places to eighth) and Fast & Furious 5: Rio Heist (down four two ninth), but the biggest drop of the week is reserved for Thor, which plummets to the bottom of the chart after finishing up in fourth last time out.

Number one this time last year: Sex and the City 2

Pos.	Film	Weekend Gross	Week	Total UK Gross
1	X-Men: First Class	£5,438,386	1	£5,438,386
2	The Hangover Part II	£3,826,158	2	£21,055,272
3	Pirates of the Caribbean: On Stranger Tides	£2,144,179	3	£26,693,930
4	Diary of a Wimpy Kid 2: Rodrick Rules	£645,196	2	£3,622,991
5	JLS: Eyes Wide Open	£463,914	1	£463,914
6	Senna	£375,173	1	£375,173
7	Ready	£236,868	1	£236,868
8	Rio	£94,127	8	£12,890,750
9	Fast & Furious 5: Rio Heist	£77,874	7	£18,368,657
10	Thor	£59,994	6	£13,849,095

Incoming...

DreamWorks Animation sequel Kung Fu Panda 2 (cert. PG) will likely flying kick its way to the top of the box office this coming Friday and features an all-star voice cast including Jack Black, Seth Rogan, Angelina Jolie, Gary Oldman, Jackie Chan, Dustin Hoffman, Lucy Liu, Michelle Yeoh and Jean-Claude Van Damme. Meanwhile other films looking to make an impact include dance flick Honey 2 (cert. PG), thriller Point Blank (cert. 15) and horror Mother's Day (cert. 18).

U.K. Box Office Archive

BBFC refuse to classify The Human Centipede II

The British Board of Film Classification has decided to refuse a certificate to horror sequel The Human Centipede II (Full Sequence) from director Tom Six, effectively banning the film from release here in the UK. According to the BBFC, the film - a follow-up to last year's controversial shocker The Human Centipede (First Sequence) - may fall foul of the Obscene Publications Act and "poses a real, as opposed to a fanciful, risk that harm is likely to be caused to potential viewers".

In a statement released by the BBFC, the film was focussed on the "sexual arousal of the central character at both the idea and the spectacle of the total degradation, humiliation, mutilation, torture and murder of his naked victims" and that "there is little attempt to portray any of the victims in the film as anything other than objects to be brutalised, degraded and mutilated for the amusement and arousal of the central character, as well as for the pleasure of the audience".

It's nice to see that the BBFC know what's best for us viewers and we can only thank them for taking this step to protect us from potential harm. Joking aside, unless the 'victims' were actually brutalised, degraded and mutilated for the purposes of making the film, I can't see what the problem is and I'd quite like to know what qualifies the BBFC to decide what is suitable and unsuitable for me to watch - as a responsible adult, I'm sure I can make that decision for myself.

Read the BBFC's patter here.

365 Days, 100 Films #25 - True Grit (2010)

True Grit, 2010.



Directed by Joel Coen and Ethan Coen.

Starring Jeff Bridges, Matt Damon, Josh Brolin, Hailee Steinfeld, Barry Pepper and Domhnall Gleeson.





SYNOPSIS:



A tough U.S. Marshal and a Texas Ranger help a stubborn young woman track down her father's murderer.





If you’re really good at making films, the audience forgets they’re watching them. Reality dissolves into a dream-like state, only with more clarity and a musical score. You come to just as the credits start to roll. “That was pretty good,” slowly dawns on you as you wake.



Afterwards, you start to appreciate those bits that were so finely crafted that they made you forget the film wasn’t real. There are many of these in True Grit, but by far the most impressive, and poetic, is the script. It’s as bold as Hemmingway and flows just as good. The characters speak in some lost American dialect from the turn of the last century. In another’s hands it would come across forced and clunky. The Coens make it effortlessly naturalistic. An example;



LaBoeuf: You give out very little sugar with your pronouncements. While I sat there watchin' I gave some thought to stealin' a kiss... though you are very young, and sick... and unattractive to boot. But now I have a mind to give you five or six good licks with my belt.



Mattie Ross: One would be just as unpleasant as the other.



It’s as though the script were written out in modern tongue, only for every other word to be replaced by its much grander synonym.



True Grit is about Mattie Ross, a girl no older than fourteen, who seeks revenge on the man who murdered her father. To do so she employs Rooster Cogburn (Jeff Bridges), an old, U.S. marshal. They cross paths with a Texas Ranger by the name of LeBoeuf (Matt Damon) who seeks the same man. Cogburn is a drunk and a murderer. LeBoeuf is dull-witted. But in helping Ross they get to show they are both men of ‘true grit’. Not that fake stuff that’s flooded the market.



True Grit is a long way from the black and white morals of most classical Westerns, but it evokes the same misty-eyed steel that they projected - when people were good and decent and weren’t prone to self-indulged soul-searching like the protagonists of the present day. Though it takes the course of the film to show it, all three characters are built upon their principles. Stubbornly so.



It is Ross who eases out Cogburn and LeBoeuf’s true grit. She’s a remarkable gal. Her superego seems too large for her age, separating everything into either ‘good’/‘bad’, ‘lawful’/‘unlawful’ and ‘godly’/‘godless’. She goes about revenge in the language of bureaucracy and supports her sass with knowledge (often to the embarrassment of the adults with whom she talks). It’s what makes her pairing with Cogburn so parental, like she’s some chip off the ol’ block. There’s always the sense that she’s imitating the talk and actions of those much older than her. It’s kinda cute, if a little brash.



The film’s great strength, alongside and because of the script, is this sincerity. The score doesn’t have an ironic note in it. Being post-modern is the easy way out these days. The Coens don’t allow their characters to sit and agonise over personal pain – they internalise it and proceed with the tasks at hand. Psychoanalysis had yet to take off on those shores. Consequently, True Grit conducts itself in heroic charges against terrible odds. It’s easily the film of the year thus far.

Oli Davis



365 Days, 100 Films



Movie Review Archive

DVD Review - The Halfway House (1944)

The Halfway House, 1944.

Directed by Basil Dearden.
Starring Mervyn Johns, Glynis Johns and Sally Ann Howes.


SYNOPSIS:

A group of strangers take shelter at a remote Welsh Inn during a storm where they are soon brought together by a series of unsettling events.


If you are yet to enter the competition here at Flickering Myth to win a copy of Ealing Studios' production The Halfway House on Digital Versatile Disc, I do suggest that you hurry up and get a move on. This is a film worth seeing for three very good reasons. Pay attention ladies and gentlemen and I shall outline them for you.

Firstly The Halfway House is a fragment of history, a slice of our country’s past, and an especially engaging and vivid one too. For those of you enjoying the developments in three dimensional cinematic viewing or perhaps partial to the high definition of your colour television sets, it might be rather off putting that this is a film presented in mere black and white. I readily admit that I am not an avid viewer of black and white pictures myself.

I can assure you though that the lack of variation in colour is more than made up for by numerous other qualities. In fact, I’d go as far as saying that it added to the charm of the film. In any case, this is top notch black and white, because The Halfway House has been digitally restored to a wonderful standard, so that it is, to all intents and purposes, as good as a modern day release.

This film was originally released in 1944 and judging by references to the date during the plot, filmed in 1943. It is therefore significantly influenced by the context of the ongoing Second World War in Europe. A number of the characters have lost friends, colleagues and relatives during the conflict. Others are affected in other ways.

The Halfway House is somewhat inaccurately and crudely labelled as a horror but in reality it is an interesting infusion of ghost story, fable and propaganda. The propaganda element is particularly fascinating and marks the film out as a genuine historical artefact. It is not overdone to affect the level of satisfaction for a modern audience, but certainly during the conclusion an Irishman’s change of allegiance from neutrality to supporting the Allies is noticeably underlined.

The second principal reason you should see The Halfway House is the impressive and rounded characterisation, forming part of a touching and timeless narrative. Whilst the historical background to the plot is crucial to setting it apart from modern releases, the quality and nature of the storytelling is also no longer replicated by studios today.

The first half of the film introduces a wide range of characters across Britain (showcasing unusual scope and variety of outdoor locations for Ealing Studios), each with their own problems, from terminal illness to divorce and criminality. The second half then brings all of these characters together at The Halfway House, a Welsh inn that may or may not have been destroyed by fire. The kindly and wise owners of the inn, who speak almost poetically at points, help the guests to help each other. Gradually they all gain perspective on their issues and worries by taking time out from the everyday grind. Such an intricately woven moral is still just as relevant today.

The Halfway House is superbly acted, even by modern day standards. It has a marvellous script that seems to transfer something from the original play by Denis Ogden. Primarily that something is dialogue which allows characters to breathe and grow convincingly, as they would on stage. Somehow The Halfway House is full of excellently fleshed out characters, despite the ensemble cast.

The third key reason for seeing The Halfway House is that it is tremendously amusing. Part of that humour arises inadvertently from the old fashioned and outdated formal register of the dialogue, which I have tried unsuccessfully to mirror regularly throughout this review. In certain situations the tone and accent of 1940s British speech, along with that persistent formality, is unavoidably hilarious.

However most of the comedic moments are intentional, with a mixture of fabulous and average one liners on show, alongside character humour enabled by their believability. One moment in the opening segment, in which we meet a dodgy dealing crook, is amusing due to role reversal; our criminal dismisses an employee for NOT having a criminal record and lying about it. This is also an example of one of many moments where the war has turned things upside down.

As if those three major reasons alone weren’t enough to at least have a go at the competition, there are also too many minor points of interest to mention. Director Basil Dearden has been underrated for years, only to be steadily recognised more and more recently as a groundbreaking filmmaker, with films like Victim starring Dirk Bogarde challenging taboos long before that was easy to get away with and just an arty saying. His direction here is simple for the most part, with the exception of one smartly edited action sequence which could fit into a modern film, but effective and professional. It’s remarkable enough they were making films as entertaining as this with the war raging on.

Good luck in the competition! But basically make sure you see The Halfway House when it’s released on the 20th of June. It’s an unseen and unappreciated classic of British cinema.

Liam Trim (follow me on Twitter)

Movie Review Archive

The Week in Spandex - X-Men: First Class, Captain America, The Dark Knight Rises and more...

Our weekly round-up of all the big talking points from the world of movie superheroes...

The big news is of course the release of Matthew Vaughn's Cold War-era mutant prequel X-Men: First Class, which I have to say I found to be a little over-rated. Don't get me wrong, it's enjoyable, but in my opinion it really doesn't justify all the hype that's been coming its way this past week (you can check out my full review here). Nevertheless, Vaughn's done a good job setting things up for the next two installments in the 'First Class Trilogy', which I'm sure will be announced once the opening weekend figures come in for this first outing, while James McAvoy has been discussing a potential sequel over at Hero Complex.

Anyway, a whole raft of clips and TV spots have made their way online this past week to further promote the release of First Class (I'm sure by now someone could do a pretty good job of editing the whole film together from these), along with a couple of interesting bits and pieces including a three-part roundtable interview with Matthew Vaughn at ObsessedWithFilm, a video interview with screenwriter Jane Goldman at IGN and an insight into the VFX process courtesy of Rhythm & Hues which you can read over at Comicus (scroll down for the English version). Finally, Vaughn and January Jones have also been answering fan questions over on the Facebook X-Perts Q&A (and no, they didn't answer that one).

Also stepping up the publicity this week ahead of a July release is Marvel Studios' Captain America: The First Avenger, which debuted three new promo images - featuring Chris Evans as Cap, Hayley Atwell as Peggy Carter and Hugo Weaving as the Red Skull - along with a few TV spots, one of which featured snippets of new footage. Meanwhile TFA storyboard artist Martin Asbury updated his website with some of his work from the film, which could possibly contain a few spoilers but really is worth checking out. Oh, and while we're on the subject of the Marvel Cinematic Universe, expect The Avengers to have quite a presence at the Licensing International Expo (which runs from June 14th-16th in Las Vegas), with ComingSoon.net delivering a sneak preview of a promo poster for the upcoming superhero ensemble.

Along with The Avengers, another big movie expecting to make a splash at the Licensing Expo is Christopher Nolan's final Batman feature The Dark Knight Rises, with Batman-News.com speculating that it could play host to the reveal of the latest Bat-vehicle in much the same way that the Batpod debuted back in 2007 (oh, and a couple of purported viral videos have sprung up on Youtube, most likely fakes but you can take a look here if you haven’t seen them already).

Wrapping up the best of the rest...

...After confirmation earlier this week that Sony will be taking The Amazing Spider-Man to Comic-Con, there's been talk from directors Mark Neveldine and Brian Taylor that Ghost Rider: Spirit of Vengeance will be the next superhero flick to follow suit...

...New Daredevil director David Slade has been busy on Twitter recently, teasing an announcement on the upcoming reboot while confirming that he was never attached to the proposed Justice League of America movie, nor a potential reboot of The Shadow...

...Green Lantern's arrival in cinemas is now less than two weeks away and Warner Bros. have recently debuted a new website entitled Green Lantern Creator, which features some new shots of the alien characters and gives fans the opportunity to create their own member of the Green Lantern Corps...

...CosmicBookNews have posted an article that gathers together all of the Man of Steel rumours that have been doing the rounds lately, while original Superman director Richard Donner took part in a interesting interview with Hero Complex to promote the release of Superman: The Motion Picture Anthology Blu-ray box set that arrives on June 13th...

...Another DC superhero who looks set to be coming to the big screen is Hawkman, with BleedingCool reporting that the proposed film is "part Indiana Jones / The Da Vinci Code, part Ghost". Head over to the site to read the full logline that's doing the rounds...

...For anyone out there still remotely interested in NBC's Wonder Woman pilot, iFanboy posted an in-depth review which also features some previously unseen images, including what looks to be a shot of Wonder Woman's plane...

......And finally, while it doesn't really have anything to do with movies, DC Comics have announced plans to relaunch all of their titles with new #1s, which one can only assume to be the major announcement that was scheduled for this month's Hero Complex Film Festival.

Gary Collinson

Short Film Showcase - Cashback (2004)

Cashback, 2004.

Written and Directed by Sean Ellis.
Starring Sean Biggerstaff, Emilia Fox, Stuary Goodwin, Michael Dixon and Michael Lambourne.

Cashback centres on an aspiring art student, Ben (Sean Biggerstaff), who spends his nights working the graveyard shift at his local 24 hour supermarket. While his co-workers all have their own methods of wasting time as the clock ticks down on their shift, Ben has his own unique technique for fending off boredom by imagining that time stands still, giving him the freedom to explore his creative side.

Although Cashback received some criticism towards its excessive nudity, the short went on to win 14 awards including Best Narrative Short at the 2005 Tribeca Film Festival, while it was also nominated for the Academy Award for Live Action Short Film in March 2006, losing out to Martin McDonagh's Six Shooter. Cashback also went on to inspire the full-length feature of the same name, which premiered at the 2006 Toronto International Film Festival before receiving theatrical runs in the UK and North America.


Click here to view more short films and public domain features.

Movie Review - Super 8 (2011)

Super 8, 2011.



Written and Directed by J.J. Abrams.

Starring Kyle Chandler, Joel Courtney, Elle Fanning, Riley Griffiths, Noah Emmerich and Glynn Turman.





SYNOPSIS:



A group of kids making a film on their ‘Super 8’ camera witness a freight train crash that releases ‘something’, causing the military to shut down their town and setting a series of mysterious disappearances and weird occurrences in motion.





There are always going to be comparisons between the films that influenced Super 8 and the film itself. And its success is really going to be measured on that. Just prior to the release director J.J. Abrams, distributor Paramount, cinema Alamo Drafthouse and AintitCoolNews.com hosted an event screening the following films that were said to have heavily informed and influenced Super 8. They included: Close Encounters of the 3rd Kind, The Thing, and Scanners. Now if you’re going to aim for a the kind of film that you want to make when you’re heading down the sci-fi road - aiming to harness the youthful exuberance and bravery of three Hollywood masters Spielberg, Carpenter and Cronenberg, working at the peak of their powers, is commendably ambitious. To come remotely close to affecting your viewers with an experience like watching The Thing or Close Encounters is quite simply – super.



The production design and cinematography aesthetically align themselves with iconic Hollywood films like The Goonies, E.T. and Poltergeist and from the moment the film begins I found myself slipping into an uncontrollable nostalgia. The summer, the bikes, the great detached naïve perspective of youth. Abrams creates an authentic portrait of small-town-working class America of a somewhat broken American family in the late 70s. Joe Lamb (Joel Courtney) and his father Jackson (Kyle Chandler) are in a traumatic state in the wake of an accident at the town steel mill that killed Mrs Lamb, mother and wife of the family. This trauma heightens the contrast between Jackson, one of the town deputy’s and Joe the young artist whose relationship is left in the void made by the death in the family. Joel Courtney’s performance as Joe is soulful and heartbreaking but terrifically sweet. His look infuses the baby face of Sean Astin in The Goonies and the great wisdom conveyed in the eyes of Henry Thomas as Elliot in E.T. Since the passing of his mother Joe carries her locket around and he turns to holding it as the only form of comfort in the varying extreme situations that he and the group face. Joel’s acting in the scene after the wreck was so affective that it nearly had me weeping. Kyle Chandler who plays Joe’s dad Jackson is probably best known for his role as Coach Eric Taylor in the great Friday Night Lights television series. Jackson’s tough exterior is immediately examined and given a fragile dimension by Abrams that distances him from the stoicism of his most famous role. I loved the father son dynamic here that’s without (the necessary) maternal figure – and that the two starkly different characters are having to deal with the warmth being out of their lives.



Abrams made all the right choices with casting - filling out the cast with a group of character actors most people will go "oh yeah he was in that movie with um... yeah I've seen him before in that TV show". And the adult characters, while being believable and authentic really take a back seat to a great little bunch of child actors. Normally the golden rule for a director is to NEVER work with animals or children. Abrams must be commended for extracting such deep and multi dimensional performances from the core group of kids. They are the focus of the films and they carry it. Cary (Ryan Lee) the firebug, Preston (Zach Mills), lead actor Martin (Gabriel Basso) and tyrannical amateur director Charles (Riley Griffiths) form an eclectic little group that represent the burgeoning generation of filmmakers influenced by the explosion of B-Grade monster centric films of the period that the film is set. They are all authentic and quirky and in contrast to their adventurous Goonies brethren; yearn to create an adventurous scenario on their friend’s ‘Super 8’ instead of participating in a grand adventure. Some of the best moments in the film for me were watching the kids filming. Watching Charles hilariously utilise his counterparts to realise his vision and use their ingenuity for ‘production value’ was a source of many laughs; I especially enjoyed the last minute rewrites for Martin. And when Charles needed a wife for Martin’s character so we can ‘care’ more about him we’re introduced to the wonderful Alice (Elle Fanning); whose moments acting in the film within Super 8 are the most stunning for Joe, the boys and the audience in alarmingly legitimizing something that is the source for most of the comedy in the film.



Now this great chemistry and authenticity of the characters provide a great foil for the films other dimension - a suspenseful alien/monster thriller. I really don’t want to say too much, as to not spoil the plot but the kids witness the crash of the freight train, what caused it, and that something escaped the wreckage – and have course to investigate. Now saying that, despite the great deal of secrecy that the filmmakers and distributor have been making to conceal the catalyst for the film’s mysterious event and strange goings on, I found that there wasn’t the traditional emphasis on incremental glimpses of the films alien/monster. I wouldn’t say that it is quite as overt as the stunning South Korean Host in terms of showing the monster right up front but I felt that we (the audience) had enough glimpses of the alien visitor that it quenched anyone usually gearing himself or herself for the big reveal.



Super 8 engages your sense memory. There are certain songs, smells of nature in the breeze, the taste of home cooking and films from your childhood that when you’re re-exposed to them – instantly transport you to that moment. I think that the biggest compliment I can give this film is that it elicits the same feelings I get when I watch E.T. Ricky Gervais was onto something when once described Abrams as the next Spielberg – and I think that a late seventies summer where kids are making zombie movies with their friends is indicative of a hat tipping to say thank you for your influence. This is a great Hollywood MOVIE. Go and see it to feel like a kid again, if you love sci-fi and want to see Spielberg’s successor working under the supervision of his mentor and affirming Mr Gervais’ claim.

Blake Howard is a writer/site director/podcaster at the castleco-op.com.



Movie Review Archive