Monday, 25 October 2010

Scream 4 Trailer Analysis

After 10 years of waiting, we have finally been given the next instalment of the Scream series. Here's my analysis of the trailer...

Sunday, 24 October 2010

DVD Releases: Monday 25th October

This week I think is my favourite for releases since I've been doing these blogs. Just watch the awesome trailers and see HOW GOOD (or how bad) the films are. I've put a link on the films I've reviewed for you to see what I think of them too.

Paranormal Activity becomes a reality for me!

Paramount Pictures thought that in order to get the full effect of Paranormal Activity 2, released last Friday, they would send me along with other willing students, reviewers and press faces to experience real unexplained behaviour. Deep in The London Tombs we explored with Haunted Happenings, genuine Paranormal experts, to see what spirits and ghosts we could find. Here's what happened:

Friday, 22 October 2010

Black Swan ***** - The London Film Festival Review

For Blogomatic3000

Director: Darren Aronofsky

Writer: Mark Heyman

Stars: Natalie Portman, Mila Kunis, Winona Ryder

The Wrestler, Requiem for a Dream and The Fountain - These are the films that appear on the director Darren Aronofsky's list on IMDB. And now he brings us a tale about... A ballerina? This isn't an Angelina Ballerina story though, this focuses on the tale of pressure, self-harm, sex and split personalities - Welcome to the dark side of dancing from a well respected director's point on view.

This film was a shock in all aspects of cinema going. You're watching an extremely intense story that builds and builds to the point of destruction. Along with this, we see the pain and torture Nina (Natalie Portman) goes through both physically on screen with gritty scenes of pain, and emotionally through the quite unnervingly unique story. And in terms of the cinematography, it exceeds your expectations of Aronofsky's work. He takes you in detail through suffering and pleasure with intense photography and sound. It's a real shock to the system to watch, but you're prepared if you know his work previously.

Portman comes into her own. Playing a dancer who's in a warped world from her mother's incessant pestering, she strives to be perfect. But this outcome of suppression from any feeling of letting go leaves her to explode on screen in a climatic end to the film. We watch her slowly become someone else that's intimidating and genuinely frightening. Landing the lead role in Swan Lake, she has to play two very different characters - The White Swan and the Black Swan. Inevitably, she becomes this darker, more fearsome character. And the story reveals this in such a way that it's almost painful.

With Mila Kunis (Lilly) playing a happy-go-lucky promiscuous character, you begin to see the similarity, or more likely, competition between the two. They work off each other perfectly and bring alive this tale that's so remarkable you'll want to watch it over and over again. The one thing that would be stopping you from doing so is the level of gruesomeness you see. You're not shied away from what can only be described as a raw look at insanity. Winona Ryder (Beth) and Barbara Hershey (Erica) are very interesting to watch when you note these themes. Although they're not key in the lunacy unfolding, their profiles on screen provide a lot of essence which work well as the story unfolds.

What also lets the eccentricity of the events occur is the manic filming. Whilst the dancers move, they do not seem elegant, but threatening. The camera switches from side to side, flows in the action of the dancers rather than an establishing shot, and adds to the confusion of the girls on screen. The sound enhances movement of clothing which normally would be dubbed out, meaning what you're focusing on is the grind of the career. You're hearing, feeling and seeing it from their point of view. It's an up close and personal look at this life. But as there is an element of possession, you're always remained detached. The special effects build gradually, starting with a hint of the world taking over. But as we hit the end of the film, you're fully aware of what's happening to this woman.You're taken on such a ride that predicting the outcome becomes impossible.

Mixed in with this approach of showing paranoia and schizophrenia is a very personal look at sexual desires and repression. Thomas (Vincent Cassel) brings this animal instinct out in Nina which ultimate enhances the idea of insanity through a very disheartening effect. Lilly adds to this by openly being very flirtatious, bringing another element of Nina out. You watch it with a sense of disgust almost because it's not pleasure, it's a breaking down of her world.

After reading this, you're probably no closer to understanding what really the tale of this film involves, and to be perfectly honest you shouldn't know. It's such a breathtaking piece of film that you need to go in with little knowledge and come out with full appreciation for this work.

A scene from The Fountain showing off Aronofsky's way of creating an intense relationship:

Paranormal Activity 2 ****

For Blogomatic3000 and Paramount Pictures

Director: Tod Williams

Writer: Oren Peli

Stars: Katie Featherston

Handheld camera? Check. Creepy soundtrack? Check. Spirits more haunting than before? Check. And it's a sequel, well, prequel. Yes, we are now ready to experience the next chapter in the Paranormal Activity story. This time being set before the antics that took place on our screens last year, this film will more than likely bring you to tears, make you leave the cinema or just leave you an utterly paranoid.

There's something about this film that brings with it a real sense of fear. The technique it uses has been done before and the story is a familiar one to us. But there is no doubt in my mind this is the scariest film I have possibly seen- And I love horrors. Without an inch of exaggeration, I was trembling when the film finished and find it hard now to sit by myself in room without thinking something strange is going on. And this is why the film is so successful, because it plays on your fear of the unknown.

The story is simple - A house is haunted by an unknown presence that causes a whole lot of fuss. The filming is what intensifies the action slightly. Having static security cameras filming in real time mixed with a hand held home video camera heightens the reality. The special effects and deep focus of the picture means something could be happening anywhere with a truly horrifying effect. Plus, with this we have the less than appealing soundtrack. No music, just a low humming when something paranormal is about to happen. It prepares you for what may happen next, but you don't know what effect it will have on you. It could just be a mobile spinning around a crib... Or it could be a woman being dragged down the stairs. The inconsistency of action makes it that much on edge.

The acting, just like the first, is perfect for the story. We're with real looking people that could be your neighbours and they play up to the cameras in a "Ooh, you're filming me, hi camera!" way. We watch their actions happen just like you would watch anyone on the street. It's very voyeuristic which creates the intrigue. But when those titles appear saying "Night 8" you just about begin to panic. With this sense of intrigue comes the dilemma of watching the screen or not, because you want to see what happens, but it is utterly terrifying at how long it drags out and how mysterious the activity may be.

As the first was so low budget with such an impact on the audience, you probably think this won't match up. But the reality in my eyes is that it's better. The only difference really is that the picture is in slightly higher definition, due to the rise in budget, and the events take place a lot more. The same effect of drawn out tension and vulnerability runs through. Paranormal Activity climaxed at the very end of the film with an almighty thud (excuse the pun) but the 2nd takes you right up there on the fear level, brings you down and rises again. You're drained emotionally afterwards and leave uneasily as the ending is very unsettling. It slightly cops out by using a similar finish to the first (don't worry, that's not a spoiler). But with the added events to the film, as a whole this just takes the story to another level - You're not even safe in the day time!

Every word of the hype doesn't leave this film disappointing. In fact, you're probably not even nearly prepared enough to see a very original and exciting, horrifying tale. Good luck!

Here's some reactions if you didn't believe me:

Sunday, 17 October 2010

DVD Releases: Monday 18th October

When in Rome (dir. Mark Steven Johnson, 2010):

Brooklyn's Finest (dir. Antoine Fuqua, 2010):

Frozen (dir. Adam Green, 2010):

The Tortured (Robert Lieberman, 2010):

The Collector (Marcus Dunstan, 2010):

Black Death (dir. Christopher Smith, 2010):

Friday, 15 October 2010

Conviction *** - London Film Festival Review

For Blogomatic3000

Stars: Hilary Swank, Sam Rockwell,
Minnie Driver, Juliette Lewis
Director: Tony Goldwyn

Wow, Hollywood galore. When you think of films from this place you imagine big stars, a thrilling storyline, a cathartic ending and an emotive tale. This has it all and more; it's packed with cliché after cliché which at points becomes almost humorous. We're taken through ups and down that throw emotions at you left, right and centre. But strangely enough, this is actually quite an enjoyable film. You just need to let yourself give into the conventions of Conviction.

All the characters in this film are based on real people, because this is a film about a real case that started in 1983. Betty Anne (Hilary Swank) and Kenny Waters (Sam Rockwell) are the closest a brother and sister can be through their childhood of deviant behaviour to when they have children and get married. After the arrest of Kenny for the accusation of murdering a young woman, the dynamics of their relationship don't get hindered, but gain much more value as Betty Anne does anything to prove her brother is innocent. The story tells of how she puts herself through law school, whilst being a mother and working I might add, to represent her older brother in court right until the very end.

It's entertaining in terms of the emotion that's central to this drama. The highs and lows are placed in a perfect amount which keeps you wondering what's going to be the next action in their life. And the flow of the story is steady throughout the film which makes it an easy watch. There are just a few things that hold you back from completely falling in love with this representation of a true story.

The exaggeration of love means that after a while the affection becomes funny. You start noticing that this film really pushes family connections and the bond this brother and sister have for each other. When you watch it, not only are you trying to follow the story of a courageous woman, but you're also picking out the single lines which just become a bit ridiculous. It's just a typical example of how a Hollywood film spells things out to the audience. Obviously, from the storyline alone you gain a sense of companionship between the two, but to have every single scene thrown in your face with love and affection means you're kind of distanced. You start noticing the narration and realise it's not actually that great...

Another thing which isn't necessarily bad is that the supporting actors often shine over Swank and Rockwell. There's no doubt about it that these two really put a lot of effort in their roles to gain as much reality out of the true life characters as possible. But when we look at Minnie Driver (Abra Rice) and Juliette Lewis (Roseanna Perry) in particular, they're much more natural and likeable. Maybe because they're added features to the story to give a little bit of humour and the everyday character, but I found I enjoyed watching their roles as it was an escape from the quite dramatic tale being told from the rest of the film.

Going back to Rockwell and Swank, their acting is very... in character. I know that seems a ridiculous statement, but they adopted these roles with a real sense of passion. They both spent a lot of time with the real family and picked up on traits to create this emotive performance. The chemistry between the two is exceedingly good too. It's just a shame that the script was so dyer to work with.

That being said, I did find myself wondering whether there would be a huge twist - Whether he had killed the girl, whether she was going to actually finish Law School etc. So, the story keeps you engaged throughout and has a very satisfying ending which is obvious for a mainstream film. This makes it a perfect watch on DVD, but not so much on the big screen. It's all very typical and by the end predictable. And the fact that there weren't that many turns in the narrative almost made it less satisfying for me. You just want something with a little more of a kick, but all in all it's a pretty standard watch that's pleasurable enough.

How could you accuse this man of a murder?

Thursday, 14 October 2010

Let Me In *** - London Film Festival Review

For Blogomatic3000

Stars: Chloe Moretz, Kodi Smith-McPhee
Director: Matt Reeves

If you've seen Let The Right One In (a 2008 Swedish adaptation of the novel written in 2004) you'll know how beautiful this story is. Being told predominantly from the eyes of two 12 year olds, we see how one boy, Owen (Kodi Smith McPhee) who's bullied constantly throughout his life, witnesses divorce and alcoholism from his parents and is constantly lonely finds a friend within a mysterious girl, Abby (Chloe Moretz) who moves into his neighbourhood. But what's intriguing about this girl is the horrifying truth that she's a vampire. It's a completely unique tale from the book, and the Swedish version is incredibly innocent and honest. The English version doesn't seem to touch the sentimental value and creates more of a bloodbath than anything else.

Directed by Matt Reeves, he seems to favour these monster driven narratives. But this focus on the evil has left the idea of companionship minimal in the film. It's about the difficulties in life, not the horror behind the actions. The book is very dark and you do feel this. The setting is secluded, the characters live hard lives in a run down area and we see the struggle of growing up within these children. But watching the attacks on people becomes almost horrible to witness. The film's meant to represent a way of living, but all we see are built up scenes of tension every time an attack comes to make us scared. We don't sympathise with the characters, we're distanced from them. And when we see the bullying, it's so brutal that rather a feeling of sadness, it's a feeling of disgust.

Another factor that makes this a disappointing watch in terms of the cinematography is the special effects. Living in a world where everything should be flawlessly real now in editing, when we watch Abby attack it just doesn't live up to expectations. It turns her into something more like an animal than a vampire, losing her youth and creating a poor represented criminal. The movements are so over the top that you find it unrealistic - Yes, I know it's a vampire story, but being surrounded by so many of these creatures in film and TV now, you would expect it to have a much more believable feel than it does.

The redeeming factors are the two main actors. Chloe Moretz, like most of her performances, plays this character who's witnessed the world. Yeah, she's 12 but she's been 12 "for a very long time". Somehow she's an adult in a child's body which is perfect for the role. Kodi Smith-McPhee plays such a timid haunted boy that you really can gain a sense of emotion from his torment he goes through. Although the story lacks in the punch, his performance brings it back up to mark with his moving and painful experiences.

If Let The Right One In hadn't of been made, I'm sure this film would have had a much bigger impact. It's got the potential to create a compassionate story with a real individual look at life. But it's been done previously in such a elegant way that this becomes painful rather than filled with tenderness. The music is out of place in so many parts leading to mixed interpretations of a scene. At one point we have light strings playing in the background as Owen tells Abby he has a knife, for example. This misrepresentation of emotion makes it so much more difficult to watch, and it's a common theme running throughout the film.

I do have to stress, this isn't an awful film. It's just been created previously in a much better way. You still are entertained and find the tale as a whole very interesting to watch. But the way it's carried out is much more of a horror than a thriller now. If I were you, I'd deal with the subtitles and buy the Swedish version, it's a lot more satisfying.

I thought this piece of music in Let The Right One In was beautiful:

Wednesday, 13 October 2010

Never Let Me Go ***** - London Film Festival Review

This film has the ability to have as little impact as possible - It's an ambitious and unique storyline adapted from a book, stars children as some of the main focus and uses British boarding schools and countrysides as it's main setting. But the fact of the matter is, this film is absolutely astonishing. Coming out of the cinema heartbroken yet amazed at the quality of acting and character this film brings, it was a real surprise to the senses.

Starting off with the storyline, it could quite easily have become a sci-fi enhanced, super technical thriller. But this modest tale about young children growing up in a "special" secluded school, discovering their fate is already set out (that being they were created as clones to keep the human race alive past 100) just provides the originality of the tale. You grow with each and every person on screen and connect with their every emotion. The film is set in the 70s, 80s and then 90s, so at no point are we surrounded by stainless steel wear or electronic touch screens. We're watching doctors operate on people as their organs provide lives for people who gain deadly illnesses. But the people we're watching are clones. The idea that they're not original is strikingly shocking, as is the tale when the film goes on.

The acting is incredible. We have Keira Knightley (Ruth) starring as the almost evil character on screen. She's perfect for this posh private school girl. We have Andrew Garfield (Tommy) who plays the timid romantic lead who is entirely enchanting. And then we have the superb Carey Mulligan (Cathy). Her vulnerability is almost hard to handle by the end because you're just so caught up in her world. Adding to this, you do have to pay credit to the children playing the younger versions of these characters. Izzy Meikle-Small plays a spitting image of Carey in the film. Charlie Rowe (Younger Tommy) and Ella Purnell (Younger Ruth) all add to the realism these kids bring and you believe they are younger versions. They pick up on each other's habits and bring such a fluid performance.

The cinematography is beautiful. Scenic views of beaches, fields and remote areas bring a true a English vibe to the film. The world becomes yours and that's what makes it so crushing. It really is a testament to how much pain you can handle in a story. You come out of the cinema silently and sombre, but with such a sense of pride after what you've just witnessed. Kazuo Ishiguro (who wrote the original novel in 2005) stated he wanted to take 100 pages out of the book because the film is so good. Although many people have said it doesn't touch the book's detail, the film on its own is just beautifully curious.

I've really never seen a film quite like this. The reaction you gain from this is such a bizarre one it's hard to describe. Ranging from admiration to complete and utter sadness, this story will take you through the motions gradually, impacting each time something new to the narrative hits you. Mark Romanek (Director) has created a masterpiece waiting to gain as much credit as it deserves. Considering he's come from a background of music videos, this must have been pretty far-fetched for him. But he's totally created a captivating and soul-filled film.


Just to show how good Mark Romanek's direction is, take a look at this scene from One Hour Photo (2002):

Paranormal Activity 2 - The Pre-Event Hype!

Paramount Pictures have created a film that's either likely to make you scream, leave the cinema or inevitably cause you to weep with terror. That's right, Katie will be coming back to haunt our dreams and maybe even our lofts again. Paranormal Activity 2 is released on 22nd October in cinemas across the country ready to thrill you to your core. As it states in the trailer "Nothing can prepare you for what's next"... Or can it? I've been invited, along with other willing journalists and students, to take part in something quite unique and utterly daunting.

On 21st October looming deep underground in London, the London Tombs will be waiting for us; and that means spirits will be too. Going with a series of Paranormal experts, we will be using Ouiji Boards, White Noise boxes and table tipping tricks to name a few so we can find these so called "paranormal activities". After watching the preview screening of the film and experiencing things we thought could only happen in special effects, I'm sure we will have a sleepless night wondering what that noise is outside after this more that fear invoking evening.

Even now, Paranormal Activity still means I haven't been able to have my feet untucked at the bottom of the bed. Maybe this time I'm just not going to be able to be in bed at all. Everything will be revealed on the night of this event. Am I looking forward to it? Yes. Am I preparing myself for the most horrifying night of my life? So freaking much...

If you want to find out more, head to the website
or the Facebook page. Plus, you can watch the trailer on this blog at the top of the page...

Wish me luck.

Saturday, 9 October 2010

Kelly's Filmy Things #5

"The Day I Got 10,000 Views On My Blog!"

So today, precisely 17 months and 16 days after I posted the very first review on The Film Obsession, I have reached a huge number of views - 10,000! This may seem relatively small in terms of what blogs can get, but it's just such an amazing achievement. I adore writing and am obsessed by film so to have this support is incredible. I've been meaning to show my appreciation for a certain number of people, and now seems like the best time.

I wouldn't be doing any of this if it weren't for my Media and Film teachers at school, particularly Justin Young and Jenna Wyatt. They are probably the best kind of people you can have to teach you. They really inspired me to do what I wanted to do. Justin even convinced me to go to University when I wasn't fussed! Now I'm studying Film there, crazy.

Romesh Ranganathan has always seemed so happy to read my reviews. I used to bring them to him once they'd been published in The Crawley Observer - He gave me the idea for the Star Ratings on them, and also announced I was doing them in assembly. Him and Mark Lotsu, who would always try and make me watch any Sci-Fi, action, superhero film possible, I loved hearing their reactions.

Andrew Sinsbury ALWAYS without fail comments on a post. It's so nice to have his kind words. And for everyone from Hazelwick who reads them now, people at Sussex University, colleagues, family and random people on the Internet from countries I never knew could read this blog until recently, thank you. You honestly have no idea how much you mean to me. I know this is like an Oscar speech, but I feel so immensely humble at the idea of having 10,000 views, it's ridiculous.

The websites started off my ambition to write online, and now have sent me to some of the most exciting things I've ever experienced including the Scott Pilgrim press screening and The London Film Festival. It's unreal the amount of luck I have when it comes to Filmy Things and I just can't get enough of it.
Thanks to Ben who's helped me through all these daunting journalist activities every step of the way also.

JJ, Charlie, Adam, Scott and Tom - You're always the first to know when something's happened to me and you're always there receiving my screams of excitement and tales of craziness. You've given me confidence when I've needed it, humour to strive off of and supported me endlessly.

To have almost 200 people liking the Facebook group, have all sorts of people from the film world follow me on Twitter and to have so many weird and wonderful comments left on my YouTube page just shows if you love something, do it! I mean, if I of all people can have as much success in doing something I enjoy, get to experience the things I am and meet so many wonderful people along the way, why shouldn't you?

There's SO many people I'd like to mention but just can't - That in itself is something I'll appreciate forever, the endless encouragement from you.

DVD Releases: Monday 11th October

Bit Tits Zombie - More pore than anything else...

Rush Hour (Released on Blu-Ray) - Chris Tucker and Jackie Chan never go wrong.

The Exorcist (Released on Blu-Ray) - Why not watch a film about a girl saying c**t?

30 Days of Night: Dark Days - We all love poor sequels.

The Losers - Hollywood perfection...

Wild Target - British to a Tea - Ha!

Being A Film Student: Week One

For those readers who don't know, I'm a Film Studies student at the University of Sussex in my second year. Lots of people think this involves watching films like Pirates of the Caribbean and talking about how hot Johnny Depp is. Although we may do this before the lecturer turns up, it's actually a lot of intense work. Here's a weekly blog showing the ins and outs of the course...

The Best Years of Our Lives and Mambo Girl

I've got my 3 folders organised, sectioned and the reading highlighted. I have my notepad ready and timetable neatly printed inside each folder. Now, I am ready to start the 2nd year! The topics this term are Film Theory (Scarily confusing) and World Cinema. After being told this year is counting towards our final grade, I think it's probably right I am ready... Ahh!

Imagine the world's most stuck up film snob, then imagine the work they write is in French, then picture the translation from French to English is bad and add that the work was written over 50 years ago. That's the sort of stuff we're reading for Film Theory this year; A lot of intense, hardcore text. I'll give you an example:

The presence of the original is the prerequisite to the concept of authenticity. Chemical analyses of the patina of a bronze can help to establish this, as does the proof that a given manuscript of the Middle Ages stems from an archive of the fifteenth Century.

Yeah, that's taken from a piece called "The Work of Art in the Age of Mechanical Reproduction". This is the sort of thing we have to read on a weekly basis, with about 50 pages full of lovely jumble... Just for ONE module. I haven't mentioned the film this week yet, have I?

Made in 1947, this black and white drama called The Best Years of our Lives was about 3 men coming home from the war to greet their families. It was 3 hours long. The aspect we had to pay attention to? Deep Focus and long takes. So, as well as being quite a long story anyway, we had to focus on how slow the cutting was, how everything on screen was in focus, causing you to notice a lot more detail and why this gave the effect it did. That dragged out the tale a little more, but actually it was really fun. Homer, the man with no hands actually has hooks from fingers, he was cast for that. Interesting fact there!
World Cinema is a little different. We have the reading but not as intense and we have the films which are very peculiar. This weeks was Mambo Girl - A Hong Kong musical. I'd never seen one before and it was very enjoyable. You have the read the
subtitles for the songs which was quite amusing but the film was like something out of the 50s in America - We had to look at influences from the Western World of film, so it makes sense we watched that. My lecturer did make me think though... We have so much access to film, but we're not cultured. We see predominantly Hollywood and a lot more European Cinema - Euro-American it can be called. Asian cinema decreases slightly, but when it comes to African cinema, I have no clue. What we think is more important wouldn't be there. Just got me thinking...

You may have also seen a blog on here ranting about why Film Studies students get such a hard time. I also do an elective called Theory, Taste and Trash - It's part of Cultural Studies. The lecturer there said "Why shouldn't something that's involved in everyone's lives be studied?" Film Studies has got just as much credibility as any other degree, but because the context is so easily available (films, music, tv) it hold less hierarchy over something like Maths. So there, the next time I get asked "Oooh, but don't you just watch film?" I'll say "Go read this paragraph in my blog."

That's week one done, better start reading for week two.

Sunday, 3 October 2010

Why Back to the Future is a Narrative Master - Analysis

Back to the Future is one of the more successful Science Fiction movies to come out of the 80s. It has charm, charisma and an exciting plot all combined into one eccentric tale. But why is this film so well respected among film fans, critics and lovers of the genre? Well, it's all to do with the narrative. It is Hollywood storytelling at the point of perfection, and here's why:

Through all the phases of Hollywood (The Studio, Classic, Western eras etc.), producers and directors have always tried to maintain this sense of realism, because the viewers watch this life and either want to have it or can relate to it. This is why the cinema is so dominant, because it enhances an aspiration to live the lives of others because the tale told is so realistic. What encourages this realism is the way the film is put together.

Typically, to be a well loved story you need a beginning to build an establishment of surroundings, characters and the story, you need a middle which becomes the mass of the film, showing a change of the norm established in the beginning, and a point of no return where the audience believes the film will not have a way of coming back together. And the ending needs to effectively round up everything that's happened to leave no loose ends which means the audience can leave happy in their mind because everything on screen is okay.

Weaved into the story are key devices in the plot which can link back to each other. This can be key characters, props, or simple lines in the script. By giving attention to this means the story has continuity meaning the flow is easy to follow and understand. The film also needs to have a constant drive throughout, to give a mission for the story to continue and for the protagonist to complete.

Back to the Future does this with such perfection, analysing the film becomes so interesting because the detail is giant, yet the film is so fun loving and almost silly you find it hard to believe such a tale would have so much thought gone into it.

The Beginning: A character profile for is given for all the key characters featured constantly through the plot. We're shown Marty as the laid back teen, the mother and father in a difficult relationship, the brother and sister seeming to have a lack of interest in their surroundings, Biff the bullying boss and Marty's girlfriend. Emmett is shown with this sense of craze in his eye, full of excitement - This is a constant personality throughout the film that doesn't have a need to change. The rest of the characters, besides Marty as he is the protagonist, all have this need to change. We're also given lots of detail to the present location - This being because the film focuses on time travel, so the detail now will have a recognisable change when we're taken back. And from then we're given the drive in the film - Marty has a time limit to go away on a secret trip with his girlfriend, but we're also told about a clock tower not working because of a lightning bolt - It seems like a plot device to add a bit of humour from some dramatic protesters.

The Middle: We see Emmett shot by terrorists once we've been introduced to the time travelling car, and then we're taken back in time - So it's okay because we know we'll see him again. But at the back of the audience's mind you know he's died The audience are taken out of the location they've become familiar with and are put in a situation they don't recognise... But they do. The we see the clock tower, the school and the park. It becomes funny to see how times have changed, because I'm sure everyone has seen how buildings have changed over time. We watch Marty discover his parents who give reason as to why they are like how they are now. You find his situation funny because you can't relate to his bewilderment, but find it entertaining to see his reactions. We're shown his adventure to find Emmett, and his frustration at the limits this life has. You watch him grow and learn new things, while all the time you're being related back to the original situation.

Point Of No Return: Marty needs to get back and wants to tell Emmett about his death, but he refuses to listen as knowing the future can change things dramatically. Throughout the middle, Marty was constantly fighting to keep the outcome to same. We watch him almost fade away because his parents may not have met, then we see the car break down, and then we watch the plan for the lightning bolt to hit the tower (remember from before?) almost fail. All these build up to the point where Marty finally goes back to 1985. We see him run over to Emmett who is dead, because he didn't read the letter explaining the future. This is the point of no return - The beloved character is gone.

The End: But this is Hollywood at it's best, so of course he read the letter. The crazy scientist wore a bullet proof vest changing the future dramatically giving a sense of okay at the change. When Marty goes home after saying goodbye to his future travelling friend, he wakes up in the same position we were introduced to him with, and then we see professional siblings - Change One. His parents are happy and successful in love - Change Two. Biff is now working for his father - Change Three. Marty's trip with his girlfriend isn't a secret and he can be comfortable in the relationship. Change Four. And Emmett comes back from the Future to have a final glimpse on screen. It rounds everything up perfectly, leaving you only to want to jump into that magical car yourself.

Perfect, right?

Back to the Future Remastered Review *****

Ever wondered why the boy band McFly chose that as their name? Were you slightly confused as to why Total Film caused a whole lot of talk when they published a fake picture with dates taken from a film? Back to the Future is why. This classic 80s story about a mad scientist who discovers a time travelling machine has been brought back to cinemas for a short time to coincide with the release of all 3 films on Blu-Ray on 25th October. To make things even better, the film has a totally new look, being digitally remastered to give every detail of the picture even more definition.

Directed by Robert Zemeckis and produced by Steven Spilberg, this movie is still as exciting, funny and clever as it was when it came to cinemas in 1985. Having the chance to see it on the big screen is something special. Not only are you surrounded by lovers of the film when it was first released, the film is now capturing a whole new audience. As soon as the titles began the audience started clapping and cheering, just proving how well loved this tale still is. And there are plenty of reasons why this classic was and is so successful.

To start off with, you have a brilliant cast. Marty McFly played by Michael J. Fox epitomises the rebel teen with a comic edge to keep him just the right amount of cheeky before he becomes obnoxious. Crispin Glover plays George McFly, Marty's Dad, who is just so adorably weak, when the hero tale comes forward all you want to do is cheer for happiness. Thomas F. Wilson plays Biff, the typical jock who's a huge bully and really easy to dislike. And of course we have the adored Christopher Lloyd playing Dr. Emmett Brown. His eccentricity, excitement for life and loveable personality is the perfect combination to keep him entertaining and a mad scientist. And they all play their parts perfectly. No one is out of place, even when they're taken back in time to the 50s, the personalities there are just how you would imagine them to be.

Another reason is the special effects. For the time, this kind of idea was so hard to put across because the computer graphics were just not up to scratch. But from when we see the car first leave our screens to when we see it fly, the images are brilliant. We watch this time travelling sports car become something of an icon in cinema, and now with the remastered work, the picture is perfect; It looks like a brand new film. Obviously we still have 80s-tastic hair and fashion, but that's always going to be in our hearts fondly. You're going to want to get out and buy some Nike trainers, for sure.

The most important reason this film has become what it is today is because of the story. It is technically perfect in terms of a classic Hollywood way of telling a tale. Every little inch of the plot has been cleverly thought out, with key props being placed on the screen, ingenious dialogue references and a perfect beginning, middle and end. It's cathartic and heart-warming, fast paced and original with all the characters you need. There's nothing placed in this movie that isn't needed. It's all there to make the experience of watching the film as believable as it can possibly be.

It really is a one of the most fun experiences watching this film. Buy your tickets this week to go, because it's not often you get to watch a unique, true Hollywood blockbuster on the big screen with a crisp picture once it's been past the first release date. Taken straight from the 80s and brought into the 21st Century, it's amazing how this film hasn't aged... Almost as if it time travelled.

Here's a fun little video from Biff doing a song about Back to the Future:

Friday, 1 October 2010

Kelly's Filmy Things #4

"The Day I Collected My London Film Festival Press Pass"

Blogomatic3000 gave me the chance to cover The London Film Festival AND I AM! It's absolutely crazy right now with things happening in my career. This year has really been a boost for me to figure out what I want to do when I finish my Film Degree - Break into the Journalism world, of course. So based in the BFI on Southbank (only my favourite place in London) the LFF happens once a year, and starts on 13th October until the end of the month. But before it all kicks off, screenings of films are given to the press to let them have a jump start at writing some articles.

FYI, don't drink irresponsibly, have 4 hours sleep, travel 45 minutes in the car, 40 minutes on the train and 10 minutes on the tube - It does your head a world of pain. Nevertheless, I reach Southbank as it starts pouring down with rain (a common theme in these stories) and find my guru Monty who guides me on anything to do with film. Seriously, I'd be lost without him... Mentally and physically. He introduces me to the lovely Guy and Matt who are in competition with Hemanth, who saw 93 films last year, in how many they'll see this year. Considering the festival runs for 3 weeks, 93 is quite a monumental number, don't you think?! Good luck to them...

After a little chat we bump into HeyUGuys editor Jon who is literally the best person to seek advice or knowledge on film. After he efficiently sends me through the roof with excitement about collecting my press pass, we walk to our destination for the screening of The American - George Clooney's new blockbuster. When I spot the desk where I see passes scattered across it, I hastily walk towards it.

Here it is:

Yes I have covered the ID photo with the lanyard. It's not the most attractive picture of me, so for now you can read the information and deal with my vainness.

Once we have our cards scanned and head into the cinema we find out IT'S FULL. No screening for us... So Monty, Jon and I head up to the swanky BFI bar to enjoy the drinks there and discuss all sorts of matters to do with the movie world. It's great to be a film geek and not be judged.

We head back downstairs for the last screening which we happily are allowed into, and it was a curious French film called Living On Love Alone. Now, I do enjoy a bit of le cinéma français parce qu'il est bien agi et vrai (that's right), but this one seemed a little lifeless and hard to connect with. It did however keep me entertained for 90 minutes... That may well have been me still fuelled with excitement though.

After this, I catch the train home and am reunited with my pink glitter walls and giant flower mirror. I have a lovely evening with the 'rents and tell them to stop watching Robin Hood. And finally, I find out The American has an added screening in a couple of weeks...

Privileged, I am.