Issue 12 June 2012

FROM THE EDITOR

As the year comes to an end, so do great film franchises. For our last
issue of 2014, we have assembled a massive special on Peter Jacksons
last trip to Middle-Earth: The Hobbit: The Battle of the Five Armies. If
youve enjoyed staring at our 10 collectable covers, youre going to love
the feature weve got in store for you inside the magazine!
The end of the year also marks Oscar Season, when critically-adored
films start streaming into cinemas. This month, we preview some of
these films: Inherent Vice, Big Eyes and Foxcatcher among them.
Of course, the film this year we were most excited for was Chris Nolans
Interstellar, which is reviewed on the next page: it really did live up to
the hupe!
Enjoy the issue, and see you next month!

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REVIEWS
04 INTERSTELLAR

08 NIGHTCRAWLER
09 THE JUDGE


10 GONE GIRL

FEATURES
16 THE HOBBIT: THE BATTLE OF
THE FIVE ARMIES

25 STAR WARS: THE FORCE

AWAKENS

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REVIEWS

INTERSTELLAR
ABOUT SPACETIME

In Interstellar, Christopher Nolan has produced such an

intense, plot-heavy, hypnagogic and, essentially, LARGE artwork, audiences will almost certainly be firmly divided down
the middle about whether or not it is a masterpiece or a load
of rubbish. The first act, focusing on Matthew McConaugheys
Cooper and his relationship with his 10-year old daughter
Murph (Mackenzie Foy), is some of the most visually immersive, emotionally engaging storytelling put on a cinema
screen this decade. Once the action heads to outer space, the
endless exposition and complicated science substantially
bring down the mass enjoyment level, while the final act is
so packed with explosive twists its hard not to sit forward
in your seat and gasp in awe at what Nolan has managed to
achieve.

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Nulla vel tortor ac

eros pretium feugiat.
Mauris iaculis ante
non lacus.

While there is no doubt

in anybodys mind that
Interstellar is A Christopher
Nolan Film, the work of the
ensemble cast is very important to discuss. McConaughey
swaggers onto the screen
doing his thaaaang but
slowly begins to show
unprecedented emotional
depth in his interactions
with both his family and
his Space Crew. Mackenzie
Foy, previously seen as Scary
Vampire Baby in Breaking

Dawn Part 2 is absolutely

superb as Murph, the rare
Major Child Character who is
at no point irritating, overlyprecocious or needy. Cooper
and Murphy are a delight to
watch as a father-daughter duo, and the extended
set-up of their relationship
that Nolan provides us with
does wonders for the audiences engagement with the
characters throughout the
remainder of the story. Anne
Hathaway gets surprisingly

little to do as Space Crew

member Amelia Brand, with
neither the intensity of her
Les Mis role or the fun of
Catwoman to work with, but
she is as enjoyable to watch
as usual. Wes Bentley and
David Gyasi, as the remaining Space Crew-ees, are
sadly underused considering both actors considerable
talent, while Bill Irwin really deserves a lot of praise
for his work as ummm
another soul(s) upon the

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Endurance. Michael Caine, the one actor who literally transcends time to play younger and older versions of the same character in the film, is basically playing Alfred again, be it an Alfred who recites
Dylan Thomas over and over again.
If you want to see stars, planets, wormholes and other visually mesmerising Space Stuff on the biggest cinema screen possible, youre not going to get it much better than Interstellar. Its hard to grasp
that there could be a more immersive space adventure than Alfonso Cuarons Gravity, and while
that film outdoes Interstellar in several areas (i.e. making button-pushing seem thrilling), this film
is genuinely the perfect outer-space IMAX experience. One could argue that Sandra Bullocks Ryan
Stone is a more resourceful and independent female astronaut than Hathaways Brand, and they may
be right, but Murph (played in childhood by Foy but later in life by, its not much of a spoiler to say,
Jessica Chastain) is undeniably Interstellars standout female role, defying more odds than Cooper
and taking brilliant initiative to save the people close to her through basic common sense- common
sense than not only Murphs peers, but the audience- would have failed to use.
When Nolan confirmed that Hoyte van Hoytema would act as cinematographer on Interstellar,
replacing his regular DOP Wally Pfister (off making his mediocre directorial debut Transcendence),
some were worried that the Let The Right One In veteran would be unable to recreate the magical
glow of Inception and The Dark Knight Trilogy. Any fears were utterly unnecessary, as van Hoytemas
visuals are arguably the finest in any of Nolans films, at first blurry and cold but gradually more
slick and colourful. The cinematography, combined with Hans Zimmers surprisingly subtle score
(if youve seen the very first teaser trailer youve heard the basic theme)- replacing the composers
usual electric guitar and kettle drums with organ and strings, give the film a perfect tonal blend of
epic and homely family drama.
The Space Exploration middle act of Interstellar has a number of problems, largely the excessive
amount of action- which, interspersed with complicated scientific exposition, is somewhat headache-inducing- putting too many characters in too many places at once. This is cured largely before
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the Grand Finale, during which the multiple locations are edited together quite nicely, but ruins
what would otherwise be a wonderful opportunity to take in an Iceland-shot Ice Planet with floating
cloud-mountains. A mildly amusing in-joke extended to a full role is extremely distracting and makes
some of the dialogue on the Ice Planet unintentionally laughable. As well all know, unintentionally
laughable is not something you want to hear about a Christopher and Jonathan Nolan script!
Even with its many flaws and visible poor filmmaking decisions, Interstellar succeeds eventually in
being an incredibly moving, thought-provoking arthouse-blockbuster crossover. Its homages to 2001:
A Space Odyssey are at times embarrassingly obvious, but Nolan has made what Kubrick failed to do
with his 1968 masterpiece: a human film. I, along with others I saw Interstellar with, thought deeply
about our own relationships with our parents and children- past, present and future- after experiencing Cooper and Murphs spellbinding, heartbreaking story. Interstellars heroes transcend time and
space. Christopher Nolan has transcended the cinema screen once more and reached out, grasping
the hand of the audience and taking us on a truly magical journey. What shall our next adventure be?

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NIGHTCRAWLER

Nightcrawler, the directorial debut of Dan Gilroy (brother of Tony Gilroy and screenwriter of Real
Steel and The Bourne Legacy), might very well have made a good NBC pilot. As a two-hour film
which its filmmakers clearly expect to win many awards, it doesnt really succeed in standing out
from the countless superior films about the dark side of TV News- most notably Sidney Lumets
Network, but also more recently Gone Girl, HBOs The Newsroom and to a certain extent Anchorman
2: The Legend Continues!
Nightcrawler, which opens with several uninteresting shots of LA landscapes and continues to be
visually unengaging for its remainder, focuses on Jake Gyllenhaals Lou Bloom, a sociopath motivated by a lust for corporate success- taking online business courses only to learn a few clichd
lines about communication- who seems willing to take on any career as long as he can be the best
person around in that trade. Happening upon a car crash, he notices two Nightcrawlers with camera hovering around the wreckage and enthusiastically begins filming crime scenes and selling his
footage to a morning news show.
As the bug-eyed, frantic Lou, Gyllenhaal is by far the films strongest asset, starting off (as all good
antiheroes do) quite charismatic but quickly drawing the audience into his psychotic quest for success. His interactions with Rene Russo- as the news producer whom he attempts to befriend- are the
most insightful moments of the film, but his initial attempts to blackmail her into the bedroom are
abandoned by Gilroy after the second act.
The films darker moments are no more complex than anything on a network procedural, with
only Lous presence creating any sense of uniqueness. When Lou begins to manipulate events to
further his success as a cameraman, scheming to CREATE crime scenes, the characters around him
are too underdeveloped to gain audience sympathy, leaving the film as merely a morally ambiguous tale of obsession and greed. When Lou requests that the news anchors credit his footage to
VideoProduction News, a professional video-gathering company and gets the name of his company printed on the side of vans, its hard not to laugh, and compare Lou to so many overambitious
people in the media today.
Nightcrawler is undoubtedly quite entertaining, but no more so than the network dramas its fictional
TV network airs between news bulletins! Gyllenhaal livens up the slow, clichd scenes of character
development, but nobody else involved seems to be trying very hard.
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THE JUDGE
Two Oscar-baiting American family melodramas were released in October 2014: Shawn
Levys This is Where I Leave You and David
Dobkins The Judge. The two films share numerous traits: An estranged son returning to his
hometown for his parents funeral, an intellectually-disabled friend/sibling, a cheating wife,
a teenage girlfriend who hasnt changed, a
surprisingly well-cast Dane Cook, a predictable
Coldplay track. While these films are alike in so
many ways, the one major difference is that, in
enacting all these clichs, The Judge uses its
big budget (three times as big as TIWILYs) to
take some initiative and try to do things slightly
differently.
Robert Downey Jr., the fast-talking bag of charisma who has become the biggest actor on
Earth since last taking on a role like this, stars
as Henry Palmer, a successful New York lawyer
who learns of his mothers death just before
the start of a trial and is accused of fictionalising her death by the opposition. Upon returning to his Indiana hometown through a series
of expensive helicopter shots accompanied by
Thomas Newmans beautiful but occasionally
overwhelming score, Henry must face his father
(the great Robert Duvall in a role the filmmakers must have felt sure would win him an
Oscar), the local Judge who blames Henry for
the accident which cost his brother the use of
his hand, taking away his chances of a successful Baseball career.

The scenes between Downey Jr. and Duvall are

well-acted enough on Duvalls side, and frantic enough on Downeys to make the almost
2-and-a-half-hour running time float by surprisingly fast. Interspersed with well-scripted
courtroom scenes involving the wonderful Billy
Bob Thornton and just-sentimental-enough-tobe-moving interactions between Downey and
his brother Dale, who lives through a Super 8
camera and projects his footage in the familys
basement during a tempest.
Oh yeah, theres a TEMPEST in THIS movie! TAKE
THAT, This is Where I Leave You! Bet you didnt
have money for a TEMPEST!
As Duvalls character is accused of murder and
various factors appear before Downey which
can both help and hinder his case, the film drifts
in and out of over-saccharine melodrama and
attention-seeking SHOCK moments. A minor
storyline that sees Downey hook up with his old
girlfriend (Vera Farmiga) is a completely uninteresting, irrelevant waste of time which could easily be cut from the film without anyone noticing.
140-minute courtroom dramas are not typically
the kind of film one enjoys watching, unless
they star Gregory Peck or Jimmy Stewart, but
the glossy direction, loud acting and SO VERY
EMOTIONAL Thomas Newman score are enough
to make The Judge a solid mainstream midrange drama.
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GONE GIRL
During its 149 minutes, David Finchers adaptation of Gillian Flynns bestselling novel appears to
be setting itself up as a lot of things: a traditional missing-person procedural with a disturbing
finale, an emotional drama filled with social commentary on domestic violence, a Hitchcockian
mystery with a groundbreaking twist. In fact, it is really none of these things: Gone Girl is at
heart an absurdist comedy about, as celebrity lawyer Tanner Bolt (Tyler Perry) puts it, some really
fucked-up people.
The first hour of the film, which comprises almost all of the footage featured in the trailers and
promotional material, sees Ben Afflecks Nick Dunne return home on his wedding anniversary to
find his wife Amy (Rosamund Pike) missing. Simultaneously, we are shown flashbacks to his and
Amys meeting and early relationship, told from Amys perspective. The two sides of the story
match up for a while, before both go in very different directions and Nick and Amy both becomes
very unreliable narrators. Afflecks everyman quality and Pikes radiance make them both instantly
appealing characters, and as their individual traits come to the fore, the audiences loyalties
become questionable and the film really starts to get interesting.
Flynn has adapted her own novel for the screen, and as her first screenplay, she couldnt possibly have done a better job. The transitioning between Nicks present and Amys diary entry
narration is somewhat clunky for half-an-hour or so, but the seamless editing between both
characters perspectives for the remainder of the film compensates for this. Affleck truly proves
himself as a superb dramatic actor in Gone Girl, conveying Nicks inner dishonesty in his eyes and
twitching mouth in a manner which we havent seen in a major actor for years. Pike, on the other
hand, is the true on-screen standout of the film, as beautiful as she is terrifying- the perfect mix
of Hitchcock femme fatale and David Lynch psychopath. Her actions throughout the film are at
times so unforgivably inhumane that its left to the excellent Carrie Coon as Nicks sympathetic
twin sister Margo to remind the (male) audience that most women arent like Amy Dunne!

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Fincher has time and time again proven himself to be one of mainstream Hollywoods finest
visual storytellers, and outdoes himself once again with the beautiful cinematography and mix
of great editing and score that made The Social Network such a brilliant film. The film, largely
marketed as a dark, gritty thriller, is at some moments so absurd that it requires a great deal of
humour to succeed in telling the Dunnes story, and Fincher achieves the varying tone perfectly.
Neil Patrick Harris and Tyler Perry, two successful comedians known for cross-dressing, take on
rare dramatic roles here, with the latter probably the more successful- possibly because hes a
terrible comedian and has been on the wrong career path all along! Its difficult to take Harris
seriously when hes essentially playing a slighter creepier version of How I Met Your Mothers
Barney Stinson, and the Very Bad Thing that happens to him in the films penultimate act is, perhaps because of its tremendous unpleasantness, likely to cause any audience to descend into
hysterics of laughter.
If Gone Girl is as big a financial success as it is expected to (and deserves to) be, it will not only
prove that, with enough pre-release hype and big names, the mid-range film still has commercial
potential, but that people will always love a great character study. Gone Girl is about as good a
mainstream 149-minute character study as youre going to see these days.

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AT

JOURN
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NEYS
END
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The Hobbit was originally envisioned as a two-part film, but Jackson confirmed plans for a third film
on 30 July 2012, turning his adaptation of The Hobbit into a trilogy.
According to Jackson, the third film would contain the Battle of the Five Armies and make extensive
use of the appendices that Tolkien wrote to expand the story of Middle-Earth (published in the back
of The Return of the King). Jackson also stated that while the third film will largely make use of
footage originally shot for the first and second films, it would require additional filming as well. The
third film was titled There and Back Again in August 2012.
In April 2014, Jackson changed the title of the film to The Battle of the Five Armies as he thought
the new title better suited the situation of the film.
He stated on his Facebook page, There and Back Again felt like the right name for the second
of a two film telling of the quest to reclaim Erebor, when Bilbos arrival there, and departure,
were both contained within the second film. But with three movies, it suddenly felt misplaced
after all, Bilbo has already arrived there in the Desolation of Smaug. Shaun Gunner, the chairman of The Tolkien Society, supported the decision: The Battle of the Five Armies much better captures the focus of the film but also more accurately channels the essence of the story.
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AN UNEXPC
JOURNEY

AS THE BATTLE OF THE FIVE ARMIES

HITS CINEMAS, LETS REMIND OURSELVES
OF BUZZHUBS ORIGINAL DECEMBER
2012 REVIEW OF PETER JACKSONS FIRST
HOBBIT FILM!

At this point, I dont find it necessary to remind you that The Lord of the Rings trilogy is one of
Gods greatest gifts to mankind (both in book and film form), and it would be impossible for Peter
Jackson to even slightly match how amazing those films were. With that said, I will begin by stating that The Hobbit has not done the seemingly impossible and been better than TLOTR. I will
also state that it is not the best film of 2012, as I have hoped it would be since sitting through the
disappointing The Dark Knight Rises back in July. This is not so much a disappointment of a film
as an underwhelming, unsurprisingly and predictable remake of something we all adore. Thats
not the description of a bad film, is it?
Ive spent weeks deciding whether to see this is 3D 48FPS, 2D 48FPS, 3D 24FPS or 2D 24FPS. IMAX
has not yet reached rural Western Ireland.
I eventually chose the most exciting option, and the one I have preferred since my birth- twodimensional 24 frames per second. Yay! I wont therefore be commenting on the new format Peter
Jackson has used to make The Hobbit.

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CTED

The opening prologue, which tells of how the dwarves lost their mountain to Smaug
(pronounced smowg, fyi), is notably lighter is tone and visuals than anything in LOTR.
Its also very beautiful, breathtaking even in the boring old fashioned format I watched
the film in. We then begin our time in The Shine literally a few hours before Fellowship
begins, with Frodo heading off to read under that tree. I know, I was crying too.
We then go 60 years backward, when Bilbo is played by the excellent Martin Freeman,
who shines in this as expected. Thirteen dwarves whom vary in annoyance arrive at his
front door and barge their way in. Some of them are old and wise, some middle-aged
and aggressive and some young and foolish (Do you have chips?) The ones I was
most interested in (Dwarf with Axe-head in Head, Dwarf that is Gimlis Dad) didnt
speak once, werent referred to at all and featured on screen for less than 5 seconds
each. Why? Its not like the film had to be cut down! It was almost 3 hours for Gods
sake! I was almost asleep by the end, and it was only 6.30pm by the time it ended! The
Shire bits were too long, the bits with the Orcs and Wargs were WAAAAAYYYY too long,
and their were at least 3 endings. Jackson has two more films to deal with this story!

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The highlight of the film by a mile is the Riddles in the Dark portion, which sees a technically improved Gollum appearing on film for probably the final time ever! It was directed by
Andy Serkis (who plays Gollum and should have gotten an Oscar for Rise of the Planet of
the Apes), whilst PJ was filming some other stuff, and you can really tell that it was a different person behind the camera. Everything about it deserves an award, but especially Serkis
performance as literatures greatest schizophrenic, which is way more playful, experimental
and absolutely mad than it ever was back in the Noughties films. Smeagol and Gollums
personal arguments are absolutely hilarious beyond belief, and had me rolling around on
the floor laughing.
Sir Ian McKellen (I usually ignore the sir but, you know, its Gandalf!) is amazing as always
as the ol guy, and cameos from Sir Christopher Lee, Ian Holm, Hugo Weaving and (should be)
Dame Cate Blanchett really add to the small amount the atmosphere the film has. Richard
Armitages performance as Thorin gets better and the film progresses, and by the end is very
good indeed.
The main problems I had with the film were the length, the repetitiveness of everything
from the music to the dialogue to the fighting and how unsurprised I was by the events
that occurred. I predicted exactly how it would end, with us catching a glimpse of Smaugs
eye, and I left feeling a bit bored. Who am I kidding, a lot bored. The film has received no
Golden Globe noms, and I can see why. It feels like a decent Christmas blockbuster which
I wouldnt mind seeing a few times again, but its not the well-made masterpiece, the work
of art that Peter Jacksons Lord of the Rings films were. All that said, it was nowhere near as
bad as George Lucas first Star Wars prequel, The Phantom Menace. There is no Jar-Jar Binks
equivalent in The Hobbit: An Unexpected Journey. PUT THAT ON YOUR POSTER, WARNER
BROTHERS!

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THE BATTLE OF
THE FIVE ARMIES
The first person to appear onscreen in The
Hobbit Part II: The Desolation of Smaug in
3D, High Frame Rate 3D, IMAX 3D and 2D in
selected theatres (as it should be referred
to) is its director, Peter Jackson. Jackson has
cameoed in all of his previous four MiddleEarth adventures, but the fact that he has
now put himself in such a prime and obvious position is a sign of his new vanity and
arrogance, caused by the fact that, in 2012,
another of his films crossed a billion dollars at the worldwide box office, despite
being- frankly- one of the worst films of the
year. Jacksons vanity results in much positive content in this newest installment, but
also some problems carried through from
An Unexpected Journey.
We begin with an entirely unnecessary and
incoherent prologue involving a meeting
between Gandalf and Thorin Oakenshield,
in the Bree pub from Fellowship, one year
before the events of the previous film.
Nothing much happens here, but considering that the film would otherwise have
LITERALLY NO BEGINNING, it serves a purpose. Cut to present day, and Bilbo Baggins,
Gandalf and the Dwarves 13 are hiding
from Orcs on the side of the road. They seek
refuge in the house of Beorn The Bear-Man
before heading into Mirkwood. This portion

of the story was supposed to come at the

end of Journey, and is hence rushed through
quite briskly and cut in a desperate way, so
as the dialogue comes across as being truly
awful. Who knows? Maybe the dialogue was
awful in the first place, but compared with
the rest of the film (and even Journey), its
REALLY bad!
As soon as the New Fellowship enter
Mirkwood, they encounter some delightful
and cuddly GIANT TALKING ARACHNIDS
who proceed to try and kill them. Apart
from the arachnophobe-bothering nuisance
of these creatures, the Mirkwood scenes are
fantastic, with Martin Freemans Bilbo suffering psychedelic hallucinations involving
Butterflies! Now were getting someplace!
Oh, and look whos finally coming to say
hello: LEGOLAS! OH HOW WEVE MISSED
YOU! I have no problem admitting that
Orlando Blooms Legolas is one of my
favourite film characters of the century,
and one I have unsuccessfully attempted to
model my image on in the past. I cried with
joy at the thought of his arrow-shooting,
wisecrack-cracking self returning to my
cinema screen this year when it was first
announced, and seeing the awesome pairing of him and one of my favourite Lost
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stars, Evangeline Lilly as She-Elf Tauriel, fighting their way into Smaug was almost too
much to handle. Unfortunately, Legolas really doesnt do much during the film, and is
mostly just there to (a) enhance the Rings nostalgia that was Journeys sole saving grace
but that isnt really required here and (b) give Tauriel something to do in the area of character development. Lilly is a great actress (although the pathetically immature introductory conversation between her and love-struck Dwarf Kili almost ruins her performance)
and is, genuinely, beautiful enough to be an Elf, but the not-in-the-book Tauriels only
real job is to fire arrows and kick stuff. Mind you, she does it excellently, but an interesting backstory would have been nice! Lee Paces Elven King Thranduil is also somewhat
underused, but has such a role that we know all three bad-ass Elves will return in 2014s
There and Back Again).
Overall, The Desolation of Smaug couldnt be less about the characters. That was Journeys
job: introducing Freemans Bilbo to the wider world of Middle-Earth, setting up the characters of the Dwarves and bringing Ian McKellens Gandalf out of retirement. Smaug is
all about moving the story forward, a difficult task as it turns out, involving many hours
of viewers time and a large amount of fake spider-web. Anyway, this film does for Peter
Jacksons Middle-Earth both what Thor: The Dark World did for the Avengers films (moving the story along after a suitably disappointing follow-up to a classic) and what Attack
of the Clones did for George Lucas- a man who Peter Jackson could be compared to- and
his Star Wars (be the superior second prequel after a bad first prequel to an amazing
trilogy with a slightly inferior third film).
After their encounter with the Elves, the New Fellowship (now missing Gandalf who has
either gone off to shoot X-Men: Days of Future Past or to appear briefly later on whilst
exploring the terrifying ruins of Dol Guldur, now inhabited by the spirit of a pleasantly
familiar Middle-Earthean foe) arrive in Laketown, a gorgeously realised Venice-alike ruled
by Stephen Fry and guarded by Luke Evans Bard, an extremely minor character from the
novel whose role has been massively inflated to provide an Aragorn replacement for
this and the next film. Evans, like almost all the actors in the film, never really gets the
chance to show off his skills, but his character- a widower with two young daughters who
smuggles people into the town to provide for his family- could provide some interesting
plot, if there is time (but why talk about time in what is basically a 9-hour film?).
The Desolation of Smaug starts off pretty bad, improving as it goes along until it reaches
its peak- in terms of story, acting, script and visual beauty- when Bilbo enters The Halls of
Erebor, home of Petes Dragon, the vicious wyrm Smaug (pronounced smOWg, just so you
know) and is forced to persuade Benedict Cumberbatchs gigantic beast to NOT MURDER
EVERYONE! Cumberbatch has proven himself a magnificent screen presence a million
times over, and this carries through to his voice (and motion capture) work here. Smaug
weaves his way through the lair with gold pouring down his back, deep in narcissistic
conversation with Freeman as Bilbo (giving a genuinely great turn and proving himself
once again to be the standout of this trilogy), who is searching for the Arkenstone- which,
we know, sounds like something from a Marvel sequel! The Smaug portion of the film
lasts a very long time, but is the equivalent of Gollums film-redeeming scene in Journey,
and is completely worth the effort. This is where Jackson spoils himself the most, and
takes the audiences respect for his directorial opinion for granted. His cliffhanger ending
proves that he FULLY knows that everyone brave enough to return after the 2012 mess
he released under the banner of a film has been won over enough to come back a third
time. What he will fill the expected 3-hours of There and Back Again, no-one knows, but
if its anything like The Desolation of Smaug, hes welcome to split that film into a 9-hour
trilogy.
Actually, hes not. No, Pete! Dont do it! We were only joking!
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T
S

O
L

R
I
F

STAR WARS: THE

FORCE AWAKENS

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IN NEXT MON

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NTHS ISSUE

AVENGERS 2
+
REVIEW OF THE YEAR 2014

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