Showing posts with label ralph fiennes. Show all posts
Showing posts with label ralph fiennes. Show all posts

Saturday, 17 January 2026

Wait till you see what Ralph Fiennes gets up to in The Bone Temple

Ralph Fiennes' performance in The Bone Temple is worth the price of admission alone. There is a scene in this film which is so delirious, OTT and frankly quite joyous despite the circumstances of some the characters that I was convinced I was seeing one of the best scenes of the year and it's only January. 



I watched a double bill of 28 Years Later and The Bone Temple and it was great to see them back to back as they do feel like two halves of a whole. I liked 28 Years Later a lot more on this second viewing. I find it to be quite an impressively odd, experimental sort of film. The score by Young Fathers feels brilliant in some places and strangely out of place in others - but it consistently feels very Danny Boyle though. The much discussed cinematography is also very distinct. It's got that cool new way of capturing the kills with the iPhones setup but also the focus/depth of field in some shots is very striking. I still wish it was scarier.  There is nothing like the end of 28 Days Later where Cillian has to cope with deranged soldiers and the Infected. The decision in 28YL to bring a terminally ill person to the mainland is bonkers, but it worked better on this watch, and I found it much more affecting this time. Alfie Williams as Spike really is excellent. Fair play to Aaron Taylor-Johnson for playing such a dick, but fair play to Alex Garland for not making him completely one dimensional - there is a good Dad in there probably, but not much of a good husband. Fiennes' Dr Kelson is still the standout, and even moreso in The Bone Temple.

What an absolute blast this film is. There is a scene where Jack O'Connell and Ralph Fiennes finally meet that is absolutely bonkers. It's all far less experimental than 28 Years Later, but with the Jimmys and developments in the Kelson/Samson relationship, this is still a pretty strange film. Low on scares, but someoretty damn nasty stuff all the same. Jack O'Connell and Fiennes are both absolutely exceptional. I wish the Jimmys had a bit more to do and had been utilised more scarily come he climax, but I still can't wait for the next one.

Ralph Fiennes deserves some kind of award for the Iron Maiden scene. Absolutely wicked.

Tuesday, 31 March 2015

Top 10 Male Performances in 2014

Better late than never I always say. Following up on my top 10 female performances of 2014, now it's time for the men. These were all released in the UK in 2014.




10. Andy Serkis in Dawn of the Planet of the Apes

9. Macon Blair in Blue Ruin

8. Casey Affleck and Christian Bale in Out of the Furnace

7. Michael Fassbender in Frank

6. Guy Pearce in The Rover

5. Ralph Fiennes in The Grand Budapest Hotel

4. Matthew MacCougnahey in Dallas Buyers Club (and Interstellar)

3. Dan Stevens in The Guest

2. Jake Gyllenhaal in Nightcrawler


Sunday, 11 January 2015

Golden Globes Gambling

Once a year, I like to have a little flutter when it comes to awards season. OK maybe two or three times a year as I'll probably throw a tiny bit of cash down on the BAFTAS and the Oscars. Anyway, the point is I'm not an addict. I just like to liven awards season up with the potential of winning a little money. I'm too stingy and scared and skint to throw down any real money so I keep things very low key, only betting very small amounts.

Last year I came out a tiny bit up after betting on a couple of the awards ceremonies, but this year I'm trying not to play it so safe by betting on a couple of outsiders that may not be the favourites but still have good chances of winning.

I placed my bets at William Hill this year on the following nominees in the following categories:


Julianne Moore - Maps To The Stars @ 12/1 Best Actress - Musical/Comedy
Stake: £1.00 Potential Returns: £13.00


Amy Adams - Big Eyes @ 10/11 Best Actress - Musical/Comedy
Stake: £1.00 Potential Returns: £1.91


Ralph Fiennes - The Grand Budapest Hotel @ 9/1 Best Actor - Musical/Comedy
Stake: £1.00 Potential Returns: £10.00


Alejandro Gonzalez Inarritu - Birdman @ 11/2 Best Director
Stake: £1.00 Potential Returns: £6.50


Eddie Redmayne - The Theory of Everything @ 1/3 Best Actor - Motion Picture Drama
Stake: £2.00 Potential Returns: £2.67


Boyhood @ 1/6 Best Motion Picture - Drama
Stake: £2.00 Potential Returns: £2.33


Felicity Jones - The Theory of Everything @ 16/1 Best Actress - Motion Picture Drama
Stake: £1.00 Potential Returns: £17.00

Highlighted are my winners.
TOTAL STAKE £9.00
TOTAL POTENTIAL WINNINGS (I can dream): £53.41

ACTUAL TOTAL: £6.91
What do you reckon are my chances? Will I get my £9 back at least or will I lose it all?

Thursday, 4 December 2014

Bond 24 Titled Spectre and gets a Teaser Poster

Big things are about to happen in the world of Bond 24 so get watching below:





Sam Mendes calls the 007 stage ‘The stage where budgets go to die’

The title will be: Spectre


7 month shoot across the globe.


Sam Mendes mentioned the key new additions to his crew:

Editor: Lee Smith
Cinematographer: Hoyt van Hotema (Interstellar)

Mendes then unveiled the new Aston Martin DB10

Before he introduced his returning cast:
Rory Kinnear as Tanner
Ben Whishaw as Q
Naomie Harris as Moneypenny
The 'extraordinary' Ralph Fiennes as M
and Daniel Craig back as Bond

As for new cast members, it's a tantalising bunch: 

Andrew Scott as Denby
David Bautista as Hinks
Monica Belluci
Lea Seydoux as Madeline Swann
Christoph Waltz

And here is the teaser poster:

 

Wednesday, 29 January 2014

The Invisible Woman Premiere with Ralph Fiennes and Felicity Jones

I got to interview Felicity Jones and Ralph Fiennes on the red carpet for Fiennes' new film The Invisible Woman on Monday night. The premiere was in London and I was there for Tastic Film in the freezing cold waiting for the stars to come out! I also got to interview composer Ilan Eshkeri who also worked on Fiennes' directorial debut Coriolanus and spoke briefly to producer Gaby Tana and the author of the book the film is based on Claire Tomalin. Kristin Scott Thomas was also present but I didn't get a chance to chat with her unfortunately. Below is the video of my short interviews with Felicity Jones and Ralph Fiennes:



I also wrote a quick article for Yahoo about getting to attend a red carpet event and meet the stars. Here is the link:

The Invisible Woman: Ralph Fiennes and Felicity Jones on the red carpet

Here are my pictures taken on my phone from the event:

Composer Ilan Eshkeri
Producer Gaby Tana
Author Claire Tomalin
Felicity Jones
Ralph Fiennes


Saturday, 11 February 2012

CGI Overdose: Wrath, John Carter, Ghost Rider

Firstly, a little positivity.  Saw Chronicle at the cinema last night.  Liked it.  Nice use of the 'characters with cameras'/'found footage' technique taken to interesting new levels.  Pushed it a bit far with having a female video blogger added into the story to give a new perspective but the all-action climax was brilliantly realised using every possible camera the filmmakers could think of from tourist camera phones to police-car dashboard cameras and CCTV.


But the main thing that made me happy was the restrained use of CGI.  The trailers before the movie were for three films that bombarded my eyeballs with lashings of CGI.  By the time Chronicle came on, my head hurt and my nose was bleeding from this assault so it was a relief to have human characters in real locations.

 First up: feel my wrath at the Wrath of the Titans trailer starring Sam Worthington, Liam Neeson and Ralph Fiennes.  It feels like the only thing real here is the faces of the actors.  Ok so I never bothered with the Clash remake but I don't think I heard anything positive about it.  So why did it get a sequel?  How many people went to see it?  Didn't they warn people about it?  And what a waste of acting talent.  Neeson and Fiennes taking the money and running.  Worthington probably wondering when he's going to get to act opposite anything but a green screen.  Poor fella.  Anyway take a look at the trailer.  At least it has cool music.



Next up is Disney's John Carter.  A sub-Avatar battle of opposing forces on a faraway planet, one side being lead by a human savior.  Taylor Kitsch looks like a male model rather than an action hero and though the film was shot in Utah, the special effects created aliens and enhanced landscapes look completely over the top and unengaging.  Saddled with cheesy dire-logue and far too many CG creatures, it looks to me like director Andrew Stanton should go back to making completely animated pictures like Wall-E.  Watch the trailer.  It's got less good music than the last trailer though.



Finally comes Ghost Rider: Spirit of Vengeance, the sequel to another film I never bothered with.  It's got some actual people in it and some actual locations and even possibly the odd bit of real action.  But then on top of all that is the ridiculous CGI fire, flaming skulls, and Nicholas Cage just being Nicholas Cage.  They might actually be doing the audience a favour by replacing him with CGI.  Here's the trailer, cover your eyes!




Perhaps I'm being too harsh.  Perhaps the blame doesn't fall with the abundance of CGI and more on the choice of stars, the weak characters and the uninspiring stories.  What are any of these films about?  Not sure I care.  Cage, Kitsch and Worthington?  Not sure any of them are the finest actors of their generations.  Will I go see these films?  No.  Will my next blog be more positive and stop moaning?  I hope so.

Anyone looking forward to any of these?  Put me back in my place with your words...

Sunday, 5 February 2012

Review of CORIOLANUS (Ralph Fiennes, 2012)


Voldemort does Shakespeare

8/10

After targeting concentration camp inmates and a boy wizard in some of his darkest acting roles, Ralph Fiennes sets his sights on a lesser known Shakespearean tragedy for his film directing debut.

John Logan’s screenplay takes the Bard’s original script as a foundation for a contemporary re-telling of General Coriolanus’ rampage of war, oppression, family strife and political wrangling.

Old Shakey’s wordplay might be as  impenetrable to many younger viewers as the ‘youth-speak’ of last year’s Attack the Block was to many older viewers, but Fiennes lets the performances and violent set-pieces do much of the talking in this confident and clever adaptation.

Unlike Baz Luhrmann’s flashy 1996 Romeo + Juliet update that featured heartthrob Leo DiCaprio swooping Claire Danes off her feet to a modern soundtrack, MTV style editing and hyperactive camerawork, Fiennes’ direction is far more restrained and less likely to grab a teen audience.

However, Shakespeare’s theatrical language for the most part translates well to the screen.  The themes of power, politics and the rule of the people versus leadership and authority feel particularly relevant with comparisons easy to draw with contemporary movements such as Occupy Wall Street and the Arab Spring.

As well as calling the shots, Fiennes takes the lead role of Caius Martius Coriolanus.  Amidst riots in his home, the general of ‘A Place Calling Itself Rome’ leads his army against the Volscians and their leader, Coriolanus’ sworn enemy Tullus Aufidius (Gerard Butler).  


After a successful battle but failing to kill his nemesis, Coriolanus returns home to great praise and his loving family.  His mother (a breathtaking performance from Vanessa Redgrave) encourages him to run for consul and despite briefly winning the support of the Roman Senate and the commoners, a pair of scheming senators bring about the general’s downfall as he rails against the idea of the rule of the people.

Coriolanus is banished but joins forces with the Volscians and with the help of his old enemy Aufidius decides to bring ruin to his former city and its people.  The only folks who can stop him are his family and old friend Menenius, a standout performance from the ever reliable Brian Cox.  


With a cameo from Channel Four’s news anchor Jon Snow and the use of what could easily be actual footage from war zones, the contemporary relevance of Shakespeare’s tragedy is easy to digest.  Fiennes uses modern locations, weapons, and details such as televisions, cameras and mobile phones to bring his modern re-telling into the 21st century.

Despite the script’s use of Shakespearean language, fans of writer Logan’s screenplay for Gladiator will be gripped by Coriolanus’ similar mix of violent battles and political drama.

It might slightly over stay its welcome but the film packs enough mighty performances (Fiennes, Redgrave, Cox) and verbal and physical confrontations into the two hour running time to keep both Shakespeare devotees and newcomers alike entertained.