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The Hatton Garden movies: how the British crime film lost its bottle

23 March, by Danny Leigh[ —]

Upcoming films based on the jewellery burglary give us caricatured old-school villains and semi-fictional nostalgia – the perfect fit for Brexit Britain

Sometimes, a film arrives at exactly the right time. In Brexitland 2017, that film is The Hatton Garden Job, a nostalgia-rich and semi-fictional crime caper loosely based on the case also known as the Hatton Garden safe-deposit burglary. The turnaround has been quick. You will remember the Easter weekend two years ago, when parties unknown drilled through 18in of concrete under central London to steal £14m worth of gold, cash and jewellery. And how, when arrests were finally made, the movie pitched itself – the principal gang members aged between 60 and 76, The Best Exotic Marigold Hotel with a swag bag.

The gift kept giving. The heist involved no violence, granting the story family-friendliness. Then there was “Basil” – the unknown security expert who remains at large with his share of the proceeds, allowing it a hint of sun-kissed escape. Bingo! Or indeed blingo, as in “the biggest blingo blag in history”, the phrase with which the theft is described on screen by Phil Daniels, a fine actor doomed to be remembered by many as the voice of Blur’s Parklife.

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All This Panic review – shrewd but claustrophobic teen-life doc

23 March, by Peter Bradshaw[ —]

The film about a group of young New York City teenagers might not tell you all that much that is truly revelatory, but it’s well made and wide-ranging

There’s a symphony of uptalk and a chorus of vocal fry in this documentary about a group of teenage girls growing up in New York City, and also a small but distinct drawl of entitlement. It’s a film with a shrewd, ambient sense of atmosphere, tonally controlled and well shaped in the edit. It may not tell you that much – or perhaps anything – new. But the girls’ personalities come across with great clarity. Each is introduced with a first name flashed up in big sans serif lettering, the film’s one obvious stylistic indulgence, and maybe even a nod to Wes Anderson: one participant rather knowingly references Margot Tenenbaum, Gwyneth Paltrow’s character from The Royal Tenenbaums. They hang out with each other, obsess about boys and their own sexuality; they get mad at their parents, whose own glancingly acknowledged marital discord has coloured their upbringing in various painful ways. Inevitably, the tension with the parents comes to a crunch when these older people pay, or fail to pay, for their daughters’ various college or life choices. The film puts you in the room with these people. It’s a bit claustrophobic, occasionally.

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Free Fire director Ben Wheatley: ‘I built the set in Minecraft’

23 March, by Xan Brooks[ —]

His last film, High Rise, was about societal meltdown. His latest is an absurdist action flick about a gun deal gone wrong. To bring order to the chaos, he mapped it out in 3D first ...

Ben Wheatley is on top of the world in the penthouse suite, where the only way to go is down. He is lolling, shoeless, on the sofa, perfectly at ease amid the room’s swagged black curtains and gold-embossed wallpaper, like Tony Montana in act two of Scarface. The glass doors open on to a capacious roof terrace. It’s just a short, hard drop from the summit to the street.

Some directors like to soar. Wheatley, by contrast, enjoys the plunge. In High Rise – his 2015 adaptation of the JG Ballard book – a literal fall from the terrace provides the cue for a full-blown societal meltdown. Kill List lost itself in the woods, daubing itself with occult runes. A Field in England took a left turn into a tent on the heath and then promptly lost its marbles. These are films that pitch towards chaos, dragging the audience along for the ride. “I’m very influenced by Tom and Jerry,” he says with such frowning seriousness that I have no reason to doubt him. “I like the structure of those cartoons, the rise and the fall. The little run of steps up and then whoosh, down you go.”

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The Eyes of My Mother review – accomplished, elegiac horror

https://www.theguardian.com/film/dramaplay episode download
23 March, by Peter Bradshaw[ —]

Disturbing, scary tale of an isolated girl who grows into a killer, filmed beautifully in black and white by a debut director who knows his way around a nightmare

The 27-year-old Nicolas Pesce makes a very accomplished debut with this macabre horror nightmare in which the killer is a woman – and that’s a gender issue rare enough in horror to deserve pointing out, and throws into perspective her resemblance to Ed Gein, Norman Bates or Dennis Nilsen. The film has some visual echoes of Grant Wood’s painting American Gothic. A young woman, Francisca (played by Kika Magalhaes, and by Olivia Bond as a little girl) has grown up effectively alone on a remote farm somewhere in the US, having been raised – or possibly discovered and adopted in sinister circumstances hinted at in the final act – by a Portuguese woman (Diana Agostini) and an elderly man (Paul Nazak).

The woman dissects cow’s eyes for little Francisca on the kitchen table and they seem to spend long evenings together watching the same episode of the old TV western Bonanza … on video? DVD? Is she just imagining it? However, she is parted from them in horrific circumstances and is now tormented with loneliness. To Francisca, predatory and psychopathic violence comes naturally, but this does not disturb her sense of herself as a fey romantic creature, and the movie’s miasma of evil is made the more disturbing by its air of wan and elegiac melancholy, accentuated by the use of Portuguese fado music. It is beautifully shot in monochrome. Pesce has a real flair for composition, and for generally scaring an audience a very great deal.

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Go fullscreen: can Hollywood fight back against Netflix?

23 March, by Ellen E Jones[ —]

In the age of streaming and smartphones, cinema’s power of immersion is more precious than ever

In the future, after Hollywood’s movie palaces have been reclaimed by the Mojave desert sands and the once-grand Odeons and Empires are nothing but squats for pigeons, the last cinemas standing will all be in Pyongyang, Beijing and Shanghai. Why? Because, along with Crimea and Syria, North Korea and China are the only places left in the world where you still can’t get Netflix.

Streaming sites such as Netflix, Amazon Prime, iTunes and Mubi represent such a grave threat to cinema that even Nato has waded in — albeit the National Association of Theatre Owners, not the other Nato. Last October, the industry body condemned Netflix’s decision to bypass the long-established “theatrical window” by releasing its war thriller The Siege of Jadotville, starring Jamie Dornan, online the same day it premiered in a handful of US cinemas. The theatrical release ensured that the film was eligible for awards, while the digital release furthered Netflix’s only real commercial interest: establishing and asserting dominance of this new distribution model.

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Aquarius review – Sônia Braga brilliant as a widow on the warpath

https://www.theguardian.com/film/dramaplay episode download
23 March, by Peter Bradshaw[ —]

The Brazilian actor delivers her finest performance in this affecting tale of a woman defiantly refusing to move out of her flat while also determinedly pursuing a thrilling sex life

Aquarius is a rich and complex character study from the Brazilian auteur Kleber Mendonça Filho: densely observed, scrupulously realised, and with a wonderful lead performance. There’s an expansiveness to this film’s intelligence; it has a diffuse narrative focus, bringing in a host of scenes, sights and sounds that a leaner and more obviously unidirectional drama might have chopped out. But none of it is superfluous.

Related: Sônia Braga: ‘The Oscars only have four spaces for best actress – one is always reserved for Meryl Streep’

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Ryan Gosling explains why he laughed at Oscars envelope mix-up

23 March, by Gwilym Mumford[ —]

‘I thought there was some kind of medical situation,’ the La La Land star says, citing relief for his reaction during best picture gaffe

Ryan Gosling has explained the mysterious fit of the giggles he suffered at last month’s Oscars ceremony.

The La La Land actor was pictured attempting to hold back laughter as it was revealed that his film had incorrectly been awarded best picture.

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Invade and conquer: film's grisly return to body horror

https://www.theguardian.com/film/rawplay episode download
23 March, by Charles Bramesco[ —]

Get Out, Life and Alien: Covenant are gruesome reminders that being taken over by someone (or something) else is as terrifying as ever. Spoilers ahead

We tend to think back fondly on the recently departed, but movie-goers will chiefly remember the late John Hurt racked with pain, clutching his ribcage as a hostile extraterrestrial bursts out of him like a visceral jack-in-the-box. His spectacularly violent death in sci-fi/horror landmark Alien still stands as the film’s crowning achievement over 35 years after the fact, a sublime fusion of the gory and the unsettling. Viewers could hardly blame director Ridley Scott for drawing from that same well for his upcoming sequel Alien: Covenant, the trailer for which teases a tweak on the concept with a back-bursting parasite. Casts come and go, but the terror of playing host to a creature exploding out of your torso is eternal.

Related: Alien: Covenant trailer: five things we've learned about the xenomorph saga

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Shia LaBeouf's Trump art project moves to Liverpool as 'America not safe enough'

23 March, by Gwilym Mumford[ —]

He Will Not Divide Us now being exhibited at city’s Fact gallery following disruption and violence at previous sites in the US

Shia LaBeouf’s anti-Trump performance art project He Will Not Divide Us has relocated from the US to Liverpool owing to safety concerns.

The project is now being exhibited at the city’s Foundation for Art and Creative Technology (Fact) gallery, as “events have shown that America is simply not safe enough for this artwork to exist”, a statement from the actor’s artistic group LaBeouf, Rönkkö & Turner said.

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Love Actually: first trailer for Red Nose Day 2017 sequel released

https://www.theguardian.com/tv-and-radio/tv-and-radioplay episode download
22 March, by Guardian film[ —]

The follow-up to Richard Curtis’s romantic comedy reunites many of the film’s original cast, including Hugh Grant and Keira Knightley

The first trailer for a charity follow-up to Love Actually has been unveiled.

The 10-minute sequel to Richard Curtis’s romantic comedy will air as part of Red Nose Day this Friday. Many of the original cast, including Hugh Grant, Keira Knightley, Colin Firth and Liam Neeson will appear in the short film, which Curtis, a co-creator of charity Comic Relief, has directed.

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