Cinema City Film Quiz #115

[16 February 2014]

Winning Team:
Very Blunt And More Chronic

Genre – Not very super heroic people trying their best

Runners Up:
Come On Eileen
Genre – A Clerks’ porn order
The Film Quiz Master
Genre – Jason Mewes will be dead in less than ten years
Mallrats 2: The Rat Of Mall Street
Genre – Naturistic documentary
Clerks Chase Amy To The Red State Mall
Genre – Religious chase thriller
Death To Snoochy Boochy’s
Genre – Robin Williams as a clown trying to crack down on drugs

ROUND I: Pre-Production
1. Philip Seymour Hoffman won an Oscar for his role as Truman Capote in which film?
2. What colour is Indiana Jones’ hat?
3. With which film would you associate the Stay Puft Marshmallow Man?
4. What is Patch Adams’ profession in the film of the same name?
5. Philip Seymour Hoffman played the lead villain in which Mission: Impossible film?
6. What is the name of Han Solo’s ship in the Star Wars trilogy?
7. Arnold Schwarzenegger was born in which country?
8. What is the name of the 1965 musical in which Julie Andrews plays a nun?
9. Cold Mountain is set during which military conflict?
10. What are the respective first names of the Blues brothers, in the film of the same name? (one point per correct answer)

ROUND II: Filming [Jay & Silent Bob special]
1. The characters Jay and Silent Bob make their first appearance in which film? Clerks? Die Hard? The Searchers?
2. Which of the following actors does not play the role of Jay? Jason Lee? Jason Mewes? James Van Der Beek?
3. Chasing Amy was released in which year? 1995? 1997? 1999?
4. Three of the four members of the group of international jewel thieves in Jay And Silent Bob Strike Back are Chrissy, Missy and Sissy. What is the name of the fourth? Liberty? Justice? Lizzie?
5. In which film does Silent Bob say, “I got nothing”? Mallrats? Clerks II? Dogma?
6. What are Jay and Silent Bob’s superhero aliases? Bluntman and Chronic? Diddler and The Spliff? Captain Doobage and Reefer?
7. What device is used to kill Azrael in Dogma? Hockey stick? Pool cue? Golf club?
8. What is the name of the mall in Mallrats? Eden Prairie Centre Mall? Monmouth Mall? Bannister Mall?
9. The posters for Clerks II were marketed with which of the following colour combinations? Red, Blue, Pink? Orange, Purple, Green? Yellow, White, Silver?
10. In addition to cameoing in Scream 3, Kevin Smith signed a deal with Miramax for Jay and Silent Bob to appear in Chocolat and She’s All That as well. But the directors refused claiming it would disrupt their respective stories. True or False?

ROUND III: Post-Production
1. Over his career, Philip Seymour Hoffman appeared in 29 dramas, 21 comedies and 1 animated film. What was the animated film?
2. The following quote is from which film, “He recorded every word you said. His memories are admissible as evidence. You involved me, you’re gonna have to kill it”?
3. Al Pacino won his only Oscar for which film?
4. What is the name given to Jo’s custom device for studying the internal structure of a tornado, in Twister? [bonus point for naming how many of these devices there are]
5. What is the title of the only Paul Thomas Anderson film that does not feature Philip Seymour Hoffman?
6. The following are poster taglines for which film, “How far would you go to become someone else” “Everybody should have one talent, what’s yours?” “It’s better to be a fake somebody than a real nobody”?
7. What colour is the rug that Jeff steals in The Big Lebowski?
RED (predominantly)
8. Which actor has appeared in more Alfred Hitchcock films than anyone else?
9. What is the more common name for the annual awards given by the Academy Of Science Fiction, Fantasy and Horror Films since 1972?
10. Which film stars Philip Seymour Hoffman, William H. Macy, John C. Reilly, Julianne Moore, Alfred Molina and Robert Downey Snr?

ROUND IV: Promotion & Release
1. What is the name of Flint’s pet monkey in Cloudy With A Chance Of Meatballs? Jerry? Steve? George?
2. Who directed 2002’s Red Dragon? Rob Cohen? Paul Verhoeven? Brett Ratner?
3. In Punch-Drunk Love, Barry is trying to save for one million frequent flier miles by purchasing mass quantities of what? Handheld fans? Pudding? Toilet Paper?
4. Why does Andy Hanson embezzle money from his real estate firm, in Before The Devil Knows You’re Dead? Pay off blackmailers? Feed drug habit? Fund growing child support?
5. The first lie committed in The Invention Of Lying, is correcting a bank clerk on how much money is in Mark Bellison’s account. How much does he claim to have? $800? $1000? $1200?
6. Of its four Oscar nominations, how many did Doubt win? 0? 2? 4?
7. The following quote is from which Hoffman film, “It doesn’t matter what you thought, it matters what you did. It matters what you didn’t do”? The Ides Of March? Moneyball? The Hunger Games: Catching Fire?
8. Philip Seymour Hoffman’s character in Charlie Wilson’s War, Gust Avrakotos, is a member of which intelligence bureau? FBI? CIA? NSA?
9. How many times is the word fuck used in Monty’s five minute mirror monologue in 25th Hour? 40? 50? 60?
10. Before financing had to be reacquired and The Master was delayed, Jeremy Renner was cast in the role of Freddy (later played by Joaquin Phoenix). True or False?

Screenshots: Apollo 13 / Tombstone / Thunderbirds
Poster: Near Dark
Actor: Bill Paxton


The Story Of A Nobody Who Saved Everybody

Phil Lord
Christopher Miller

Chris Pratt
Elizabeth Banks
Will Arnett
Will Ferrell

Due to its absolutely ridiculous title, I completely dismissed the 2009 release Cloudy With A Chance Of Meatballs but after I found out that Lord and Miller were the same guys who directed 21 Jump Street, I gave it a chance and, like Despicable Me, it’s a delightful example of how touching, beautiful, simple and unique family cinema can be without resorting to watered-down, cheesy tropes that “kid’s animation” is often subjected to. In the same way, when The Lego Movie was announced to the world, I rolled my eyes and sighed heavily, believing such an undertaking would be a poor executed commercial for toys like Mac And Me or Batman & Robin. Instead, it’s a rich, clever and very funny release fit for the whole family – and not in the god-awful way that Shrek proclaimed to be, just because it contained innuendo that went over kids’ heads.

In a world made entirely of Lego, a corrupt overseer President Business (voiced by Will Ferrell) who also goes by Lord Business, is set on perfection and order. There are countless rules to abide by in his Lego metropolis, all of which are followed dutifully by the doting citizens. One citizen in particular, Emmet Brickowski [Pratt] loves his life as a simple construction worker but is distinctly aware that he lacks any real friends. One day after work, Emmet encounters an attractive young lady digging amongst the rubble. Her name is Wildstyle [Banks] and she is desperately searching for a special Lego piece which will fulfil a prophecy and help overthrow Lord Business. Enamoured with Wildstyle, Emmet attempts to follow her and in doing so, stumbles across the fabled piece. From here, Emmet is introduced to the wizard Vitruvius [Freeman] and they set out on a quest to rid the world of oppressive totalitarian rule. All the while, Emmet is distinctly aware that he is probably not the prophesised ‘special’ but fears losing his new friends more than being discovered as a fraud.

Aside from the simple premise, The Lego Movie is crammed with an abundance of personality. By utilising some of the best underrated comedic talent, each of the central characters are memorable and distinctly hilarious. Chris Pratt is going from strength to strength and as a Parks And Recreation fan, I couldn’t be more pleased. His whimsical innocence, naivety and outlandish zeal are perfect for Emmet and something family cinema has been missing in a lead character for quite some time. Equally, Banks’ fiery Wildstyle should be a carbon copy of a thousand other poorly written ‘action girls’ but she’s a genuinely rounded and entertaining character. In recent years Will Ferrell has made appearances in some of the worst films and some of the worst roles (Land Of The Lost, people) but this movie really captures a side of the actor that we haven’t seen since Stranger Than Fiction. Combining something both silly and maniacal but also strangely relatable and very surprisingly touching.

Visually, the film is a wonder. Cloudy With A Chance Of Meatballs was a very deceptive release. Despite the obviously cartoonish populace, the surrounding town looked almost photorealistic at times. Throughout the movie, you nod along with the action and enjoy the stop-motion elements but it’s only when you see the live-action sequences that you fully appreciate that none of the movie is actually stop-motion, it’s entirely CGI. And that fact is astonishing. For better or worse, great lengths have been gone to, to ensure that what you are seeing on-screen looks and feels like it could have been produced by anyone with a Lego set and a big imagination. Having said that, there is a slight downside – probably one of the biggest flaws of the entire release. With the attention to detail and meticulous reproduction of a stop-motion look and feel, the depth of field is sometimes lost. We have scale and character definition and moving pieces but during a handful of scenes, it becomes very difficult to make out exactly what’s going on. Specifically certain sections of the breakout scene, wherein Wildstyle saves Emmet from being melted. She’s jumping all over the place, laser bolts are flying and all the while, the camera doesn’t pull focus properly and your eyes don’t know exactly where to look. On a similar note, the musical score is very appropriate, light and fun but lacks a distinct punch that solidifies it as memorable. This statement, of course, does not apply to “Everything Is Awesome” which is a pretty basic poppy track but one of the most insanely addictive and curiously annoying things in history. I mean, I kind of like it and it’ll get stuck in my head for hours at a time but I can’t explain what’s ‘good’ about it; other than it brings me back to a very charming story.

I think the key to this film is that absolutely nothing is forced. Batman turns up, feels perfectly normal. Audiences are subjected to father/son bonding, makes sense. Formulaic love triangle, resolves itself beautifully. The story is consistently funny and inventive from beginning to end and is imbued with the spirit of Lego. I realise that’s a potentially absurd thing to say but you’d be hard-pressed to find a child who has never played with Lego and then deviated from the specific instructions to create something original and spectacular. Everyone involved understands that premise and have gone out of their way to present it on-screen.

Release Date:
14th February 2014

The Scene To Look Out For:
**big ol’ smelly spoilers**
Morgan Freeman. The unofficial voiceover dude for planet Earth. A man who’s talents are best suited for exposition, charm and gentle old man derision. At no point would I have assumed that would include being a ghost. There are countless scenes, characters, lines and scenarios that are so amusing but almost all of them can be trumped by Morgan Freeman’s character being lowered on a piece of fishing wire with one of those glow-in-the-dark Lego pieces saying, “You didn’t let me finish.. because I died Wooooo!”

Notable Characters:
The Lego Movie is a true ensemble piece; the entire cast pitch in from tiny gimmicks (Charlie Day shouting SPACESHIP! for example) to the elaborate heartfelt monologues of the leads. Having said that, Will Arnett’s version of Batman is glorious. Every satirical, narcissistic, poignant observation about the character is exceptional and delivered expertly by Arnett. Part of me riled against the rest of the DC portrayals (Green Lantern is not the new Aquaman, damn it) and the complete absence of Marvel Lego figures but what are you gonna do? It’s a Warner Bros film.

Highlighted Quote:
“First rule of the sea, never put your rear end on a pirate’s face”

In A Few Words:
“When every property from the last few decades is being bought up and made into gritty PG-13/12a films, The Lego Movie is a fresh break from all the realism by bringing us something fun and truly nostalgic”

Total Score:



Courage Beyond Words

Brian Percival

Sophie Nelisse
Geoffrey Rush
Emily Watson

The Book Thief chronicles the life of a young adoptive girl living in a poor German community, during World War II. Liesel Meminger [Nelisse] is transported across Germany via train with her young brother (who does not survive the journey) and taken in by the brash Rosa [Watson] and her compassionate husband Hans [Rush]. Liesel is enrolled in the local school and quickly acquires the friendship of an affable, if persistent young boy named Rudy [Nico Liersch]. The story happily carries on without much care, detailing Liesel’s inability to read, which grows into a healthy passion for books and stories. It’s not until the village is brought out to the square for a book burning ceremony, to commemorate Hitler’s birthday, that the story really begins to take off. With Nazi control of Germany through fear and intimidation spreading, Liesel’s young mind tries to comprehend the irrational actions of her representative government. Things exacerbate quickly for the family when a young man, named Max (played by Ben Schnetzer) turns up at their door. Hans explains that during the first world war, his life was saved by Max’s father and he owes his family everything. Hans and Rosa do their best to convey to Liesel the importance of keeping Max’s identity and whereabouts a secret from everyone, due to him being Jewish. As the war intensifies and Max’s health deteriorates, it is a secret which becomes increasingly difficult to keep.

This is a very difficult movie to classify or categorise. Children won’t watch it because they’ll be bored and it doesn’t touch enough on the harsher realities for adults. It’s a very pleasant (if that’s the right word) release that stirs an emotional reaction with audiences but not a great deal actually happens. At times this is a welcome relief, not all war dramas need to bombard you with blood and explosions, sometimes the simple effect on the citizens of both sides is more than enough to create tension and pull on the heart strings. In that way, it felt very reminiscent of Goodnight Mr Tom – albeit with a German setting; a personal story favouring a tamer representation than the true horrors of Nazi oppression. Is this a bad thing? Not necessarily. Not every film about Jews hiding in basements during World War II need be Schindler’s List or Inglourious Basterds. One interesting narrative device that really separates this film from others of its ilk is the inclusion of a personification of death. The film opens with a voice-over explaining that death has no love of war but appreciates that his job is a service that simply needs to be performed. However, of the many souls that have haunted him, he is inexplicably drawn to that of Liesel Meminger. Part of me loved this element – no doubt it is played out better and to a much fuller degree in the book this film is adapted from – but as the narrated commentary is used fairly sparingly, it felt strangely out of place, as if Terry Prachett had stolen a copy of the script and started making little annotations in the margin.

I must confess, I haven’t read the book this film is based on and from what I’ve heard from its fans, my review will be better off. As with most literary-to-cinematic adaptations, the book is far superior. However, where the film thrives is the wonderful production design. The little street of Himmel Strasse isn’t as rundown and grotty as it should be but it’s obvious this is meant to be a tight-knit impoverished community. The interiors feel close and worn, the clothes feel like hand-me-downs and the hair and make-up department ensure that luxury is not a familiar word for these characters. Layered over that we have probably John Williams best score in years, predominantly because it doesn’t try to fight for attention with the on-screen action, as is his usual signature. Soft tones, foreboding swelling, tense strings, it’s an exquisitely subtle work which really speaks volumes as to what this man (whom we usually deride and take for granted) is capable of. Then there’s the delightfully mature performances. Liesel’s inability to make sense of Nazi oppression with innocent lines like, “We were just being people. That’s what people do” is just heartbreakingly honest and superbly delivered. Equally Rosa’s transition from tyrant to caring matriarch is charming, if a little obvious and Rush’s doddering old sentimental Hans is frankly beautiful.

While there are a few stumbling points, the film canters ahead boldly and the audience happily follow. All until the closing act wherein time jumps, odd pacing, uneven editing and a rushed finale rob the audience of, what should have been, a heartfelt finish. And it is here that the movie fails. A story without event, praying on slow burning tension and a forced coming of age element is all well and good, providing you can pace everything out neatly and leave the audience feeling either crushed or elated. Anything less and you’ll disappoint them on some level. Max in the basement, Hans’ conscription, Franz’s bullying, the rising persecution of the Jews, Rudy’s devotion, it all builds to a key point but after that moment has passed, the story plods on. What should be its final stride, drawing conclusions and cementing beautiful sentiments, is a limp over the finish line and the emotion fades, replaced by confusion. For anyone who has read the book this movie will be considered a let-down, for those who are expecting something with a little more resonance this movie will be a let-down and yet it’s not a bad film, it’s just a little weak in places. Which is an immense pity as the potential within is extraordinary and limitless.

Release Date:
26th February 2014

The Scene To Look Out For:
There are several memorable standout moments but one in particular highlights Rudy’s ignorance of his country’s political views. Much to Hitler’s chagrin, Jesse Owens has recently been crowned the fastest man alive. Naturally, as an aspiring athlete, Rudy idolises Owens, to the degree that he blacks-up with coal when sprinting around a racetrack. When he is caught by a friend of his father, he is marched home by the ear and scolded by his father. The conversation between them is one of sheer brilliance and simplicity: “You can’t go around with black skin. Why do you want to be Jesse Owens anyway?” “Because he’s the fastest man on Earth” “Well.. it’s wrong. You shouldn’t want to be black.” “Why not?” “Because I say so.”

Notable Characters:
There are several decent performances but I think it’s fairly obvious that Sophie Nelisse is an incredibly talented young lady and if she manages to escape the young actor bit without getting mauled by the press and poor roles, she will be a talent of note in coming years.

Highlighted Quote:
“The only thing worse than a boy you hate, is a boy you like. Right?”

In A Few Words:
“A charming and tragic story of innocence lost during wartime but sabotages its own success with silly footing and unfortunate blundering”

Total Score:



Part Man. Part Machine. All Cop.

Jose Padilha

Joel Kinnaman
Abbie Cornish
Michael Keaton
Gary Oldman

I enjoy the original Robocop but I have no illusions that it’s anything more than it is. It’s not in the upper echelons of cinema, it’s a decent violent action/crime flick and a satirical product of its era. As such, I will try to review this movie as a standalone feature.

2028. OmniCorp are responsible for policing the globe with their flawless killing/peace keeping machines. Tanks with a programmed manual and no hesitation. After an incident in Tehran, Pat Novak (Samuel L. Jackson playing a mix between Jon Stewart and Rush Limbaugh) brings the audience up to speed on the state of society and American crime rates being so high. And how all that could be avoided if a specific piece of congressional legislature was repealed. After this we are brought to Detroit, where honest cop Alex Murphy [Kinnaman] is stirring up trouble with a local crime boss, only to suffer a personal attack at his home. Seizing the opportunity to get around the law, OmniCorp CEO Raymond Sellars [Keaton] offers Murphy’s wife the chance to save her husband’s life by building him a new body. From here on, Murphy is branded and marketed as law enforcing robot, Robocop. But the doctor who makes it possible, Dennett Norton [Oldman] has concerns for the ethical and practical ramifications of such a creation.

In our contemporary society the major points of contention are fear, privacy and the technology that links the two. As such, the very concept of Robocop couldn’t be more relevant. The problem is the writing doesn’t stick to that. Rather than showing us the moral quandary of a being who is part machine, part human given access to every transmitting device in the city and the consequences of a cold enforcer of the exact word of the law, we dive back into old familiar Robocop territory chasing after one particular scumbag criminal and the head of a slightly unscrupulous company. Yawn. Audiences know crime is a problem and big companies/banks are the real enemies, this no longer surprises us, we also know cops can be corrupt. The reason this movie falters is its appeasement of the fans. Knowing fans won’t be happy with a rebranded Robocop or a new story/dialogue/film, they try to pre-empt the argument. Show the classic Robocop look and mock it for being outdated. Give classic one-liners but deliver them with different meanings. Establish the exact same bad guys but don’t connect them all up. Give Murphy a minority partner but make him black rather than a woman. Ok, I said I wasn’t going to draw comparison between the 1987 original and this new version but I have to at least acknowledge it. As a critic and fan of cinema I fucking hate remakes. I don’t hate them because they recycle successful ideas or draw attention from new potentially amazing scripts; I hate the delusion of remakes. That ridiculous marketing ploy wherein a group of people sit around a table and one dipshit pipes up with “Hey remember *product* did well? Let’s make a new version of that!” “Great idea! We can put in all new ideas and reference the stuff people love about the original and they will pay a fortune to see it.” That right there. Wrong. All wrong. Adaptations, remakes and reboots are almost always criticised in comparison to the original or to the source material for the most remedial pointless bullshit: specifically the costumes, the one-liners and other aesthetic features. Story, acting and direction almost never come into question and if they do, it’s a secondary item. These points here, are what I will be analysing. Is it well shot? How does the acting fare? Was the story serviceable and enjoyable? Shoe-horning in one-liners such as “Dead or alive, you’re coming with me” simply take you out of the scene and remind you that you are watching an inferior reimagining. As much as people dislike it, that’s the very reason I really enjoyed Rob Zombie’s Halloween. But I digress. Heavily.

It’s hard to figure out whether Joel Kinnaman is a good match for a man who is part machine. During the brief scenes exploring his family life and undercover work, he seems human enough. He expresses pain, fear, doubt, frustration, love but the second the suit goes on a lot of that is supposed to fall away. So, does he do a good job of repressing those emotions and using his jaw to convey his repressed feelings or is he just a shitty wooden actor? I’m going to go with the former. I’m going to take the leap of faith and say he did a surprisingly good job of delivering horror, despair, anxiety and resolve while in the suit. This may have something to do with the fact that his supporting cast are Samuel L Jackson, Gary Oldman, Michael Keaton and Jay Baruchel; all of whom give pretty impressive performances in their very two dimensional roles. Abbie Cornish, on the other hand, wasn’t as lucky. Not only is her character horribly two dimensional, she’s irritating. Take away the caring female partner from the original, gotta put a caring female in there somewhere. Boom. Wife. Problem solved. I have nothing against Ms. Cornish but she has the unfortunate tendency to land herself in a shit-tonne of terrible roles. Murphy’s wife is a boring, paint-by-numbers support that adds nothing to the story but a glassy-eyed extra to demand to see Murphy, crying about her husband being “in there.” It’s weak. Horribly weak. The only female characters in this film are the corrupt boss, the malicious corporate support, the lab assistant and the wife. So on one hand, we have surprisingly positive performances that take the subject seriously and lend a certain degree of weight to the proceedings and on the other we have the same old archetypal female roles that root this film firmly in the dark ages.

Despite the hit-and-miss acting, the lacklustre story and the incredibly anti-climactic ending, this movie visually excels. The digital effects were very impressive, the representation of technology, HUDs, props were all grounded in plausible reality that allowed the technology that fuels Robocop to require a little less suspension of disbelief than say Pacific Rim. Equally, the direction, cinematography and editing utilise POV shots and technological viewpoints well without outstaying their welcome or feeling overdone. It’s evident a lot of time and care has been taken to really give Robocop a slick decent aesthetic but the story is just far too neglected. At times, I was really enjoying myself and genuinely surprised that a remake I had almost written-off in advance was practically justifying its existence but then I was quickly reminded that everything onscreen was either desperately trying to emulate or deviate from an 80’s film and it lost me. Without the chip on its shoulder and the desperation to assuage purists, this might have been a credible and interesting film, exploring themes commonplace in Ghost In The Shell but instead we’re left with a piss-poor shoot out on a rooftop and Samuel L. Jackson screaming “If you ask me, this mother fucker should rot in prison for the rest of his fucking life!” then seguing unceremoniously into a slightly satirical flag waving salute with “America is the greatest country on Earth, why shouldn’t we do everything to defend it?” To my mind, Robocop isn’t a bad film, nor is it an unnecessary film, it’s just a weak, unintelligent cowardly film. But I will openly admit it could have been much, much worse.

Release Date:
7th February 2014

The Scene To Look Out For:
I’ll be honest, I don’t give a shit how Robocop looks because it will always be silly. Much like superhero adaptations, I’m willing to take new designs with a pinch of salt because it’s not the be-all and end-all to the film’s success. Irritation, eyesore , sure but it won’t mean the film will work or fail. Point in case, Robocop’s suit goes through a few transitions and I’m completely on board with the new look for two simple reasons. First of all, when he’s running you can see that his pelvis is attached to his legs via pivots, rather than the obvious human groinal system that goes with ‘guy in a suit’. When he walks and moves, he looks like a machine with a few human parts. Secondly, when he wants the suit off in a scene that would probably cause crippling shock for the central character, he is presented with a full length mirror as his body is pulled away like the Iron Man suit, minus Robert Downey Jnr inside. Instead, Murphy is fundamentally a set of organs, a throat, a face and a hand on a metal pole. Bold cinema for a ‘family film’ and a pretty impressive CGI moment.

Notable Characters:
I’m not sure if I’m highlighting this character because he was good or bad. Michael Keaton is criminally underused these days yet he remains an outstanding talent. Given the dual role of a ruthless businessman who also suffers from a God complex and a lack of empathy, you’d think he would be able to produce something spectacular. And at times, he does. But the script fails him and by the close, he’s just a selfish snivelling man lacking in conviction who monologues. If ever there was a good point to draw comparison between the two Robocop films, it would be the bad guys. The original had two really iconic villains, one in a suit, one with a gun. Here we seemingly have neither, when Keaton could have easily played both if the screenplay was just a little more intelligently orchestrated.

Highlighted Quote:
“People don’t know what they want until you show it to them”

In A Few Words:
“A lot of remakes/reboots/adaptations are completely unnecessary and utter failures. Strangely, despite its flaws, Robocop isn’t one of them”

Total Score:


Cinema City Film Quiz #114

[02 February 2014]

Winning Team:
The Leone, The Witch And The Wardrobe Full Of Dollars

Genre – Children’s western

Runners Up:
Inside Llewyn-Bowen
Genre – Former flamboyant Changing Rooms star sings songs, steals cats and wins awards fabulously
Leone Fools And Horses
Genre – Once upon a time in Peckham
The Good, The Bad & The Groundhog
Genre – Groundhog day special
The Colostomy Of Rhodes
Genre – Medical drama: Gary Rhodes can no longer control his bladder and so is fitted out with a colostomy bag
A Fistful Of Answers
Genre – Spaghetti eastern with Mexican standoff and a mysterious moustached man
A Fistful Of Collars
Genre – Cat western

ROUND I: Pre-Production
1. Where was the premiere for Michael Bay’s Pearl Harbor held?
2. Who voiced the title role in Spielberg’s The Adventures Of Tintin?
3. Who composed the score for Jaws?
4. What was the subtitle to the first Hobbit movie?
5. What colour are the Oompa Loompa’s skin in Willy Wonka & The Chocolate Factory?
6. The song When You Wish Upon A Star is from which Disney animated film?
7. What is the name of Daniel’s mentor in The Karate Kid?
8. Who directed The Fifth Element?
9. What was the title of the fourth James Bond film?
10. In what year was the original Gone In 60 Seconds released?

ROUND II: Filming [Sergio Leone special]
1. Which is the first title in the dollar trilogy? A Fistful Of Dollars? For A Few Dollars More? The Good, The Bad And The Ugly?
2. David Aaronson (played by Robert DeNiro) goes by what nickname in Once Upon A Time In America? Bugs? Spats? Noodles?
3. What is the last line in A Fistful Of Dynamite? Duck, you sucker? If you shoot me, they will have to change all the maps? What about me?
4. How is Douglas Mortimer related to the girl in the picture in the musical pocket-watch in For A Few Dollars More? Father? Brother? Uncle?
5. Who was Leone describing when he said, “As an actor, he has two expressions: with and without the hat”? Lee Van Cleef? Clint Eastwood? Henry Fonda?
6. How did Sergio Leone get the job of director on his first release, The Last Days Of Pompeii? The original director fell ill on the first day of shooting? The original director was forced off the set by the cast on the first day of shooting? The original director quit to direct another movie on the first day of shooting?
7. What is the name of the fictional town in Once Upon A Time In The West? San Miguel? Tucumcari? Flagstone?
8. The titular statue in The Colossus Of Rhodes is modelled after which Greek god? Ares? Apollo? Athena?
9. Ennio Morricone’s two note motif (waa waa waa), in The Good, The Bad And The Ugly, is played differently for each title character. Which of the following was used for Blondie? Flute? Ocarina? Human Vocals?
FLUTE (Ocarina for Angel Eyes, Vocals for Tuco)
10. Leone was assistant director on Ben-Hur. True or False?

ROUND III: Post-Production
1. What was the name of the Ed Norton directed film, in which Ed Norton plays a priest and Ben Stiller plays a rabbi?
2. Which quote is synonymous with the 1988 Meryl Streep movie A Cry In The Dark (or Evil Angels, as it was originally called)?
3. Kiki’s Delivery Service, Princess Mononoke and Tales From Earthsea were all produced by which Japanese studio?
4. What is Roy Walker’s profession in 2006’s The Fall?
5. The following quote is from which Oliver Stone film, “I think most of us in this courtroom thought justice came automatically. That virtue was its own reward. That good triumphs over evil. But as we get older, we know this isn’t true”?
6. What are the names of the four lead characters in Lock, Stock And Two Smoking Barrels? (one point per correct answer)
7. While stalking Clarice Starling through the basement, in The Silence Of The Lambs, what gives Jame Gumb’s position away?
8. The following is the poster tagline for which film, “Stealing, cheating, killing. Who says romance is dead”?
9. The three characters who attempt to rob the First Brooklyn Savings Bank, in Dog Day Afternoon, all share the same first initial. What is it?
S (Sonny, Sal and Stevie)
10. How does Leon refer to his job as a hitman, in Leon?

ROUND IV: Promotion & Release
1. Who starred in Cleopatra, Who’s Afraid Of Virginia Woolf and Nineteen Eighty-Four? Peter Ustinov? Richard Burton? Laurence Olivier?
2. Which of the following was not directed by John Hughes? Uncle Buck? Ferris Bueller’s Day Off? Pretty In Pink?
3. The following quote is from which version of King Kong, “I’m going out to make the greatest picture in the world, something that nobody’s ever seen or heard of. They’ll have to think up a lot of new adjectives when I come back”? 1933? 1976? 2005?
4. What is the name of the militant immigrant’s rights group in Children Of Men? The Fishes? The Monkeys? The Dogs?
5. Which of the following was the first film for which Peter Sarsgaard received top billing? Kinsey? An Education? Jarhead?
6. Humphrey Bogart was born in 1899. What year did he die? 1957? 1959? 1961?
7. Nicholas Angel and Danny Butterman are the two lead characters in which film? Hot Fuzz? Brassed Off? The Boat That Rocked?
8. How old is John Connor supposed to be in Terminator 2? 10? 12? 14?
9. Which of the following films was not directed by Akira Kurosawa? The Lower Depths? The Only Son? Red Beard?
THE ONLY SON (directed by Yasujiro Ozu)
10. Before Jude Law was cast as Watson in 2009’s Sherlock Holmes, Colin Farrell was the front-runner to play the role. True or False?

Screenshots: The Shining / Mars Attacks! / Anger Management
Poster: The Royal Tenenbaums
Actor: James Woods


Top 5 Motion Pictures of the Year
Blue Jasmine
Frances Ha
Zero Dark Thirty
Pacific Rim
The Kings of Summer

Best Cinematic Experience Of 2013
Pacific Rim
Les Miserables
Frances Ha

Best Director
Kathryn Bigelow (Zero Dark Thirty)
Jordan Vogt-Roberts (The Kings of Summer)
Noah Baumbach (Frances Ha)

Best Leading Actor
Simon Pegg (The World’s End)
Alexis Denisof (Much Ado About Nothing)
Jamie Foxx (Django Unchained)

Best Leading Actress
Cate Blanchett (Blue Jasmine)
Greta Gerwig (Frances Ha)
Jessica Chastain (Zero Dark Thirty)

Best Actor In A Supporting Role
Sir Ben Kingsley (Iron Man 3)
Samuel L Jackson (Django Unchained)
James Franco (Spring Breakers)

Best Actress In A Supporting Role
Sally Hawkins (Blue Jasmine)
Anne Hathaway (Les Miserables)
Emma Watson (The Bling Ring)

Best Ensemble Cast
The Kings of Summer
Much Ado About Nothing
Iron Man 3

Best Writing For An Original Screenplay
Noah Baumbach and Greta Gerwig (Frances Ha)
Woody Allen (Blue Jasmine)
Chris Galletta (The Kings of Summer)

Best Writing For An Adapted Screenplay
Shane Black and Drew Pearce (Iron Man 3)
Simon Beaufoy and Michael Arndt (The Hunger Games: Catching Fire)
Sofia Coppola (The Bling Ring)

Best Cinematography
Sam Levy (Frances Ha)
Benoit Debie (Spring Breakers)
Christopher Blauvelt and Harris Savides (The Bling Ring)

Best Musical Score
Glenston Ainsworth (Frances Ha)
Joss Whedon (Much Ado About Nothing)
Daniel Lopatin and Brian Reitzell (The Bling Ring)

Best Art Direction
Elinor Rose Balbraith, Richard L Johnson, Andrew Li and Sandi Tanaka (Pacific Rim)
Almitra Corey (Spring Breakers)
David F. Klassen, Page Buckner and Mara LePere-Schloop (Django Unchained)

Best Sound Design
Aaron Glascock (Spring Breakers)
Scott Martin Gershin (Pacific Rim)
Jeremy Peirson (The Hunger Games: Catching Fire)

Best Costume Design
Kate Hawley (Pacific Rim)
Paco Delgado (Les Miserables)
Stacey Battat (The Bling Ring)

Best Hair And Makeup
Adruitha Lee and Lee Grimes (Spring Breakers)
Lisa Westcott (Les Miserables)
Graham Johnston and Loulia Sheppard (Hansel and Gretel: Witch Hunters)

Best Visual Effects
Beverly Abbott (Iron Man 3)
Rocco Larizza (Pacific Rim)
Steve Cremin (The Hunger Games: Catching Fire)

Click here for more information about Tim Maytom from his blog, Trivia Lad.


Top 10 Motion Pictures of the Year

Blue Is The Warmest Colour
Frances Ha
The Place Beyond The Pines
Much Ado About Nothing
Blue Jasmine
The Selfish Giant
Django Unchained
Only God Forgives

Biggest Disappointment of the Year

Monsters University

Most Under-Rated Film of the Year


Most Over-Rated Film of the Year


Best Director

Derek Cianfrance (The Place Beyond The Pines)

Best Leading Actor

Bruce Dern (Nebraska)

Best Leading Actress

Adèle Exarchopoulos (Blue Is The Warmest Colour)

Best Screenplay

Noah Baumbach / Greta Gerwig (Frances Ha)

Click here for more information about Georgie Oatley.


Best Motion Picture of the Year

Les Miserables
Django Unchained
Star Trek Into Darkness
Thor: The Dark World
Iron Man 3
Pacific Rim
The Hobbit: The Desolation Of Smaug
This Is The End

Worst Motion Picture of the Year

Movie 43
The Internship
Only God Forgives
Jack The Giant Slayer

Most Under-Rated Motion Picture of 2013

Much Ado About Nothing

Most Over-Rated Motion Picture of 2013

Monsters University

Best Animated Feature

Despicable Me 2

Best Performance by an Actor in a Leading Role

Daniel Day Lewis [Lincoln]
Leonardo DiCaprio [The Great Gatsby]
Alexis Denisof [Much Ado About Nothing]

Best Performance by an Actress in a Leading Role

Sandra Bullock [Gravity]
Amy Acker [Much Ado About Nothing]
Jessica Chastain [Zero Dark Thirty]

Best Performance by an Actor in a Supporting Role

Leonardo DiCaprio [Django Unchained]
Daniel Bruhl [Rush]
Tom Hiddleston [Thor: The Dark World]

Best Performance by an Actress in a Supporting Role

Anne Hathaway [Les Miserables]
Carey Mulligan [The Great Gatsby]
Rinko Kikuchi [Pacific Rim]

Best Achievement in Directing

Alfonso Cuaron [Gravity]
Ron Howard [Rush]
Shane Black [Iron Man 3]

Best Writing, Screenplay Written Directly for the Screen

Wentworth Miller [Stoker]
Seth Rogen / Evan Goldberg [This Is The End]
Alfonso Cuaron / Jonas Cuaron [Gravity]

Best Writing, Screenplay Based on Material Previously Produced or Published

Quentin Tarantino [Django Unchained]
Joss Whedon [Much Ado About Nothing]
Peter Morgan [Rush]

Best Achievement for Original Musical Score

Hans Zimmer [Man Of Steel]
Brian Tyler [Iron Man 3]
Ryan Amon [Elysium]

Best Achievement in Cinematography

Chung Chung-hoon [Stoker]
Guillermo Navarro [Pacific Rim]
Emmanuel Lubezki [Gravity]

Best Achievement in Editing

Fred Raskin [Django Unchained]
Peter Amundson / John Gilroy [Pacific Rim]
Daniel P. Hanley [Rush]

Best Achievement in Set/Art Direction

Jim Erickson / Charles Maloy [Lincoln]
Karen Manthey [Star Trek Into Darkness]
Peter Lando [Elysium]

Best Achievement in Costume Design

Paco Delgado [Les Miserables]
Sharen Davis [Django Unchained]
Bob Buck / Ann Maskrey [The Hobbit: The Desolation Of Smaug]

Best Achievement in Hair & Makeup

Lisa Westcott / Julie Dartnell [Les Miserables]
Kay Georgiou / Lois Burwell [Lincoln]
Steve Prouty [Bad Grandpa]

Best Achievement in Sound

Lee Walpole / John Warhurst [Les Miserables]
Ben Burtt / Matthew Wood [Star Trek Into Darkness]
Frank E. Eulner [Wreck It Ralph]

Best Achievement in Visual Effects

Neil Corbould / Manex Efrem [Gravity]
Burt Dalton [Star Trek Into Darkness]
Rocco Larizza / Laird McMurray [Pacific Rim]