Cinema City Film Quiz #160

[31 January 2016]


Winning Team:
A Nightmare On Duke Street
Genre – A Duchess cooks people while they sleep

Runners Up:
All Quiz And No Foreplay Make Jackoff A Dull Boy
Genre – A man addicted to quizzes neglects his sex-life and his family become sub par
Never Been Quizzed
Genre – A coming of age romantic comedy involving first times
Nightmare On St. Andrew’s Street
Genre – We are innocent virgins (first time quizzers), waiting to be battered in the opening scene/round
I Knew An Old Woman Who Swallowed Jeff Goldblum
Genre – It was Geena Davis
American Werewolf In Lowestoft
Genre – No one notices
The Devil Wears Primark
Genre – Comedy
Nightmare On Elm Hill
Genre – The Norwich Puppet Man will invade your dreams


ROUND I: Pre-Production
1. What was the name of the ill-fated ocean liner in Titanic
TITANIC
2. The adaptation of The Hobbit was released in how many instalments?
THREE
3. Grease is set in which decade?
1950s
4. How does James Bond traditionally prefer his Martini prepared?
SHAKEN NOT STIRRED
5. What is the subtitle of the Kevin Costner Robin Hood film?
PRINCE OF THIEVES
6. What is the name of the antagonist in Captain America: The First Avenger?
RED SKULL / JOHANN SCHMIDT
7. Brendan Fraser, Rachel Weisz, John Hannah and Arnold Vosloo first appeared together in which film?
THE MUMMY
8. How fast does Doc Brown’s Delorean need to travel to activate the flux capacitor and travel back in time?
88MPH
9. In 1973’s The Three Musketeers, Porthos, Athos, Aramis and d’Artagnan wear all-black except for their capes which are what colour?
BLUE
10. Who played the title role in the 2013 Jackass Production Bad Grandpa?
JOHNNY KNOXVILLE


ROUND II: Filming [80’s Horror special]
1. Jack Nicholson plays the role of Jack Torrance in which film? The Witches Of Eastwick? Ironweed? The Shining?
THE SHINING
2. An American Werewolf In London was released in which year? 1981? 1984? 1987?
1981
3. What is the name of the lead character in A Nightmare On Elm Street? Christina Gray? Marge Lantz? Nancy Thompson?
NANCY THOMPSON
4. In The Fly, after teleporting a steak, Seth Brundle tests his telepod on which type of living animal? Cat? Baboon? Iguana?
BABOON
5. Who directed 1987’s Near Dark? John McNaughton? Alan Parker? Kathryn Bigelow?
KATHRYN BIGELOW
6. The following is the poster tagline for which film, “In his mind he has the power to see the future. In his hands he has the power to change it”? The Dead Zone? Videodrome? The Hitcher?
THE DEAD ZONE
7. What is the name of Robert De Niro’s character in Angel Heart? Louis Cyphre? Dev Illson? Nicholas Deville?
LOUIS CYPHRE
8. According to Blair’s calculations in The Thing, how long would it take the alien to assimilate the entire planet? 1 year? 2 years? 3 years?
THREE YEARS (27,000 hours)
9. In Evil Dead 2 which of Ash’s appendages is bitten and becomes possessed? Right Hand? Left Hand? Left Leg?
RIGHT HAND
10. Michael Rooker’s wife was so disturbed by the actor’s level of immersion for Henry: Portrait Of A Serial Killer that she waited until the film was wrapped before she told him she was pregnant. True or False?
TRUE


ROUND III: Post-Production
1. Where is John Connor when he is discovered by both Terminators in Terminator 2?
MALL / ARCADE
2. Who starred in How I Spent My Summer Vacation, Tequila Sunrise and The Beaver?
MEL GIBSON
3. What is the African Queen in the 1951 film of the same name?
A BOAT / TRAMP STEAMER
4. Who directed The Last Temptation Of Christ?
MARTIN SCORSESE
5. The following is a quote from which film, “What is this thing? There’s no useful purpose for there to be a bunch of chompy, crushy things in the middle of a hallway”?
GALAXY QUEST
6. Big Hero 6 is set in which fictional city?
SAN FRANSOKYO
7. How many people are aboard the plane which arrives on Isla Sorna at the start of Jurassic Park III?
SEVEN (Paul / Amanda / Alan / Billy / Udesky / Cooper / Nash)
8. Javier Bardem, Brad Pitt and Michael Fassbender starred in which film?
THE COUNSELLOR
9. When his ship is boarded by pirates, where does Richard Phillips tell his crew to hide, in Captain Phillips?
ENGINE ROOM
10. In The Village, red is known as ‘the bad colour’. What is considered the safe colour?
YELLOW


ROUND IV: Promotion & Release
1. With the release of Star Wars Episode VII, Harrison Ford has been named the highest grossing actor. Who did he replace? Johnny Depp? Tom Hanks? Samuel L Jackson?
SAMUEL L JACKSON
2. Which of the following characters makes it out of The Hunger Games: Catching Fire alive? Wiress? Brutus? Finnick?
FINNICK
3. When Norman joins the crew in Fury, what position is he given, despite having no experience in a tank? Ammo Loader? Assistant Driver? Gunner?
ASSISTANT DRIVER
4. In Lavender Hill Mob, Holland and Pendlebury plan on smuggling the stolen gold out of the country disguised as paperweights shaped like what? The Eiffel Tower? The Taj Mahal? The Empire State Building?
THE EIFFEL TOWER
5. The entirety of Snowpiercer takes place on what type of vessel? Space ship? Lorry? Train?
TRAIN
6. The Aristocats was released in which year? 1966? 1968? 1970?
1970
7. What is the name of the homeless man, Louis hires as his intern in Nightcrawler? Rick? Joe? Frank?
RICK
8. Ralph Fiennes’ directorial debut was an adaptation of which Shakespearean play? Titus Andronicus? Coriolanus? Troilus And Cressida?
CORIOLANUS
9. The Godfather: Part II features how many different countries? Three? Four? Five?
THREE (Sicily, United States, Cuba)
10. Under The Skin was mostly filmed with hidden cameras, meaning many of the cast members aren’t actors. True or False?
TRUE


BOUNS IMAGE ROUND
Screenshots: The Young Victoria / Edge Of Tomorrow / The Devil Wears Prada
Poster: The Wolfman
Actor: Emily Blunt


SPOTLIGHT

Break The Story, Break The Silence

Director
Tom McCarthy

Starring
Mark Ruffalo
Michael Keaton
Rachel McAdams
Brian d’Arcy James
Liev Schreiber



Spotlight opens in early 2001, introducing us to The Boston Globe’s investigative team, dubbed Spotlight. They are comprised of three journalists Michael [Ruffalo], Sacha [McAdams] and Matt [d’Arcy James] who are overseen by editor, Walter ‘Robby’ Robinson [Keaton]. With the arrival of a new editor, Marty Baron [Schreiber], Spotlight are told to drop their current investigation and are assigned a case that has peaked Baron’s attention. A recent column about an abusive Catholic priest being moved out of the parish is not being followed up but he believes there is a bigger story to be told. The team are reluctant, tending to pick and choose the cases they pursue but finally acquiesce. After a preliminary amount of surface digging, the team start to glean the scope and scale of this scandal but the more they look into the facts, the more they find their hands tied by legal proceedings and cover-ups.

One of the first things that hits you about this film is the importance placed on getting the story out at the right time, making sure the subject matter isn’t simply butchered or buried in the news cycle. In as much as it is the story of the abuse scandal in the Catholic Church, it is also a look at the relevance of newspapers and the importance of fact-checking and patience. The rise of the internet eating into readership and sales is mentioned but never explored because the dedication to the stories published speaks volumes. Baron himself asks Robby how long the group can spend on a single piece and he very matter-of-factly responds that it can be several months before a noteworthy story presents itself. In an age of misleading headlines, constant hollow retractions, sensationalist stories and a sea of spurious claims, Spotlight champions the work done by true investigative journalists.

But setting aside the love letter to print media for a second, what we have here is a genuinely rare and unique thing; a drama based on a true story that tells the facts plainly, avoids embellishment where possible, never strays into damaging hyperbolic territory, never dumbs down the information and doesn’t require a heavy subplot to sidetrack from the central drive. Too many dramas of this nature have a tendency, whether intentional or otherwise, to revel in the unpleasant details or heighten the warrior elements of those seeking social justice. Thankfully both of these are avoided as the abuse is dealt with frankly yet respectfully and the investigatory team are appalled and driven but never beyond the realm of credibility or reliability. These people are determined to uncover the truth both to expose the horror and injustice of it all but at the same time they are plagued by doubts, concerns and frustrations. This is a true testament to both the reserve and intelligence of the script and the sensitivity and skill of the actors; much in the same way that the press are represented in All The President’s Men and The Killing Fields. By neatly sidestepping the lionising and demonising of everyone involved, it creates a very haunting, honest and real depiction.

Much like The Big Short the revelations that unfold are already known to the audience. It is entirely up to the actors on-screen to convince us of the horror, to almost force you to relive the first time you heard said news or felt the impact of these discoveries. Depending on how much or how little you know, could shape how closely your own expressions mirror those of the lead characters. The three key struts of the performances can be divided into the Globe staff, the lawyers and the victims. The Globe staff argue amongst themselves but all have the same goal. I could highlight them all by name but in all honesty each offers a great and unique aspect to this story with a very personal connection. Furthermore their personal lives are touched upon but not a great deal. Frankly, I’m a little torn about this; does this make them underdeveloped or not? These individuals are clearly married to their jobs and everything outside of work suffers but at the same time, the story they’re covering takes infinite precedence over their own lives – even 9/11 is given a bit of a glossing. Then we have the lawyers who are first labelled as responsible but before you start to point the blame, you start to realize they are partly trapped by this too. Obviously they are culpable but so are the Globe staff for ignoring the story for so long. Finally we have the victims, all of whom are presented with extraordinary sensitivity and credibility. These aren’t stereotypical caricatures but honest portrayals offering a range of individuals with all manner of personalities and insecurities. It’s a crucial element because it highlights that everyone deals with trauma differently. And while these performances are given by largely unknown actors, they are each as powerful as the next.

From a technical point of view, there isn’t a great deal to say. Set dressing early 2000s bureaucracy is an unenviable task. How does one utilise a series of offices, sterile corridors and simple domestic interiors to evoke growing tension? Yet somehow Spotlight manages to pull it off and it’s a frankly amazing achievement. I think a key to this is Howard Shore’s subtle and simple score. There’s a lot to be said for building on simple melodies, especially when performed on a single lead instrument like the piano. Beautiful, poignant and tender.

Admittedly, Spotlight isn’t for everyone. Uncomfortable subject matter aside, certain audience members go to the cinema for escapism and will no doubt decry this film as hollow or boring but in truth, this film couldn’t be further from it. Compelling and gripping, the characters are captivating and their frustration wholly felt. For a film of this nature, what more could you ask for?


Release Date:
29th January 2016

The Scene To Look Out For:
As unusual as this may sound, I really liked the 9/11 scene. Those attacks shocked America so much that literally everything shut down. For months, years, the September 11th attacks were all anyone would talk about. To set any film during this time period and not have to focus on it, is difficult to say the least. And while the awful nature of the attack understandably dominated the press it didn’t mean that the rest of the world was put on hold. There was still a slew of news and all kinds of stories to be told; most of which were shelved. Being so invested in this story, it was nice that the film addressed how a bigger story would always potentially eclipse their findings. Bold, well-handled and honest – a word I find myself repeating all-too-often throughout this review.

Notable Characters:
While the script features the Globe reporters heavily, the true pioneer of justice is the experienced, exhausted and tenacious lawyer Mitchell Garabedian played by Stanley Tucci. The Armenian Orthodox lawyer sees himself as an outsider and therefore the only one willing to work on these cases with his client’s best interests at heart. Tucci gives us the energy, passion and exasperated vexation that we expect from everyone involved. He’s no stranger to these cases or the reality behind them and watching him continue to work while the reporters are happy with their initial achievement is great.

Highlighted Quote:
“I can’t speak to what happened before I arrived but all of you have done some very good reporting here. Reporting that I believe is going to have an immediate and considerable impact on our readers. For me, this kind of story is why we do this”

In A Few Words:
“Unpleasant mature subject matter respectfully handled and presented in this superb drama”

Total Score:

5/5

THE BIG SHORT

This Is A True Story

Director
Adam McKay

Starring
Christian Bale
Ryan Gosling
Steve Carell
John Magaro
Finn Wittrock
Brad Pitt



I very much adhere to the age old observation that tragedy plus time equals comedy and without a doubt many of the big tragedies of the last ten years can be directly linked to the 2008 financial crisis. Opening in 2005, we are introduced to eccentric hedge fund manager Dr Michael Burry [Bale] who realises that the housing market is grossly unstable, despite being touted as resolute. Owing to this stability, his predictions are dismissed but due to a contractual clause he is allowed to bet against the housing market with investor’s money. Thanks to Burry’s subsequent meetings with various banks, bond salesman Jared Vennett [Gosling] acts in a similar manner and tries to get a bank to swap bonds in order to make himself a tidy sum when the crash eventually happens. The only group that seem to listen to him is a small cynical team managed by the blustering hedge fund manager Mark Baum [Carell]. After Vennett’s initial pitch, Baum and his team investigate the likelihood of a crash by flying to Miami to interview owners of huge houses, all desperate to sell and landlords who are three months behind on their payments. The last group we are introduced to are young pioneer investors Charlie Geller [Magaro] and Jamie Shipley [Wittrock] who are trying to get a seat at the trading table. In the process they discover the prediction and also bet against the market with the help of friend, mentor and retired banker Ben Rickert [Pitt]. Slowly the prospect of making an insane amount of money and personal wealth falls away as it becomes apparent that the industry is completely fraudulent, being run by meat-headed idiots and will likely spell a global economic catastrophe.

Technically speaking, this film is divided into three separate entities that circle the same subject matter but never cross over. Furthermore, it’s divided into three chapters, marked by quotations which set the tone for what follows: “It ain’t what you don’t know that gets you into trouble, it’s what you know for sure just ain’t so” “Truth is like poetry and most people fucking hate poetry” and “Everyone, deep in their hearts, is waiting for the end of the world to come.” But more interestingly, the film mirrors the process of getting drunk and doing something stupid; starting with the manic dizzying highs of slick dialogue and erratic fast editing to pushing into the jargon heavy rushing around and fumbling before eventually spiraling into a sullen crash as the comedy becomes drama.

The script does a commendable job of trying to convey perplexing and frankly tedious information (that was purposefully designed to sound as mundane as possible) to mainstream audiences and make the information somewhat palatable. I wouldn’t necessarily say they always achieve this but their take on how this is achieved with celebrity-fuelled allegory is novel to say the least. In truth, The Big Short explores the same themes as 2011’s Margin Call but both employ very different styles, methods and tones to get the severity of the situation across. One area of commonality between the two films is the exceptionally talented cast brought in as a visual and emotive guide for audience members who still don’t understand the intricacies. Much will be said of the four ‘leads’ but equally praiseworthy and notable performances are given by the supports. Sticking with the film’s self-imposed three struts, let’s break down the performance groups. First of all, we have Gosling and Carell supported by Jeremy Strong, Rafe Spall and Hamish Linklater. All five individuals offer unique and amusing personalities with Carell standing out as the most engaging and layered. Having Gosling’s character serve as the film’s narrator makes logical sense too, setting the tone early on with his confidence, energy and irritating charisma but also illustrating himself as “no saint”. The second strut is Brad Pitt accompanied by John Magaro and Finn Wittrock – although technically it’s the other way around but the general viewing public won’t see it that way. Using two incredibly talented young actors with the likes of Pitt acting as a friendly mentor works effortlessly in part because you immediately feel the parallel. And finally Christian Bale operating alone as the socially awkward man who discovers the pattern but like Cassandra of Greek mythology, nobody believes him. I have quite a bit to say about Bale as Burry but I’ll get back to that a little later. Most of the stark moments of realization should come from Bale’s number crunching but really it’s a combination of Charlie and Jamie, the zealous outsiders realising they are making bets against the US economy and Baum, the banker with a conscience, appalled by the cavalier attitude of those literally drilling holes in the lifeboats.

After a slew of half-pleasing, half-sophomoric comedies, Adam McKay has made an interesting leap with this film. His brightly lit, straight shot, performance driven experience plays off well here but unlike Scorsese’s The Wolf Of Wall Street, lacks truly experimental and bold directorial moments. But all-in-all the technical aspects are incredibly pleasing and competent throughout. One particular execution that I’m struggling with is having characters breaks the fourth wall to highlight when artistic license is taken with certain characters and historical plot points; it’s a nice touch and saves the audience saying the same thing but as it’s only used some of the time despite huge liberties and changes being made with other characters, interactions and events, it’s an odd array of what was highlighted and what wasn’t. Especially as they go out of their way to say “this actually happened.” But this is a bit of a minor quibble in an altogether pleasing affair.

Earlier I mentioned the structural nature of the film starting out as fast-paced and exciting before shining a harsh light on the truths of the situation. Sometimes this major shift in tone can be disastrous and leave a film feeling ruptured and segmented but thankfully, in this case, it mirrors the economic crisis rather well. That is, except for Michael Burry’s plot thread. Christian Bale’s segments, being so devoid of humour (and no, I do not count laughing at someone’s Asperger’s) really stand out from the rest of the film. It’s almost as if this quirky individual who triggers the entire plot is lifted from an entirely different film. His appearance rarely features commentary from Gosling, his dialogue is passionate, simple and lacking in humour, his interactions with others are earnest and panicked (more that he isn’t being believed than concerned for the world’s fiscal standing), it just strikes me as odd. Not in any way bad of course, just a little out of place. Like an antique clock in an otherwise entirely IKEA decorated living room.

Both this film and Margin Call exist as two sides of the same coin. They tell the exact same story presented in two very different ways but with a similar message, specifically the closing statement that it’s only a matter of time before it all happens again. One of my mine gripes with Margin Call was the fact that it was produced fairly close to the event and failed to highlight the extents of the effect – obviously because they weren’t known at that point. One of the points I really loved about the close of this film was the faux ending which shows a dejected and beaten Baum predicting that the banks would get away scot-free and people would just blame immigrants and the poor before Gosling’s narration explains that thankfully the banks were held accountable, broken up and those responsible served jail-time, only to then revert back and say “But that isn’t what was happened. Baum was right, the banks were bailed out by the taxpayers and people not only blamed immigrants and the poor but also teachers too” all before closing with an ominous statement about banks introducing a new gimmick which is basically bespoke CDO’s (the catalyst of the entire problem) by another name.


Release Date:
22nd January 2016

The Scene To Look Out For:
There is more than one example of bankers, speculators and realtors being portrayed as jock douchebags (or mindless thundercunts to use the British vernacular). Burly guys in suits, boasting of their percentage accomplishments, pumped and energized by marginalising others and manipulating the market for personal gain. From the arseholes chest-bumping and firing guns at a range to the grinning executives proudly saying how much they’re worth while doing the bank’s bidding and claiming to represent the investors. Audiences may not be able to understand half the things that are being said but watching our lead’s faces go from bamboozled to infuriated, while these idiots parade their achievements, is frankly beautiful. Manipulative but beautiful.

Notable Characters:
There are plenty of great performances in this release but Carell’s portrayal of Mark Baum has the most to it. We get a bit of a backstory, emotional drive, motivation, in-and-out of work supporting roles, personal life, ethical principles, foresight, control and a brash but winning personality. Every character has positive and negative traits but Baum is the most rounded and therefore the most rewarding. What’s more he fits in with the film’s most comedic and dramatic aspects and therefore never feels out of place.

Highlighted Quote:
“For fifteen thousand years, fraud and short sighted thinking have never, ever worked. Not once. Eventually you get caught, things go south. When the hell did we forget that?”

In A Few Words:
“A successful sober comedy that says a lot but owing to the nature of the source material, gets bogged down in a thick mire of convoluted terminology”

Total Score:

4/5

Cinema City Film Quiz #159

[17 January 2016]


Winning Team:
The Pirates! In A Fantastic Adventure With Coraline’s Bride Before Christmas!
Genre – A seasonal maritime comedy

Runners Up:
Jurassic Park & Ride
Genre – Paleolithic motorsports flick
Stop (Death) Potion
Genre – You said you had one Snape, why didn’t you use it?
In Mourning For Grizzly Adams
Genre – Tragedy
Fantastic Mr Cocks
Genre – Lars Von Trier’s adaptation of Roald Dahl’s much loved children’s classic
Kim Kong-Un
Genre – Horror comedy


ROUND I: Pre-Production
1. The 1997 film The Saint, starring Val Kilmer, is an adaptation of which television series?
THE SAINT
2. What type of animal is Kong in the various King Kong films?
GORILLA
3. How many Rocky films have been made to date (including Creed)?
SEVEN
4. Keanu Reeves and Sandra Bullock first starred alongside each other in which film?
SPEED
5. Who directed Unbreakable, Lady In The Water and After Earth?
M NIGHT SHYAMALAN
6. In Mrs. Brown Judi Dench portrayed which British monarch?
QUEEN VICTORIA
7. What is the name of the lead character in Jurassic Park?
ALAN GRANT
8. Who played the role of Marie Antoinette in Sofia Coppola’s 2006 film of the same name?
KIRSTEN DUNST
9. Cold Mountain, Days Of Thunder, Moulin Rouge and The Golden Compass starred which actress?
NICOLE KIDMAN
10. Princess Aurora is the central character in which Disney animated film?
SLEEPING BEAUTY


ROUND II: Filming [Stop Motion Animation special]
1. James And The Giant Peach is based on the book of the same name by which author? Charles Dickens? Michael Morpurgo? Roald Dahl?
ROALD DAHL
2. Who played the role of Rocky in Chicken Run? Hugh Jackman? Mel Gibson? George Clooney?
MEL GIBSON
3. What is the name of the title character in Corpse Bride? Victoria? Emily? Nell?
EMILY
4. What is Jack Skellington’s title in The Nightmare Before Christmas? The Duke Of Death? The Lord Of Halloween? The Pumpkin King?
THE PUMPKIN KING
5. What animal is Clive, voiced by Bill Murray in Fantastic Mr Fox? Otter? Rabbit? Badger?
BADGER
6. Coraline was released in which year? 2005? 2007? 2009?
2009
7. Which film featured Anna Kendrick, Casey Affleck and Bernard Hill? ParaNorman? Frankenweenie? Wallace & Gromit: The Curse Of The Were-Rabbit?
PARANORMAN
8. Which of the following films does not feature a stop-motion sequence? Star Wars? The Terminator? Harry Potter And The Deathly Hallows – Part I?
HARRY POTTER AND THE DEATHLY HALLOWS – PART I
9. Which of the following is not a character in The Pirates! In An Adventure With Scientists? Pirate Pirate? Pirate Who Likes Sunsets And Kittens? Pirate With A Scarf?
PIRATE PIRATE
10. Unlike most voice recording sessions, the principal cast for The Boxtrolls recorded their lines in the same room. True or False?
FALSE (all the actors recorded their own lines separately, to the extent that Simon Pegg and Nick Frost didn’t realise they were both working on the same film)


ROUND III: Post-Production
1. How many Night Of The Living Dead films have been made to date (specifically those written and directed by George A Romero)?
SIX (Night, Dawn, Day, Land, Diary, Survival)
2. Which film stars Paul Giamatti and Thomas Haden Church as an English teacher and TV actor going on a pre-wedding road trip?
SIDEWAYS
3. Which word is repeated by Vizzini throughout The Princess Bride?
INCONCEIVABLE
4. At the start of The Blues Brothers, Jake Blues is released from prison after serving three years for what crime?
ARMED ROBBERY
5. The chapter entitled “Face To Face” takes place in which volume of Kill Bill?
TWO
6. In The Hunger Games, each district farms a specific resource, what is District 12’s main export?
COAL
7. The Furious Five are a group of Kung Fu masters in which film?
KUNG FU PANDA
8. Who directed 1958’s Touch Of Evil?
ORSON WELLES
9. The following quote is from which film, “Either you are deliberately out of tune and sabotaging my band, or you don’t know you’re out of tune and that’s even worse”?
WHIPLASH
10. David St Hubbins, Nigel Tufnel and Derek Smalls are all characters in which film?
THIS IS SPINAL TAP


ROUND IV: Promotion & Release
1. The Last Of The Mohicans was released in which year? 1990? 1992? 1994?
1992
2. Which Akira Kurosawa film is the story of a terminally ill man who finds a new lease on life when he meets a free-spirited young woman? Ikiru? One Wonderful Sunday? Red Beard?
IKIRU
3. Which of the following did not appear in Mystic River? Laurence Fishburne? Eli Wallach? Ryan Phillippe?
RYAN PHILLIPPE
4. Where does Noah first meet Allie in The Notebook? An army hospital? A church? A carnival?
A CARNIVAL
5. In The Sound Of Music, Christopher Plummer plays retired military officer Captain Georg Von Trapp. Which military branch did he serve in? Air Force? Navy? Army?
NAVY
6. The following quote is said by Robert De Niro in which film, “Let me tell you, I know you don’t want to listen to your father, I didn’t listen to mine and I’m telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it’s a sin if you don’t reach back”? Silver Linings Playbook? Analyse This? Meet The Fockers?
SILVER LININGS PLAYBOOK
7. In addition to the 2020’s, X-Men: Days Of Future Past takes place in which decade? Sixties? Seventies? Eighties?
SEVENTIES
8. Alec Guinness, Claude Rains and Anthony Quinn all appeared in which film? The Fall Of The Roman Empire? The Guns Of Navarone? Lawrence Of Arabia?
LAWRENCE OF ARABIA
9. After his mutiny, who does Aguirre nominate as new leader of the expedition in Aguirre, The Wrath Of God? Pizarro? Guzman? Perucho?
GUZMAN
10. While filming Amadeus, Tom Hulce deliberately skipped lines in order to confuse F Murray Abraham and make it appear as though his character couldn’t understand the music. True or False?
TRUE


BOUNS IMAGE ROUND
Screenshots: The Green Hornet / Django Unchained / The Three Musketeers
Poster: Ordinary Decent Criminal
Actor: Christoph Waltz


12TH ANNUAL RRH AWARDS (2015)

Best Motion Picture Of The Year
Birdman (The Unexpected Virtue Of Ignorance)
Straight Outta Compton
Mad Max: Fury Road
Star Wars: The Force Awakens
Whiplash
Macbeth
Inside Out
The Martian
Selma
Steve Jobs

Worst Motion Picture Of The Year
Fantastic Four
The Ridiculous 6
Jupiter Ascending
Terminator Genisys
Mortdecai

Most Under-rated Motion Picture of 2015
Ex Machina

Most Over-rated Motion Picture of 2015
Furious 7

Best Animated Feature
Inside Out
Song Of The Sea
Avril Et Le Monde Truque (April And The Extraordinary World)

Best Performance by an Actor in a Leading Role
Michael Keaton [Birdman (The Unexpected Virtue Of Ignorance)]
Michael Fassbender [Macbeth]
Eddie Redmayne [The Theory Of Everything]

Best Performance by an Actress in a Leading Role
Charlize Theron [Mad Max: Fury Road]
Marion Cotillard [Macbeth]
Alicia Vikander [Ex Machina]

Best Performance by an Actor in a Supporting Role
JK Simmons [Whiplash]
Nicholas Hoult [Mad Max: Fury Road]
Steve Carell [Foxcatcher]

Best Performance by an Actress in a Supporting Role
Kate Winslet [Steve Jobs]
Carmen Ejogo [Selma]
Emma Stone [Birdman (The Unexpected Virtue Of Ignorance)]

Best Achievement in Directing
Alejandro G Inarritu [Birdman (The Unexpected Virtue Of Ignorance)]
George Miller [Mad Max: Fury Road]
Justin Kurzel [Macbeth]

Best Writing, Screenplay Written Directly for the Screen
Damien Chazelle [Whiplash]
Alex Garland [Ex Machina]
Pete Doctor, Meg LeFauve & Josh Cooley [Inside Out]

Best Writing, Screenplay Based on Material Previously Produced or Published
Andrea Berloff / Jonathan Herman [Straight Outta Compton]
Drew Goddard [The Martian]
Aaron Sorkin [Steve Jobs]

Best Achievement for Original Musical Score
Tom Holkenborg [Mad Max: Fury Road]
Jed Kurzel [Macbeth]
Harry Gregson-Williams [The Martian]

Best Achievement in Cinematography
John Seale [Mad Max: Fury Road]
Emmanuel Lubezki [Birdman (The Unexpected Virtue Of Ignorance)]
Vladimir Ilin / Yuriy Klimenko [Hard To Be A God (Trudno Byt Bogom)]

Best Achievement in Editing
Margaret Sixel [Mad Max: Fury Road]
Tom Cross [Whiplash]
Elisabet Ronaldsdottir [John Wick]

Best Achievement in Production Design
Star Wars: The Force Awakens
Mad Max: Fury Road
Ex Machina

Best Achievement in Costume Design
Star Wars: The Force Awakens
Mad Max: Fury Road
Crimson Peak

Best Achievement in Hair & Makeup
Star Wars: The Force Awakens
Mad Max: Fury Road
Foxcatcher

Best Achievement in Sound
Star Wars: The Force Awakens
Mad Max: Fury Road
Whiplash

Best Achievement in Visual Effects
Star Wars: The Force Awakens
The Martian
Avengers: Age Of Ultron

FOURTH ANNUAL TRIVVY AWARDS (2015)

Top 5 Motion Pictures of the Year
Birdman (The Unexpected Virtue Of Ignorance)
Star Wars: The Force Awakens
The Martian
Mad Max: Fury Road
Bande de Filles (Girlhood)

Best Cinematic Experience Of 2015
Mad Max: Fury Road
Star Wars: The Force Awakens
Birdman (The Unexpected Virtue Of Ignorance)

The Castor Troy Memorial Award for Outrageous Bonkersness
Jupiter Ascending

Best Director
George Miller [Mad Max: Fury Road]
Alejando González Iñárritu [Birdman (The Unexpected Virtue Of Ignorance)]
David Robert Mitchell [It Follows]

Best Leading Actor
Michael Keaton [Birdman (The Unexpected Virtue Of Ignorance)]
Alfred Molina [Love is Strange]
Domnhall Gleeson [Ex Machina]

Best Leading Actress
Alicia Vikander [Ex Machina]
Karidja Touré [Bande de Filles (Girlhood)]
Charlize Theron [Mad Max: Fury Road]

Best Actor In A Supporting Role
Oscar Isaac [Ex Machina]
Edward Norton [Birdman (The Unexpected Virtue Of Ignorance)]
Nicholas Hoult [Mad Max: Fury Road]

Best Actress In A Supporting Role
Jessica Chastain [A Most Violent Year]
Phyllis Smith [Inside Out]
Emma Stone [Birdman (The Unexpected Virtue Of Ignorance)]

Best Ensemble Cast
Mad Max: Fury Road
Ant Man
Star Wars: The Force Awakens

Best Writing For An Original Screenplay
Lawrence Kasdan, J.J. Abrams & Michael Arndt [Star Wars: The Force Awakens]
David Robert Mitchell [It Follows]
Alex Garland [Ex Machina]

Best Writing For An Adapted Screenplay
Edgar Wright, Joe Cornish, Adam McKay & Paul Rudd [Ant-Man]
Drew Goddard [The Martian]
Josh A. Cagan & Kody Keplinger [The DUFF]

Best Cinematography
John Seale [Mad Max: Fury Road]
Mike Gioulakis [It Follows]
Emmanuel Lubezki [Birdman (The Unexpected Virtue Of Ignorance)]

Best Musical Score
Tom Holkenborg aka Junkie XL [Mad Max: Fury Road]
Henry Jackman [Big Hero 6]
John Williams [Star Wars: The Force Awakens]

Best Art Direction
Shira Hockman & Jacinta Leong [Mad Max: Fury Road]
Joey Ostrander [It Follows]
Katrina Mackay & Denis Schnegg [Ex Machina]

Best Sound Design
Chuck Michael, David White & Christopher S. Aud [Mad Max: Fury Road]
Christian Dwiggins & Clayton Perry [It Follows]
Peter Brown [Furious 7]

Best Costume Design
Kym Barrett [Jupiter Ascending]
Jenny Beavan [Mad Max: Fury Road]
Michael Kaplan [Star Wars: The Force Awakens]

Best Hair And Makeup
Jeremy Woodhead [Jupiter Ascending]
Nadine Prigge & Lesley Vanderwalt [Mad Max: Fury Road]
Amanda Knight & Lisa Tomblin [Star Wars: The Force Awakens]

Best Visual Effects
Sara Bennett, Benjamin Carlson, Tim Field & Nick Drew [Ex Machina]
Grant Adam & Louise Brand [Mad Max: Fury Road]
Florent Andorra, Patricia Martinez Arastey & Yanick Dusseault [ Star Wars: The Force Awakens]

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

THE HATEFUL EIGHT

No One To Trust, Everyone To Hate

Director
Quentin Tarantino

Starring
Samuel L Jackson
Kurt Russell
Jennifer Jason Leigh
Walton Goggins
Demian Bichir
Tim Roth
Michael Madsen
Bruce Dern



In 2004 Tarantino wrote, “If you’re gonna compare a Hanzo sword, you compare it to every other sword ever made that wasn’t made by Hattori Hanzo.” In my opinion, to analyse the body of work by Quentin Tarantino, one must do the exact opposite. You can only compare a Tarantino film to a Tarantino film, specifically because they are amalgams of so much inspirational source material that they exist in their own universe, where different laws of physics and narrative structure apply. Anyone who imitates him gets shot down and those he imitates are of such a niche, they’re just happy to be thought of. Either that or they’re dead. With this in mind, The Hateful Eight is Tarantino’s sixth best film. By no means a bad film and certainly superior to several things being released of late but overall a step backward for an otherwise powerfully commanding director.

The film opens on a stagecoach racing ahead of an impending blizzard; its cargo is a bounty hunter named John Ruth [Russell] and his prize, Daisy Domergue [Leigh]. They happen across fellow stranded bounty hunter (and former Civil War officer) Major Marquis Warren [Jackson], who has no interest in Domergue and only wants a ride into town to claim his own bounty. En route the group also intercept the youngest son of a notorious Confederate sympathiser, who continued the fight after the war was declared over. This individual, Chris Mannix [Goggins] announces he will be the new sheriff of the town they are riding to and to abandon him will be murder. The group arrive at half-way house Minnie’s Haberdashery to find it sans owners and sporting four individuals similarly resting before continuing on their way: Mexican hired-hand Bob [Bichir], gentleman hangman Oswaldo Mobray [Roth], cowboy Joe Gage [Madsen] and Confederate General Sanford Smithers [Dern]. Immediately suspicious of the newcomers and the owner’s absence, both Ruth and Warren state that one or maybe all of the current individuals could be formulating a plan to spring Daisy and that until the storm passes they had best keep one eye open at all times.

First thing to note is that for a whodunit, it’s not especially clever. In truth, Tarantino’s plots aren’t ever particularly clever but they are revealed in a clever and novel way, choosing to unfold developments at a time which will surprise the audience. The unfortunate thing here is that the reveal isn’t especially pleasing or surprising, meaning the whole film feels somewhat flat and unsatisfactory. Subsequently, I have absolutely no idea how rewatchable this film is. On top of that, from start to finish almost every character treats Daisy as a subhuman creature, no doubt because of her heinous acts. Unfortunately, Tarantino makes a rookie mistake and rather than showing us how spectacularly villainous Miss Domergue is, we’re just told. And to make matters worse, we’re not even told very well as Daisy’s crimes are never explicitly laid out, so the audience are unable to determine whether the bounty on her head is just. Similarly, for all the crimes that are attributed to Tuco in The Good, The Bad & The Ugly, I never felt he deserved the treatment he received from every passing character. Now, one could argue this is intentional, maybe even an homage to Tuco’s lot in life but I doubt it.

As stated above, this is by no means a bad film. The cinematography is beautiful but if I’m honest, his choice to shoot in 70mm is an entirely indulgent one and aside from the opening shots of sprawling vistas, doesn’t really seem to benefit the film other than to make the small haberdashery appear much larger than it actually is. The editing is also skilfully handled, while some may whine that the film drags on in places or feels boring, I would posit that it paces itself decently enough throughout. On top of that, the most obvious commendable point is the high levels of production design, from the costumes to the props and sets, everything is rich with detail. Despite my issues with the plotting and lack of character development, the acting is enthralling – even if certain characters are neglected. Then there’s Ennio Morricone’s score. One of Tarantino’s steadfast gripes is that to surrender a film to a composer is to allow them to shape how the audience experiences your film, hence his use of songs rather than a heavy original score. Having said that, the man clearly loves Morricone’s work (what’s not to love) and The Hateful Eight stands out from its cinematic siblings for having a mature yet very distinctive original theme, rather than relying so heavily on aping already existing material. I will also praise Tarantino’s refusal to alter history to avoid shocking audiences (yes, I know he shot Hitler in the face, humour me). As harsh as the language can be, the use of racial slurs is historically accurate and depicts the hostile environment free black men inhabited; one could argue that the nature of the blizzard itself represents these conditions. I also like that nobody is above their station. Should the script conjure a situation which calls for an individual to lose their temper and murder someone, they get murdered. It doesn’t matter how much screen time that actor has enjoyed or if they’re an A-Lister or otherwise.

Frustratingly, every time the man gets close to achieving exceptional cinema he falls back on his beloved grindhouse schlock and we get these bright hideous fonts and random unnecessary narration because that’s how it was done in a highly-stylised version of the art form. Right or wrong, Tarantino’s imitation of seventies gumpf will always hold him back as a filmmaker and while this is an acceptable release it is well below his original and more formative bottle release: Reservoir Dogs.


Release Date:
8th January 2016

The Scene To Look Out For:
**spoiler**
For all the hollowness of this film, every now and again the script has something genuine to say. The first point is detailed below in my highlighted quote section. Another is the nature of the Lincoln letter. Early on it is established that Warren is in possession of a letter from former President Abraham Lincoln, wherein he speaks fondly to and about him. This, paired with his officer’s uniform, immediately grants Warren a degree of respect from the common white citizen. It isn’t long before Warren is called out on the authenticity of the letter but rather than defend the plagiarism, he simply chuckles and explains that without it, people wouldn’t give him the time of day. This produces different reactions from different characters and acts as a prominent point about the cheap nature of respect, specifically when it’s assigned by someone for whom you yourself hold respect.

Notable Characters:
I love Kurt Russell. To me, the man is the embodiment of a consummate professional. His range may not be spectacular but he turns up, does his job with extreme verve and holds your attention whenever he’s on screen. Even here, his character displays more depth and hard-edged anti-heroism than the script really affords, making his character largely detestable but also strangely respectable. A man of principle, even if that principle is accompanied by violent and callous outbursts.

Highlighted Quote:
“The man who pulls the lever that breaks your neck will be a dispassionate man. And that dispassion is the very essence of justice; for Justice delivered without dispassion is always in danger of not being justice”

In A Few Words:
“Too weak to love, too good to hate”

Total Score:

3/5

THE REVENANT

Blood Lost. Life Found

Director
Alejandro G Inarritu

Starring
Leonardo DiCaprio
Tom Hardy
Domhnall Gleeson
Will Poulter



The Revenant is a very simple linear series of events following a group of trappers in the vast Territory of Missouri during the 1820s. The group are led by Captain Andrew Henry [Gleeson] who does his best to govern his men like a military outfit in their pursuit for profitable trade of furs. Unfortunately, the territory is also home to the native Arikara Indians, who set upon the group almost immediately, reducing the party from forty strong to barely ten. Feeling they are still being hunted, Henry’s men debate their best course of action. The half-scalped John Fitzgerald [Hardy] recommends recovering as many of the pelts as possible to ensure maximum profit but Hugh Glass [DiCaprio], the group’s guide accompanied by his teenage half-Powhatan son, recommends trekking the difficult terrain on foot and returning for the pelts later. Shortly after this, Glass is alone and accidentally stumbles across two bear cubs, the mother isn’t far away and brutally shreds the potential threat. Glass manages to get a shot off and finish the bear with his knife but his wounds and the limited medical care available mean his outlook is bleak. Fitzgerald, seeing the opportunity to make a little cash and keep the party moving, volunteers to stay behind and bury Glass when the time comes. But it’s not long before Fitzgerald attempts to suffocate Glass, only to be caught in the act by Hawk, whom Fitzgerald murders. After being abandoned, Glass slowly recovers his strength and crawls his way back to civilisation and revenge.

**Spoiler in the final two sentences**
Perfectly executed cinema is about immersion. Things like misheard lines, continuity issues, plot holes and visual effects can be entirely dismissed if you are immersed and believe the imagery presented to you is real. I genuinely believe The Revenant is a visceral truly immersive experience and as such I am utterly amazed nobody died making this movie. In a way, it felt reminiscent of films set during the Vietnam War; the concept of being constantly surrounded and continually hunted in a harsh unforgiving environment. With that in mind, it also has a bit of an Aguirre quality to it too. Narratively speaking, there’s a nice parallel between this release and Chan-wook Park’s Vengeance trilogy, which deals with the nature and futility of revenge. A clear example of this is the fact that through flashback we witness Glass killing the men who killed his wife but he is still haunted by her image. In the same way, even as the film draws to a close, visions of Glass’ wife still come to him, cementing Fitzgerald’s words that no amount of vengeance will bring his family back.

I’ll save my thoughts on DiCaprio’s performance for later in this review and for the time being focus on the supporting roles. One of the criticisms Black Hawk Down faced was the inability to distinguish the various characters. The Revenant has a similar issue, with little time devoted to humanising or exploring the swathe of beardy, fur-clad men it’s rather tricky to highlight standout individuals. Having said that, four clear supporting roles are afforded development. The first is Tom Hardy as the unscrupulous, self-serving Fitzgerald. He essentially represents everything pragmatic and heartless about humanity. Again, to draw on an example made earlier, he feels like that Vietnam commander who’s gone off the deep end and no longer sees the enemy, his men or his surroundings as real-life, operating under a personal code of conduct rather than one of collective moral and legal standing. Hardy performs admirably elevating Fitzgerald from complete villain to almost relatable, misguided victim. Secondly we have a commanding performance from Domhnall Gleeson, who is continuing to shine as his career quickly blossoms. Then we have Will Poulter who I didn’t even realise was in this film. Poulter plays American mountain legend Jim Bridger. Rather than being the standard whiney inexperienced rookie (both in terms of character and actor), Poulter proves himself alongside his towering colleagues and gives a very honest and decent performance. Finally there’s Hawk, Glass’ son played by newcomer Forrest Goodluck. Goodluck has the thankless task of embodying a character disliked by his colleagues, warded closely by his father and then killed off before the halfway mark but in that time he makes a commendable lasting impression.

It’s been something like two decades since Ryuichi Sakamoto has produced a score for a widely released western film and this effort is just spectacular. Teamed with Carsten Nicolai and Bryce Dessner, Sakamoto sculpts haunting and terrifying themes which really capture the essence of what the baron wilderness is. Which one would think would be wholly gratuitous considering the absolutely masterful and breath-taking cinematography capturing precisely that. Lubezki builds on the lush forest imagery he managed to capture in The New World and achieves so much in two and a half hours. If you asked me who the greatest living cinematographer was, I would reply Roger Deakins before you could finish speaking but looking back over Lubezki’s already amazing career, I’m now given pause for thought. The camera moves almost impossibly through the scene, regardless of character path or topographical obstruction and the images that are captured are simply astounding. Shot on a 6.5k camera utilising only natural lighting, The Revenant has a very unique and ethereal visual quality, which is only heightened when paired with the wondrous aforementioned score.

**Another spoiler in the middle of this paragraph**
As a critic, I have to distance myself from being marvelled and at least acknowledge the broad appeal and frankly The Revenant lacks that. Abrasive in nature, this film openly spurns the mainstream masses with its Malick-esque pacing, exceptionally bloody and frank treatment of both violence and basic survival and its minimalist treatment of dialogue and exposition. Does this mean it’s a bad film? Not at all, it just might not be a popular one. Furthermore, I will admit that just after the two hour mark, audience fatigue briefly seemed to set in. Having been pushed so much and witnessed the mounting ordeal to that point, people waned a touch when it came to yet another horrific encounter with man or nature. But this quickly passed. There’s also the fairly neglected subplot about the Arikara Native Americans and their search for the Chief’s daughter, Powaqa. It’s later revealed that the French trappers who had previously been assisting the Arikara had actually been the culprits responsible and while this was moderately-well revealed it still meant that we were treated to four or five cutaways of Chief Elk Dog saying, “We must find Powaqa” which eventually felt rather obligatory and forced. I could also argue that without the central performance much of the film’s simple narrative would fall apart but this is a tale of survival, you could say the same of 127 Hours or Cast Away but I think that would be an immense disservice to the film as an exercise in straightforward story-telling.

All-in-all a fantastic cinematic achievement and a testament to the dedication and commitment to the acting craft. Technically brilliant, artistically bold but admittedly narratively plain.


Release Date:
15th January 2016

The Scene To Look Out For:
There are so many standout moments but two in particular stayed with me long after the film. The first and most obvious is the bear attack itself. It’s savage and unrelenting but has a distinct air of realism to it as the bear keeps retreating to check on its cubs. The CGI and practical performances blend wonderfully and the camera placement ensures you can’t escape the gruesome nature of this attack. Secondly, highlighting the more subtle side of DiCaprio’s performance and the overwhelming presence of the score, Glass is lying by the freezing lakeside when he hears something over the ridge. Scaling the trench he witnesses wildly stampeding bison and watches as one is taken down by a pack of wolves. Very simple but extremely powerful.

Notable Characters:
I worry about Leonardo DiCaprio. I think the man is an absolute marvel who rarely puts a foot wrong but in his quest to immerse himself in a role (some would say his quest for an Oscar) he’s going to get himself killed one day. The things he does for this film walk that fine line between phenomenal and fucking stupid. The man is a vegetarian but chowed down on raw bison liver, he subjected himself to temperatures that killed his character in Titanic and put himself through a literal hell for the sake of celluloid. The finished film and we as audience members benefit infinitely from this and his performance is undeniably captivating but just give him an Oscar before he acts his way into an early grave.

Highlighted Quote:
“Turns out God, he’s a squirrel. Big ol’ juicy one … I shot and ate that son-bitch”

In A Few Words:
“Beautiful filmmaking combined with an excellent central performance to produce a truly gripping, gritty, gruesome release”

Total Score:

5/5

Cinema City Film Quiz #158

[03 January 2016]


Winning Team:
The Great Dane-ish Girl
Genre – Dog turns woman

Runners Up:
Barkershop
Genre – Documentary about four dogs who form a quartet after being digitally replaced
Big Willy Doggy Style
Genre – Will Smith voices Willy, a horny animated dog in this animated family comedy
Fight Pug
Genre – Brad Pittbull and Edwoof Norton start an underground dog fighting ring
Get That Quiz Away From Her You Bitch
Genre – In space nobody can hear you bark
Paw Abiding Citizen
Genre – Woof woof the dogs abide
Quizjo
Genre – Cujo’s brother who learnt to channel his anger into knowledge


ROUND I: Pre-Production
1. What is the nickname of the lead character in the 2009 film, Precious?
PRECIOUS
2. Paranormal Activity, Dracula and Fright Night are all part of which genre?
HORROR
3. What was the title of the sequel to Grumpy Old Men?
GRUMPIER OLD MEN
4. Who starred in Big Daddy, Punch-Drunk Love and Hotel Transylvania?
ADAM SANDLER
5. Rob Roy is set in which country?
SCOTLAND
6. Who directed Gladiator?
RIDLEY SCOTT
7. Bob Parr, Helen, Violet, Dashiell, Syndrome and Frozone are characters in which film?
THE INCREDIBLES
8. Ray, starring Jamie Foxx, is a biopic about which musician?
RAY CHARLES
9. Independence Day was released in which year?
1996
10. What is the title of the Sylvester Stallone written franchise which features an ensemble of ageing action stars?
THE EXPENDABLES


ROUND II: Filming [Dogs special]
1. Pongo and Perdita are the lead characters in which film? Lady And The Tramp? Bolt? One Hundred And One Dalmatians?
ONE HUNDRED AND ONE DALMATIANS
2. What type of dog is Beethoven in the film of the same name? German Shepherd? St Bernard? Irish Wolfhound?
ST BERNARD
3. Who played the role of Detective Scott Turner in Turner & Hooch? Burt Reynolds? Jim Belushi Tom Hanks?
TOM HANKS
4. What is the name of the lead dog in All Dogs Go To Heaven? Charlie B Barkin? Buster Bone? Red?
CHARLIE B BARKIN
5. John and Jenny Grogan both work as what, in Marley & Me? Reporters? Advertising Executives? Chefs?
REPORTERS
6. Which dog wins the Mayflower Kennel Club Dog Show in Best In Show? Hubert the Bloodhound? Winky the Norwich Terrier? Miss Agnes the Shih Tzu?
WINKY THE NORWICH TERRIER
7. What are the Burnford family doing when they hear Chance barking at the end of Homeward Bound? Going to work? Out for a walk? Playing basketball?
PLAYING BASKETBALL
8. Old Yeller was released in which year? 1948? 1957? 1966?
1957
9. How many Air Bud films have been made to date (including any spin-offs)? 3? 8? 14?
(Air Bud / Golden Receiver / World Pup / Seventh Inning Fetch / Spikes Back / Air Buddies / Snow Buddies / Space Buddies / Santa Buddies / Spooky Buddies / Treasure Buddies / Super Buddies / The Search For Santa Paws / Santa Paws 2: The Santa Pups)
10. Throughout A Goofy Movie, Goofy is only ever referred to as Dad. True or False?
FALSE (Dad, Mr. Goof, Goof and Goofy once)


ROUND III: Post-Production
1. Who appeared in The Quick And The Dead, Body Of Lies and J Edgar?
LEONARDO DICAPRIO
2. The lead character in Apocalypto is named after which animal?
JAGUAR
3. The Pianist is set in which European city?
WARSAW
4. With eight Academy Award nominations (and one win) who is the most nominated living director?
MARTIN SCORSESE
5. In Little Miss Sunshine, Dwayne takes a vow of silence until he can accomplish his dream of what?
BECOMING A TEST PILOT
6. The Last King Of Scotland is set in which decade?
SEVENTIES
7. Luc Besson’s Leon is known by what title in America?
THE PROFESSIONAL
8. Which film starred Will Ferrell, Emma Thompson, Dustin Hoffman and Maggie Gyllenhaal?
STRANGER THAN FICTION
9. In PS I Love You, Gerry’s letters arrive after Holly’s turns how old?
30
10. In Indiana Jones And The Last Crusade, Sallah meets Marcus Brodie in which country?
TURKEY


ROUND IV: Promotion & Release
1. Which film starred Jamie Foxx, James Woods and Al Pacino? The Kingdom? White House Down? Any Given Sunday?
ANY GIVEN SUNDAY
2. In The Pursuit Of Happyness, Chris Gardner takes on an unpaid internship for a potential job as what? A broker? A lawyer? A reporter?
A BROKER
3. Who directed The Good Shepherd? Robert De Niro? Joe Pesci? Ray Liotta?
ROBERT DE NIRO
4. In Point Break, when Bodhi first meets Johnny, he recognises him when he used to play which sport? Baseball? Hockey? American Football?
AMERICAN FOOTBALL
5. At the start of Insidious, which room does Dalton go into before falling into a coma? The cellar? The attic? The garage?
THE ATTIC
6. What was the name of the Sean Penn directed film starring Jack Nicholson, Benecio Del Toro and Helen Mirren? The Pledge? The Last Detail? The Evening Star?
THE PLEDGE
7. Which of the following films did not feature John Wayne? Bandolero? In Harm’s Way? Legend Of The Lost?
BANDOLERO
8. Which film features the following quote, “You’re out of order! You’re out of order! The whole trial’s out of order! They’re out of order!” …And Justice For All? The Accused? The Verdict?
…AND JUSTICE FOR ALL
9. What type of weapon does Kevin use to massacre his classmates in We Need To Talk About Kevin? Hatchett? Bow and Arrow? Meat cleaver?
BOW AND ARROW
10. Ron Howard stepped down from directing The Changeling when he heard Clint Eastwood was interested, thinking he would do a better job. True or False?
FALSE (scheduling conflict, Howard went on to serve as producer)


BOUNS IMAGE ROUND
Screenshots: Reservoir Dogs / The Incredible Hulk / Selma
Poster: To Kill A King
Actor: Tim Roth


Reviews 2016

[21 December 2016] Passengers (2016)

[15 December 2016] Rogue One: A Star Wars Story (2016)

[12 December 2016] Manchester By The Sea (2016)

[08 December 2016] Snowden (2016)

[02 December 2016] Moana (2016)

[25 November 2016] Allied (2016)

[18 November 2016] Fantastic Beasts And Where To Find Them (2016)

[11 November 2016] Arrival (2016)

[25 October 2016] Doctor Strange (2016)

[14 October 2016] Inferno (2016)

[06 October 2016] The Girl On The Train (2016)

[19 September 2016] War On Everyone (2016)

[09 September 2016] Kubo And The Two Strings (2016)

[05 August 2016] Suicide Squad (2016)

[29 July 2016] Finding Dory (2016)

[27 July 2016] Jason Bourne (2016)

[22 July 2016] Star Trek Beyond (2016)

[10 July 2016] Ghostbusters (2016)

[08 July 2016] The Legend Of Tarzan (2016)

[04 July 2016] Now You See Me 2 (2016)

[24 June 2016] Independence Day: Resurgence (2016)

[30 May 2016] Teenage Mutant Ninja Turtles: Out Of The Shadows (2016)

[29 May 2016] Warcraft (2016)

[27 May 2016] Alice Through The Looking Glass (2016)

[18 May 2016] X-Men: Apocalypse (2016)

[29 April 2016] Captain America: Civil War (2016)

[14 April 2016] The Jungle Book (2016)

[04 April 2016] The Huntsman: Winter’s War (2016)

[29 March 2016] Midnight Special (2016)

[25 March 2016] Batman V Superman: Dawn Of Justice (2016)

[18 March 2016] High-Rise (2016)

[11 March 2016] The Witch (2015)

[10 February 2016] Deadpool (2016)

[29 January 2016] Spotlight (2015)

[18 January 2016] The Big Short (2015)

[08 January 2016] The Hateful Eight (2015)

[04 January 2016] The Revenant (2015)