Every Hero Has A Beginning

Travis Knight

Hailee Steinfeld
Jorge Lendeborg Jr
John Cena

1987. On the planet Cybertron, the war between sentient robots the Autobots and Decepticons has reached a critical point. The resistance members are forced to evacuate and B-127 is charged with scouting a new world to inhabit. Said world is Earth and upon his arrival, B-127 encounters a US military group in training, led by Agent Jack Burns [Cena]. In a fight with a decepticon that pursued B-127, most of Burns’ unit is wiped out and the alien refugee passes out, disguising itself as a Volkswagen Beetle. We are then introduced to teenage Charlie Watson [Steinfeld] who is still getting over the recent loss of her father. Awkward and rebellious, Charlie lashes out at her parents, doesn’t seem to have many friends and works a summer job that she hates. While working on her father’s car, she discovers the Beetle and convinces the garage owner to sell it to her. Learning of the Beetle’s true form and that he has no memory of who or what he is, Charlie names him Bumblebee and the two become friends.

Right off the bat, it is evident that Bumblebee is nothing like the Transformers fare that we have seen to date. From the premise to the quirky interaction, this film draws heavily on audience nostalgia for 80s films wherein a kid befriends a weird creature and goes on a crazy journey of self discovery and daring adventure, in the vein of ET, Flight Of The Navigator, Gremlins, etc. Keeping the threat small, tight and simple allows for an amazing and emotional fun energy to shine through that gives this release such a fresh feeling and coming in just over two hours, it’s a welcome break from the relentless three plus hour slogs that the other adaptations have been to date. What’s more, this grounded simplicity makes way for Charlie’s character to come to the fore, giving us a genuinely pleasant and relatable teen drama. Sure, it hits a lot of overly-trodden beats and veers into cliche territory on more than one occasion but another good recent comparison would be something like Spider-Man: Homecoming, which gave audiences the spectacle they were sold on and the heartfelt centre they weren’t expecting; but with Knight coming off the back of Kubo And The Two Strings, that’s hardly a surprise.

In truth, the writing flies in defiance of the world that Bay created. Gone is the hyper-sexualisation and cringeworthy dialogue and in their place we have legitimate family dynamics, honest comedy and relationships that form naturally and organically. But none of this would mean anything if its central star couldn’t channel a frustrated 18 year old who has recently lost her father and is trying to just get away from her life. Honestly, Charlie will feel familiar to so many teenagers and not in a Hollywood, romanticised way but as an authentic discontented young person. And this is largely down to Steinfeld who legitimately deserves so much more attention and praise for what she’s doing. Charlie is a fantastic, capable, intelligent and emotive female lead who feels like a real person rather than a caricature.

Again, in defiance of Bay, we have to talk about the redesigns. Ultimately, there are three main transformers: one hero and two villains. The designs are close to the original cartoon and the simple colour scheme makes them easy to distinguish who-is-who. I cannot tell you how much of a leap forward that is. With the camera largely still and the action clear, we can finally appreciate how astoundingly good these effects can be. The performance of the transformers is great and their physicality gives them so much personality. What’s interesting too, is that although the action is much simpler, the stakes feel higher. This is sort of similar to releases like Mission: Impossible – Fallout which gave audiences a taste of classic cinema where the threat feels real because it’s not 100% CGI. During one particular chase, a car slams on the brakes at a red light and so many vehicles stop inches before impact, leaving one to finally careen over the roof of the non-pile-up, making these near misses feel oddly surprising, defying our explosive expectations.

The film is, admittedly, far from perfect and it’s no Iron Giant as some will have you believe. It walks through some obvious tropes and the diving subplot is painfully predictable but it’s hard not to give these things a pass when considering how poor the previous films have been. Also, while I love the work of Dario Marianelli’s, his score lacks Steve Jablonsky’s pounding themes. Again, the softer tone reflects the film’s overall soft reboot direction but it also loses a bit of that memorability and presence.

In summation, this is a really pleasant, lively and satisfying release but if you had told me six months ago that a Transformers spin-off, which is also the sixth in the series, was the film we were all hoping for some twelve years ago, I sincerely wouldn’t have believed you. But now we’re here, I’m so very excited to see where this series can go now it’s finally got its proper debut.

Release Date:
21st December 2018

The Scene To Look Out For:
In the UK, our films open with a certificate from the BBFC, highlighting the film’s age rating and the various content warnings. To see this is the first Transformers film since the 80s to be rated PG, I was quite surprised. More surprising than that, was the level of violence they managed to get away with. While Bay’s use of violence was visceral and grimy, with street executions, there was a poetic martial arts to the fighting but it still resulted in robots being shot to death, cut in half and humans being liquified. That last bit is important. To date, humans have been killed in these movies and it always felt grimy and unnecessary but the way this is handled felt more like a cartoon and very much brought me back to the over-the-top but still family friendly execution of Men In Black and if these films had started with this tone, who knows how powerful this franchise could be now… I mean, it’s made billions, so it’s not like it’s doing that badly.

Notable Characters:
Charlie’s side-kick and co-lead is Memo, the nerdy guy who lives across the street from Charlie but has never had the courage to introduce himself. I’m very conflicted about this character. On the one hand, he’s a decent bit of comic relief and a nice-guy love interest for our lead. I also like that she keeps him at arms length because she’s not ready for a relationship and he respects that. But he’s also a six-pack-wielding hot guy with an amount of bravery and confidence that seems to bubble out of nowhere. I get why he exists, I just think he could have been written a touch better. Oh and I’d just like to add that while I’m fine with the whole ‘speaking through the radio’ thing, Dylan O’Brien was fantastic as Bumblebee’s actual voice. They need to bring him back.

Highlighted Quote:
“They literally call themselves Decepticons. Does that not send up any red flags?”

In A Few Words:
“If you’ve given up on Transformers films or never bothered to try one, this might be the film that changes your mind on the franchise”

Total Score:



Inspired By A True Friendship

Peter Farrelly

Viggo Mortensen
Mahershala Ali
Linda Cardellini

During the early 60s, Frank ‘Tony Lip’ Vallelonga [Mortensen] is working as a bouncer for a New York nightclub. As an Italian American, he has a past with organised crime but largely keeps out of it for his family’s sake. Either way, he’s a heavy and has a simple set of skills. We are then introduced to Don ‘Doc’ Shirley [Ali], an extremely talented pianist who lives above Carnegie Hall and needs a chauffeur to take him on an eight week tour of destinations in the deep south, who still have deep-rooted prejudices concerning African Americans. Tony reluctantly accepts the job and is given the Green Book (a guide to safe spots to stay, eat and drive for black tourists visiting the southern States). Along the way, there are distinct personality clashes between the refined and well-mannered Shirley and the abrasive but loveable Vallelonga.

I appreciate I’ve just summarised the plot but if you’ll humour me a moment, I would like to post two separate storylines to you. The first is about a highly educated African American musician taking a tour of venues in the deep south during the early 1960s. The second is about a fairly bigoted but charming Italian American who drives an artist through territory hostile to him. While both are compelling, one clearly stands out as the more interesting source for drama, tension, humour and poignancy. I would then ask which of those two individuals would you say is the lead character? And this is Green Book’s biggest flaw but we’ll come back to that properly later. The reason a lot of people won’t take issue with this is the performances, which are subtly spectacular. Both Mortensen and Ali have a wonderful amount of charisma and presence that shine throughout the film and from development to development, we not only want them to succeed but we actively want them to become close; much in the way audiences desperately will together a couple in a romantic comedy. As curators of lives, filmmakers that take on biopics or films “based on a true story” have a responsibility to authenticity and accuracy. Having said that, they also have a primary responsibility as entertainers to tell an entertaining and engaging story; after all, this isn’t a documentary. So what we end up with (for better or worse) are clear moralistic caricatures that work well. Sure, the script doesn’t go as far as it could to address the socio-political issues but it highlights enough to allow the co-leads to give us something compelling and heartfelt.

I have always maintained that the best source for dark performances or direction comes from those who have suffered it and try to deflect; in other words, comedians. A life in comedy is one that isn’t chosen lightly, especially if you actually have something to say, and tapping into whatever event or catalyst that prompted said coping method can yield some crushingly earnest performances. We’ve seen this recently with direction from people like Adam McKay who has stepped away from comedy to focus on cutting satire. Now, while the Farrellys have been heavily associated with visceral gross-out humour, there is also the presence of tremendous heart and a tendency to draw an understated focus to how we treat others – usually those with mental health issues. What’s more, directors who come from a comedy background usually know where the line is and have proven they can walk it deftly and that can give them an ability to address certain issues without going too far into the realms of saccharine, cliché or tedious. And while I think Peter Farrelly does this with reasonable skill, he also plays it too safe at times, shying away from some of the most important and powerful talking points; effectively avoiding the peaks and troughs to ensure a level experience.

Over the last few years I have noticed an uncomfortable trend in certain message pieces that breeds a very specific and identifiable formula. Scenes like cops pulling over minorities and mistreating them, black people who have tried to adapt to survive learning about contemporary African American culture from white people and discussions about foods associated with ethnicity are not without their historical merit but they do feel like they are fast becoming hackneyed (solely from a storytelling perspective) which in a way makes them dangerous because it can desensitise the very audiences the filmmakers are trying to educate. It also leaves this movie with an unfortunate summary of “I don’t like them black guys, don’t trust ’em” to “Hey, this black guy is my best friend, you treat him with respect.” Which, considering the script was co-written by Vallelonga’s son, has a bit of lop-sided rose-tinted hero worship. Having said that, while these tropes should be tired, they are still largely unknown for a lot of people, therefore still very important and the performances and direction hold throughout to ensure they play out with the desired well-intentioned effect. Admittedly, there is also an odd sense of closure and optimism by the end of the film. In one particular scene, a policeman pulls Don and Tony over and while we expect more intolerant attitudes, the officer shows genuine compassion and concern but this creates a false statement of “welcome back to the good ol’ tolerant North, where everything is perfect.” I understand why this is done from a narrative point of view but it paints an inaccurate portrayal and runs the risk of invalidating other stories; as if to imply everything worked out just fine. A good contrast is BlacKkKlansman which ends with a sobering contemporary comparison, highlighting that not only were these divisions not resolved back then, they still very much exist today. So for all its intentions and hopes, Green Book ends up less a cutting analysis of America’s past and more a reframing of white alliances by creating another Driving Miss Daisy.

But in spite of that scathing assessment and for all its faults, this film remains a very well-crafted feature but one that feels like it is pitching to a certain section of the audience, in an almost apologetic manner. Who knows? Maybe this is the best way to get through to people and if you can reach someone and make them assess their own attitudes and intolerances, surely that’s a positive step. But it is only a step into a much larger discussion that this film doesn’t really have the weight to hold.

Release Date:
1st February 2019

The Scene To Look Out For:
This is less a statement about a scene that is present but more about scenes that are absent. Cementing the skewing between the two leads, the movie opens with arguably arbitrary scenes of Tony stealing a hat to win a mob boss’ favour, winning an eating contest to make some extra cash for his family and his general uncultured manner with people. All of these serve to highlight the man’s wit, resourcefulness, resilience and desire to take care of his family, as well as his temper getting the best of him and his overall simple nature. But we are given next to nothing about Shirley’s character. In fairness, a lot of this is drawn out over the course of the film, allowing the audience to get to know the pianist as Tony does but even then, everything is shrouded and while that mystery is fine, it feels more like a failing in the scripting phase, rather than an intentional artistic choice.

Notable Characters:
Stepping away from the two leads for a second, the only other standout individual is Linda Cardellini as Tony’s wife Dolores. Again, this is a very clear-cut soft portrayal of a person who is mostly there as a cut-away rather than an actual, fleshed-out human. At the end of the day, she is there to notice and then vocalise the change in Vallelonga’s personality for the better and if I’m honest, Cardellini is wasted in a role that offers so very little.

Highlighted Quote:
“If I’m not black enough and if I’m not white enough and I’m not man enough, then tell me Tony, what am I?”

In A Few Words:
“An extremely enjoyable and charming release which falls short of being as poignant and insightful as it attempts to be”

Total Score:


Cinema City Film Quiz #228

[16 December 2018]

Winning Team:
Harold Langston

Runners Up:
John McClane
Billy Peltzer
Frank Cross
Ebenezer Scrooge
Scott Calvin
Kris Kringle
Clark Griswold
The Grinch
Kevin McCallister

ROUND I: Pre-Production
1. Scrooged is an adaptation of which novella?
2. How many The Santa Clause films have been made to date?
3. Who plays Ebenezer Scrooge in A Muppet Christmas Carol?
4. The following quote is from which film, “Long live Aslan and merry christmas”?
5. Which actors play the respective roles of Riggs and Murtaugh in Lethal Weapon? [one point per correct answer]
6. Who plays Santa Claus in Fred Claus?
7. Which Monty Python film features a nativity scene?
8. Christian Bale plays killer Patrick Bateman in which film?
9. What is the name of Will Farrell’s character in Elf?
10. What is the title of the 1976 horror film set at Christmas that is often labelled the first slasher film?

ROUND II: Filming [Christmas Special]
1. Which Iron Man film is set at Christmas? Iron Man? Iron Man 2? Iron Man Three?
2. Ghostbusters II is set how many years after the first film? 2? 5? 7?
3. What item brings Jack back to life as a snowman in Jack Frost? Hat? Harmonica? Crab?
4. What is the title of the Christmas movie featuring James Gandolfini and Ben Affleck as a wealthy executive who pays a family to pose as his family for Christmas? One Fateful Night? Surviving Christmas? Rent-A-Holiday?
5. Which of the following did not appear in Love Actually? Martin Freeman? Rodrigo Santoro? John Boyega?
6. What name is given to the lead in The Polar Express? Hero Boy? Lead Child? Christmas Kid?
7. The Family Man was released in which year? 1997? 2000? 2003?
8. How old is Ralphie Parker in A Christmas Story? 6? 9? 13?
9. The following quote is from which film, “You guys are nothing but a bunch of sleazy conmen in red suits. You heard me right. Conmen. Thieves. Degenerates. Low-lifes. Thugs. Criminals!”? White Christmas? The Christmas Chronicles? Jingle All The Way?
10. Julia Roberts, Goldie Hawn, Jane Seymour and Diane Keaton were all considered for the role of Catwoman in Batman Returns. True or False?

ROUND III: Post-Production
1. What are the three rules of caring for Mogwai in Gremlins? (one point each)
2. How many years passed between the release of Bad Santa and Bad Santa 2?
THIRTEEN (2003 – 2016)
3. Which Stanley Kubrick film features Christmas decorations in almost every scene?
4. What is the title of the Christmas film that stars both Danny DeVito and Matthew Broderick?
5. What did Clark forget when fetching a tree in National Lampoon’s Christmas Vacation?
6. The following quote is from which film, “I know I didn’t mean to but because of the choices I made, and the course that I put into action, that little boy isn’t here anymore, and he’ll never be here again”?
7. Boris Karloff, Jim Carrey and Benedict Cumberbatch have all played which character?
8. What type of pizza does Kevin order in Home Alone?
9. The following is the poster tagline for which Christmas film, “His father, her mother, his mother and her father, all in one day”?
10. What is the name of Jack Skellington’s dog, in The Nightmare Before Christmas?

ROUND IV: Promotion & Release
1. In Arthur Christmas, how big is S-1 (Santa’s high-tech sleigh)? 100 feet? 50 metres? 1 mile?
2. While it’s never made expressly clear, Christmas With The Kranks features a scene with the real Santa Claus selling what? Mops? Toe Rings? Umbrellas?
3. Rare Exports is set in which Scandinavian country? Finland? Sweden? Norway?
4. What is Winona Ryder’s character’s name in Edward Scissorhands? Kim? Kerry? Kat?
5. Which king does Peter O’Toole play in The Lion In Winter? Richard I? Henry II? George III?
6. The following quote is from which film, “You’re the wrong guy in the wrong place at the wrong time”? Die Hard? Die Hard II? Trading Places?
7. In Kiss Kiss Bang Bang, in a case of mistaken identity Harry (played by Robert Downey Jnr) accidentally auditions for a role in a film that ends up going to which actor? Mark Wahlberg? Chris Evans? Colin Farrell?
8. In what year was Brazil released? 1982? 1985? 1987?
9. Which of the following films is set at Christmas? Crash? Vera Drake? Mississippi Burning?
10. 1947’s Miracle On 34th Street was released in the UK as The Big Heart. True or False?

Screenshots: Eastern Promises / Just Friends / Go / Tokyo Godfathers
Poster: Santa Claus: The Movie
Actor: Jack Lemmon

1. Nightmare Before Christmas / Danny Elfman / 1993
2. Gremlins / Jerry Goldsmith / 1984
3. Batman Returns / Danny Elfman / 1992
4. Elf / John Debney / 2003
5. Home Alone / John Williams / 1990
6. Love Actually / Craig Armstrong / 2003
7. Lethal Weapon / Michael Kamen / 1987
8. The Muppets Christmas Carol / Miles Goodman / 1992
9. The Polar Express / Alan Silvestri / 2004
10. It’s A Wonderful Life / Dimitri Tiomkin / 1946

John McClane
George Bailey
Frank Cross
Howard Langston
Kevin McCallister
The Grinch
Clark Griswold
The Conductor
Scott Calvin
Ebenezer Scrooge
Kris Kringle
Jack Skellington
Ralphie Parker
Billy Peltzer


Home Is Calling

James Wan

Jason Momoa
Amber Heard
Patrick Wilson

The film opens with a healthy dose of backstory, detailing the origin of Arthur Curry [Momoa], also known as Aquaman. As a son of a lighthouse keeper and the queen of an underwater kingdom, named Atlantis, he has specific powers and abilities. One year after the events in Justice League, Arthur stops a group of pirates hijacking a Russian nuclear submarine. Well, he doesn’t exactly stop them but that’s a whole different review. Soon after King Orm [Wilson] meets with fellow monarch to discuss uniting the ocean for a fight against the surface when they are attacked, cementing the alliance. Meanwhile Princess Mera [Heard], Orm’s fiancée, contacts Arthur and sets him on a quest to discover the ancient Atlantean king’s trident and stop the impending war.

The first thing that is immediately obvious is that this film stands out from the other DCEU films. Each release has had a very distinct directorial vision, which has admittedly led to a bit of a lack of continuity in character portrayal, but Wan unabashedly leaning into the fantasy elements is one of this movie’s strongest spokes. Much like Marvel’s Thor or Guardians Of The Galaxy movies, the unique production design and colour palate not only offers audiences something new but takes a nice step away from the dour, desaturated self-importance of the other features. But coming from a horror background, Wan has limited experience filming direction and this often leads to unfortunate repetition. Case in point, all the major fight sequences suffer from an overuse of a spinning one-shot in a single box location, which breeds familiarity and tedium. The fights themselves are nicely choreographed and well performed, with the CGI largely holding up but it leaves everything feeling a touch uninventive. Having said that, there’s a very strong visual presence at work here, offering up some truly impressive shots. One that stands out (and was used in the trailer, so is hardly a spoiler) is the semi-submerged cross-section as Arthur and Mera dive into the depths of the ocean as a storm rages overhead. Almost everything is pitch black bar the penetrative light from the flare in Arthur’s hand, revealing the swarms of snarling beasts of the trench that are descending upon them. It’s genuinely art; the kind of splash panel one sees in a comic and immediately floors you with its sense of scale and severity of the situation. But regrettably, most of the CGI will age horribly due to the cartoonish lack of realism, veering into full-on video game cut-scene territory. Stepping away from the visuals for a second, the sound design is fantastic, creating an interesting underwater soundscape but the score is an altogether different beast. The music used throughout is a curious mix of the kind of themes set up by Hans Zimmer – riffing guitars and soaring strings – and digital synths, like a mix between Blade Runner and Mass Effect. Being Rupert Gregson-Williams, one of Zimmer’s many protégé’s this is hardly surprising.

From the very get-go it is evident that this movie is incredibly self-aware. They know very little is known about the Aquaman lore, they realise that fish people are a hard sell and they know all too well what this film needs to achieve and its star is. After a fairly large helping of flashback exposition, have the scene aboard the submarine, re-introducing us to the adult Momoa. If you’ve seen the trailer, you’ve no doubt seen this shot. Arthur drops down, facing away from the camera, flicks his hair back before rippling his muscles and sultrily grunting “Permission to come aboard.” And the thing is, it works because in my screening a lady three-or-so rows back was unable to contain herself and let out a disturbingly primal, “Oh.. yes!” Which, if you’ve ever watched a film with a British audience, you will know is pretty unorthodox. But unlike his appearance in Justice League, the bro machismo has been toned down, or somewhat refined at least. The abrasive, obnoxiousness has been traded out for a more subtle confidence and the conflicting motivational drive feels earned rather than simply petulant. As odd as it will sound (and I am fully prepared for blowback on this), it almost feels like Momoa is trying to channel Brandon Lee. For those who don’t know, Lee’s most well-known feature is The Crow, the production that he died on due to an on-set accident. But if we strip away the broody goth nature of that vengeance tale and simply focus on the wise-cracking bravado and arrogance of The Crow’s action scenes, the persona is very similar to how Arthur Curry is portrayed here. Unfortunately, every other character has the fairly daunting task of selling underwater fish people as a serious conceit. Acting as Aquaman’s side kick is Princess Mera, with Amber Heard returning to the role. In all honesty, there’s very little to the character, she has a bit of agency (more so than Arthur who is far from proactive) but her character is rather two dimensional and boils down to essentially the fish-out-of-water tropes – I’m not even going to acknowledge the pun there. The central opposition is King Orm and while I respect Wilson’s dedication to the craft and commitment to the performance, his character is very generic. As the lead’s half-brother, hell bent on conquest with a prejudice to the “surface world” inherited by his father and the knowledge that his mother died because of his half-breed half-brother, he’s pretty standard bad-guy fodder. But amidst the moustache-twirling, posturing and incessant yelling, Wilson manages to salvage a sizeable amount of credibility.

As energetic and fun as the direction is and as over the top and enjoyable as the performances are, the script is a particularly flat component. Sure, the main treasure hunt story is perfectly serviceable and the warlike machinations of the reigning king are somewhat interesting but the dialogue is just abysmal and the story follows a very predictable beat-by-beat formula. A prime example is the love story between Arthur and Mera which is painfully sophomoric in its execution. And yet while the starting point and the final destination are exactly where one would expect, the pleasing morsels along the way make the journey feel oddly worth it.

Release Date:
14th December 2018

The Scene To Look Out For:
Far too many recent superhero films stride into a third act conflict with their lead villain opening a portal (preferably blue) above a city and fighting waves of disposable infantry. Aquaman defies expectations by doing things a little differently. When discussing Orm’s motivation, the film a people furious with the pollution of the ocean by mankind. Such an eco-message could come off as campy and a bit Captain Planet but owing to how it is handled and the fact that we are under constant threat from climate change, this works as decent motivation and generates point of sympathy toward the Atlanteans. All of which builds to an all-out Lord Of The Rings style battle which is genuinely quite a stunning sight to behold. Either that or there’s a scene with an octopus playing drums! That’s some Little Mermaid shit right there and this movie has zero qualms including it front-and-centre.

Notable Characters:
I don’t think it would be entirely fair to say that Aquaman suffers from too many villains but a lot of the characters do feel underdeveloped. Black Manta is a tricky one as there is both too much and too little of him. He has his origin in the first act, he squares off against Arthur in the second and reappears mid-credits to set up a sequel but he never really poses much of a threat to Aquaman and feels like a bit of an afterthought whose quest for conflict with Arthur is an unrequited one.

Highlighted Quote:
“A king fights only for his nation. You fight for everyone”

In A Few Words:
“Aquaman is bombastic ridiculousness but precisely because it’s bombastic ridiculousness is why it’s the DCEU’s second best film to date”

Total Score:


Cinema City Film Quiz #227

[02 December 2018]

Winning Team:
The Departed Wolf Of New York On Aviator Island
Genre – All bases covered

Runners Up:
Gang Bangs Of New York
Genre – Leo DiCaprio navigates the underbelly of 19th century New York, getting into hilarious sexual escapades looking for Willy the Butcher
Two Distinguishable Strangers
Genre – Erotic thriller
The Derp-Arted
Genre – Comedy
Street Shiter III
Genre – Reasonable sequel
The Wolf Of St Stephen’s Street
Genre – A man descends into a hell of hard partying after buying Playstations from Argos and selling them to CEX for profit
Genre – Comedy

ROUND I: Pre-Production
1. Ben Stiller first played Derek Zoolander in which film?
2. What colour is Shrek?
3. In which film did Charlton Heston play Moses?
4. Who directed True Lies?
5. A Good Year, Les Miserables and Gladiator all featured which actor?
6. In Aladdin, Jafar’s staff depicts the head of which animal?
7. Ethan Hunt is the main character in which film series?
8. Who are the two lead characters in The Notebook played by? (one point per correct answer)
9. Which actor has played Moses, Batman, Doc Holliday and Jim Morrison?
10. American Beauty was released in which year?

ROUND II: Filming [DiCaprio/Scorsese Special]
1. What is the name of Leonardo DiCaprio’s character in The Wolf Of Wall Street? Patrick Denham? Donnie Azoff? Jordan Belfort?
2. The Departed was released in which year? 2002? 2006? 2010?
3. Who plays Leonardo DiCaprio’s character’s father in Gangs Of New York? Brendan Gleeson? Liam Neeson? Jim Broadbent?
4. Which of the following did not appear in Shutter Island? Mark Ruffalo? Max Von Sydow? Michael Caine?
5. Who composed the score for Gangs Of New York? Marco Beltrami? Trevor Rabin? Howard Shore?
6. Which actress does Gwen Stefani portray in The Aviator? Mae West? Fay Wray? Jean Harlow?
7. Which of the following made the most at the box office? The Aviator? Gangs Of New York? The Wolf Of Wall Street?
THE WOLF OF WALL STREET (TWOWS $395mil, TA $215mil, GONY $195mil)
8. Who kills Colin Sullivan at the end of The Departed? Captain Ellerby? Billy Costigan? Sean Dignam?
9. What is the last line Howard Hughes repeats at the end of The Aviator? We’ll remember in future? The way of the future? Look ahead to the future?
10. Shutter Island and the novel its based on were named thusly because of the anagram it forms. True or False?
TRUE (Truths And Lies)

ROUND III: Post-Production
1. In Reservoir Dogs, the six criminals are given aliases. Name them. (one point per correct answer)
2. The following quote is from which film, “It’s money and adventure and fame. It’s the thrill of a lifetime and a long sea voyage that starts at six o’clock tomorrow morning”?
3. The following is the poster tagline from which film: “The new hero from the creators of Jaws and Star Wars”?
4. Dr. Frederick Chilton is the head of a psychiatric facility for the criminally insane in which film?
5. What was George Clooney’s first voice acting role?
6. What is the name of John Hammond’s genetic engineering company in the first three Jurassic Park films? [bonus point for naming the company that became the sole proprietor as of Jurassic World]
IN-GEN [Masrani Corporation]
7. What is the title of the 7th James Bond film?
8. Of the many celebrities Forrest Gump meets, who is the first?
9. Only one of the cast members appears on the poster for Scream, which one is it?
10. The Elephant Man, Rob Roy and King Ralph all starred which actor?

ROUND IV: Promotion & Release
1. Which of the following films was not scored by Hans Zimmer? Look Who’s Talking? Cool Runnings? Thunderbirds?
2. The T-Birds is made up of how many members, in Grease? 5? 7? 8?
FIVE (Danny, Kenickie, Doody, Putzie, Sonny)
3. What is the name of the male Dalmatian in One Hundred And One Dalmatians? Bingo? Pongo? Rango?
4. Point Of No Return, starring Bridget Fonda, was a remake of which Luc Besson film? Angel-A? Nikita? The Big Blue?
5. What type of animal comes out of the board game when Judy and Peter roll a 5, in Jumanji? Mosquitos? A lion? Monkeys?
6. Who directed the 1994 release, Heavenly Creatures, starring Kate Winslet and Melanie Lynskey? Kenneth Branagh? Jane Champion? Peter Jackson?
7. What is the name of the title character in The Time Traveller’s Wife? Lucy? Michelle? Clare?
8. Blondie, Tuco and Angel Eyes are the lead characters in which film? The Good, The Bad & The Ugly? A Fistful Of Dollars? For A Few Dollars More?
9. Which actor was the first choice for Doctor Emmett Brown in Back To The Future? Steve Martin? John Lithgow? Oliver Reed?
10. Orson Welles insisted on wearing fake noses in many of his films, most of which the role did not require it. True or False?

Screenshots: The Matrix Revolutions / Ali / Girls Trip / Collateral
Poster: Menace II Society
Actor: Jada Pinkett Smith