Author: Vue Cinemas

Film ReVue: Steve Jobs

By on 7th December 2015in Entertainment, Film & TV

Vue Cinema’s Gary Prior shares his thoughts on Danny Boyle’s big-screen character study of the man himself, Steve Jobs…

“How come, ten times in a day, I read ‘Steve Jobs is a genius’? What do you do?”

Based on the book by Walter Isaacson, Director Danny Boyle and Screenwriter Aaron Sorkin bring an interesting, dialogue-driven movie that explores Apple’s co-founder, visionary and entrepreneur: Steve Jobs.

Beginning in 1984 and concluding in 1998, the film is set around three major product launches (Apple Macintosh, the NeXT Computer, and the iMac), and takes us behind the scenes to hear conversations held by Steve Jobs, and focuses on the relationships with his daughter and key Apple figures, including co-founder Steve Wozniak (Seth Rogen).

 

The interesting thing about Steve Jobs is that it doesn’t follow the standard biopic formula. Most would follow the ‘greatest hits’ of the subject’s life, but this steers clear of the obvious milestones, and instead focuses on a look at how Jobs’ mind worked. In that sense, it’s less a biopic and more of a character study.

Every actor brings their A-game to this movie. Starting from the top, Michael Fassbender as Jobs himself doesn’t disappoint, and the role perfectly highlights his versatility as an actor. You really get a feel for how passionate Jobs was about the technology he was attached to, and how indifferent he was to the opinions of those he worked with.

With supporting roles from Kate Winslet, Seth Rogen, Jeff Daniels, Katherine Waterston and Michael Stuhlbarg, the film feels like a masterclass in acting. It’s not surprising that there’s Oscar buzz.

Even though Steve Jobs is dialogue based, it deserves credit for how much pace and energy it has. A dialogue heavy movie can often be hard work to sit through, but thanks to the brilliant writing of Sorkin, noted for The West Wing and The Social Network, and the directing style of Boyle – Slumdog Millionaire, 28 Days Later – this holds up as exciting throughout. The confidence they had to bring this version of Jobs to the screen should be applauded, and not unfairly criticised for not sticking to the traditional biopic formula.

 

Famous for his unique writing style, Sorkin employs his usual intense and emotional dialogue, while retaining with and a very real human element. Meanwhile, Boyle shoots each of the three product launches in different formats (16mm, 35mm, and digital), making it feels as though we’re moving closer to Jobs’ final technological vision with each passing scene.

It’s a shame this movie hasn’t received much commercial success or positive feedback in the US, but if you’re even mildly curious in the man behind our beloved Apple products, it’s worth checking out before it’s off the big screen.

Our Steve Jobs review was written by Vue Cinema’s Gary Prior. For more information on the latest cinema releases, or to book tickets, visit www.myvue.com.

Click here to book tickets for Steve Jobs.

Film ReVue: The Good Dinosaur

By on 2nd December 2015in Entertainment, Film & TV

Vue Cinema’s Ivan Davison shares his thoughts on Pixar’s pre-historic family offering…

With its latest animated film, Pixar has continued their winning format. It’s one that combines staggeringly impressive CGI visuals, family friendly humour, and a heartfelt coming-of-age story for all ages to enjoy.

Following on the heels of one of this summer’s biggest blockbusters, Jurassic World, Pixar has dipped its toes into the world of prehistoric creatures. After setting the bar (extremely) high with July’s Inside Out, the team behind The Good Dinosaur have crafted a story that’s simpler than its predecessor, but no less enjoyable.

The film is set in an alternate timeline, in which the fateful meteor has missed earth completely, leaving the dinosaurs to roam free. Skip ahead a few million years, and we meet Arlo, an Apatosaur, who lives with his family on a mountain range farm.

Arlo, the smallest of his three siblings, struggles to find his place in the family’s dynamic, but finds an unlikely friendship with a young caveboy. What follows is a fast paced, but heartwarming tale of mutual dependance, complimented by vast and stunning landscapes.

 

A cast of loveable and memorable characters is brought to life by some terrific voice performances, the highlight being Sam Elliot’s role as father to a group of Tyrannosaurus Rex’s. His grizzled cowboy twang lends itself perfectly to the role, and one of the film’s most heart-wrenching moments comes as he shares his own sombre tale.

But The Good Dinosaur’s greatest strength comes from its stunning visuals. The world on screen is rendered in such a photo-realistic way that it becomes hard to comprehend just how far Pixar’s technologies have come since they first captured our imaginations with Toy Story. The landscape is enormous, and even a host of dinosaurs appear small and out of their element in such fully-formed openness.

While not as complex a concept as Inside Out, The Good Dinosaur sees Pixar still on fine form, and uses its simplicity to tell a story of friendship, family, adventure and loss that we can all relate to.

As is common with Pixar’s releases, a short animated film plays before the main feature, and this time we’re treated to Sanjay’s Super Team. I recommend heading to the cinema early to catch it. Although very different from Pixar’s usual output, it’s perhaps one of the most personal and original Pixar shorts we’ve ever seen.

Our The Good Dinosaur review was written by Vue Cinema’s Ivan Davison. For more information on the latest cinema releases, or to book tickets, visit www.myvue.com.

Click here to book tickets for The Good Dinosaur.

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Film ReVue: Bridge Of Spies

By on 30th November 2015in Entertainment, Film & TV

Vue Cinema’s Olly Cobb shares his thoughts on Steven Spielberg’s new Cold War drama, starring Tom Hanks and Mark Rylance…

Based on true events, Bridge of Spies follows the trial of Rudolf Abel (Mark Rylance), a Soviet spy captured working in New York in 1957. Main protagonist James Donovan (Tom Hanks) is the American councillor tasked with defending Abel, but finds himself caught in the midst of the Cold War.

As is to be expected from ‘Triple-A’ blockbuster titles, Bridge of Spies delivers a believable and accurate window to the past. Scenes set on the Brooklyn streets (and later in East Berlin) are astonishing, and the 1950s attire and deco is wonderfully nostalgic.

Spielberg has tried (and succeeded) to place his characters into an immersive world, but it does – on occasion – only serve to distract from the moments when the script falls flat.

Spielberg’s actors, however, aren’t quite as perfect as his world. Tom Hanks delivers a convincing performance, and proves yet again that he’s an extremely competent actor, but perhaps past his best. Here we have yet another Spielberg movie in which Hanks’ character is the black sheep.

 

Thankfully, Rylance’s performance is extremely refreshing. When Abel is incarcerated, he is asked why he isn’t alarmed by the prospect of the death penalty, to which Abel simply replies “Would it help?”

The supporting cast is solid, but there is a lack of development seen in Donovan’s family and peers, especially his wife who appears frequently but is uninteresting. The American authorities in this movie (in particular the C.I.A) seem to be the standard impatient, patriotic men who fit the ‘Cold War Criteria’ nicely.

As for moments of intense drama, there’s a light spattering. The courtroom scenes are brief and tedious, but excitement kicks in as Hanks makes his way through East Berlin. It’s engaging and beautiful, and the climactic exchange on the Glienicke Bridge is a superb, well-crafted cinematic moment. It’s just a shame that there weren’t more scenes like this.

 

Suffice to say that Bridge of Spies is visually fantastic, and there are moments of excellence from its leading actors, but these days watching a Spielberg movie is a lot like going to a museum. You don’t necessarily go for the thrill, but for the experience. Bridge of Spies falls into the same trap as 2012’s Lincoln, in that a predictable plot hides behind beautiful set design and a star-studded cast.

We can forgive it for not being particularly rewarding, but one hopes for Spielberg’s return to making less ‘grown up’ movies. Nevertheless, the Academy will likely try to give Bridge of Spies an Oscar, to which I ask… would it help?

Our Bridge of Spies review was written by Vue Cinema’s Olly Cobb. For more information on the latest cinema releases, or to book tickets, visit www.myvue.com.

Click here to book tickets for Bridge of Spies.

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