As long as Christopher Nolan continues to exist, do we really need Steven Spielberg any more? Ol' King Noles is doing a darn fine job of delivering mega-bucks events movies with small and personal stories at the core; gigantic, universe-expanding motion pictures anchored by daddy issues, the kind which Beardo used to smash out on a regular basis. Interstellar is the latest Chris Nolan project to take a leaf out of Spielberg's playbook - once upon a time it was a Steven Spielberg project after all - and it bears the hallmarks of both directors: it's an ambitious, challenging sci-fi that takes one small step for blockbuster cinema but ultimately remains accessible to all. All the talk of Kubrick and 2001 is light years off the mark: Interstellar is the kind of space odyssey that has only shameless, monolothic entertainment on the agenda.
Let me tell you straight off, I'm not really a 'theatre person'. I'm exactly the sort of philistine who would probably walk out of a matinee showing of The Mousetrap at The Windmill if the concessions stand was closed. The last thing I saw in a theatre was Spider-Man: Turn Off The Dark. The time before that was The Woman In Black, but only because I knew it was considered exciting enough to be made into a film. The time before that was probably Garfield: Live!, although to my credit, I was about six at the time (even so, I still remember being terrified of Garfield's perennially glassy, non-blinking eyes and fixed, rictus grin. Maybe I caught him on a Monday).
Me, I've always been a fan of Christopher Nolan more than I have Batman. Don't get me wrong, I was wowed by the reinvention of Batman Begins and the wallop of The Dark Knight, but I'll always choose the sleight-of-hand of The Prestige or the cerebral jolt of Inception given the choice. The Dark Knight Rises is a stunning piece of work, gigantic in scale with hugely ambitious themes, but Nolan's contribution to the Batman legacy – and indeed the superhero genre as a whole – is to make these films more about the men behind the masks than the heroes they portray: the guys who make the magic happen.
After the jump is the latest trailer for The Dark Knight Rises, with absolutely no insight or humourous comment attached. Just the trailer and a few words either side. It's really good. You should watch it.
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Having read, loved and wept over One Day: The Book, I am not qualified to review One Day: The Movie. At least, not fairly. As is the way with most books adapted to film, viewers that have read the source material bring their own baggage to the screening, meaning it's almost impossible to be objective. David Nicholls' novel forged such a powerful connection to its characters, so even though the author wrote this adaptation himself, I couldn't help but feel the film was lent shades of colour by the book; colour that simply doesn't exist on the screen. I projected 435 pages of joy onto a film that probably didn't deserve it.
Those bloody Orange adverts have a knack of putting me right off the films they promote, making me judge them months before they're released. Just read my Gulliver's Travels review for proof (although it didn't help that that actually was complete arse). I was well-prepared to dislike Rio on the basis of that God-awful phone ad. Well, don't I feel like a fool...