EARLY NOV NOV 15TH
Midway Sorry We Missed You The Aeronauts Luce The Good Liar The Irishman
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Le Mans ’66 SES A Last Christmas E L RE IRISH Little Monsters IN EMAS Marriage Story CIN The Report Someone, Somewhere
OPENING IN DEC
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Frozen 2 21 Bridges Blue Story Harriet Them That Follow A Dog Called Money
NOV 29TH
Charlie’s Angels The Nightingale Knives Out (Nov 27th)
Jumanji: The Next Level Motherless Brooklyn The Last Right Black Christmas Cats Little Women Spies In Disguise Star Wars: The Rise Of Skywalker
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FROZEN 2
LAST CHRISTMAS
In Cinemas : Nov 22nd Directors : Chris Buck & Jennifer Lee Cast : Idina Menzel, Kristen Bell
In Cinemas : Nov 15th Director : Paul Feig Cast : Emilia Clarke, Henry Golding, Michelle Yeoh
Released in 2013 Disney’s ’Frozen’ has become a cultural phenomena, not only did it break box office records, it also won Oscars for best song and best animated feature. This month the hugely anticipated sequel flows into Irish cinemas, Elsa must embark on a journey to discover the root of her powers and save the kingdom of Arendelle. Are you ready to ‘Let It Go’ all over again?
The director of ‘Bridesmaids’ brings us this new romantic comedy that features the music of singer George Michael, including "Last Christmas" and previously unreleased tracks. Emilia Clarke plays Kate, a continuously unlucky woman, who accepts a job as a department store elf during the Christmas holidays.
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S In Cinemas : Nov 22nd Director : Brian Kirk Cast : Chadwick Boseman Produced by ‘The Avengers: Endgame’ duo, the Russo Brothers, ’21 Bridges’ sees an NYPD detective (Chadwick Boseman) shutting down every exit to Manhattan in order to find out who murdered eight cops in one location. But the more he digs, the more he starts to suspect things aren’t as they seem.
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In Cinemas : Nov 29th Director : Jennifer Kent Cast : Aisling Franciosi, Sam Claflin The director of the acclaimed horror film ‘The Babadook’, returns with this shockingly brutal tale of revenge set in Australia in the 1800s. IrishItalian actress Aisling Franciosi plays a young Irish convict hunting for a soldier who destroyed her life.
MOTHERLESS BROOKLYN In Cinemas : Dec 6th Director : Edward Norton Cast : Edward Norton, Alec Baldwin, Willem Dafoe Twenty years in the making, ‘Motherless Brooklyn’ is a longtime passion project from Edward Norton who directs and stars in this film noir based on a 1999 novel by Jonathan Lethem. Norton plays Lionel Essrog, a detective suffering from Tourette’s Syndrome who gets tangled up in a strange and twisted case.
THE LAST RIGHT
In Cinemas : Dec 6th Director : Aoife Crehan Cast : Michiel Huisman, Niamh Algar, Brian Cox, Samuel Bottomley, Colm Meaney
This comedy-drama road movie from Irish director Aoife Crehan tells the story of Daniel Murphy (Michiel Huisman) who’s left in charge of the corpse of someone he never knew. He’s persuaded to take on the challenge of bringing the body from his home in West Cork to Rathlin Island, the northernmost point of Northern Ireland.
LE MANS 66
CHARLIES ANGELS
In Cinemas : Nov 15th Director : James Mangold Cast : Christian Bale, Matt Damon
In Cinemas : Nov 29th Director : Elizabeth Banks Cast : Kristen stewart ,Naomi Scott, Ella Balinska
Based on the true story of Ford’s attempt to build a car to beat Ferrari at the 1966 ’24 Hours of Le Mans’ car race in France. This biographical drama stars Christian Bale as automotive visionary Carroll Shelby and Matt Damon, who plays his British driver Ken Miles.
Kristen Stewart, Naomi Scott, and Ella Balinska are the new Angels in Elizabeth Banks‘ new version of the beloved spy franchise that found cult status as a hit 70s TV show. This time, the Angels are international private eyes upping the stakes and the action.
PRODUCED BY THE VISIONARY DIRECTORS OF AVENGERS: ENDGAME IN CINEMAS NOVEMBER 22 IN CINEMAS NOVEMBER 22
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The idea for the film came from your director of photography George Steel? Yeah! Well.. He heard a snippet of the book (Falling Upwards) on the radio and he thought ‘Wow, that could be a great film… wouldn’t it be great to shoot a whole movie in the sky and what visual possibilities that could bring’… Then, I went and bought the book and I read it - that book is a compilation of some of the most remarkable balloon flights ever. I realised that actually there are so many extraordinary things that happen on these flights that you could take some of a number of different ones and combine them and you would have a wealth of material to make a film.
what’s not so there’s lots of blurring between the two. But also we did a lot of helicopter filming of clouds as well. You changed one of the characters from real life balloonist Henry Coxwell to a fictionalised widow heroine Amelia Wren. Can you explain how that came about? James Glaisher was a meticulous scientist, his pilot at the time was Henry Coxwell and they didn’t really speak very much, they just took a measurement every second or so which is admirable and brilliant but just not the greatest piece of cinema necessarily. So I read some of the other stories and realised that actually there are so many extraordinary things
'The Aeronauts' is a visually stunning historical mishmash of several famous balloonists from the early days of man’s attempts to conquer the skies. Director Tom Harper talks to us about shooting in the sky and combining several real life events into one narrative. The majority of the film was shot in an actual balloon in the sky, with just minimal CGI, can you tell us about that? We built a great big enormous... real life… mammoth… balloon… and put the actors in it and sent them up. And did some filming (laughter). I was in a helicopter. We did some stuff on drones actually, we did some stuff in a helicopter, we did some stuff up there with them. For an audience I think it helps the fact that throughout the film there are lots of shots that are real so you never quite know what’s real and
that happen on these flights, that you could take a number of different ones and combine them and you would have a wealth of material to make a film. But then, if you’ve got two actors in a basket essentially for 90 minutes, and you’re telling this story in real time admittedly with a few flashbacks but primarily in the basket, how can you make this character relationship as interesting as possible and there’s this other Aeronaut who flew before James, Sophie Blanchard (who was the basis for Amelia Wren, the character played in
the film by Felicity Jones). She was really extraordinary and she was sort of flamboyant and provocative and a bit of a wild card and we thought if you put the two of those very different characters into a confined space together... that’s drama. When did you decide on your two leads Eddie Redmayne and Felicity Jones? We didn’t really have anyone in mind when we were writing the script, but I thought of all my favourite actors to play these roles, who would be most right and at the top of my James Glaisher list was Eddie Redmayne and at the top of my Amelia Wren list was Felicity Jones and I wondered if it was going to be a problem because they have relatively recently worked together and maybe they wouldn’t want to make that choice again but firstly that shouldn’t stop us from going for the best people for the job, and secondly I know they had a good time working on the movie, they’ve clearly got great chemistry.
Was there temptation to create a romance between the two? Only from myself actually. And the actors maybe. We did actually shoot an ending where they did kiss. The truth is that you never really know what you’re going to feel in the film or what options you’re going to need until you get back in the edit and you take stock and you look at it altogether. In truth, it was ten minutes to do another version and then you’ve got it and then if you do think oh we do need that it does save you a quarter of a million quid to go back and do it again. That’s an expensive kiss Yeah exactly! We all knew that that wasn't the right ending. It felt too soon because actually the whole film is in real time & it’s nice to leave it open ended. I mean I’m a romantic and I like to think that they get eventually together but that’s open to interpretation. Maybe they just remain friends and they continue flying together but that’s just up to the viewer. Interview by AJ O'Neill
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SORRY WE MISSED YOU Interview WITH WRITER Paul Laverty
You have tackled many social issues over the years, why did you decide now was the time to tell the Turner family’s story? People like our couple in the film are the working poor. Ricky is tied to an app that controls his working day, Abby is tied to a zero-hour contract and their life is complicated by being of an age that meant they were caught up in the economic crash. They weren’t able to get on the property ladder. Now they are 40 and they are stuck in the rental system where there is a shortage of properties and
From director Ken Loach & writer Paul Laverty SORRY WE MISSED YOU tells the story of Ricky and his family who have been fighting an uphill struggle against debt since the 2008 financial crash. The film is a powerful exploration of the contemporary world of work and the gig economy.
rent costs are high. Everything conspires against them and makes life hard for their family. What’s the point of work if it doesn’t let you support your children? We want to explore in intricate detail the effects this has on a family. You have a teenage boy, a little girl, a mum and a dad and we see how modern life treats them. We see what it’s like when trade unions don’t exist and everyone is ruled by technology – like Ricky who can’t work without an app, and Abby is constantly being contacted on her phone. We
explore how language changes – Ricky is no longer an employee. He is an owner, driver, franchisee. It sounds great at the start, but it means all of the risks are on you. They sell you a story of being able to work and be your own boss but the reality is different. Research is a massive part of your process and you didn’t just talk to van drivers for this film; you went out with them on delivery rounds. You can’t copy a screenplay from the street. If you want to tell someone’s story you have to
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fully understand them and their job and the processes they go through. Real people give you the ammunition to tell their story. It was harder to find people willing to talk than it was for “Daniel Blake”… I saw how tired they were after 10 hours or more of driving. Their backs were bad, their eyes were wrecked from concentrating on the road for all that time. I was with a driver when we almost got into a car accident. It was early in the morning and he was able to swerve to avoid a crash. The drivers all want to be in first in the depot to load
up, the first to load up have the most time on the road to deliver so there are drivers who sleep in the car park outside their depots. Drivers don’t have the time to go to the toilet so they are going in bottles in the van. They are under massive stress. 'I, Daniel Blake' was the welfare system, this is the effect of zero contracts on family life, is there any other one film in the works that would make it a trilogy of sorts? There are so many more stories we
could tell, but it depends on Ken (Loach). He is 83 now. I imagine most people would want to be retired by the time they hit their 80s. What keeps him going? He is nourished by the people around him. He has great curiosity; he is intellectually very sharp; he is very alive and has great energy... He is so engaged with the world and has such a drive. Making a film isn’t easy. There is much more to it than people see. Interview By : Cara O'Doherty
While director Rian Johnson might be best known as director of ‘Star Wars: The Last Jedi’, he’s always had a flame for a cracking good mystery. His debut as a writer/director was the witty and inventive ‘Brick’, which transferred a classic film noir to a modern Californian high school. And even as he went on to direct blockbusters, he dreamed of S MA dragging a classic parlour-mystery E CIN V out of the past into the dizzying N I social complexities of 2019. NO th For ‘Knives Out’ he has assembled an all-star cast including Daniel Craig, Toni Collette, Jamie Lee Curtis, Ana de Armas, Chris Evans, Don Johnson, Michael Shannon, and LaKeith Stanfield, in this intelligent whodunit about a famed southern detective (Craig) who joins forces with local police to investigate a group of eccentric suspects following the murder of a wealthy crime novelist (Christopher Plummer). “I wanted this to be a really fun, modern movie full of clues and complications and also family dynamics,” explains the director, but where many largescale whodunnits
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are populated with one-dimensional characters, Johnson wanted to do the opposite. He decided to start with a cast of characters who are startlingly real, each part of a modern, sprawling, messy family navigating today’s social, political and class divides. At the same time, Johnson set out to follow a classic tradition: that of exploring shifting social relations from within the maze of a murder mystery.
characters, they were very much about British society at the time,” Johnson says. “I think that tends to get lost today when you see all those butlers and colonels. You forget that at the time those were very fresh references to the different strata of the society. So, for me, the chance to use this genre to look at contemporary America and the types of people we’re familiar with right now was exciting.”
He notes that the master of the whodunnit was doing it all along. “Agatha Christie’s stories weren’t message-y, but if you look at her
The plotting of the mystery posed a major challenge for Johnson, since he wanted the audience to have the thrill of playing detective themselves, and
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to always be on their toes. “When you have a labyrinth of so many different characters, and so many different motives and all these twists and turns, even if you have the basic structure of it down, there’s a lot of maths that you still have to do,” he laughs. “But the key is making all those mechanics invisible to the audience, so they’re just on this fun ride.”
He also aimed to employ the whodunnit structure to keep the audience engaged in a wealth of human drama. “I wanted to have my cake and eat it, too,” explains Johnson. “I wanted the pleasures of the questioning
at the beginning; of the eccentric detective; of the big scene at the end where the whole thing gets laid out; all the stuff I love about mysteries, but also to use the mechanics of a thriller to pull you inside all that’s really going on in this family.” As he got deeper into the characters, Johnson says he could not help but draw on his own sizable family, giving the whodunnit a personal twist. “I’m very close to my family and they’re not terrible like this family at all,” he jokes. “But having grown up in a big
family, I’m very familiar with all the complex dynamics and dysfunctions—and of course that can become fertile ground for both humour and drama.” Along with every other element in the film, from performance to photography, the aim was to keep the audience’s experience off kilter. For Johnson, immersion was the name of the game. He was thrilled that his cast and crew were as devoted to honing the finer details of the mystery as he was. “Even as we were editing, I was still picking out little things hidden in the film, so I think it will all be lots of fun for the audience.”
DOCTOR SLEEP
BEHIND THE SCENES ON THE NEXT CHAPTER OF THE SHINING STORY Were you always a fan of Stephen King? Yeah, I came to Stephen King around high school. I think the first king thing I read was 'The Stand' and then I read it and I went backwards and forwards from there. So yes I've been a fan for some time. Do you remember your first experience with ‘The Shining’? I saw the movie first. I was too young to see it. it was a couple of years after it came out and I remember watching it and it stayed with me and I don't think I was able to process why at the time. It's a horrifying story but the level of film making Stanley Kubrick employed was just so far ahead of its time and the reason I couldn't articulate at the time that I can now is that the
artfulness of the composition and the design of it, the sound design the music, forgetting about the performances. It's really interesting because if you are channel surfing and wander by The Shining and it doesn't matter how quickly you're going, You'll stop because every frame of that movie is remarkable and I don't say that lightly because I think the eye Kubrick had was extraordinary. How much has ‘The Shining’ influenced your work? There were actually a few films that influenced me, there was ‘The Shining’, there were earlier films as well, ‘The Thing’, ‘The Changeling’, the George C. Scott version, it's one that isn't talked about today. If you think of horror as a lens to look at
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‘Doctor Sleep’ continues the story of Danny Torrance, 40 years after his terrifying stay at the Overlook Hotel in ‘The Shining’. We caught up with producer Trevor Macy, the man behind some of the most terrifying movies of the past few years including Oculus, The Haunting Of Hill House & Eli. drama 'The Changeling' is a pretty remarkable movie. I recommend it, I also recommend getting through the first few minutes because it's the only part that doesn't hold up, but ‘The Shining’ for sure was its own thing. Those films really shaped me; also 'Alien' as well. They shaped the expectations I had about scary movies. I sometimes don't say horror because it sets expectations that sometimes can't be met so horror, thriller whatever you care to call it. I've been aspiring to that my whole career with my partner Mike (Flanagan) is very much about a genre as a lens to look at the human condition.
You had to recast characters from ‘The Shining’ and in the case of Wendy Torrance, Danny's mom, Alex Essoe is remarkable. she sounds and looks like Shelly Duvall. Yeah, Alex really threw herself into the role. well the legacy characters were one thing because what we were trying for was a sense of familiarity with the Kubrick. It's funny because we had to tell King's story with Kubrick's language so we had to honour the mythology of the hotel and the timeline of the Kubrick and thankfully the timeline of King and Kubrick are one of the elements that match up really well. There is a lot about the adaptation that doesn't match up as King will tell you. Those were things we took as canon when we were talking about the movie. So with the legacy characters, it's very much we want to remind you of the choices that are burned into your brain but stop short of impressions or caricatures in a way that keeps the story grounded. The actors certainly embraced that, Carl Lumbley was fabulous can't say enough good things about him and he's the spirit guide, literally although he was alive in the King version so that was a balancing act. What do you hope audiences take away from Doctor Sleep? I hope they see it as its own story, we were trying to make sure it's not The Shining 2 and we were very grateful to King, we used his novel as a north star. We also hope it scares you and you have a lot of fun with it. I also think the thing I'm most proud about is it's not like anything else, yes it's a cocktail of an original film but it's still different. Words - Graham Day
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ABOUT THE MOVIE
Charlie’s Angels have always provided security and investigative skills to private clients, and now the Townsend Agency has expanded internationally, with the smartest, most fearless women all over the globe – multiple teams of Angels guided by multiple Bosleys taking on the toughest jobs across the world.
CONTINUATION
This new version of Charlies Angel's from director Elizabeth Banks isn’t necessarily a reboot or a remake of the beloved franchise, but rather a “continuation” that incorporates events of the original 1970s TV series and the McG-directed 2000s films.
ANGEL INTRODUCTIONS
Twilight’ actress Kristen Stewart leads a trio of selfdescribed “lady spies,” which also includes ‘Aladdin’ star Naomi Scott and newcomer Ella Balinska. Along the way, the women must use an array of gadgets and don multiple disguises including a dazzling repertoire of wigs & equestrian attire.
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Charlie’s Angels originally began on TV as an American crime drama back in 1976, producing 5 seasons and 110 episodes.
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Long before Marvel popularised crossovers, Charlie’s Angels crossed over with another popular 70’s TV show called ‘The Love Boat’. In the episode titled ‘Love Boat Angels’ the girls joined the cruise which had characters from both shows on board.
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In 1980 a spin-off of Charlie’s Angels was created called ‘Toni’s Boys’, which featured a wealthy widow running a rival detective agency staffed by three good looking male detectives. Only 1 episode ever got made.
DON'T CALL ME ANGEL
Ariana Grande has produced the soundtrack for the film. The first single, "Don't Call Me Angel" featuring Ariana Grande, Miley Cyrus and Lana Del Rey is out now. Other artists collaborating on the album include Normani, Kim Petras, Chaka Khan & Nicki Minaj.
GOOD MORNING ANGELS
GIRL POWER
John Forsythe, who voiced Charlie, the Angels’ enigmatic & never seen boss in both the ’70s TV series and the 2000s films, passed away in 2010. But director Elizabeth Banks has teased a solution. “The voice will sound very familiar to you… We tried to emulate John Forsythe’s voice as best as we could. We want a real sense of continuity in the movie.”
"It was important to me to make a movie about women working together and supporting each other, and not make a movie about their romantic entanglements or their mother they don’t call enough" explained director Elizabeth Banks about the new 'Charlies Angels' movie, When I’m at work, I don’t talk about those things. I get on with my job. It felt important to do that for the Angels, to treat them with the respect their skill set demands.”
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Find Your Strength. Face Your Fears.
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