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Films that celebrate the human spirit. - Part 1

The current cinematic buffet is offering up some increasingly gloomy, ambiguous fare, with the likes of Troll Hunter, A Lonely Place to Die, Super 8, tempered with unbelievably saccharine nonsense like Mr Popper’s Penguins and Friends With Benefits. I was leafing through my DVDs and I think I’ll compile a list of the most life-affirming films I’ve seen, 2 at a time, over the next few weeks. These are films which have consistently impacted on me and stayed with me.


It’s a Wonderful Life

The film is an unabashed and brilliantly crafted tale of a man, George Bailey, who has lived his life in the small-town setting of Bedford Falls. A good man at heart, George falls on bad times financially, and despite a loving family, becomes suicidally depressed in a very real, and very affecting way. The story that follows is a wonderful and fantastical ride through Bailey’s past, visiting his prom night and the discovery of the love of his life, an incident in which he saved his brother from drowning in a frozen pond, and a run on the bank after which he uses his own money (originally deposited for his honeymoon) to quell unrest from the bank’s customers insisting on a return on their investments.

George Bailey is the epitome of a ‘good man’ always acting selflessly and sacrificing all of his ambitions and desires to help those in need. The premise may seem hokey and ‘too good to be true’ but the charming and natural James Stewart handles the role masterfully, portraying Bailey as cheeky and often quick-witted and beligerant. The character of Bailey lives and breathes, not the one-dimensional ‘good guy’ seen in modern cinema, but a wonderfully rounded man who acts generously out of his own free will.

It’s a Wonderful Life can seem corny to some, especially if some scenes are watched “out of context”, similarly, the central plot of the film, involving the angel, Clarence, getting his wings could be a large ask of an audience unwilling to suspend their disbelief for the duration. But the enduring spirit of the piece is what gives it gravitas and longevity.

This is a film that unashamedly celebrates human kindness, the nature of ‘giving’ and acting without self-regard or materialism is rewarded over and over by the time the credits roll. But the real triumph, and the reason why the film holds itself together so impressively, manifests itself within the opening narrative. The intense despair that George Bailey feels is palpable, played to perfection by Stewart. There is a very vivid sense that this is a man driven to the edge of reason, and the decision to take his own life is something he visibly struggles with.

The human nature to endure, and to overcome is something that runs through the film as a common thread, no matter how dark things get, there is always a light at the end of the tunnel, and never is this more visible than the relief and pride which fills Bailey during the film’s emotional climax. The response by the townsfolk to reward his lifelong commitment to the place is both heartrending and beautiful to behold.

The Shawshank Redemption

The apprentice becomes the master in Shawshank Redemption, as Frank Darabont, the longtime admirer of Frank Capra, emulates his style with aplomb and creates one of the most uplifting and visually arresting modern parables in recent memory.

The story revolves around Tim Robbins as Andy Dufresne, a wrongly imprisoned former banker, framed for the murder of his wife. The mitigating circumstances that have led to Andy’s incarceration are fully fleshed out during the course of the film, however it is testament to both the directorial work of Darabont, as well as the source material (a short story called ‘Hope Springs Eternal’ by Stephen King) that the focus is always on the events and relationships concerning the main cast of characters, such as Red, brilliantly played by Morgan Freeman; Brooks, the perpetually institutionalized and wizened denizen of the library; Bogs Diamond, the masochistic sex offender, as well as Warden Norton and his violent lackey Heywood. This is very much a ‘character piece’ and is not overly reliant on set pieces, however there is still time to fit in one or two absolute corkers (playing music to the transfixed prisoners over the PA system for instance). 

The beauty of Shawshank and the reason I include it on this list, is the way in which it sticks very close to it’s central thesis. The idea that “you get busy living, or you get busy dying” becomes a mantra for Andy and Red. Andy’s stark refusal, almost to the point of delusion, in the idea that he will eventually become free of Shawshank, is a stirring idealism that sums up the human spirit. In the same way that George Bailey’s selflessness has benefited the entire town of Bedford Falls, so Dufresne’s tireless efforts benefit his fellow prisoners, gaining them a new library, and even some ‘work on the roof in the sunshine’. The endearing and timeless aspect of the Shawshank Redemption is to show how a person can be thrust into a situation for which they are unprepared, for no real reason, and can rise above. There are times when the despair Dufresne feels is entirely palpable, the frustration at his wrong imprisonment and the subsequent years of toil and suffering, brought about after his cheating wife was murdered. His resilience and ability to soar above the walls of Shawshank speak volumes of his character, and the human spirit’s ability to endure.

Next: Big Fish, Up.

Transformers: Dark Of The Moon *Spoiler Alert*

This was officially one of the very worst films I’ve ever seen, I’m so enraged by it’s nonsensical plot, terrible characters, and downright offensive stereotyping that I have to write a blog about it.

The problem is this - I’ve written a lot of things in my life, about topics ranging from the philosophical concept of ‘folly’ present in the works of Moliere, to the use of language to dehumanise indigenous populations during colonialism. As such, I refuse to use prose in my review of this film, as I don’t believe it bothered using any of the most basic film-making or storytelling techniques on the audience. This was a Michael Bay circle-jerk from start to finish, and as such, this will be a series of bullet points *SPOILER ALERT*.

Me and my friend Joel (@TheJoelAbraham) decided to rate the film, giving it a ten before the credits, then subtracting ‘1’ everytime something rubbish, stupid or plainly unacceptable happened. I got to -48. Here’s the summation:

  • Tacky use of ‘transforming noise’ during Paramount logo.
  • Ineffectual ‘crowbarring’ of plot, attempting to juxtapose with real-world events (i.e. Moon Landing)
  • Pointless shot of Rosey Huntington-Whiteley's arse walking up some stairs.
  • Inability of Rosey Huntington-Whitely to ‘act’.
  • Bizarre expositional dialogue to ‘set the scene’ by explaining everything about the main characters in a disjointed, contrived series of unrealistic conversations.
  • Introduction of Autobots in bizarre and borderline racist ‘raid’ on an Iraqi weapons facility.
  • Insane action sequence involving Autobots in which the cutting was so fast, it was impossible to see what was happening.
  • Introduction of Shia LaBeouf’s parents using ‘witty’ dialogue which was mostly inaudible as characters talk over one another constantly.
  • Rubbish attempt at ‘awkward’ family situation, in which LaBeouf’s mum insinuates he must have a big cock. He obviously does not.
  • Bizarre sequence in which LaBeouf attends several interviews and spazzes them up in ‘comical’ fashion, except it is not comical.
  • Unexplained scene in which it appears Huntington-Whiteley works in some kind of museum (?) and has a seedy boss who buys her $200,000 cars (this is never properly explained or built upon).
  • John Malkovich appears ‘for the money’ and does his usual scene-stealing craziness, however this is Transformers, so it doesn’t make any sense.

This is misogynistic

  • Incredibly offensive homophobic sequence in which an asian man seemingly attempts to rape LaBeouf in the office toilets. There is no context given to this behaviour and again, the dialogue is inaudible as it is delivered as if Michael Bay has a gun to the actor’s head.
  • More robot crap, none of the robots seem to have any characteristics, other than broad, stereotyped accents.
  • Introduction of ‘hard-ass’ female CIA boss, again, using clipped sentences so we never know exactly what she’s on about.
  • Optimus Prime shows up and goes to the moon to collect something, what it is never gets fully explained (some kind of gate?) and also rescues some robot guy who is sleeping (he hasn’t been introduced properly either).
  • Offensive sequence in Chernobyl in which it is insinuated that the entire nuclear incident which decimated the region was in fact a poorly executed Ukranian attempt to harness some alien technology (again, not explained).
  • More unexplained fighting.
  • Bill O’Reilly appears. He’s a wanker.
  • Jon Turtorro shows up (not in his pants this time) and reminds us how bad the other films were.
  • Pirate Steve from Dodgeball appears with some kind of ‘Comedy’ German accent, however it is inconsistent, and he appears to drop it in some scenes with no explanation.
  • Offensive sequence in which all Russians are portrayed as whoring, alcoholic, gun-toting gangsters (even those involved in the Sputnik mission).
  • More inane ‘hi-jinx’ involving LaBeouf running around an office (Joel fell asleep at this point).
  • Unexplained assasination of an unrecognisable character involving some children (this sequence was fucking horrible to watch).
  • Homophobic Asian man gets dragged out of a window by a flying robot, cue lots of off-colour ‘suicide jokes’.
  • Something about Megatron living in Africa (?)
  • Optimus Prime resurrects Sentinel Prime, nothing is explained (he was his line manager back on Cybertron or something?)
  • Silly sequence in which LaBeouf and Huntington-Whiteley show up to a military facility then act incredibly obnoxious until they get let in with no security check.
  • Shouting.
  • Sentinel Prime double crosses Optimus Prime (this doesn’t make a lot of sense, something about using humans as slave labour to rebuild Cybertron, and some kind of pact with the Decepticons… #sigh)
  • Sentinel Prime activates some beacons or something, then there are loads of Decepticons. Megatron shoots Abe Lincoln off his statue on the Mall and sits on his chair.
  • Offensive Irish stereotype robot shows up drunk.
  • Offensive Cockney robot is present for a few seconds.
  • Cliched plot point in which Autobots are exiled, then their transport is blown up, however this is so obviously not the case, it almost made me cry in desperation.
  • Sleazy boss turns out to be in league with the Decepticons, and has allowed them access to the moon or something.
  • Sleazy boss attempts to score with Huntington-Whiteley a few times, misogynistic and uncomfortable viewing ensues.
  • A robot car attempts to rape Huntington-Whiteley, uncomfortable viewing ensues.
  • Everyone goes to Chicago for no reason.
  • Robots smash up Chicago for no reason.
  • Offensively stereotypical ‘black’ special forces characters are introduced (highlights include “Move yo’ fat ass boy” “I’ll kick yo’ ass” and “I picked the wrong day…” ad nauseum)
  • Some explosions and running around (none of which is relevant or vaguely followable, due to the schizophrenic editing).
  • LaBeouf wants to get to Huntington-Whiteley and so wanders into the Chicago war zone, then the Autobots show up in a cliched fashion.
  • Something about bridges.
  • Over-long sequence involving LaBeouf fighting a robot.
  • Over-long sequence set in a collapsing tower block.
  • Stuff involving some kind of gate (not really explained).
  • Lots of shouting again.
  • LaBeouf fights sleazy boss, the fight is of poor quality.
  • Huntington-Whiteley is rescued, and we see a lot of her arse again (this is misogynistic)
  • More robots hitting each other (can’t tell which side to root for as they all look the same, cutting is too frantic to see what’s happening anyway).
  • Really strange attempt at ‘artsy’ shot of Huntington-Whiteley against a backdrop of explosions (this is misogynistic).
  • Optimus fights Sentinel, but the fight is of poor quality.
  • Huntington-Whiteley calls Megatron a ‘bitch’ so he then kills Sentinel for no real reason.
  • Prime kills Megatron but the killing is of poor quality.
  • Some minor characters (who are also racial stereotypes) manage to bring down some kind of spaceship? (not really explained).
  • Something happens and everything is OK again.
  • Prime makes a closing monologue, but it is of poor quality.

These are the things that spring to mind when I think back over the last 3 hours of my life that I’ll never get back.

There’s a lot more to find wrong with this film, but for now, this is my summary. Don’t watch it.


Sam. :-D

My Top 10 Favourite Tweets

10. I knew someone would say that - it had to be you didn’t it :-p (@BryonyMorris)

9. What’s with all the muffin eating? Not that I’m judging/wouldn’t do the same. (@RobynBemment)

8. What a terrible fucking beard he had. (@JoeWallyWalton)

7.  What’s going on? l agree with whatever sam said. for he is wise beyond his years. ;0) (@LoikeISaidBut…)

6.  I’d give my left foot for the return of cheap binging. I’ve just spent the evening looking at furniture. (Between me, @MBlackhouse and @LisaHocken)

5.  Needles to say… you took drugs (@HowlinDan)

4. I think you should smoke them all at once in cartoonesque fashion to freak out passers by (@TomMimnagh)

3.  he’s always hanging out the back of it. (@Nataliepeck)

2. Tits McGee! (@WendyHurrell)

1. I don’t want you buggering off to Manchester! (@RoseGreenthumb)

What I’ve learned in 5000 Tweets

I’ve now reached the watershed of 5000 tweets since I first signed up in April 2009.

I barely used it in the beginning, preferring to use Facebook to ‘socialise’ with people, however vicariously ‘connected’ we were. I often have people ‘liking’ my updates whose names I simply didn’t recognise. I’ve had a partially blocked profile for about 2 years, consisting of unseen pictures and users. But what was once a good system of keeping in touch with fellow students and organising nights out soon became a convoluted network full of people I expect to bump into….. in hell. Constantly seeing updates consisting of nonsense like:

“If your Mum is or was a hard working woman and is your hero, has helped you no matter how good or bad you were and is just the best Mum ever, if you are blessed to still have your Mum or if she is An Angel In Heaven!, paste this to your status and let everyone know you are proud of your Mum. You can replace a lot of people in life, but you only have ONE! Mum ♥♥!!!!!”

Just because someone decided to start having kids at the same time I was sitting my A-Levels I’m supposed to enjoy having cut and pasted shite like this thrown in my face? After about 2 months of lunchtimes filled with messages like

“Alreet bar, mark was so fucked last night LOLZ, out l8as tho init”

I had enough.

I started tweeting inanely about my day, just filling the mundanity of a job that, between editing films together and manipulating audio, was basically just being sat at a desk fiddling with spreadsheets. Then a strange thing happened, people started following.

I didn’t really think I had a lot of intelligent stuff to say – certainly not within 140 characters. So I kept it to clipped conversations or statements, whatever were on my mind at the time. Twitter was a dumping ground for my inner monologue, if I was thinking something that I perceived as a possible conversation starter or funny joke, I tweeted. Eventually people started tweeting me back, it’s a weird coincidence that some of the most insightful and intelligent people I know in the real-world had a twitter presence. It was an in-joke, the idea of hashtags and live-blogging became a minor event, rather than just moaning to flatmates about how rubbish ‘Gypsy Weddings’ was; the twitter community had hilarious, punchy and downright offensive things to say.

I find that twitter and real life conversation seem to blend so much more easily than the forced platitudes to be found on Facebook. Someone I hate invites me to a party and I have to tip-toe about, making sure the photos of me being hammered in New Cross don’t end up appearing and offending anyone for not attending the boring, poorly organised barbecue I’d fucked off for a night on the sauce. On Twitter it’s so much easier “pint tonight?” “sorry mate, busy” “no probs”. Clean and simple.

Socially, twitter works much better as well. Many of the people I have grown up with and known from a young age are no longer worth talking with, as they are far too busy with BORING jobs, ANNOYINGLY substandard relationships, or SICKENING offspring. Twitter attracts people of a similar mindset. I have sustained several friendships through twitter which I would not have otherwise, for example, with @LoikeISaidBut… we met once, we got on well, and often have great banter through Twitter, which would not be possible in the quagmire of Facebook. Similarly, with mutual friends such as @Jaffa_Films, @T_JHewitt and @Charliemcnichol who I’ve met through people and often talk with, with no ‘filler’ parts of conversation, platitudes such as ‘how are you?’ ‘What have you been up to?’ aren’t used, if you’re doing anything interesting, or visiting anywhere nice, it’s already been posted on twitter, so no need for rubbish ‘catchups’.

I also rekindled many friendships with people I had lost touch with, people who are now out doing exciting things, and have no time for the drudgery of Facebook adds and stilted ‘chats’. I can count many - @simoncorry, @stablesjames, @lisahocken, @mblackhouse, @Cdiddy, @ashleighjones, @adambayjou, @robynbemment, @tobyashbee, @tommimnagh, @legerrid @joelypoo7, @nataliepeck, @beckyhesilrige, @howlindan, @unionkane2011, @siobhanelise, @baconj, @bryonymorris, @emine_sinmaz and many more, whom I have valued far more through the stunted medium of twitter than I would have through the dispassionate updates of Facebook.

I’ve also met complete strangers who have been wonderful, @M_Sichs, @Dyana_, @XeroxKitty, @amy_qb, @PlaydarUK, @Afeitar, @Blue_Rose_ and @jonboy79. The conversations I’ve had with these people over a vast array of subjects have been genuinely insightful, always entertaining and have brightened up an otherwise soul-destroying disposition.

Arguably my favourite aspect of twitter is how a person can strike up conversation from nothing, just a recognisable hashtag or topicality, and end up discovering they have much in common. Me and @RoseGreenthumb tweeted each other a fair bit, then actually decided to flout tradition (much like ‘talking to others on the tube’ and ‘discussing politics’) and actually met. Unsurprisingly, we’ve become friends, probably due to the fact, if you enjoy each other’s conversation in text form - it’s also enjoyable in real life (except for the stuff about Putney, which is only enjoyable in real life)

So 5000 tweets, I’ve made some good friends, talked about loads of stuff, exposed a lot of my weird personality traits for the pleasure of future therapists and ex-wives to use against me, I’ve met some inspirational people, I’ve been reacquainted with some good people from my past, I hope I’ve been entertaining for the most part, and, most importantly, thank you all for following.


Citizen Kane - Visions are worth fighting for

This sounds like a cliche. Everyone who ever studied film probably says exactly the same thing “Citizen Kane is my favourite film of all time”, then they sneak off to watch Porky’s, The Texas Chainsaw Massacre and The Room. Genuinely, Citizen Kane is my personal favourite film, not just for the content of the incredible picture itself, but also for the legendary story surrounding it.

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How I Learned to Stop Worrying and Love ‘Thor’

'Thor' is a curious beast of a film. I 'should' have hated it, I 'should' have made loud tutting noises throughout, snipey comments to my friends about the bad dialogue, and furrowed my brow at the larger than life characters. But I didn't. I don't always know what I like, but I know what I hate… and I didn't hate this.

Firstly, this is directed by Kenneth Branagh, who I am inclined to like, as a result of his fine Shakespearian background, as well as his similar educational background to mine. He directs here in a methodical manner, yet interestingly shuns the campy and oft-maligned style of most comic book adaptations. This isn’t Chris Nolan’s Batman, but it is closer to that than Joel Schumacher’s. The very nature of the Marvel comic book series’ protagonists leave much less room for gritty and real-world elements to be injected (such as the whole ‘war-on-terror’ motif of The Dark Knight), and yet the story of Thor is managed in a way that is enjoyable without being cliched.

The casting is masterful, with the great Anthony Hopkins chewing the scenery to pieces as Odin, the head of the royal family of Asgard, a mythical realm that is intrinsically linked to our own. The house of Asgard royalty is under threat as the king’s truce with the barmy, pantomime villains of the ice realm, the Frost Giants, is brought into doubt by the foolhardy and bold actions of Thor, his son. Thor is played by Chris Hemsworth, who injects a great deal of pathos and inner turmoil to a role where he could understandably have let his pecs do all the acting. He’s the type of action hero you’d like to have a beer with, and exchange his wondrous tales of conquering worlds, with your own of drunken nights in Camden, and he’d genuinely be interested.

The true masterstroke of casting though, is in the younger of Odin’s sons - Loki. The true protagonist of the picture is played in a way reminiscent of Iago from Othello, scheming his way between the realms, showing his duplicitous nature as a result of his true parentage and desire to placate his adopted paternal influence. Tom Hiddleston is spectacular in this role, flexing his highly-trained acting muscle in a worthy and compelling manner. I worked on a Joanna Hogg project starring Hiddleston named Archipelago a few months ago, and found it to be incredibly pretentious and navel-gazing of the highest order. If that kind of background allows for performances of this nature, then I am entirely turned around on the subject. Hiddleston is compelling as an on-screen presence, his elaborate machinations are portrayed in an almost Shakespearian tone, without a hint of extroversion.

The central storyline involving Nathalie Portman is a bit forgettable, but Stellan Skarsgard is brilliant, essentially reprising his role as a professor from Good Will Hunting, kind but pushy of his students. I found it harder to take Portman seriously as a science student than Hemsworth as an intergalactic, hammer wielding beefcake, and I think it can therefore be deduced that the ‘Earth realm’ stuff is the weakest of the film.

The film reaches a satisfying denouement and I was left feeling anticipation for the upcoming ‘SHIELD’ Branagh’s direction was a triumph, as were the brilliant performances from the central cast. The 3D was actually necessary here, and the huge landscape of Asgard and Jotunheim looked spectacular, the Earth scenes weren’t too amazing, but then I see it in 3D every day. Overall, the picture was a triumph, and proof that 3D, and comic book fantasy, can work if the right man is at the helm.

Sucker Punch – OR – “Zack Snyder’s Mind: The Movie” *Spoiler Alert*

Where do you start with Sucker Punch? Is this even a film? IS IT? Ask Zack Snyder, he seems to think so. The very same Zack Snyder that got a bit lucky in marketing ‘300’ to gym-obsessed creatine-downing sociopaths, and also managed to excite live-at-home, slightly nerdy types in its leanings towards graphic novel lore. Mr. Snyder took the generous plaudits garnered from the testosterone fuelled, gay-subtext-rife 300 and made ‘Watchmen’ which ALSO did well.

The Watchmen film was an absolutely ridiculous attempt to commit the brilliant graphic novel to screen. A graphic novel SO highly regarded, that it still ranks in the New York Times Bestseller list. A graphic novel SO important in the world of literature, that it fundamentally changed comic books from ultra-camp, childish affair, to the type of dark and brooding material that allowed projects like 300 to even exist. Despite all of this, Snyder managed to make a film about people wearing costumes (ref. M. Kermode). Watchmen wasn’t a car crash, but it was an oversimplified take on a very complex idea, it also committed cardinal sins – changing the original ending and miscasting key characters. The main problem with Watchmen was the overreliance on the slick camera work, CGI overload, and poor narration. The initially thrilling presence of Rorshach is soon obliterated with dumbed-down dialogue, lack of character development and the over-indulgence of green-screen.

Read this instead

So… Sucker Punch.  Imagine you’re watching a Zack Snyder film, then a bunch of 13 year-old boys walk into your peripheral vision. At first they are brooding over their existential ennui at being 13, trying to look dark and thoughtful. Then they start punching each other for a laugh. Then they start running directly in front of you being loud, obnoxious and screeching like bats. They then begin beating the hell out of one another with weapons, then a girl enters and they fall silent. THIS is Sucker Punch. It is the movie equivalent of the mindset of a teenage boy. Zack Snyder can’t seem to get over the idea of 1.WOMEN 2.EXPLOSIONS 3.WEAPONS and 4.CGI. So Zack constructs this orgy of young women running about with large weapons, fighting against ludicrous enemies set the backdrop of, in one instance, “a speeding train full of robots, with an armed bomb, chased by a helicopter, into a city that is orbiting Saturn”. I mean, WHAT? WHAT THE HELL IS THAT?

Zack Snyder clearly owns an Xbox; as there were bits that were clearly lifted from games I’ve played. The structure of the bloody film is more like a computer game, with each sequence taking place like a ‘level’ with an objective, checkpoints, and attack strategies. There is a WWII level that made me think of World at War, there is a samurai level that is reminiscent of Soul Calibur, and there is a dragon level that is ripped out of Oblivion. This is bad film-making, poor structuring, and the narrative is shambolic and uninteresting. This is the film AT IT’S BEST.

At its worst, this is unwatchable pornography. Snyder seems to be also obsessed with women. Not in a sophisticated, red wine drinking, French New Wave sort of way, but in a leery, Russ Meyer, Piranha Women in the Avocado Jungle of Death, way. The protagonists of the film are NEVER fully clothed. They prance about in absolutely ridiculous outfits, ranging from burlesque basques and corsets, PVC WWII bondage outfits, schoolgirl costumes, and all for ABSOLUTELY NO REASON. There is no plot-device behind any of this, no macguffin to justify the outlandishness; it just is, now deal with it.

Finally, there is no plot development whatsoever. Dialogue is pathetically sparse, and when there is some it’s crammed with cookie-cutter platitudes and bouts of hysterical crying (mostly for no reason). The film presents a profoundly negative view of women as sex objects, emotional wrecks, mentally disturbed simpletons, and as ultimately powerless against men. The only power any of the female characters actually assert throughout the film, is the power to seduce the men using sexy dancing or groping. Not cool Zack, not cool.

Don’t bother seeing Sucker Punch, above all of my concerns with gender politics, poor writing, lack of plot advancement and badly choreographed action sequences, is the fact that this film is decidedly dull.  It doesn’t grab the audience, the fact that me and many others in the cinema felt it necessary to punctuate the poor dialogue with witty rejoinders, is all the indication you need that this doesn’t involve the viewer. The characters might as well be sketched on the back of a cigarette packet; they are that hard to care about. The denouement of the picture is laughably inept, but I’d given up on the film a long time before then anyway. Zack needs to sort his act out, because on this evidence he’ll soon be joining me, scouring for meaningful film work.

Watch Submarine instead.

My Top 15 Songs From/In Films

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