STACK #147 Jan 2017

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Contributors

Founder Nic Short Editor-in-Chief Paul Jones Film & DVD Editor Scott Hocking

Music Editor Zoë Radas StaffWriter Alesha Kolbe Creative Directors Justin Buxton, Michelle Black DVD Consultant Kerrie Taylor Games Consultant Andre Eivik Music Consultants Mike Glynn, Fleur Parker Chief Contributors Bob Jones , Amy Flower, Savannah Douglas Contributors John Ferguson, Graham Reid, Gill Pringle, Michael Dwyer, Jeff Jenkins, Emily Kelly, Simon Lukic, Chris Murray, Billy Pinnell, Denise Hylands, Simon Winkler, Adam Colby Social Media Manager Sally Carlier-Hull Photographer Chip Mooney Production Manager Craig Patterson Accounts Coordinator Tracy Kingman

Issue 147 JANUARY 2017

WELCOME Happy NewYear. It’s hot out there, isn’t it? Summer: you either love the season or you despise it. Australia is quite possibly the only country in the world that literally stops for a month over summer. If you want anything fixed in January, head to YouTube. Back in December, I overheard a man on a train telling a work colleague over the phone that he spends January and February with his wife in Finland to avoid the soaring temperatures. That could quite conceivably be the most extreme measure to beat the heat I have ever heard of. If you’re unlucky enough not to be away on holiday, our suggestion would be to crank up the air conditioning, draw the blinds, head to the pile of unwatched films and unplayed games and albums you’ve been saving for that break in the social calendar, and lock the world out. While our eyes are now firmly fixed on the home entertainment and cinema releases slated for 2017, this month you can tell us what you consider to be the best films, TV shows, games and albums of 2016 by casting your vote in the annual STACK Awards. There’s a chance to win some loaded JB vouchers, too – check out the details on page 8 or head online to stack.net.au. Stay cool. Paul Jones, Editor-in-Chief

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RATINGS GUIDE

Disclaimer STACK is published by Scribal Custom Pty Ltd (ACN 092 362 135). © Copyright Scribal Custom Pty Ltd, 2017 All rights reserved. All material appearing in this publication is copyright unless otherwise stated or it may rest with the provider of the supplied material or advertisement. No part of this publication may be reproduced without the written permission of Scribal Custom Pty Ltd. No responsibility is accepted for accuracy of advertisements or information. Whilst care has been taken in the research and preparation of this publication, the publishers, writers or anyone else associated cannot accept any responsibility for any loss, injury or hardship arising from the content contained herein or reliance therefrom, howsoever caused, and it remains your responsibility to evaluate the accuracy, completeness and usefulness of any such content. Views expressed are not necessarily endorsed by the publisher or the editor. By the very nature of this publication, things change daily and we cannot take responsibility for any changes or inaccuracies that occur subsequent to going to press.

The large print giveth, the small print taketh away. “The greatest sins in human historywere committed in the name of love.”

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Issue 147

JANUARY 2017

Extras Pages 8, 16, 34

Cinema Pages 10–15, 26–27

DVD & BD Pages 18–32

Games & TECH Pages 37-52

Music (From back) Pages 1–16

8 NEWS STACK Awards 2016. The

10 RESIDENT EVIL: THE FINAL CHAPTER The franchise has grossed more than US$1 billion worldwide and now it’s coming to a close. Milla Jovovich and Paul W.S. Anderson talk family and the end of Evil with STACK . 12–15 REVIEWS Assassin’s Creed, Rogue One: A Star Wars Story, La La Land, Allied, Moana, Red Dog: True Blue 26-27 BEGINNER’S GUIDE Found footage. Popularised by The Blair Witch Project in 1999, this cheap and sometimes highly profitable brand of DIY filmmaking has run rampant over the last 17 years. If you’re up for a fright, here are the handheld highlights.

40-42 kingdom hearts hd 2.8 A favourite of the Kingdom Hearts franchise has been given a fresh coat of paint, and we take a look at why the series is beloved by fans. 44 nintendo’s family tree Nintendo are on the brink of releasing a brand new console. To celebrate, we take a trip down memory lane and appreciate what they’ve given us so far. 46 best of 2016 2016 was a great year for video games. We look back at some of our favourite titles released last year. 48 coming in 2017 There’s plenty to look forward to in 2017 – here are some of the forthcoming games we’re excited about this year. 50 esports Check out our monthly esports round-up with Junglist, as well as our review of Logitech’s G933 Artemis Spectrum headset. 52 previews Kingdom Hearts HD 2.8 Final Chapter Prologue, Digimon World: Next Order, Gravity Rush 2

3-4 NEWS + INTERVIEWS Take a look at some of Chip Mooney’s best live snaps of the year; we spoke to Katie Stelmanis of Austra and Mollie McClymont of The McClymonts; Simon Winkler reflects on the brand new release from Simon Green AKA Bonobo; head to stack.net.au to see our chats with Dropkick Murphys and The Flaming Lips. 6 THE FLAMING LIPS Ahead of the release of The Flaming Lips’ new album Oczy Mlody , Graham Reid sifts back through the prolific band’s catalogue. 8 VINYL REISSUES Michael Dwyer considers Universal’s reissuing of Taylor Swift’s first two albums on vinyl. 12-15 REVIEWS Mick Harvey receives our Album of the Month crown, but we also have feelings about Code Orange, The xx, SOHN, Childish Gambino, Coldcut, The Weeknd, Cold Chisel, Bonobo, Cherry Glazerr, Testament, HammerFall, Tift Merritt, Aaron Keylock and more.

18-19 BEST OF 2016 We pick last year’s highlights in film and TV on DVD, including the most overrated and underrated, and much more. Essential reading. 20-21 MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN Author Ransom Riggs was thrilled that Tim Burton would be bringing his best-selling book to the screen. 22 IN A VALLEY OF VIOLENCE Writer-director Ti West switches genres from horror to western with this quirky tale of revenge. 24 THE GIRL ON A TRAIN Director Tate Taylor on adapting Paula Hawkins’ best-selling novel – and getting to grips with the book’s multiple narrators. 28-32 REVIEWS Miss Peregrine’s Home for Peculiar Children, The Girl on the Train, Captain Fantastic, Masterminds, In a Valley of Violence, Blood Father, Deepwater Horizon, Inferno, Blair Witch, Pete’s Dragon, Café Society, I.T., Barbershop: The Next Cut, The Neon Demon, Carnage Park, The Confirmation

nominations are in for the best in DVD, TV, music and games. Now we need you to vote! 16-17 BOB J. The movies of 1939 are considered some of the greatest in the history of Hollywood. And as audiences grew, so did the profits. Even WWII couldn’t stop the money pouring in, but the end of the war would mark a dramatic change in the studio system. STACK ’s resident film historian tells all. 34 GIVEAWAYS Miss Peregrine’s Home for Peculiar Children , Monster Trucks, Sandisk and a chance to win up to $1000 in JB vouchers when you vote in the STACK Awards.

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2016 has been a massive year for home entertainment; here at STACK HQ we've been agonising over the ten nominations in each category for weeks. Following meetings, arguments, tears and arm-wrestling, we can finally reveal the very best releases from the year that was. head to stack.net.au to cast your vote

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Best DVD/BLU-RAY of 2016

Straight Outta Compton The Martian Sicario Macbeth StarWars:The Force Awakens The Hateful Eight Spotlight The Revenant Room Hunt for theWilderpeople

Best TV SERIES of 2016

Game of Thrones: S6 Mr. Robot: S1 Fargo: S2 Downton Abbey: S6 House of Cards: S4 Narcos: S1 Better Call Saul: S2 The People v. O.J. Simpson Vikings: S4 11.22.63

Best ALBUM of 2016

The Drones - Feelin Kinda Free

A.B. Original - ReclaimAustralia

Tkay Maidza - TKAY

Beyoncé - Lemonade

David Bowie - Blackstar

Sia - This Is Acting

James Blake - The Colour In Anything

Nick Cave & the Bad Seeds - SkeletonTree

King Gizzard & the LizardWizard - Nonagon Infinity

Flume - Skin

Best Game of 2016

Forza Horizon 3 DOOM Overwatch Battlefield 1 Dishonored 2 Uncharted 4: AThief's End Final Fantasy XV Dark Souls III Pokemon Sun/Moon Tom Clancy'sThe Division

Voting closes on January 31st, 2017

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CINEMA BUZZ

RESIDENT EVIL The story so far...

RESIDENT EVIL (2002) Alice enters the Hive, where the evil Umbrella Corporation has unleashed the T-Virus and a zombie epidemic.

The most successful video game-based film franchise ever, grossing more than US$1 billion worldwide to date, comes to a conclusion in Resident Evil: The Final Chapter .

RESIDENT EVIL: APOCALYPSE (2004) Alice finds herself in Raccoon City, which is now overrun by the undead and facing nuclear annihilation.

Words: Gill Pringle

F or its kick-ass star Milla Jovovich and director-writer Paul W.S. Anderson, Resident Evil: The Final Chapter represents the end of a 15-year arc in which they met, fell in love, married and now have two daughters – their eldest girl, Ever Anderson, making her film debut in the last installment of the franchise. “It all came full circle having our daughter on set, playing the Red Queen and being in the same scenes with her," says Jovovich when STACK chats with her in Los Angeles.

and its stunts, it can be challenging to say the least. So it’s really important to have positive energy around you. Ruby was amazing, always smiling and laughing and having fun. "That’s the thing that saves you when you feel like, ‘Oh my god I can’t take this anymore; it's freezing, I’ve been running all night and I’m exhausted’. You need people around who are going to motivate you to do it again rather than people that get into bad moods, start being divas or start lashing out at

RESIDENT EVIL: EXTINCTION (2007) Alice is cloned and flees with a group of Raccoon City survivors to the Nevada desert, where the undead and a flock of killer crows are waiting.

RESIDENT EVIL: AFTERLIFE (2010)

After destroying Umbrella HQ in Tokyo, Alice finds herself in L.A., and new allies hiding out in the local prison.

the crew or their co-stars. It’s nice to have a cast that is just as motivated and aren’t spoiled brats on set.” With an earlier shoot date already locked and ready to roll, the husband-and-wife team didn’t know how to break the news of Jovovich’s surprise pregnancy – they are now parents to a second daughter, Dashiel, 18 “I thought the studio was going to hate us, but they didn’t, they were so nice about it,” whispers Anderson between clenched teeth. “They just said we’ll put everything on hiatus and when you’re ready we’ll go back and shoot. Obviously

"This whole experience has been such a huge part of my life, not just as an actor but on a personal level. My husband I met through this, two kids – it’s the family that evil built… literally.

It’s the family that evil built… literally

RESIDENT EVIL: RETRIBUTION (2012) Alice is captured by Umbrella and traverses a VR simulation where she discovers the truth behind the T-Virus outbreak.

“But we’re good people and so it was very emotional. It’s hard having to say goodbye to Alice. She has been such a part of my life, as she’s grown I’ve grown and I’ve been inspired by her. I feel like she’s changed as I’ve changed. It’s quite surreal thinking this is now the end." Franchise regulars Iain Glen and Ali Larter return for

months old.

pregnant, although at the same time, I didn’t want to have my stunt double do everything. I gained so much weight with both my pregnancies that I think half the special effects budget would’ve gone into making me look normal, and that would have been ridiculous. “So it felt right to postpone it, but it was definitely very scary having to call the studio and the producers when Paul was literally about to leave to start prep the day after, and the day before we’re sitting there and we’re thinking, ‘Are we seriously going to do this?’ I mean honestly, I’m an older mom in that sense, and if anything happened to me or to the baby, we’d never forgive ourselves. No movie is worth it.” And so baby made four. “I have the most amazing photos of these dirty, derelict locations with like zombies and filth and burnt out cars,” says Anderson. “Then in the foreground, there’s Milla sitting on a little blanket breastfeeding and she’s covered in dirt and blood.” Definitely one for the Evil family album.

they were keen for us to shoot as soon as possible, so that put a lot of pressure on Milla to lose the baby weight as fast as possible, start running and that kind of thing. But she also wanted to continue breastfeeding.” Jovovich was relieved the studio was so considerate. “I couldn’t imagine doing all the stunts whilst being

this last hurrah, alongside newcomers Ruby Rose and William Levy. “We’ve always been really lucky working on the Resident Evil films, because we’ve always managed to get really interesting people to join the cast, people who love the games, love the movies," Jovovich notes. "Ruby is so lovely, just serious and driven but a lot of fun to be around. When you’re shooting 16 hour days, with night shoots and it's freezing

Resident Evil: The Final Chapter is in cinemas on January 26.

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CINEMA REVIEWS

MOANA

RELEASED: Now Showing DIRECTORS: Ron Clements, Don Hall CAST: Auli'i Cravalho, Dwayne Johnson RATING: PG Moana is a wholesome, beautiful tale of self- discovery and identity, complemented by a gorgeous soundtrack that could very well make it the next Frozen . It’s the heartfelt story of a Polynesian chief’s daughter who isn’t filling her father’s shoes. Moana (voiced by newcomer Auil’i Cravalho) is destined to take over from her dad, even if all she dreams about is to be out on the ocean. Her island home is in trouble, however, for long ago, the Demigod Maui (a cheerful Dwayne Johnson in his voice-acting debut) removed the Heart of Te Fiti – the life force of the region. Without the stone, the crops are failing, the plants are dying, and the fish are nowhere to be found. To restore the island, Moana must hunt down Maui and his enchanted fishhook, gifted to him by the gods. Moana is quintessential Disney, full of jokes for the parents and occasionally a real tear-jerker, as our young protagonist tries to work out her place in the world – through the preferred medium of song, of course. From the soundtrack by the great Lin-Manuel Miranda and Opetaia Foa'I to the joy of Dwayne Johnson in a Disney film, there’s a lot to love about the studio’s newest, instant classic. Keep an eye out, too, for a Johnson musical number and a post-credits scene that acknowledges a certain Disney/Pixar film set under the sea… Alesha Kolbe RED DOG: TRUE BLUE RELEASED: Now Showing DIRECTOR: Kriv Stenders CAST: Jason Isaacs, Levi Miller, Bryan Brown RATING: PG British actor Jason Isaacs, with a perfect Aussie accent, introduces and narrates this bright, heart- warming tale. He also plays the father, Michael, who reluctantly takes his two young sons to a Perth cinema to see Red Dog , circa 2011. This grumpy businessman softens during the screening of one of our country’s most beloved films; his eyes water and his nose is blown. There is a difference between this dad’s tears and the ones shed by everyone who saw Red Dog ; as a child, he was the original owner of the pooch (who was named Blue back then) and raised him from a pup. The connection is made and Red Dog’s origin story begins. Red Dog: True Blue flashes back to Michael’s youth in the 1960’s, when he was simply Mick (played by Levi Miller). Sent to stay on his grandfather’s cattle farm in desolate W.A., he finds himself surrounded by quirky characters that bring their own delightful brand of Aussie humour to the story. Friendships are formed, but none can compare with the bond that develops between the eleven-year-old and his canine best mate, Blue. Red Dog: True Blue is a different film from its predecessor, and doesn’t tug quite as hard at the heartstrings. Although targeted at a younger audience, the entire family will love it. And for those who’ve already been on the journey with Red Dog, it’s a chance to discover where the legendary Pilbara Wanderer’s journey really began. Sally Carlier-Hull

RELEASED: Now Showing DIRECTOR: Justin Kurzel CAST: Michael Fassbender, Marion Cotillard RATING: M

ASSASSIN'S CREED

Game changer.

A fter so many terrible translations from console to cinema, video game adaptations have a stigma attached to them. That's about to change this year, however, with the release of Assassin's Creed . Gamers, prepare to take a leap of faith... In bringing Ubisoft's best-selling game franchise to the screen, Australian director Justin Kurzel ( Snowtown , Macbeth ) has done for video game adaptations what Christopher Nolan did for Batman comics, delivering a dark and dazzling fantasy-adventure that's grounded in the real world and juxtaposes historical context with the contemporary problem of curbing violent behaviour. A fantastic cast adds further gravitas: Assassin's Creed reunites Kurzel with his Macbeth leads Michael Fassbender and Marion Cotillard, and the supporting roles include Jeremy Irons, Brendan Gleeson and Charlotte Rampling. Yes, you read that correctly, Charlotte Rampling in a video game movie – Assassin's Creed means business! Convicted murderer Callum Lynch (Fassbender) is snatched from death row execution by Dr. Sofia Rikken (Cotillard), a scientist with Abstergo Industries, who have developed a machine called the Animus, which facilitates a DNA memory meld with a genetic ancestor. Lynch is thrust into the mind of 15th century assassin Aguilar to discover the whereabouts of the Apple of Eden, an ancient artifact that contains the "seeds of

disobedience" and could hold the key to eliminating human aggression. The Apple is also coveted by the Knights Templar for a more sinister purpose, one that will end their centuries-long conflict with the Assassins and eliminate free will. The action alternates between the Abstergo facility and 15th century Spain in thrall to the Inquisition, with the Animus allowing Lynch to manipulate his ancestor in much the same fashion a gamer will play their avatar – it's a cool nod to the movie's roots, with the finely choreographed parkour and fight sequences remaining true to the game's visual aesthetic. The mythology surrounding the Assassin bloodlines and their war with the Templars is also crucial – and dense, so you'll need to pay attention (another first for a video game movie). It's this blending of historical detail and frenetic action – coupled with a moody ambience – that distinguishes Assassin's Creed from its peers. It's got style and substance. With audiences becoming increasingly desensitised to all the generic FX-laden blockbusters of late, Assassin's Creed is the visual and creative departure that the genre needed. Kurzel has demonstrated that video game movies don't need to be vacuous action- fests, and having now triumphed with true crime, Shakespeare and Ubisoft's finest, it's exciting to contemplate what he'll do next. Scott Hocking

RATING KEY: Wow! Good Not bad Meh Woof!

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CINEMA REVIEWS

LA LA LAND

ALSO SCREENING IN JANUARY

RELEASED: Now Showing DIRECTOR: Damien Chazelle CAST: Ryan Gosling, Emma Stone RATING: M

Prepare to be dazzled.

Along with westerns, musicals are arguably Hollywood's greatest invention. But whereas the oater has continued to evolve and still occasionally throws up a classic, fans of musicals have largely subsisted on a diet of jukebox crowd-pleasers and proven Broadway hits. La La Land changes all that. As an homage to the golden age of Hollywood musicals, Damien Chazelle’s stunning third feature more than holds its own against the classics from masters such as Vincente Minnelli and Stanley Donen. But it also offers a witty deconstruction of the form

during an air raid. But marriages made in the field seldom work, according to Max's superior (Jared Harris), and he quickly discovers this to be the truth when leaked intelligence suggests that his wife might be a German spy. Max's subsequent attempts to deal with this crushing revelation and uncover her true identity sets up an intriguing central mystery, and for much of its running time Allied generates some serious suspense, although Marianne strangely vanishes for much of the film thereafter, despite being crucial to the intrigue. Things quickly fall apart in the third act, however, which resembles Spielberg at his worst – or best, if sentiment is your thing. Robert Zemeckis directs on autopilot here – you could easily mistake this for the work of Edward Zwick. The period recreation is impressive, especially the early scenes set in Casablanca (which intentionally evoke the classic film of the same name), with Pitt and Cotillard adequate stand-ins for Bogart and Bergman. But for a big, star-powered romantic spy thriller from a dependable filmmaker, Allied is surprisingly mediocre. There are moments you'll wish you were watching Pitt in Inglourious Basterds instead. Scott Hocking itself and a bittersweet meditation on how the real world will inevitably intrude on the magic of romantic and artistic dreams. There are echoes of both A Star Is Born and Martin Scorsese’s New York, New York in the storyline. Emma Stone is a struggling actress working as a barista, Gosling a frustrated jazz pianist who is determined not to sell out; in true Hollywood fashion they take an instant dislike to each other, but eventually fall in love and encourage each other to pursue their respective artistic visions. However, things begin to sour when Gosling is reluctantly recruited into an appalling jazz-funk outfit led by John Legend, while Stone struggles to realise an ambitious one-woman theatre show. However, don’t fret too much about the familiar storyline; instead marvel at the vibrant primary colours of cinematographer Linus Sandgren, the beautifully choreographed musical set-pieces and the gorgeous production design. As singers, Gosling and Stone probably wouldn’t get far on The Voice but they don’t put a foot wrong in the dance sequences – the scenes in which they waltz together in the Hollywood hills or literally take flight at a planetarium will melt the heart of most show-tune cynics. John Ferguson

It's been 14 years since we last saw Vin Diesel as extreme sports junkie turned secret agent, Xander Cage. Now he's back alongside handler Samuel L. Jackson and our own Ruby Rose and Toni Collette. 2017 gets off to a Diesel- powered start on Jan 19 . xXx: RETURN OF XANDER CAGE

ALLIED

Chris Pratt and Jennifer Lawrence stuck on an interstellar voyage together – what could possibly go wrong? The imminent collapse of their ship for a start, which interrupts their burgeoning romance. Awakening on Jan 1 . PASSENGERS

RELEASED: Now Showing DIRECTOR: Robert Zemeckis CAST: Brad Pitt, Marion Cotillard, Jared Harris RATING: M

In love and war, who can you trust?

It's 1942 and Wing Commander Max Vatan (Brad Pitt) has arrived in French Morocco to meet Marianne Beausejour (Marion Cotillard), a high ranking member of the French Resistance who will impersonate his wife and assist in the assassination of the German ambassador. This sham marriage quickly becomes the real deal following a steamy romp in a car during a desert sandstorm (during which the camera endlessly circles them like a voyeuristic vulture). Then it's back to London to set up house and welcome the birth of their daughter, who arrives dramatically

Taking its title quite literally, this action-comedy from Ice Age director Chris Wedge features a squid-like creature with a need for speed and big tyres. Hitting the road on Jan 12. MONSTER TRUCKS

Will this really be Alice's last stand against the hordes of the undead and the evil Umbrella Corporation? Box office will ultimately decide her fate. Evil is back in residence on Jan 26 . RESIDENT EVIL: THE FINAL CHAPTER

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REVIEW CINEMA

The gang hit the streets of New York with new director F. Gary Gray straight outta Straight Outta Compton . Charlize Theron is the villain and Dame Helen Mirren is along for the ride. April . THE FATE OF THE FURIOUS

Cool monsters, baby Groot, Star-Lord, Kurt Russell, an all-new Mix Tape, and director James Gunn back at the helm. The sequel to Marvel's very best can't come soon enough. April . GUARDIANS OF THE GALAXY VOL. 2

RELEASED: Now Showing DIRECTOR: Gareth Edwards CAST: Felicity Jones, Ben Mendelsohn RATING: M

ROGUE ONE: A STAR WARS STORY

Rebel with a cause.

T he Force Awakens was a worthy Star Wars sequel, and Rogue One is the first true prequel. It’s also the first standalone Star Wars film and immediately announces itself as such by eschewing the fanfare and opening credit crawl we’ve become accustomed to. This is a Star Wars story we sort of know already – the theft of the Death Star plans by the Rebel Alliance. It all hinges on information imparted by the Imperial battle station’s designer, Galen Erso (Mads Mikkelsen), whose feisty daughter Jyn (Felicity Jones) discovers that her father has built an inherent weakness into the Death Star which the Rebels can exploit. Together with Han Solo-like ‘scoundrel’ Cassian Andor (Diego Luna), blind warrior Chirrut Imwe (a terrific Donnie Yen), Imperial defector Bodhi Rook (Riz Ahmed), droll droid K-2SO (a less irritating C-3PO, voiced by Alan Tudyk), and a squad of rebel soldiers, Jyn leads a mission to the tropical planet Scarif where the Empire’s archives are kept. Their main opposition is the Death Star’s head of security, Orson Krennic (a scowling Ben Mendelsohn), who answers to a certain Imperial Governor we’ve met before (and who has been resurrected in a creepy, CGI posthumous performance). And then of course there’s Darth Vader, whose inclusion is surprisingly superfluous and more a case of fan service. While there’s no denying the rush of nostalgia generated by a return to ‘70s Star Wars – director Gareth Edwards ensures the aesthetic

matches the original – Rogue One is closer in tone to World War II adventures like The Guns of Navarone than A New Hope . Edwards has always had a great eye for locations ( Monsters ) and artistic shots ( Godzilla ) and that’s just as evident in Rogue One – the Death Star eclipsing a sun, or rising above the horizon like an enormous moon (that’s no moon!) – and he shoots the space battles with the undisguised glee of a fanboy in a dream job. Rogue One is undeniably grim for a Star Wars film, even more so than The Empire Strikes Back . It’s also a slow burner, introducing far too many players that look similar and spending too much time planet hopping before the decision is finally made to snatch the Death Star plans. And unlike the regular ensemble we’ve grown to know and love, you won’t care too much about this new bunch of heroes. The relentless final act, however, delivers what we expect (and want) from a Star Wars movie as the Rebel fleet joins the battle – the action alternating between AT-AT ground assault and TIE Fighter/X-Wing dogfights above. If The Force Awakens stood accused of recycling A New Hope , then Rogue One is guilty of re-staging the finale of Return of the Jedi (sans Ewoks of course). Like J.J. Abrams’ film, this over-reliance on nostalgia and familiarity is both a strength and a weakness. If the Star Wars universe is to further expand, it doesn’t so much need a new hope as a bold new direction. Scott Hocking

The colony ship Covenant discover something nasty on a paradise planet. The drooling xenomorph on the poster confirms this is indeed an "official" prequel to Ridley Scott's 1979 masterpiece. May . ALIEN: COVENANT

RATING KEY: Wow! Good Not bad Meh Woof!

After multiple delays, Stephen King's seven volume fantasy/western epic is finally heading for the big screen, with Idris Elba nicely cast as gunslinger hero Roland Deschain. July . THE DARK TOWER

It doesn't have an official title yet, but hopefully the next chapter will reveal who Rey really is and how Maz got hold of Luke's lightsaber. Enjoy Rogue One for now and look forward to December . STAR WARS: EPISODE VIII

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EXTRAS

profits soared the more popular the actor became. By 1938 there were more movie theatres than banks within the US, and the box office receipts from those theatres totalled over $670 million per annum. The American public were well and truly hooked on the habit of regularly “going to the movies”. As the decade ended, 1939 – as far as the major Hollywood studios were concerned – had been just another year of profitable business. However, with the release of an unprecedented bounty of quality Hollywood movies, it would mark the peak of studio system production. Amongst the ten films nominated by the Academy of Motion Picture Arts and Sciences that year were Mr. Smith Goes to Washington, The Wizard of Oz, Stagecoach, Dark Victory, Goodbye Mr. Chips  and Gone with the Wind.  Furthermore, alongside those nominations were yet another British Prime Minister Winston Churchill stated that Mrs. Miniver was propaganda well worth 100 battleships plethora of superb films that would have easily, in any other year, been contenders for the Best Picture category. They included Only Angels Have Wings, Young Mr. Lincoln, Gunga Din, Destry Rides Again, The Rains Came,  and a host of other exceptional films – the majority of which have all stood the test of time. As a consequence, film historians agree that by delivering such a diverse list of powerfully entertaining cinematic classics, unmatched before or since,1939 was indeed “The Greatest Year in the History of Hollywood”. Whilst the 1939 Academy Award winners

Hollywood Goes To War: 1939-1946

Part 2

T hroughout the 1930s, the individual Hollywood studios with their “homegrown” movie stars developed different visual and dramatic styles: Metro- Goldwyn-Mayer, with its roaring lion symbol and boast of having “more stars than there are in heaven”, became synonymous with expensive glitzy musicals as well as romantic melodramas starring the archetypal leading man, Clark Gable. Paramount had Gary Cooper, the zany Marx Brothers, Marlene Dietrich and Bing Crosby. Gothic horror became associated with Universal. Tough gangster movies torn

from media headlines found a home at Warner Bros. along with Bette Davis’s female dramas. Director Frank Capra’s patriotic themes and screwball comedies set up at Columbia. Astaire and Rogers' dancing routines, performed on lavish Art Deco sets, were firmly ensconced at RKO. And cute little Shirley Temple was the top moneymaking star at 20th Century Fox. Each studio’s stable of big stars became cultural icons, whose movies brought to life onscreen all forms of adventure, romance and fantasy for audiences. By having actors under contract, the studios' costs didn’t rise but

congratulated each other at the Ambassador Hotel in Los Angeles on the 29th February 1940, the discussion amongst the movie moguls was the growing concern about the war in Europe and how it might impact on their international market. 40 per cent of the industry’s revenues were generated overseas and for the moguls, business was business. Subsequently, they had no intention of deliberately antagonising Mussolini’s new Roman Empire or Herr Hitler’s Nazi Germany. But President Roosevelt had

“More Stars Than There Are In Heaven”:- MGM’s 20th anniversary, 1943

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EXTRAS

Three veterans return home in The Best Years of Our Lives  (1946)

of soldiers in uniform. It is a war of the people and it must be fought not only on the battlefield but in the cities, the villages, the factories, on the farms and in the home. This is the people’s war and we must fight it with all that is in us and may God defend the right for us to do so”. British Prime Minister Winston Churchill stated that Mrs. Miniver was propaganda well worth 100 battleships. The vicar’s sermon was so moving that copies were printed in various languages and dropped by allied aircraft over all of occupied Europe. America emerged fromWWII as a leading global power, and Hollywood, with its massive output of patriotic films, considered it had played a vital role in the US attaining that position. Americans had flocked to see these movies in ever increasing numbers throughout the war years, and the industry had seen weekly domestic ticket sales increase from 80 million in 1940 to 90 million by 1945. Briefly it appeared that the “war boom” of prosperity would last, as the studio system continued to work at maximum efficiency to maintain the volume of films audiences seemingly demanded. Indeed, the film industry enjoyed its most profitable year ever in 1946, with over 100 million weekly ticket sales that generated $1.7 billion gross. Amongst the 240 films released in 1946 was  The Best Years of Our Lives, which won the Best Picture Academy Award. The topical film dealt with the problems of returning veterans who had survived combat. Ironically the movie’s title would also reflect the zenith of Hollywood profits, for never again would the studios reach the heights they attained in 1946. Furthermore, a mere two years later, certain events would bring about the decline and eventual fall of the Hollywood Studio System.

identified Hitler as a threat to American security and personally requested that Hollywood begin to feature support for Western Europe – and in particular Great Britain – within their motion pictures. For the first half of 1940, this support for Britain was historically disguised in such movies as The Sea Hawk, where Philip of Spain stood for Hitler and the Armada as the Luftwaffe. But in August 1940, the German Embassy complained bitterly to the White House about the content of English-born Alfred Hitchcock’s  Foreign Correspondent . In this movie, Joel McCrea plays an American reporter in war-torn London who delivers a clear message to America to get involved in the European conflict. It was this film that prompted an enraged Hitler to ban all American motion pictures from the European countries now under Germany’s control. Hollywood’s gloves now came off and they stepped up their war- related productions. Tyrone Power starred in A Yank in the R.A.F. , and Gary Cooper portrayed the WWI US hero Sergeant York. Future US president Ronald Reagan starred in  International Squadron, the true story of the R.A.F.’s foreign legion squadron who fought in the Battle of Britain; and Charlie Chaplin made  The Great Dictator, featuring himself as the fascist leader, Adenoid Hynkel – a direct caricature of Hitler.  However, not all Americans were comfortable with these type of movies. Amongst the US Congress and Senate were many vociferous isolationists who believed that Hollywood’s war propaganda motion pictures would drag America into another unwanted European conflict. These anti-war voices were completely silenced on the first Sunday of December, 1941, when the Japanese attacked the US Pacific Fleet at Pearl Harbor, and four days later Germany and Italy, honouring their pact with Japan, declared war on the United States. Roosevelt’s US War Information Agency (a forerunner of the CIA) swung into action and supplied Hollywood with a list of subjects

Top left: Poster for A Yank in the R.A.F . (1941) Above: Poster for  International Squadron  (1941)

Charlie Chaplin as Adenoid Hynkel in T he Great Dictator  (1940)

The vicar delivers his sermon in  Mrs. Miniver  (1943)

they ordered the film studios to concentrate on: The enemy – Japan, Germany and Italy; the Allies; the US armed forces; the production and home fronts. Hollywood went to war with gusto and churned out countless patriotic war films from 1942 through to 1945. Many of them became classics, but one of particular importance as a powerful morale booster for the Allies cannot be overstated. The final scene of MGM's award-winning Mrs. Miniver (1942) was set in a bomb devastated, roofless church somewhere in England. The actor Henry Wilcoxon, portraying a vicar, addresses his small congregation thus “...this is not only a war

To be continued...

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What we said: "Blending deadpan Kiwi humour, quirky characters and slapstick action, Taika Waititi's latest triumph is a zany family comedy that will appeal to the mischievous kid in everybody." 10 Hunt for the Wilderpeople

FILM & TV

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1 Spotlight

FILM about gangsta rap collective N.W.A. is a timely reminder of their musical talents, and the best movie about hip hop since 8 Mile ."

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2 Macbeth

What we said: "Like a stage production shot in Ultra Panavision 70, this is easily Tarantino's best and bloodiest film since Kill Bill Vol.1 , and features his best cast since Pulp Fiction ." 8 The Hateful Eight

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7 Star Wars: The Force Awakens

3 Sicario

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they want and introducing the galaxy far, far away to a new generation."

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4 The Revenant

6 Room

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2 Better Call Saul: S2

TV

1 Game of Thrones: S6

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5 11.22.63

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7 Vikings: S4, Pt.1

What we said: "The stage is set for a

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proved a TV adaptation of one of the Coens' best films was possible. The second backs that up – in fact, it's arguably even better than the first."

9 House of Cards: S4

10 Narcos: S1

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uncomfortably funny, it has an air of documentary, making it an educational, exciting and often unnerving rush."

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DVD&BD FEATURE

Burton

book by the

Author Ransom Riggs was delighted that his favourite filmmaker would be bringing his best-selling novel, Miss Peregrine's Home for Peculiar Children , to the screen. Words Adam Colby V isiting Tim Burton’s set novels. It was those images that immediately caught Burton’s attention when he read the book. “I grew up loving books like

where his best-selling novel, Miss Peregrine’s Home for Peculiar Children, was being adapted for the screen was, says Ransom Riggs, “mind blowing.” Riggs is a huge fan of Burton’s work and couldn’t have been happier to know that his favourite filmmaker was making a movie of his book. Riggs himself is a filmmaker – having attended film school at the University of Southern California in Los Angeles – and once Burton was on board, he knew that his book was in very safe hands. “As a filmmaker, I understand that when you adapt a book for the screen you need to internalise that story and make it your own,” he says. “To make a great film which stands on its own as a piece of art and not just an uninspired copy, it’s necessary that the filmmaker find and express their own personal vision of the story. And that’s what Tim has done so brilliantly. “That said, if it had been anyone other than Tim directing and Jane Goldman writing the script, I would have been pretty nervous,” he adds. “But I so trusted Tim’s sensibility that I was able to say,

The Chronicles of Narnia – stories about discovering hidden worlds within our own, about discovering that we are more than we realise,” explains Riggs. “I started writing when I was young, and mostly I wrote stories that were trying and failing to be Narnia . I also grew up loving film and photography. About eight years ago I began collecting old snapshots at flea markets and secondhand stores. I was drawn to strange images, just as I’m drawn to strange stories – and, having just graduated from film school, I was looking for ways to combine stories and images. When I hit upon the idea of using these unusual photographs to illustrate a book, I knew immediately what kind of story I wanted to write: a story about a hidden world. And of course the strange-looking kids in the photographs had to live there.” Riggs is, understandably, impressed with the stellar cast that Burton has assembled for the film, including Eva Green as Miss Peregrine, Asa Butterfield as Jake, Dame Judi Dench as Miss Avocet, and Samuel L. Jackson as the

[ Eva Green ] seems to be channelling Katharine Hepburn at times - if you crossed Katharine Hepburn with a bird!

group of outcast children with strange abilities was inspired in part by his collection of haunting old photographs, many of which illustrate his Peculiar Children

‘okay, take the keys and bring the car back in one piece when you’re done...’ And that’s more or less what happened.” Riggs’s compelling story of a

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FEATURE DVD&BD

Eva Green's exotic beauty makes her a natural for roles that lean towards the dark side...

300: Rise of an Empire As Artemesia, the beautiful and ruthless commander of the Persian naval fleet, Green is the reason this sequel is better than the original.

“They’re masters of their craft, and many have been working with him for decades. As a film nerd, of course I knew about Colleen Atwood, the Oscar-winning costume designer, and Bruno Delbonnel, the cinematographer, who has shot some of the most beautiful looking movies of the last two decades, and on and on. To watch these people giving their all to bring my little book to life was indescribable. What an honour. And watching them on set that first time, that’s what made it start to seem real.” Riggs’s visit to the modest set in Florida brought back memories of his own time at film school. “You would shoot in a friend’s parent’s house, and do your best to cram cameras and lights and crew and actors into a little bedroom – except there was this massive team of legendary craftsmen and Hollywood actors and Tim Burton running around with wild hair and dark glasses, Tim Burton-ing,” he laughs. “It was insane.”

I was drawn to strange images, just as I’m drawn to strange stories

sinister Mr. Barron.

“It was very strange,” he laughs. “I’ve had the experience, on a small scale, of casting actors to play characters I’ve written, but this was such a different calibre. It was, ‘here comes Sam Jackson and Judi Dench and Asa Butterfield…’ these people I knew. “Eva Green is a great choice as Miss Peregrine,” he notes. “She seems to be channelling Katharine Hepburn at times – if you crossed Katharine Hepburn with a bird! She has an incredible gravitas you wouldn’t necessarily expect from someone as young as she is. It’s perfect for the character. “I think a lot of people read the book and thought Miss Peregrine was older than she really is. But she’s not. There are photos of her in the book – she’s not old, but she has the authority and maturity of an older person, which is appropriate since she is hundreds of years old.” Riggs also visited the set to see Burton and his cast at work. “It was mind blowing to meet him and watch him work, and to watch the amazing people he collaborates with work,” he recalls.

Dark Shadows In her first collaboration with Tim Burton, a blonde Green stole the show from Johnny Depp's vampire as the wicked witch Angelique Bouchard.

Penny Dreadful Green's tormented psychic Vanessa Ives was the soul of Showtime's ambitious and stylish mash-up of classic literary horror characters.

Sin City: A Dame to Kill For As the manipulative femme fatale of the title, Ava Lord, Green was the best thing about this disappointing sequel to the Frank Miller cult favourite.

• Miss Peregrine's Home for Peculiar Children is out on Jan 4

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