STACK #161 Mar 2018

YOUR ESSENTIAL GUIDE TO CINEMA, DVDs, GAMES & MUSIC

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ISSUE 161 Mar ’18

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NATION OF TWO

READY PLAYER ONE • JUSTICE LEAGUE • VANCE JOY

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I N C L U D E S O V E R 2 . 5 H O U R S O F B O N U S F E A T U R E S • N E V E R - B E F O R E - S E E N E X T E N D E D S C E N E • 7 X F E A T U R E T T E S • G A G R E E L • P O D C A S T S • D E L E T E D S C E N E S

“ O U T L A N D E R S E A S O N 3 I S T V ’ S B E S T R O M A N C E ” – E N T E R T A I N M E N T W E E K L Y

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Contributors

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

Issue 161 MARCH 2018

Music Editor Zoë Radas StaffWriter Alesha Kolbe

Creative Director Michelle Black DVD Consultant Kerrie Taylor Games Consultant Andre Eivik Music Consultant Mike Glynn Tech Consultant Chris Allen Marketing Manager Fleur Parker Chief Contributors Bob Jones , Gill Pringle Contributors Amy Flower, Jeff Jenkins, Simon Lukic, Billy Pinnell, Jennifer Dou, Denise Hylands, Simon Winkler, Adam Colby, Tim Lambert, Jake Cleland, Holly Pereira, Jayden Perry, Samantha Baldry Social Media Manager Sally Carlier-Hull Production Manager Craig Patterson Production Assistant Alan Netherclift

WELCOME The older you get, the problem with dedicating time to play video games is that life has an annoying tendency to get in the way. The to-do list is endless: kids need feeding/washing/entertaining/putting to bed, the dog has to be walked, household chores or DIY projects need attention; I could go on but I’m sure you get the picture. Sometimes when I struggle through the living room with a basket of washing, leaving a trail of socks behind me like Theseus in the Minotaur’s labyrinth, I glance longingly at the console in the entertainment unit; a forgotten reminder from another, more time-generous era. However there are a handful of franchises that I endeavour to make time to play and finish, irrespective of social and domestic constraints. The Far Cry games fall into this category. Developed, like so many other quality titles, by one of the finest studios in the world, Ubisoft Montreal, the first-person shooter doesn’t just pitch players against psychopathic tyrants, but also environmental dangers like wild animals. With its breadth of exploration opportunities and versatile gameplay options, the Far Cry franchise appeals to a wide range of gamers. From what I’ve already played, Far Cry 5 falls right into the above criteria. And while my days of walking through the front door and doing nothing but playing games for eight hours straight are long gone, I’ll be economising every spare moment to be sat in front of Far Cry 5 . Anyone for co-op? 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, 2018 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. “I did not hit her. I did not.”

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Issue 161

MARCH 2018

Music Pages 47 – 73

Games Pages 1 – 25

Extras Pages 10 / 22 – 23

Cinema Pages 12 – 18

DVD & BD Pages 24 – 42

YOUR ESSENTIALGUIDE TO CINEMA,DVDs,GAMES&MUSIC

YOUR ESSENTIALGUIDE TO CINEMA,DVDs,GAMES&MUSIC

24-25 THOR: RAGNAROK We spoke with Visual Development Supervisor Andy Park about Hela, Korg, and Taika Waititi’s vision of the Thor trilogy closer. 26-27 JUSTICE LEAGUE It’s hard to believe the hunky Jason Momoa grew up an outsider – making him perfect for the role of Aquaman, as he explains. 28-30 BETTER WATCH OUT Writer-director Chris Peckover brings the spirit of Christmas and John Hughes movies to his pitch-black horror-comedy. 32 A BRONX TALE Chaz Palminteri has Robert De Niro to thank for bringing his autobiographical one-man play to the screen. 34 TWIN PEAKS We look back David Lynch and Mark Frost’s surreal series, which altered the TV landscape in the nineties.

12-13 READY PLAYER ONE The novel was a homage to Steven Spielberg, and the director returns the compliment by helming the film adaptation. 14 GAME NIGHT Jason Bateman and Rachel McAdams confess to their own competitive streak on the set of this playful action-comedy. 16-18 REVIEWS Black Panther, Insidious: The Last Key, Winchester, Game Night, Lady Bird.

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ISSUE 161 Mar ’18

ISSUE 161 Mar ’18

GAMES

NATION OF TWO

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READY PLAYERONE • JUSTICE LEAGUE • VANCE JOY

ASSASSIN’SCREED:ROGUEREMASTERED • VANCEJOY

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50-58 INTERVIEWS We spoke with

10-11 EXTRAS Five must-see film and TV releases this month, whatever happened to Mean Girls star turned tabloid magnet Lindsay Lohan, and an Australian classic hits Blu-ray. 22-23 BOB J How the depiction of a famous military disaster became one of the most misunderstood British films of all time.

Superorganism, Sarah Blasko, Augie March, What So Not, Camp Cope, Andrew W.K. and more. 60-61 VANCE JOY We sat down with Vance Joy to chat trumpet imitations, whistling, the Catskills, the dangers of stage lights, and the musician’s beautiful new album Nation Of Two . 62 JB’s ROVING REPORTER The monthly vinyl chart, four ace pre-order offers from JB, and a chinwag with JB Marion’s Jules Larwood. 66-72 ALBUM REVIEWS Andrew W.K. takes our Album Of The Month crown but we also have feelings about Ian Moss, Lowtide, Car Seat Headrest, Oh Mercy, Yo La Tengo, The Breeders, Camp Cope, and more.

6-7 FAR CRY 5 Hope County, Montana, is calling your name. 8 LIFE IS STRANGE The complete Before the Storm collection. 9 ASSASSIN’S CREED Play as a Templar in Assassin’s Creed Rogue Remastered. 10-11 GFINITY Gfinity have created their own esports league. 16 NINTENDO SWITCH The best games of the Switch’s first year. 24 OUT THIS MONTH

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EXTRAS NEWS STACK Home Entertainment Awards 2017 winners The people have voted!

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THE WINNERS ARE… A massive thank you to everyone who took the time to cast their votes in this year’s STACK Home Entertainment Awards (AKA SHEAs). We’ve had a huge response from our readers keen to their register support for the best film, TV series, album and game of 2017. So without further ado,

The SHEA for best TV series released in 2017 goes to Game of Thrones: Season 7

The SHEA for best film released on DVD & Blu-ray in 2017 goes to Logan

What we said: “A brutal and intense action-thriller devoid of the usual global threat, mutant ensemble and visual effects overload… the best has been saved for last.”

What we said: “Season seven might have fewer episodes but that doesn’t equate to less action and intrigue. The pacing has been ramped up considerably and there’s a sense of urgency now as events and characters converge for what promises to be an epic finale.”

The SHEA for best game released in 2017 goes to The Legend of Zelda Breath of the Wild

The SHEA for best album released in 2017 goes to Ed Sheeran, Divide

What we said: “Link’s latest adventure is a

What we said: “Sheeran brandishes his undampened melodic/ lyrical skillset in anthems which no longer exhibit drunken regrets.”

welcome breath of fresh air for the franchise, and a brilliant launch title for a console just finding its feet.”

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EXTRAS NEWS

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THOR: RAGNAROK FUN FACTS

The ‘friend from work’ line used by Thor in the Contest of Champions scene is actually a suggestion from a Make-A-Wish child who visited the set

The word Ragnarok literally translates to “the final destruction of the world”

Tom Hiddleston has said this film was the most physically demanding for Loki out of all his films

Cate Blanchett’s Hela is the first lead female villain in the MCU

Ragnarok was filmed mostly in Queensland, as well as on Dirk Hartog

Marvel boss Kevin Feige called filming in Australia, “One of the best experiences [Marvel] has ever had”

Island and New Zealand’s South Island

Whatever Happened to... LINDSAY LOHAN

Ryan Reynolds @VancityReynolds

Painting you like one of my French girls. Happy Birthday #JoshBrolin

There was a time not so long ago when this maladjusted star was monopolising Hollywood gossip and tabloid pages. After appearing in Disney remakes The Parent Trap (1998) and Freaky Friday (2003), Lohan's breakout role came in Mean Girls (2004), turning her into a (momentary) teen queen. Another Disney reboot, Herbie: Fully Loaded (2005), followed, along with a part alongside Meryl Streep in Robert Altman's A Prairie Home Companion (2006). Then it was all downhill. Lohan didn't so much fall from grace as plummet, with legal problems and a rap sheet longer than her IMDb filmography, including arrests for DUI, cocaine possession, and an 84-minute jail term. Her life became a revolving door of rehab, broken relationships and lost roles, as well as two years holed up in that infamous haven for troubled stars, the Chateau Marmont. Her party girl lifestyle made studios wary, although there was the occasional screen appearance in turkeys like I KnowWho Killed Me (2007), telemovie Liz & Dick (2012) – playing Elizabeth Taylor (!) – and as herself in Scary Movie 5 (2013), opposite Charlie Sheen. In January 2017, Lohan announced that she was quitting social media to embark on "a period of renewal". She's now back on Twitter and currently has plans to launch a cosmetic and clothing line.

• Mean Girls is out on DVD and Blu-ray

"You know who I've been really impressed with, and so inspired by? Saoirse Ronan. I don't know if my life would be very interesting to make a movie out of, but it would be an honour to have her play me."

Jessica Chastain Hypothetically, who would you choose to play you in a Jessica Chastain biopic?

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NEWS EXTRAS

STACK SELECTS Must-see film andTV this month

CELEBRATING ALLTHINGS AUSSIE

THOR: RAGNAROK A Marvel movie that's also a Kiwi- centric comedy. Thank you, Taika Waititi.

A dapted from the novel by Thomas Keneally, The Chant of Jimmie Blacksmith is a classic of Australian cinema from the fruitful period of local film production in the 1970s. Set in the late 1890s and masterfully directed by Fred Schepisi, the story is based on actual events surrounding half-caste bushranger Jimmy Governor. Facing constant racism, along with the discovery that he may not be the father of his child, Jimmie's pent-up anger ultimately explodes in a vengeful rampage that ends with the murder of seven members of a white farming family. Jimmie flees into the hills, along with his brother, wife and child, with the police and outraged farmers in pursuit. This is an important film historically and a confronting one in its depiction of colonial oppression and the reprehensible treatment of indigenous Australians – themes that also resonate strongly in Warwick Davis's recent Sweet Country . Indeed, Schepisi was so

disillusioned after completing the film, he departed for Hollywood and did not make another Australian feature until 1988 – the dramatisation of the Lindy Chamberlain saga, Evil Angels . Long out of print on home entertainment, The Chant of Jimmy Blacksmith returns to the shelves in a Blu-ray edition on March 7, loaded with bonus features that further illuminate this powerful and controversial work. Extras include: An introduction by Fred Schepisi • A Conversation with director, Fred Schepisi and cinematographer Ian Baker • Melbourne Premiere from Willesee at Seven , June 1978 • Interviews with key cast and crew, including director Fred Schepisi and actor Tommy Lewis • Audio Commentary with Fred Schepisi • Q & A session with Fred Schepisi and Geoffrey Rush at MIFF 2008 • Making Us Blacksmiths: Documentary on the casting of the Aboriginal lead actors, Tommy Lewis and Freddy Reynolds • Stills Gallery • Theatrical Trailer

THE HANDMAID'S TALE: S1 Blessed be this superb television adaptation of Margaret Atwood's book.

TWIN PEAKS: EVENT SERIES Even more weird and wonderful than the groundbreaking original. Viva David Lynch!

THE DISASTER ARTIST The story behind “the Citizen Kane of bad movies” is just as hilarious and bizarre.

THE KILLING OF A SACRED DEER The latest film fromYorgos Lanthimos ( The Lobster ) is a dark arthouse masterpiece.

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CINEMA FEATURE

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We caught up with the screenwriters and cast to discuss the celebration of 1980s pop culture that is Ready Player One . Words Scott Hocking TIME TO PLAY!

R eady Player One was born out of author Ernest Cline’s love for classic video games, as well as Roald Dahl’s book Willy Wonka and the Chocolate Factory . The Golden Ticket in Cline’s story is an Easter egg that has been hidden in a vast virtual reality world – the OASIS – by its late creator, and the one who finds it will inherit his fortune. With the clues and challenges within the OASIS informed by 1980s pop culture – everything from Back to the Future and WarGames , to Atari and Canadian rock band Rush – the players must be well versed in the movies, video games and music of the period to unlock the gates that will lead them to the ultimate prize.

avatar, Parzival – adds: “The Iron Giant, for me. It’s one of my favourite movies ever.” Cline, who co-wrote the screenplay with Zak Penn, says he set out to mash- up everything in pop culture and pay tribute to it all at once. “The whole time I was writing the book, I never imagined there would be a movie. When I started work on the screenplay, I realised now it’s my job to turn this unfilmable book I’ve written into a movie, and that’s why I was so blessed to have Zak and Steven Spielberg come onboard, because they’re more experienced filmmakers and also passionate about movies and books and pop culture.

“Music is such an important part of it and there was a lot of discussion about music during the writing process,” says Penn. “We debated which version of New Order’s Blue Monday to use – should it be the dance remix or the ’82 original?” Penn also reveals that Cline could well be the ultimate geek. “Ernie knows more about pop culture than anyone I have ever met. I know a lot but I pale before him. What happened in

the third episode of Knight Rider ? Ernie knows. What did Steven Spielberg do

on Tuesday in 1981? Ernie knows. It became a thing

“So it’s working with like- minded people to reimagine it and make it cinematic. Even though things had to change [from the novel], invariably, they would always consult me and get my input on those changes.” Penn and Cline also assisted in educating the younger cast members on some of the eighties’ references, which included teaching Sheridan how to properly hold an Atari controller, and introducing them to one-hit wonder bands.

“This is the ultimate eighties’ remix,” says T.J. Miller, who plays i-ROk. “It samples everything from every type of pop culture and it’s going to reinforce the existence of that and encourage people to go back and see these movies that are referenced. That’s really cool. “I had a Star Wars moment when I realised i-ROk is this bounty hunter and that he would look up to the greatest bounty hunter in science fiction, which is Boba Fett. And so in the film I do an impersonation of Boba Fett, which is both easy and hard because he only says like five lines in the entire trilogy. I really geeked out on that.” Tye Sheridan, who plays protagonist Wade Watts – better known as his OASIS

on set that we would ask Steven, ‘What’s something that no one would know about you?’ And he’d say, ‘Well, I shot second unit on Scarface for a day.’ So we’d text Ernie, and… Scarface ! We could never stump him, and he wasn’t looking on the Internet, his answers were instantaneous.”

Ready Player One is in cinemas on March 29

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CINEMA

FEATURE

SPIELBERG SPEAKS

to STACK

I f Ernest Cline’s 2011 best- selling novel, Ready Player One, read like a love- letter to Steven Spielberg – heavily referencing his '80s movies like Gremlins, Indiana Jones, E.T. and Back to the Future – then ultimately

literally thousands of actors testing out for the main role of Wade Watts, which eventually went to Tye Sheridan. “Finding Wade was hard because at first I was looking for an overweight

Wade like in the book, and then I just realised that I shouldn’t have to cast a physical type and that I needed to cast the best actor and one with whom audiences could identify and see the story through his eyes. Instead I decided to find the soul and heart of this character, and I know I found the right guy.” Halfway through filming

the legendary director would return the compliment by agreeing to direct the film adaptation. “When I first read the book, I said, ‘OK. This is ridiculous, he’s got me on every tenth page; everything I did in the '80s is in there’. I told myself that another director needed to do that,” recalls Spielberg when STACK meets with the legend on the backlot of Warner Bros. Studios in Burbank. Christopher Nolan, Robert Zemeckis, Peter Jackson and Edgar Wright were all touted for the job before he finally relented. “I figured if somebody else made this movie and put too much of my cultural references in, then I’d be too embarrassed. “I thought that if I directed it, then I could put less of me in because there’s so many things that other filmmakers have done in the 1980s that I didn’t do, that we now have in this movie.” As fans already know, Spielberg instead references the worlds of Blade Runner, Monty Python and the Holy Grail, WarGames and The Iron Giant , while not entirely erasing his own contribution to pop culture. “I cut out most of my own work. I had to. I’ve still got some references, like with Back to the Future and a Gremlin running around, but for the most part, this movie celebrates a decade of style, culture, politics, music, film and TV,” he says while juggling a half smoked cigar in one hand, joking, “I don’t smoke. I just hold this when I’m nervous.” While slow to accept the challenge, he also blames it on the difficulty of adapting Cline’s novel. “It was a tough one to get right and it took a long time.” Casting was problematic too, with

Ready Player One at London’s Leavesden studios, Spielberg, 71, abruptly took a break and went off to film

I cut out most of my own work. I had to.

newspaper drama The Post with Meryl Streep and Tom

Hanks. “Tom, Meryl and I all thought it was a social imperative that I actually suspend making Ready Player One to get active and make that movie last year,” he explains. “I made The Post because the lie of Richard Nixon and the corruption of his administration was a movie that was happening all over again in 2017, and I couldn’t avoid seeing the relevance of all the lies coming from the current administration.” Casting Mark Rylance as brilliant OASIS creator James Halliday was a no brainer. “I just love Mark because he can be anybody and do anything and he doesn’t need an avatar to do it.” For all the technical virtuosity of Ready Player One , Spielberg’s end goal, he says, is relatively simple: “A movie like this is bigger than life, and people who direct films like this, we’re all looking for the affirmation of the audience. The most important thing for me is for people to laugh and have a good time and to come out of the movie and blog that they liked it.”

Words Gill Pringle

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CINEMA FEATURE

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GAMEON

PLAYING FOR KEEPS

THE GAME (1997) An arrogant banker (Michael Douglas) is gifted a mysterious game that promises to change his life – by systematically ruining it.

Gill Pringle chats to Jason Bateman and Rachel McAdams on the set of the playful new action-comedy, Game Night .

BATTLE ROYALE (2000) In a homicidal version of Survivor , Japanese students are dumped on an island and must kill off their competitors in a deadly game.

I t’s after midnight on a cold winter night on Atlanta’s millionaire row, where the producers of comedy Game Night have borrowed a luxury mansion for a key scene that sees our intrepid heroes making their escape. No superpowers here – just a group of pals who meet regularly for game nights and find themselves plunged into the middle of a murder mystery. The most competitive among this gang are husband-and- wife game enthusiasts Max and Annie, portrayed by the formidable duo of Jason Bateman and Rachel McAdams. Chatting with McAdams between takes, the actress confesses her own competitive streak to STACK . “It depends on the game,” she says. “I play Running Charades with my friends and family while Code Names has also become a big recent favourite. “I like the camaraderie that comes with it. I have a little bit of social anxiety, so going to a party and talking to a bunch of strangers makes me want to stay home forever. To be able to go and do something active, that everyone’s in together, you wind up having a lot more to talk about at the end of the night. Games allow you to dive in with strangers instead of, five glasses of wine later, still trying to come up with something to say,” argues McAdams, 39, who has largely eschewed comedy since her roles in hit movies Mean Girls and Wedding Crashers more than a decade ago. Enjoying recent roles in Spotlight, Doctor Strange and Disobedience , she’s happy to keep changing things up. “I’m not a creature of habit, I like variety in life. I try to diversify and keep things interesting for myself; I feel like I do better work if I’m

challenged and haven’t done it before. Comedy is such a different muscle than crying on set every day,” she says in a nod to her role in the classic weepie, The Notebook . After directing and starring in comedy Bad Words five years ago, STACK suspects Bateman to be a highly competitive individual, and we’re not wrong, he admits. However

with Game Night , he has a lot more at stake than winning a game – having signed on as producer.

eXistenZ (1999) A squirming, organic VR game console that plugs directly into the nervous system of the player. It could only have been created by David Cronenberg.

For a while he even intended to direct Game Night himself.

Games allow you to dive in with strangers...

“But then I felt like there are some people that could probably do a better job of this particular concept than myself," he explains. "I immediately thought of John Francis Daley and Jonathan Goldstein, because it's got some similarities to the fun we had on Horrible Bosses ." Bateman believes himself to be a good boss, easily assembling Game Night’ s dream cast of comedic talent, including Jesse Plemons, Sharon Horgan and Lamorne Morris. Game Night does take some comedy tone from Horrible Bosses , although Bateman says the goal is more Martin Scorsese’s After Hours . “We really liked this notion of embracing

people that are basically suburbanites like us, out and exposed in the night when they’re usually underneath their duvet covers watching TV. Instead, we’re out there battling people that are kind of dangerous.” Shooting through the night is certainly a lot more fun for Bateman with McAdams cast as his wife. “I’ve always been a big fan of hers and we really felt like we landed a big fish there. She’s been great and I think she lends a lot of class and pedigree to it.”

Game Night is in cinemas now

the whole night of it all like with After Hours , which existed all throughout the night and had a noir feel to it. Just like with Horrible Bosses , a lot of that happened at night and it helps when you’ve got

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CINEMA REVIEWS

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RELEASED: Feb 8 DIRECTOR: Adam Robitel CAST: Lin Shaye, Leigh Whannell, Angus Sampson, Kirk Acevedo RATING: M The fourth chapter in the horror franchise puts psychic Elise Rainier (Lin Shaye) front and centre in what amounts to an ‘origin story’ as to how she became the one to call when you’ve got ghosts. Set just prior to the events of the first film, Elise is drawn back to her hometown of Five Keys in New Mexico, where an entity she summoned as a child is still haunting the family home, and the new owner wants rid of it. Together with ghost hunters Specs (Leigh Whannell) and Tucker (Angus Sampson) providing the comic relief, Elise uncovers more than just a haunting and must confront the demons of her past, along with her estranged brother. The Last Key ‘s focus on Shaye’s character is a plus after a couple of lacklustre sequels. The veteran actress brings conviction to a role – and dialogue – that would otherwise be as hokey as some of the rote scares on offer. After so many memorable supporting parts, it’s great to see her land a lead at 75. Unfortunately, director Adam Robitel doesn’t conjure up the same sense of creepiness he displayed with the found-footage horror The Taking of Deborah Logan . He’s content to stick to the interchangeable template of over-the-shoulder apparitions and dark basements wreathed in dry ice that has become de rigueur for supernatural horror. Insidious: The Last Key is unlikely to be the last film in the franchise, and while it is an improvement on previous entries, it’s the kind of film where you’re waiting for the horror to really kick in and the end credits begin to roll. Scott Hocking INSIDIOUS: THE LAST KEY WINCHESTER RELEASED: Feb 22 DIRECTOR: The Spierig Brothers CAST: Helen Mirren, Jason Clarke, Sarah Snook, Angus Sampson RATING: M The most novel thing about Winchester is that it’s Dame Helen Mirren’s first horror film. As Sarah Winchester, the heiress to the Winchester firearms company, Mirren brings a touch of class to this otherwise creaky ghost story “inspired by actual events”. This grieving widow claims to be haunted by the restless spirits of those killed by the Winchester repeating rifle, and has constructed a labyrinthine house of seven stories and hundreds of rooms to accommodate the spectral multitude. The company board are naturally concerned that she may not be of sound mind, and despatch Dr. Eric Price (Jason Clarke) to perform a psychological assessment. Price, whose haunted past has spawned its own ghosts, as well as a laudanum addiction, begins seeing things as soon as he sets foot in the Winchester House. And before long, all hell breaks loose with the arrival of a vengeful spirit. Ghost stories are always more effective when they’re period pieces, and what Winchester gets right is favouring gloomy atmosphere and other gothic tropes over formulaic jump scares. What’s disappointing is the missed opportunity of properly exploring the architectural monstrosity that is the Winchester House – a piece of unreal estate to rival the Overlook Hotel and Hill House. There’s never a sense of getting lost in this malevolent maze. Winchester is a great tourism booster for the real Winchester Mystery House in California, but as a supernatural horror film it’s mostly firing blanks. Scott Hocking

RELEASED: Feb 15 DIRECTOR: Ryan Coogler CAST: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o RATING: M

BLACK PANTHER

Remember who you are.

I t’s quite possible that Black Panther could not succeed in the way that it does without the guidance of Ryan Coogler. His unique vision lends itself perfectly to the comic character’s tale of responsibility not only to his homeland of Wakanda and its people, but also to himself. When we last encountered T’Challa (Chadwick Boseman) in the Marvel Cinematic Universe (MCU), his father T’Chaka had just been assassinated by Baron Zemo, leaving T’Challa with not only the mantle of protector Black Panther, but also King of Wakanda. At the end of Captain America: Civil War , he returns home to his African nation – with James “Bucky” Barnes (Sebastian Stan) – to take up his new role as ruler. T’Challa reunites with his mother (Angela Bassett) and sister, Shuri (Letitia Wright), who also happens to spearhead the technical developments of the Wakandan nation. Wakanda (as we learned in Avengers: Age of Ultron ) is home to the world’s supply of Vibranium – a ‘vibration absorbing’ element and the

and her tribe of elite fighter Dora – all sworn to protect the throne. However, when word hits that Ulysses Klau (Andy Serkis) – the only man ever to have broken into Wakanda – is again on the hunt for Vibranium, the tribes and their warriors must band together to protect the secrecy of the nation. The strength of Black Panther lies in its character building. T’Challa’s reliance on his family and his pride (sorry) are some of his most important traits as King, but the position of power tests his bonds. The women carry this film – particularly Okoye and T’Challa’s romantic interest, Nakia (Lupita Nyong’o) – assisting the Black Panther to decide what is right. Wakanda itself is beautifully crafted, with the futuristic tech and the African- inspired costumes building an immaculate world in which to spend a few hours. Black Panther is a celebration of culture and colour at a time when perhaps the world needs it most. Danai Gurira is an easy standout as an inspiring, driven

RATING KEY: Wow! Good Not bad Meh Woof!

champion, and without giving away too much about his role,

Michael B. Jordan clearly revels in reuniting with his Creed director, Coogler. Stellar performances from the entire cast and a killer backing track makes this one of the most important, if not necessarily the most action-packed, Marvel films to date. Alesha Kolbe

strongest metal on Earth. As such, the Wakandan tribes have made use of the element to improve their advanced technology, all the while hiding themselves from the outside world. Wakanda is protected by the

warrior Okoye (Danai Gurira)

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GAME night RELEASED: Feb 22 DIRECTOR: John Francis Daley, Jonathan Goldstein CAST: Jason Bateman, Rachel McAdams, RATING: MA

ALSO SCREENING IN MARCH

A playful and propulsive action-comedy.

You can probably count on one hand the number of Hollywood comedies in the last year or so that are genuinely funny. Game Night is one of them – a breezy and consistently amusing romp that yanks a bunch of suburbanites out of the comfort zone of pub trivia and couch Charades and into a madcap murder mystery. Married couple Max (Jason Bateman) and Annie (Rachel McAdams) host a weekly game night for a bunch of friends, which is taken up a notch when Max's wealthy brother Brooks (Kyle Chandler) arranges an elaborate mystery

evening. Once it begins, the line between what is real and staged becomes increasingly blurred, with the group dodging bullets and bad guys in a dangerous game that doesn't play by the rules – or pause for breath. To say more would spoil the fun, and Game Night is tremendous fun. It's a major step up from the previous films of writer-directors John Francis Daley and Jonathan Goldstein, Horrible Bosses and the Vacation remake, which were largely reliant on gross-out gags and forced humour. Instead, this playful and propulsive action- comedy boasts a smart and snappy script that zings with movie trivia and references to delight film buffs, as well as perfect comic timing from the ensemble cast. Jesse Plemons in particular is a standout as Max and Annie's creepy cop neighbour, who doesn't take kindly to being left out of game night. And Bateman and McAdams are perfectly matched, throwing themselves into exaggerated roles with winning chemistry. Low on plot but high on entertainment value, Game Night is a winner – and the perfect date movie. Scott Hocking schoolgirls ought not even be aware of. Of course, she also faces all the same problems – growing up, losing friends, struggling with money, fitting in, struggling with boys, getting accepted into college… Lady Bird mentions that she lives on the wrong side of the tracks, and it’s not simply a metaphor. 2002 Sacramento, to her, is not the place for a teen with a burgeoning social life – or hopes of one, for that matter. Saoirse Ronan (pronounced “Sur-sha” – you’re welcome) is captivating, perfectly encapsulating what it’s like to grow up and live the ‘stressful’ life of a teenager. Put simply, Lady Bird is a snapshot of an adolescent life – as if someone simply stepped into Christine’s life, recorded a short portion, and then departed. Nothing is omitted, no matter how bleak. Lady Bird is nothing we haven’t seen before, but it's more honest than most coming-of-age dramas. It’s as much about Ronan’s character’s relationship with her mother as it is her perspective on life, and it’s a pair of eyes that most people could do to look through. Greta Gerwig’s picture is as virtuous and sincere as they come. Alesha Kolbe

TOMB RAIDER

From a bunch of polygons in a 1990s video game to being incarnated by Angelina Jolie in two film adaptations, Lara Croft has come a long way. The Tomb Raider reboot, starring Alicia Vikander, looks more like the recent game releases than ever, with Lara a directionless 21-year-old who eventually decides to investigate her father’s disappearance seven years earlier. Her legend begins on March 15.

RELEASED: Feb 15 DIRECTOR: Greta Gerwig CAST: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Timothée Chalamet RATING: M LADY BIRD

When the kaiju launch a new all-out assault on humankind, it's time for the Jaeger masters to fire up those giant mechs and take the battle to the monsters. John Boyega and Scott Eastwood join the fight on March 22. PACIFIC RIM: UPRISING

Christine McPherson (Saoirse Ronan) is unhappy with the name her parents gave her at birth, and as such has made the decision to christen herself Lady Bird. With this new name comes a fabricated personality and the ability to live the life she has created under her pseudonym, rather than the one she believes to be fit for a Christine. Lady Bird has a normal life. She lives at home with her parents (Laurie Metcalf, Tracy Letts), and her brother (Jordan Rodrigues) and his girlfriend. The family has never been particularly wealthy, but have always managed to get by. She gets through school the way most people do – confiding in her best friend Julie (Beanie Feldstein) and discussing matters Christian An honest snapshot of adolescence.

The Stone Age versus the Bronze Age in a soccer match that will determine the fate of the cavemen's valley home. The latest from Aardman animation kicks off on March 29. EARLY MAN

JLaw plays a Russian spy, Dominika Egorova, whose cover is a prima ballerina. She’ll seduce you, she’ll kill you and then, we presume, perform a graceful pirouette on your grave. Out March 1 . RED SPARROW

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A “Glorious” British Box-Office Blunder

truthful onscreen depiction of the charge. Richardson and his scriptwriter, John Osborne, were major anti-establishment figures who had made their names during the British new wave theatre and cinema in the late 1950s/early 1960s. Their anti-authoritarian politics were vividly expressed in their films Look Back in Anger (1959), The Entertainer (1960) and the social satire Tom Jones (1963).  The bawdy comedy romp Tom Jones , financed by United Artists, had been a huge success in the US, winning four Academy Awards including Best Film and Best Director. Following the film’s critical and commercial triumph, Hollywood studios fell over themselves, offering Richardson finance to develop and make whatever films he liked. He chose United Artists again, who now backed his Crimean epic to the tune of $6.5 million ($47.5 million in today’s money) – one of the highest ever budgets for a British film at that time.

The Charge oftheLight Brigade (1968) Directed by Tony Richardson

T he charge of the Light Brigade at Balaclava during the Crimean War is probably the most famous military disaster in history. On the 25th October 1854, an ambiguously worded order caused five regiments of British light cavalry – 660 men led by Lord Cardigan – to charge down a valley headlong into massed Russian artillery. When the survivors returned to their lines they had left 245 cavalrymen and over 400 horses dead and wounded strewn across the floor of the valley. Was it a monstrous blunder, officer incompetence, plain stupidity, or

Tony Richardson on location in Turkey filming the Charge

all of those? Military historians still argue over “the reason why?” to this very day. Director Tony Richardson’s flawed epic The Charge of the Light Brigade – when released in 1968 – was equally as controversial as the event it depicted. Today, it still remains one of the most misunderstood British films of all time. In 1936, Warner Bros. production of The Charge of the Light Brigade featured a plotline that was historically ludicrous even by Hollywood standards. Some thirty years later, Tony Richardson decided it was time for a more

Osborne based his script on Mrs. Cecil Woodham-Smith’s scathing expose of the Balaclava fiasco, The Reason Why . It would also reflect the strong opposition to the ongoing Vietnam war which was staunchly supported by Osborne, Richardson and their peers. Meanwhile, Richardson had put together a stellar cast of British actors. John Gielgud, Trevor Howard and Harry Andrews were cast in the major roles of, respectively, Lord Raglan, Lord Cardigan and Lord Lucan. He balanced these renowned elder actors by casting a few of the young “1960s Swinging London” acting set, such as David Hemmings and Mark Burns. Location filming in Turkey began in May 1967 using 4,000 Turkish soldiers as extras, and then it was back to England to complete the earlier scenes of the film. Osborne’s original screenplay, later revamped by Charles Wood, firmly depicted that the gross mismanagement of the Crimean War stemmed from the absurdities of the Victorian British class system. In particular the senior commanding officers, who had purchased their commands rather than earning them through experience and merit. This basically led to inept amateurs leading professional soldiers into battle. The campaign is led by the woefully ineffectual, 65-year-old one-armed Waterloo veteran Lord Raglan – a superb performance from Gielgud. His decision to place Lord Cardigan’s Light Brigade under

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The main cast – Top L-R Mark Burns, David Hemmings and Trevor Howard. Seated: Harry Andrews and John Gielgud

the command of Lord Lucan is pivotal to the disastrous and doomed charge. The insufferable martinet Cardigan and his brother-in-law, the equally petulant Lucan, hate each other with a vengeance. As well as being detestable upper- class fools, they are also both depicted as totally incompetent commanders. Into this mix enters Captain Louis Nolan (played by Hemmings), who has joined Lord Cardigan’s regiment in England after serving in India. Cardigan takes an instant dislike to the professional cavalryman whom he calls “That damn Indian”, and has him arrested on a trumped- up charge of ungentlemanly behaviour at dinner in the officer’s mess. To Cardigan’s surprise and fury, Nolan demands a court-martial, threatening to expose Cardigan as the blithering idiot he is. Nolan is swiftly transferred to Raglan’s staff. When the film opened in the UK, the media reviews were mixed and not helped by Richardson refusing to allow a London press review The film now proceeds to the Crimea, depicting the dreadful march inland, a cholera outbreak, and the British victory at the Battle of Alma. A month later at Balaclava, the Russians, who have regrouped around the sea-port of Sevastopol, are seen capturing British guns that have been positioned in a Y shaped valley. Raglan dictates a written order to his brigade of cavalry to “Ride into the valley and restore the guns to their rightful owners”. Nolan requests that he

“Forward, the Light Brigade!”

“There, my Lord, is the enemy, there are your guns.”

One of the brilliant animated sequences drawn by RichardWilliams

personally delivers Raglan’s order to Lords Lucan and Cardigan. The south valley with the captured guns is visible from Raglan’s higher ground perspective but not Lucan and Cardigan’s, who can only see the well defended north valley. When Lucan receives Raglan’s order from Nolan he asks, “What guns?” An indignant Nolan vaguely waving his arm shouts, “There, my Lord, is the enemy, there are your guns”. Lucan turns to Cardigan, now both sensing the forthcoming disaster, and states, “You have your orders”. Nolan, seeking glory, requests that he be allowed to accompany the 17 th Lancers and the Light Brigade begin their advance at a trot. However, now at ground level, Nolan suddenly realises the confusing nature of the geography and that the brigade is advancing down the wrong valley. In panic he wheels his horse and attempts to gain the attention of Cardigan, but a shell explodes above him and his shout turns into a dying scream. The Light Brigade, now at a gallop, continue their heroic charge into the valley of death.

When the film opened in the UK, the media reviews were mixed and not helped by Richardson refusing to allow a London press preview. Most of the critics praised the superb acting, the stunning cinematography, costume design, and Richard Williams’ animated sequences that bridged some of the narrative gaps. However, the general view was a flawed epic that fell well short of its expected greatness. But in America, both the movie and its director were verbally crucified in the media as the production totally failed to impress critics and audiences alike. They found it muddled and confusing – was it a historical drama or a comedy satire? One critic called it “pacifist propaganda”. Another stated that one would require subtitles to be able to understand what was going on. No doubt on reflection, the film’s dandified Victorian vernacular – with lines such as “Who sir? “You sir” “Me sir?” and “Lucan, you’re a stew-stick”. “And you sir, are not fit to command a troop of knackered tailors on stubbed donkeys” – was far too British and in fact practically alien for US audiences to comprehend. The result was a financial disaster with the film only recouping one million dollars from its $6.5million budget. Richardson’s directing career would never fully recover from this loss-making epic that was never quite the film it should have been.

Join STACK ’s resident filmhistorian Bob J and our community of cinema buffs to have your say eachmonth in ' Bob J’s Classic Movie Club ' Facebook group.

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Thor: Ragnarok is the God of Thunder's most colourful adventure yet.We spoke withVisual Development Supervisor Andy Park about designing the look of Hela, Korg, andTaikaWaititi's vision for theThor trilogy closer.

Words Alesha Kolbe

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FEATURE

The Marvel Cinematic Universe is renowned for enlisting interesting and unlikely filmmakers to put their own spin on the brand; guys like James Gunn on Guardians of the Galaxy , and now Hunt for the Wilderpeople ‘s Taika Waititi. But how much creative freedom does the studio allow? “They gave me a lot of creative freedom, actually,” Waititi tells STACK . “I think that’s to their credit and what makes all their films successful is that they get people who aren’t the obvious choice and just let them run it, knowing that they can corral and guide them along the way because they’ve made all these big films before. “So I was very relaxed and I knew I was going to be guided in the right way. If I veered off the path, someone would say, ‘No, get in your lane, this is where we’re going.’ It was a very collaborative affair.” Waititi says it was business as usual when making the transition from small indie films to a big tentpole blockbuster. “I’d done a lot of big commercials as well, so it wasn’t a new experience to be on a big set. We shot for 85 days principle photography; my films are usually 25–30 and it was just a matter of keeping up the energy for that long.” The director has stated in the past that he wanted to bring a Big Trouble in Little China  vibe to  Thor: Ragnarok – but did he succeed? “Yeah,” he grins. “Kurt Russell’s one of my favourite actors and I grew up with films like Big Trouble in Little China . What I love about Jack Burton in that film is that all he wants is his truck back, and he goes on this big adventure. That’s what I wanted Chris [Hemsworth] to do. All he wants is his hammer back and to go home. “Chris is legitimately funny, he’s such a hilarious guy, so I thought I’d utilise that and use it to our advantage. I thought it was underutilised in the other films.” We asked Kiwi filmmaker Taika Waititi about working in the MCU and bringing a bit of Big Trouble in Little China ‘s Jack Burton to the character of Thor. Words Scott Hocking BIG TROUBLE FOR THOR...

I n his third standalone adventure, Thor (Chris Hemsworth) faces against the threat of Ragnarok – the impending destruction of his homeworld Asgard and life as he knows it. Hela, Goddess of Death (the wonderful Cate Blanchett), will stop at nothing to bring about the end of Thor and sit on the throne. For Andy Park, Visual Development Supervisor on Thor: Ragnarok , working in the Marvel Cinematic Universe has been a dream come true. “I’ve been working for Marvel Studios for almost eight years now,” he tells STACK over the phone from the States, where he’s busy with Ant-Man and the Wasp and Captain Marvel . comic books, and I dreamed of becoming a comic book artist. I dropped out of college because I was hired by Image Comics – specifically by Rob Liefeld, the creator of Deadpool. I did an X-Men comic, and then in 2005, I made the switch over to doing conceptual art. I feel like I’ve come full circle, and it’s definitely a dream come true.” Thor: Ragnarok was “In my adolescent years I read exclusively Marvel

antlers, and her cape flowing, and her dark mask – that all really showed how sinister she was,” Park explains, before pausing to reflect on some of her other looks throughout the film. “The majority of my time spent on this film was with Hela and designing her – I probably spent about four to six months just on her character design alone.” Of course, we had to bring up Korg, the hilarious stony gladiator voiced and motion- captured by the director himself. Park notes that the main challenge with Korg was to ensure he was distinguishable from Fantastic Four’s The Thing. “Initially we were told that they needed a bunch of gladiators that were going to be fighting in an arena. I hired two artists known for their creature concepts – Tully Summers and Ian Joyner. Tully’s art was the one chosen by Taika for Korg. We had to make him greyish-blue to tell him apart from The Thing, but we had no idea at the time that Taika was interested in playing the part, or that he was going to end up being more of a comedic character. "Tully also came up with the design that we ended up using for Meek, Korg’s sidekick. Taika fell in love with both designs and loved what we ended up bringing to the final film.”

that was due to the director, Taika Waititi. “Kevin Feige, Louis D’Esposito, and Victoria Alonso, the leadership of Marvel, they’re so smart. They know they can use talent that’s not necessarily already big; like James Gunn and Joss Whedon

I probably spent around four to six months just on [Hela's] character design alone

– they weren’t blockbuster directors before they signed with Marvel. These heads look beyond that, they look at talent, they look at passion, and they knew Taika could take this film, and the franchise, in a completely reinvigorated direction.” Park and his team on Ragnarok were tasked with the creation of Hela, and how she would look in the film. “She looks the best in the Valkyrie

scene, in her full regalia with her

an exponentially more colourful film than Thor and The Dark World , and according to Park,

• Thor: Ragnarok is out on March 7

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