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Founder Nic Short Editor Scott Hocking

Games Editor Paul Jones Music Editor Zoë Radas

Issue 133

NOVEMBER 2015

Creative Director Justin Buxton DVD Consultant Michelle Black Games Consultant Jeff Kuhl Cinema Consultant Chris Murray Music Consultants Mike Glynn, Fleur Parker Chief Contributors Bob Jones, Alesha Kolbe, Adam Colby Contributors Amy Flower, John Ferguson, Graham Reid, Michael Dwyer, Jeff Jenkins, Emily Kelly, Simon Lukic, Chris Murray, Billy Pinnell, Denise Hylands, Doug Wallen, Simon Winkler, Gill Pringle, Lawrence Miha Social Media Manager Sally Carlier-Hull Photographer Chip Mooney Production Manager Craig Patterson Accounts Coordinator Tracy Kingman

WELCOME T here’s just six weeks to go before the Force awakens in cinemas and we behold a new Star Wars film, but STACK ’s SW celebration begins right here, right now. Head to pages 12–16 for a look at what’s good about the prequels (there is something, really), how the Original Trilogy has changed over the decades since its first release (lots), and what we know for sure about Episode VII’s plot (not much). There’s also an assessment of the Star Wars: Battlefront beta for gamers. And speaking of games, they don’t come much bigger than Fallout 4 . Unless you’ve been living in the Antarctic for the last six months, you’ve probably noticed the comprehensive marketing campaign that’s been overtaking all the major cities in Australia. Brought to you by the studio behind Skyrim , Fallout 4 is an ambitious project that was – until June this year – brilliantly concealed in a world where the reach of social media negates just about every surprise announcement. Purportedly three times the size of Skyrim , Fallout 4 really does let you choose your own adventure. Lock the doors, draw the curtains and cancel all upcoming social engagements – you’ve got some work to do in the Wasteland.

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Issue 133 NOVEMBER 2015

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ISSUE 133 NOV '15

ISSUE 133 NOV ’15

CRIMSONPEAK • BLACKMASS • PARANORMALACTIVITY:THEGHOSTDIMENSION BRIDGE OF SPIES

JOANNANEWSOM • CITY CALMDOWN • KINGGIZZARD& THE LIZARDWIZARD

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Extras pg 10–22

Cinema pg 25–32

DVD & BD pg 33–56

Games pg 57–82

Music pg 85–108

Pg 08–10 BUZZ Jennifer Lawrence is pumped for the finale of The Hunger Games, as well as her life after the YA phenomenon; The Rocky Balboa legacy lives on, as Creed star Michael B. Jordan explains. Pg 12–16 STAR WARS The latest installment from a galaxy far, far away is getting closer day by day. We celebrate the glory of the past and look forward to a blockbuster future. Pg 18–20 BOB J. In the sixth and concluding part of the Abbot and Costello story, the comic duo embark on the first ever movie to combine horror and comedy. Pg 22 COMPETITIONS We have some awesome prizes up for grabs as usual! Win a JB Hi-Fi voucher with your best Star Wars impersonation, and lots more!

Pg 25–26 INTERVIEW In possibly his last outing as James Bond in Spectre , Daniel Craig discusses the enduring appeal of the MI6 agent, which includes a good story and blowing shit up. Pg 28–32 REVIEWS Crimson Peak, Bridge of Spies, Black Mass, Paranormal Activity: The Ghost Dimension

Pg 36 MINIONS The Minions themselves demanded that their story be told, as creator Chris Meledandri explains. Pg 38 TRAINWRECK WWE superstar John Cena enjoyed turning the tables on his tough guy image in this comedy smash. Pg 40 DOCTOR WHO Peter Capaldi’s second year as Doctor Who proves to be much more adventurous. Pg 42 TED 2 Seth MacFarlane’s swear bear talks sequels, marriage, Mark What to expect from JB’s Traxedo Edition box set, according to H&A. Pg 48–54 REVIEWS Trainwreck, Minions, Self/Less. Far from the Madding Crowd, Insidious: Chapter 3, I Spit on Your Grave 3 and more. Wahlberg, and civil rights. Pg 44 HAMISH & ANDY

Pg 58 intro Pg 60–62 bethesda

Pg 88–92 NEWS City Calm Down, You Am I, Martin Courtney, Mutemath, Palms, Banoffee, Bill Ryder- Jones and more. Pg 94 ADELE We look at the rise and rise of Adele, ahead of the release of her massively anticipated third album. Pg 96 ED’S JAMS Joanna Newsom’s incredibly beautiful and eclectic new album Divers is our record of the month. Pg 100–106 Music Reviews Ben Folds, Russell Morris and Laurie Anderson lead our reviews section, which also includes belters from Gum, My Disco, Custard, Keith Richards, The Wainwright Sisters and Björk.

We talk all things Bethesda with the affable Pete Hines, including Fallout 4 . Pg 64 call of duty The Black Ops franchise is back with its third instalment – and yes, Pick up where Lara Croft left off with Rise of the Tomb Raider . Pg 68 need for speed The Need for Speed series returns, faster and more powerful than ever. Pg 70 football manager 2016 This year’s iteration of the beloved franchise hits shelves November 11. Pg 76 shovel knight Shovelry isn’t dead in this adorable indie platformer. Pg 78–82 previews What’s in-store this month. that does mean zombies. Pg 66 tomb raider

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ENDGAME

Asked if we might see her on the stand-up circuit with Schumer anytime soon, she laughs, “Oh my god no, I’m not delusional! I would never be able to do that, that is such an art and so brave.” “I would buy a ticket. I would heckle the shit out of you,” says Hutcherson. “Boo! Go back to Panem!” chimes Hemsworth. There’s been many highs and lows along their Hunger Games journey. “It opens a lot of doors for sure, and the most important thing is I’m really proud of these movies," says Lawrence. "As big as they are, and they’re a franchise, they are beautifully crafted films. The best part is that we’ll be friends for ever.” The fan encounters provide some of the funniest memories during their dizzy rise to the top. “Once a girl showed me tattoos she’d had done of Jen and my faces on the back of her calves," says Hutcherson. "Jen looked like a meth head and I had a massive forehead. That’s so not great in a lot of ways – but if you’re reading this, I applaud your commitment.” Each took a memento on the final day on set. Lawrence kept her Mockingjay pins and Catching Fire bows, while Hutcherson kept a locket Peeta gave to Katniss. “And I stole some underwear,” laughs Hemsworth. Gill Pringle

AsThe Hunger Games reaches its crescendo in Mockingjay - Part 2 , Jennifer Lawrence and her fellow cast members look back on the epic series, and the mementoes they took from the set.

best pals with comedy’s golden girl Amy Schumer, together penning a movie script. “We’re chugging through and its almost done,” she says. “We play sisters, estranged from our family. We have a very sick co-dependent relationship and it’s all very dramatic and serious.” Its not her first time writing, she reveals. “I’ve been writing since as long as I can remember. But this is my first time writing something people will actually see.”

W hen STACK meets with Jennifer Lawrence, Liam Hemsworth and Josh Hutcherson on the final publicity tour for the franchise that made them household names, they’re already playing the “remake game”. Its not entirely unrealistic, given Hollywood’s rapid recycle spin where Spider-Man and Fantastic Four reboots pop up every few years. “I don’t think it would be surreal at all, I think it’s a totally realistic possibility,” muses Lawrence. “I want to play Haymitch and Jen could be Effie. Liam can be Snow,” laughs Hutcherson. “Then Jen and Amy Schumer are gonna write it!” Much has happened since the trio first met on the first installment of the four- movie Hunger Games franchise. Not least that Lawrence won an Oscar for her role in Silver Linings Playbook and the trio can no longer go out in public without being mobbed. Most recently Lawrence has become

The Hunger Games: Mockingjay - Part 2 is in cinemas on November 19.

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SERIES 9: PART 1

“startling, disturbing and compelling” SMH ★★★★★ THE TELEGRAPH

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SERIES 9

THE MASTER

THE MASTER

THE MASTER

THE MASTER

BONUS LIMITED EDITION COLLECTOR CARDS & POSTER PLUS

PlayedBy: RogerDelgado 1971-73 VERSUS:THETHIR DOCTOR

PlayedBy: ERICROBERTS (1996) VERSUS:THESEVENTH&THEEIGHTHDOCTORS 3 2 1

4 PlayedBy: ANTHONYAINLEY 1981-89 VER US:1st, 2nd,3rd,4th,5th ,6th&7thDOCTORS

3 PlayedBy: PETERPRATT (1976) &GEOFFREY BEEVERS (1981)VERSUS:THEFOU THDOCTOR

4

2

1

STYLE: STYLISH, SARDONIC, MELODRAMATIC STATS: SHAPE-SHIFTED FROM A STRANGE ALIEN SNAKE POSSESSED AN AMBULANCE DRIVER 1APPEARANCE: DoctorWho (TheTVMovie) (1996) EVILPLAN: TheMasterwas captured and executedby theDaleks onSkaro, and theDoctor agreed to takehis remainsback to theirhomeplanetGallifrey.But theMasterwas far fromdead. As theSeventhDoctor regenerated intohisEighth incarnation, theMaster intended to seize theDoctor’sbody forhimself. BIO: USfilm starEricRobertswashired to recreate the character for anew generation of viewers.His incarnationwas themostflamboyant yet. STYLE: GLEEFULLY D STRUCTIVE STATS: MASTER OF DISGUISE

11APP ARA CES: TheKeeperOfTraken (1981) Logopolis (1981) Castrovalva (1982) Time-Flight (1982) TheKing’sDemons (1983) The Five Doctors (1983) PlanetOf Fire (1984) TheCavesOfAndrozani (1984) (cameo) The MarkOfTheRani (1985) TheTrialOfATim Lord (1986) Survival (1989) EVILPLAN: ThisMaster’s appearanceswerewide and varied;he effectively ‘killed’ the FourthDoctor, replacedKing Johnwith an android,confronted four Doctors onGallifrey,andbecamepart-animal on theplanet of theCheetahPeople. BIO: Revelling inhis own villainy,AnthonyAinley’sMasterproved agreat success, becoming the longest-running incarnation todate. STYLE: GRUESOME, TERRIFYING ST T CUNNING, VENGEFUL & MANIPULATIVE STYLE: SUAVE, CHARMING & RUTHLESS TATS: MASTER OF HYPNOTISM & DISGUISE

8APPEARANCES: Terr rOfTheAutons (1971) TheMindOfEvil (1971) The ClawsOfAxos (1971) Colony InSpace (1971) TheDaemons (1971) TheSea Devils (1972) TheTimeMonster (1972) Frontier InSpace (1973) EVILPLAN: Hisdastardly schem s involved various alien threats including the NeteneAutons, theMindParasite, th Axons,Azal theD emon, theSeaDevils, Kr os, theOgr ns and theDaleks. BIO: DevisedbyproducerBarry Letts& script editorTerrenceDickswithwriter RobertHolmes,TheMasterwas introduced togive theDoctora ‘Moriarty’-typeopponent.

2APPEARANCES: TheDeadlyAssassin (1977) TheKeeperOfTraken (1981) EVILPLAN: An audacious scheme touseGallifrey’sEyeOfHarmony to rejuvenate himelf.When this f iled,he launched anothe attempt on theplanetTraken,where he to kpossession of anewbody. BIO: No longer able to rely onhis charm, thisMasterhid in the shadows andused others todohisbidding

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MIDDLE-EARTH MARATHON The Hobbit , Peter Jackson's epic prequel trilogy to The Lord of the Rings , reached its Middle-earth- shaking conclusion last year in The Battle of the Five Armies . And like all previous films in both The Hobbit and LOTR sagas, an Extended Edition follows the release of the cinema version onto DVD and Blu- ray. The Hobbit: The Battle of the Five Armies – Extended Edition will feature 20 minutes of additional footage, bumping up the running time to 164 minutes. The 5-disc DVD, Blu-ray and 3D Blu-ray release, also available in a Limited Edition with a Bilbo and Gandalf statue, features nine hours of bonus content including audio commentary by Jackson and co-producer/writer Philippa Boyens, a multi-part documentary, and more. Moreover, the extended cut of the film has been classified MA15+ for 'Strong Fantasy Violence', which we're assuming means some bloodier battle scenes amongst the new footage. The completion of the trilogy's extended cuts also means a box set that will contain all three films, which will sit nicely beside the LOTR set. For the record, the 9-disc Extended Trilogy collection includes The Hobbit: An Unexpected Journey (182 mins), The Hobbit: The Desolation of Smaug (186 mins), The Hobbit: The Battle of the Five Armies (164 mins) plus bonus features for each. So let the Middle-earth marathon begin! Although be aware that watching all six films in Jackson's Tolkien saga back to back will consume 1,214 minutes (or 20.23 hours) of your time. The Hobbit: The Battle of the Five Armies - Extended Edition and The Hobbit Trilogy - Extended Edition will be available at JB Hi-Fi on November 18.

FAMILY AFFAIR In Creed , Rocky Balboa comes out of retirement to train and mentor a new champion.

M ichael B. Jordan is polishing off a burger, wiping the ketchup from his face when we meet at a Hollywood photographic studio. Even though he completed filming his role as underdog boxer in Creed back in April, food remains a delicious novelty after the strictly disciplined regimen he endured to get into shape. “I set the bar high because Carl Weathers was so shredded in all those movies,” he says. Those movies would be Rocky, one of the most beloved franchises in movie history. Written and conceived by Sly Stallone, the 1976 original received 10 Oscar nominations, three wins, and launched Stallone as a serious contender. The first film told the story of how underdog Rocky beats nemesis and world heavyweight champ Apollo Creed, played by Carl Weathers. Over the course of the franchise, the two men bond, until Creed is finally KO-ed in Rocky IV (1985). Fast forward to 2015 and Creed , which introduces audiences to Apollo's son, Adonis Johnson, played by Jordan. His father died before he was born, but boxing is in his blood and he persuades Rocky to come out of retirement to train him.

“The first time I even met Sly, he began teaching me to shadowbox right there,” recalls Jordan. “He punched me in my chest. I was like, 'ooh, he’s still got a bite to him'. He was really collaborative, and very open and excited about it. When it comes to fighting, he’s a real boxing historian. He can name all the fights and rounds in precise detail.” A longtime fan of the Rocky movies, writer- director Ryan Coogler began plotting the idea for Creed even before he began filming his award- winning drama Fruitvale Station with Jordan. Reluctant to proceed without Stallone’s blessing, he never even dreamed that Sly would consider co-starring. “I’d been such a fan for so many years, I imagined when I met Sylvester Stallone, I’m gonna meet Rocky,“ says Coogler. “But he’s so different from that guy. He turns it on. He transforms. He gets on set, he goes over to the corner, and gets into his walk with all the Philadelphia speech and vocabulary. But the real Sly? He’s a very academic and serious guy. We are blessed to have him in our corner.” Gill Pringle Creed is in cinemas on November 26.

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Redemption

Are there any redeeming qualities in the Star Wars prequels? That’s a tough ask. I once made a promise to myself never to return to Episodes I – III under any circumstances. I even floated the idea of raising a petition to lobby Disney into remaking them and casting the originals into the Great Pit of Carkoon. But this month I was Force- choked into picking one redeeming feature from each film. It wasn’t easy. By Paul Jones

Lucas truly miscalculated his audience with The Phantom Menace . This really is a dire movie, and time hasn’t been kind to its special effects. I remember thinking at the time it looked like a video game, and that filming with so much green screen would reflect poorly on the production in the not too distant future. After enduring the 136 minute running time, I could settle on only one part of the film – the lightsaber duel between Obi Wan, Qui-Gon Jinn and the excellent Darth Maul. There was a brand new energy to the combat here. It was frenzied, fierce and balletic; the intensity made for fantastic viewing. The laser gate sequence where Maul and Qui-Gon are forced to temporarily pause in battle proved that Lucas could control pace, tension and structure through his direction when required. The only negative is that Darth Maul’s appearance in the prequel trilogy was all too brief. And yet another forgettable prequel rolled off the Lucas production line. I know what you’re thinking: Yoda’s brief confrontation with Count Dooku is the standout moment, but I disagree. I actually found the entire melee quite comical, portentously remarking at the time that it was something Disney would do if they were making a Star Wars film. No, for me, the one memorable sequence in Attack of the Clones was shortly after Padmé, Anakin and Obi-Wan survive the monsters unleashed on them during the Geonosis arena fight. Within the stadium crowd, figures move to the fore and one by one, lightsabers spring to life. The Jedi Council has sent every Jedi Knight to Geonosis to fight the bad guys in a massive battle within the arena. This is the first time we’d seen so many Jedis congregated in a single space and it’s a real hair-on-the-back-of-the-neck moment as they charge towards the oncoming Battle Droid army with lightsabers flashing. The best of the three (just), Revenge of the Sith is the tendon that joins the prequels to the original trilogy. I’ve often wondered how Lucas cast the prequels and have images of him staggering around drunk, blindfolded at Skywalker Ranch throwing darts at a spinning wheel filled with photos of potential leads. Clearly one of these arrows struck the picture of Hayden Christensen. His diabolical performance across two films comes to a fiery end after Obi-Wan relieves him of his legs and sends him sliding towards a river of lava. Enter the Emperor, who rescues the charred torso, takes the stump back to a space station and sets a team of medical droids upon him on a restoration project that Andrew Winter would be proud of. It is here, as the black gloss pieces of Vader’s helmet are connected to Anakin’s head, that Star Wars fans finally get what they have been waiting six years for. We hear his ominous deep breath for the first time, as Vader rises from the operating table. We’ll forget the pathetic “Noooo!” scream of anguish when he learns of Padmé’s death, and focus our memories of him stood on the bridge of a Star Destroyer alongside the Emperor and a young Grand Moff Tarkin, arms folded, overseeing the early stages of the Death Star’s construction.

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IF IT AIN’T BROKE… Scott Hocking wistfully remembers the Original Trilogy that was, before George Lucas's meddling.

I f you’re old enough to remember lining up to see Star Wars , The Empire Strikes Back and Return of the Jedi at the cinema back in 1977, 1980 and 1983, respectively, chances are you’re still regretting ever having opened and played with the action figures, or sticking the original one sheet posters on your bedroom wall with sticky tape or blu-tack. You’re also likely to be lamenting that you can no longer see the versions of the original trilogy as you remember them from way back when, due to George Lucas’s persistent need to tamper with and improve the films in the decades since their very first cinema release. Unless you own the US Laserdiscs (and an LD player) or picked up the Limited Edition DVDs back in 2006 (which featured the original versions as bonus features in non-anamorphic 4:3 ratio), the only way to watch episodes IV–VI at home is via the Special Editions on DVD or Blu-ray, complete with CGI enhancements and

annoying additions that link them to Lucas’s prequels. It’s somewhat disconcerting that today’s generation of viewers have only ever experienced the SE versions. However, with rumours

now circulating that the original

unaltered trilogy is being prepped for a remastered Blu-ray release to coincide with the arrival of Star Wars: Episode VII - The Force Awakens , they might finally have the opportunity to see what once was. But not if George Lucas still has any say in it. “The special edition, that's the one I wanted out there. The other movie, it's on VHS, if anybody wants it. I'm not going to spend — we're talking millions of dollars here – the money and

trilogy’s DVD debut in 2004 to ensure continuity with the prequels, including the Emperor’s hologram being replaced by Palpatine actor Ian McDiarmid (it was originally Elaine Baker, wife of makeup master Rick Baker, in a mask with the voice of Clive Revill), Boba Fett with a Kiwi accent, and actor Sebastian Shaw swapped for Hayden Christensen as Anakin’s ghost. Moreover, when the films returned on Blu-ray

the time to refurbish that, because to me, it doesn't really exist anymore.” Lucas has revised the original trilogy three times in the last 18 years. The first was in 1997, when the Special Editions were prepped for the trilogy’s re-release in cinemas and on VHS. The changes were mostly cosmetic, to take advantage of the digital technology he didn’t have at his disposal back in the ‘70s and ‘80s – visible matte lines were removed, digital ships replaced models, and shockwaves were added to the exploding Death Star and Alderaan. But more significant additions like Greedo shooting first and a new song by Sy Snootles in Jabba’s palace continue to infuriate old school fans. Further changes followed for the

in 2011, Lucas inflicted further alterations that were entirely superficial – and some that were just plain dire, like Vader’s howl of “Noooooo” as he throws the Emperor to his death at the end of Jedi . Now that Lucas is presumably finally satisfied that Star Wars , The Empire Strikes Back and Return of the Jedi reflect his original grand vision, it’s unlikely they’ll be altered again. But never say never. At the very least, the constant revisions and re-releases of the original trilogy have ensured that diehard Star Wars fans can be content with owning all possible permutations of the films. After all, they’re the only ones with any chance of recognising the innumerable audio and visual differences that distinguish each and every version.

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THE FORCE AWAKENS

As closely guarded as a set of Death Star plans, plot details for the hugely anticipated new Star Wars film have been minimal. The internet is abuzz with rumour and speculation, so here’s what we’ve managed to glean from the tidbits J.J. Abrams has chosen to reveal, the three trailers, and the Comic-Con behind-the-scenes reel.

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ABBOTT & COSTELLO Part 6 THE Story

"T his stinks! My five-year-old daughter could write a better story. You don't think I'm making this crap, do you?" Lou Costello looked around producer Robert Arthur's office and, locating a waste-basket, threw the screenplay into it. As Costello moved to exit the office, Arthur said, "I'll make a deal with you Lou, you do this picture and I'll pay you fifty thousand dollars cash for your share of the profits". Lou, with his hand on the door handle, stopped and turned. "Fifty G's right now?" "Right now," replied the producer. Costello retrieved the script from the bin, smiled and said, "Ok, I'll look at it again". The unexpected resurgence at the box office of two Abbott

to them contain the remains of Dracula and the Monster. But after delivering them to The House of Horrors Museum, the coffins are found to be empty. Blamed by the insurance agent for losing the contents, the boys Lon Chaney Jr. (out of his Wolf Man makeup) relaxing on set with Lou Costello

Publicity shot of Abbott and Costello Meet Frankenstein

and Costello 1947 comedies, Buck Privates Come Home and The Wistful Widow of Wagon Gap, led Universal-International to renew the duo's contract. For the first film under their new contract, producer Robert Arthur came up with an innovative, genre-bending idea. In 'The Brain of Frankenstein' (the original working title), the classic Universal monster characters of Dracula, the Wolf Man, Frankenstein's Monster and the Invisible Man would meet up with Abbott and Costello. It was a risky idea to inject these fictional horror movie characters into a comedy, as no other film studio had ever combined the horror and comedy genres before. Furthermore, the last of the Universal monster films, The House of Dracula, had completely bombed at the box office in 1945, leading everyone to assume the horror movie cycle had run out of steam. Hence Lou Costello's initial reluctance to make such a movie. Nevertheless, with the $50,000 sweetener appearing to alleviate their concerns, Bud and Lou began filming at Universal City in May 1948. Charles T. Barton took the director's chair alongside Bela Lugosi and Lon Chaney Jr., resurrecting their roles as Dracula and the

follow the monsters' trail to a nearby mysterious island, where a mad scientist (played by Charles Bradstreet) wants to switch Lou's brain with that of the Monster. With everyone chasing each other, the Wolf Man turns up to thwart the scientist's dastardly plan. The production appeared to be a happy experience for all involved, as revealed in the blooper/outtakes reel contained within the SE DVD release. Costello's scene of sitting on a chair that already contains the Monster has Glenn Strange reduced to tears of laughter at Lou's ad-libs. Lon Chaney's line that he feeds to Lou: "You don't understand...every night when the moon is full, I turn into a wolf", and Lou's quick retort of, "You and fifty million other guys!", left Chaney guffawing with laughter. Released in August 1948, the now retitled Abbott and Costello Meet Frankenstein was not only a smash hit at the box office, it also delivered for UI a comic masterpiece. However, this had no effect whatsoever on the studio's formula that they had used for all of the A&C movies – keep the productions cheap and produce them fast. The studio's advertising and marketing budgets for A&C films had always

Wolf Man, respectively. Glenn Strange took on the role of Frankenstein's Monster and Vincent Price voiced the Invisible Man. The film opens with a cartoon figure of Frankenstein's Monster knocking on two coffins which eject skeletal versions of Bud and Lou. As they run into each other screaming, their bones drop down to spell the film's title. The boys play bumbling railroad baggage clerks who receive a strange shipment, which unbeknownst Classic Universal monster characters Dracula, the Wolf Man, Frankenstein's Monster and the Invisible Man would meet up with Abbott and Costello

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comedy, which had perfectly fitted the war years, now seemed dated. Plus, there were two new kids on the Hollywood block, who, by the early 1950s, had shot to the top of the box office list. Dean Martin and Jerry Lewis were now moviegoers' favourite big screen comedy duo. Lou and Bud's descent was almost as rapid as their rise to stardom. They moved into television with The Abbott and Costello Show , which at first proved popular but was cancelled after two seasons when the pair demanded more money. After one more film – Dance with Me Henry (1956), independently made at United Artists and a box office flop – the pair finally split, which went almost unnoticed by the media. Bud and Lou never saw or spoke to each other again. Throughout their movie careers, both Bud Abbott and Lou Costello had been big spenders and inveterate gamblers. At the height of their popularity they were the highest earners in Hollywood, but that also placed them into a brutal tax bracket. Their agent, Eddie Sherman, had continually reminded them to honour their tax obligations and to hire the very best financial advisors. But unfortunately for them, they hadn't, and as a consequence they suffered dearly for not ensuring their taxes had been paid regularly. In 1957, the Internal Revenue Service audited Bud and Lou's finances and found that they owed Uncle Sam years of unpaid taxes. This resulted in a serious loss of assets including their homes and all of their film rights, which forced them both into bankruptcy. Following two years of continuous financial stress, Lou suffered a fatal heart attack a few days after completing his first solo comedy, The 30 Foot Bride of Candy Rock (1959). He was just 52 years old. Bud, although now practically destitute, would survive his old partner by almost 15 years, finally succumbing to cancer in 1974. The Abbott and Costello story ended as just another one of many Hollywood personal tragedies. Yet Bud and Lou left a legacy of comedy film work that contains all of the classic burlesque and vaudeville routines that otherwise would have been lost to future generations. Their baseball skit "Who's On First" is probably their most enduring sketch, and a gold record of their famous routine has been placed in the Baseball Hall of Fame. Moreover, in the 1988 Oscar-winning movie Rain Man , Dustin Hoffman's autistic character, Raymond Babbit, recites an affectless "Who's on First" as a defence mechanism when anything upsets him. No doubt Bud and Lou would have been proud of that.

column, "I hear that everyone at Universal- International is happy because the Abbott and Costello pictures plus Ma and Pa Kettle pay all the studio staff salaries". Reading Hopper's article prompted Bud and Lou to demand that the UI executive allocate bigger budgets for future A&C movies. An enraged Lou confronted UI's studio boss, William Goetz, demanding better stories, location shoots and films in colour. "None of the 26 movies we've made for your damn studio have ever been in colour," he ranted. But Goetz was unhearing to their demands as he saw no purpose in increasing their budgets, especially as his policy of making other "prestigious" films had already lost the studio $12 million. Snubbing UI by using their contractual agreement (which permitted them to make one independent film per year), Bud and Lou decided to invest their own money in two colour productions and release them through Warner Bros. Lou's choice was the fairy story Jack and the Beanstalk (1952) and Bud's was Abbott and Costello Meet Captain Kidd (1953). The result was a disappointing return for Lou's production, partly because the portly 46-year-old Costello was unconvincing as a youthful giant killer. Captain Kidd fared better with more of an adult theme and a fine performance from Charles Laughton, who resurrected his role of the pirate captain he had played in a 1945 movie. Abbott and Costello's relationship with UI had now became untenable, and the studio seemed eager to dispose of them – which they finally did in 1955. Times had changed and the duo's

been miserly, but with Abbott and Costello Meet Frankenstein, they reduced their advertising costs to virtually zero when someone realised all they had to do was include the Abbott and Costello names within the title and the film would practically sell itself. Inspired by this money saving revelation and the box office success of Meet Frankenstein , over the next six years A&C would go on to meet The Killer, The Invisible Man, Dr. Jekyll and Mr. Hyde, The Keystone Kops, The Mummy, get Lost in Alaska, and Go to Mars. UI would replicate the A&C production model with two other team-up series that also proved highly profitable, and veritable lifesavers for the studio. Marjorie Main (who had played the Widow of Wagon Gap) and Percy Kilbride were two character actors who played poverty stricken hillbillies in the feature film The Egg and I (1947). Their characters captured all the notices when the film was released and consequently, Ma and Pa Kettle plus their fifteen kids would go on to appear in a ten-film series. Francis the Talking Mule and his less than bright master (played by Donald O'Connor) names Ma and Pa Kettle and Francis in their respective film titles negated any money being spent on advertising, which helped to maximise their profits. This was noted – and sarcastically highlighted – by Hedda Hopper when she wrote in her gossip would also appear in a similar series. Once again, UI found that placing the

Scene from Jack and the Beanstalk (1952) Charles Laughton and Lou Costello in Abbott and Costello Meet Captain Kidd (1953)

This concludes Bob J's Hollywood Comedy Duo series, which will return in 2016 with The Martin & Lewis Story and Bob Hope and Bing Crosby on the Road to...

Xxxxxxxx (19XX)

Next issue: Would-be Classic Movies Ruined by Hollywood Studios

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Q1 Which actor got his start in movies by caddying for Clark Gable and Clifton Webb at the Bel Air Country Club? Q2 A version of this 2013 film came close to being made with John Travolta in the lead role, but was shelved in 1996 following an argument between him and the director. Title please. Q3 Which avant-garde filmmaker made his first short film whilst working as a set designer on a Ken Russell production? Q4 This 2011 horror movie was a direct remake of a Uruguayan thriller – title please.

Q5 Who directed the 1975 movie which was based on a strange but true story of a bank heist that goes wrong? Q6 In which film – set during the Korean War – does a reluctant platoon corporal watch as his superiors are killed one by one, leaving him to assume command to save his troop from annihilation? Q7 Name the director whose film debut has often been compared with Billy Wilder's Double Indemnity (1944). Q8 Which award-winning movie involves a widow unwittingly embarking on an

affair with one of her criminal husband's executioners? Q9 In this offbeat cult crime movie, a character (aptly named) finds that parts of his body frequently fall off due to him suffering from leprosy. Name the film and the actor. Q10 Which actor, following a ten-year absence, returned to the big screen as an FBI agent tracking a ruthless killer through the American Northwest wilderness?

QUIZ

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Mad Max A10. Anna Kashfi describing Marlon Brando.

A9. George Miller:

eXistenZ . A7. Barbara La Marr A8. They have all starred in movies opposite George Clooney

A6. David Cronenberg:

A5. Funny Girl

. A4. On Moonlight Bay

A3. Mae Whitman in

A2. The Babadook

A1. Michael Powell & Emeric Pressburger:

The DUFF

"I Know Where I'm Going"

Quiz Answers October 2015 (Issue 132) -

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interview

CINEMA

THE NAME’S CRAIG Rumours have been flying about the forthcoming James Bond epic SPECTRE, but Daniel Craig isn’t giving anything away about his fourth outing as Her Majesty’s number one spy. However, two things are certain: there will be babes and there will be BIG action.

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• Spectre is in cinemas on Nov 12 and reviewed next issue

Casino Royale

Spectre

Road to Perdition

Bellucci, who at 51 is the oldest Bond girl to date – four years older than Craig. There is no concern that this will dampen Bond’s ardour, however, as Bellucci is still one of the most breathtakingly beautiful women on earth – in one particularly sexually charged scene, Craig is seen slowly unzipping her floor-length gown as she whispers,“If you go there, you are crossing into a place where there is no mercy.” A serious warning for most, but probably not enough to deter 007 That said, Craig is hoping that the days of a misogynistic Bond are coming to a close. “He’s very f–ing lonely. There’s a great sadness. He’s f–ing these beautiful women but then they leave and it’s…sad.” At 47, Craig is still unbelievably

The Girl with the Dragon Tattoo

Layer Cake

“I t’s an honour to play Bond, I get such a big kick out of doing it. I had an opportunity with Casino Royale to wipe the slate clean; this was us beginning again,” says Daniel Craig, the man responsible for bringing the grit back to 007. Three films in, and with the release of Spectre imminent, it is now hard to imagine anyone else playing James Bond. He is a different animal to the charming, sophisticated man Sean Connery created in the original films, and since the very first scene in Casino Royale , in which Craig’s incarnation was first unleashed, it was clear the reboot would be a more violent and visceral experience. Craig’s Bond is darker, tougher and utterly untameable. It could have gone horribly wrong, but instead it took over 500 million dollars and became, until Skyfall , the highest grossing Bond film of all time. Spectre promises to be the darkest instalment yet. Our hero (or anti-hero, as Craig has always insisted was his approach to the character) is still mourning the death of Judi Dench’s M when he receives a message from his past. The film is shrouded in typical MI5 mystery, but almost certainly marks a return for Bond supervillain Ernst Stavro Blofeld

You simply stick to the old adage that a good story goes a long way. And blow shit up every half an hour

suave, cool and of course, handsome. He has that rugged, Steve McQueen swagger down to a T, but the question remains whether there is an age limit on 007. “As long as I’m physically able. Which isn’t that long!” laughs Craig. “I’m contracted for one more, which seems to be a fair number, but I’m not going to make predictions.” The Brit actor also has an interesting theory for the franchise’s inimitable success. “You simply stick to the old adage that a good story

(rumoured to be Christoph Waltz’s character), who due to recently settled copyright issues was last officially seen in 1971’s Diamonds are Forever , and notorious crime syndicate SPECTRE, all hinting at a return to more traditional form. Another twist is the casting of Italian actress Monica

goes a long way. And blow shit up every half an hour,” he laughs heartily. “That’s how it’s done.”

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RELEASED: Now Showing DIRECTOR: Guillermo del Toro CAST: Mia Wasikowska, Jessica Chastain, Tom Hiddleston RATING: MA15+

CRIMSON PEAK

W hen his long gestating H.P. Lovecraft passion project, At the Mountains of Madness , was shelved once again, visionary director Guillermo del Toro threw himself into this lavish period ghost story, and the result is a ravishing fusion of pure gothic melodrama, romance and haunted house horrors. Think Jane Eyre goes to Hell. “Ghosts are real. This much I know.” says Edith Cushing (Mia Wasikowska), who as a little girl received a cryptic warning from her dead mother's spirit to "beware of Crimson Peak". 14 years later the meaning becomes apparent when she's swept off her feet by charming Brit Thomas Sharpe (Tom Hiddleston), becomes his bride, and is taken to live in his crumbling family estate – a cavernous mansion located atop a mine filled with scarlet clay that regularly oozes through the floor and walls. The decaying Allerdale Hall (which makes Hill House look cosy) is filled with snow flurries, enormous moths and ghosts of the past; it's also home to Sharpe's frosty sister Lucille (a terrific Jessica Chastain) and sinister family secrets which Edith must uncover if she's going to make it out alive. Don't enter Crimson Peak expecting At the mansion of madness.

a conventional haunted house movie like the overrated The Conjuring : the ghosts are largely incidental to a plot – which pays homage to M.R. James, Daphne du Maurier's Rebecca , Hammer Horror and the giallo thrillers of Mario Bava – grounded in an era when candelabra- wielding damsels in distress fled down dark corridors in their nightgowns. Art directed to the max, this is a truly gorgeous looking movie, drenched in primary colours (notably red) and the meticulous attention to detail that is del Toro's forte. There's no doubt whatsoever this is a GDT film, with his signature flourishes all present and correct: elaborate production design, wispy apparitions, black umbrellas, steampunk machinery, and bursts of graphic bloodshed. Today's audiences, force-fed a diet of disposable, formula spookshows from Blumhouse productions, will probably find this far too quaint for their taste, but fans of measured, old school ghost stories will love every sumptuous frame. Scott Hocking

FURTHER VIEWING: The Haunting (1963), The Devil's Backbone

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