Hilary Small (Olivia Colman), duty manager of a seaside cinema, who is struggling with her mental health, forms a relationship with a new employee (Michael Ward) on the south coast of England in the 1980s.

When it comes to the auteur voices of the cinema one of the giants of the medium is undoubtedly Sam Mendes. With a talent for the dramatic and a penchant for telling deeply character-driven works that examine the human experience, his films always draws the audiences’ attention. With Empire of Light, he crafts a poignant and moving love letter to the power of the cinematic art form, and it is a deeply personal story. Audiences who walk into Empire of Light may be expecting one kind of cinematic experience, but they will be met with something quite different. Or at least that’s what I was expecting. I had expected a whirlwind dramatic epic of the cinema, but instead, I was greeted with a soft, slow-burn story of a closed-off romance and a deep desire for acceptance. And I was absolutely spellbound by all of it.

Empire of Light is a presentation of both the beautiful and the haunting, a story of love and madness, of deep empathy and fraught emotions. It is a story of the human experience, set against the magic of the cinema, and audiences will be reeled in by Mendes’ gift for narrative with this one. Mendes slowly unwinds this film, and it plays out almost like a scrapbook of nostalgic memories. Pulling ideas and feelings from his own past, Empire of Light is an incredibly personal film from Mendes and its presentation is highly meditative. Emphasis is placed on imagery and sound over dialogue and exposition, and the audience finds its way into the ordinary life of a character who desires to belong above all else and who eventually is drawn to the power of cinema as a means of healing and affirmation.

Standing in as the protagonist of this dramatic work is Academy Award winner Olivia Colman and she has never been better in a role. Given the strength and dynamism of her performance, Colman falls away and instead audiences follow the life and emotional journey of Hilary Small, the duty manager of The Empire, a small cinema in England’s Southern Coast in the turbulent 1980s where Thatcher’s Britain is beginning to divide itself, and where a simmering hate is about to explode. Lonely, isolated and battling severe mental illness, Hilary is a character of extremes whose diagnosis sees her pulled from side to side and trying to overcome a secret she just wants to run away from. Colman’s performance is both brave and compassionate and she presents a complete portrait of Hilary as deserving of love and eventually opening up to the goodness that surrounds her.

Circling Hilary is a dynamic group of characters who are all parts of her journey and each is a testament to Mendes’s command for story and eye for casting. Micheal Ward makes an impression as Stephen, a young man who finds more than he bargained for with his summer job at the cinema and whose volatile affair with Hilary leads to plenty of surprises. Academy Award winner Colin Firth makes an abrupt term as the despicable and repellant Donald Ellis, the Empire’s owner, and its a side to Firth many audiences have never seen and she’s particularly unpleasant in the part. Then there’s Toby Jones as Norman, the Empire’s projectionist who is the conscience of the picture, and whose wizardry behind the curtain is by which the magic makes its way on screen.

Empire of Light is first and foremost a cinema spectacle and is required to watch on the silver screen. Academy Award-winning cinematographer Sir Roger Deakins brings his masterful eye to work with this picture and his control of light and colour catches the attention of the audience. Mixing in earthy colours with the open blues and hard whites of the seaside makes for an incredibly interesting image, and there is depth and beauty in all the shadows of this picture. The film’s grain and quality are reminiscent of the film’s 1980s setting and Deakins draws on his younger years as a documentarian in capturing the details of the picture. It all adds up to a beautiful sense of ambience and is another example of the power and serenity of why movies matter.

A great sense of compassion and empathy is present in Empire of Light as Mendes explores the pain of mental health, and he does not shy away from the extremity of Hilary’s battle with bipolar disorder. There is no judgment or criticism from Mendes towards Hilary, instead, he presents her as a character who is trying to do her best in such a turbulent time. Juxtaposing Hilary’s journey to recovery is a story of the power of cinema and the enchanting joy of why audiences continually search for its warmth and stories. Empire of Light is Mendes’ love letter to a medium that means so much to him, and filmgoers who share his passion will be enchanted by this picture.

Empire of Light is a deeply poetic piece of cinema to behold and audiences will feel its beauty and narrative in their very souls. It is a love letter to the majesty of cinema.

Image: 20th Century Studios

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Sam Mendes, the Oscar®-winning director of Skyfall, Spectre and American Beauty, brings his singular vision to his World War I epic, 1917. At the height of the First World War, two young British soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers – Blake’s own brother among them.

Realism is on the agenda here for Mendes with 1917. He holds nothing back as he takes audiences right into the very heart of the inferno of the First World War and offers a haunting portrait of man’s struggle for humanity in the most dangerous and horrible of situations. There is no glory or glamour in this piece of cinema, only the ugly raw facts of the war to end all wars. Beginning in the trenches and taking audiences clear across both the burning fields and barren pastures of war-torn France circa 1917, Mendes throws his audience into the gripping, dangerous and unpleasant nature of this conflict. It’s an edge-of-your-seat experience as you hang on for dear life as the tension begins to build and mounts to unbelievably dangerous levels as our two ordinary men, Schofield (George MacKay) and Blake (Dean-Charles Chapman), desperately try to survive the conflict and make it to the end.

1917 is a brutal affair and Mendes and his team take you into the mud, blood, muck, filth and decay of the bombed-out remains of the front line, which is scarred by shell fire and dust and littered with the rotting bodies of men and animals who were caught in the crossfire. Strict attention to detail and an eye for realism pushes you deep into the horrors of this one, and Mendes doesn’t let up for a second with his almost documentary-like presentation of the events that are unfolding before us. Audiences are grounded in the authenticity of the First World War and for many of those watching this is as close as they’ll get to the experience of this bloody conflict….and after seeing this narrative play out here you’ll pray that this comes to pass.

When it comes to cinematographers who could be considered to have god-like powers Roger Deakins certainly stands out as the reigning overlord. Gifted with a phenomenal eye and having the ability to craft scenes of majestic beauty in a career that stretches back close to five decades, Deakins is a talent to be revered. Here he joins forces with Mendes to do the unthinkable and crafts a narrative that plays out in one single take. It’s an unbelievably impressive feat of cinematic magnificence and the resulting images will burn their way into your mind. Using the canvas of natural light to his advantage, Deakins paints an amazing picture filled with dry browns, lush greens and burning oranges that cast a brilliant visual presence upon this film. If you enjoy the scope of magnificently realised imagery then you most certainly will be in awe of the sights that you witness here.

In terms of its tone and genre, 1917 occupies a very interesting place in its war genre setting. While it is a chronicle of ‘the war to end all wars’, it is not a gung-ho, take-no-prisoners tale, but rather Mendes has grounded this film in humanistic philosophy and teachings. Our two principal characters, Schofield and Blake, are two ordinary men who are just trying to get through this bloody affair day after day, with no idea of how long they will be stuck in it, or whether or not they will be sent over the wire. While his principal characters are indeed soldiers, and capable of the violence of combat, they are first and foremost men and their humanity is what Mendes focuses upon in such an inhuman landscape. Their humanity and passion as human beings are tested to the utmost here in this callous and cruel environment, and Mendes explores the effect of prolonged war on the human psyche and how man’s necessity for his survival very often leads to his salvation.

Alongside its exploration of these humanistic themes, Mendes also brings to bear a considerable religious theme to the story as well, principally through the visual symbolism and character metaphor that he and Roger Deakins employ here. For example, in the film’s most visually breathtaking scene, again attributed to the masterful lens of Deakins, Schofield walks into a town on fire and its burning shadows and shifting shapes exhibit the metaphor of hell itself. Here desperately trying to find a way out of this hell, Schofield, cast in the role of Dante, finds himself drawn to a mother and a young infant, a representation of the Virgin Mary and the divine child. It’s this layered depth that is employed by Mendes that makes 1917 one of the most fascinating pieces of cinema released all year and one which will certainly cause you to scratch your intellectual curiosity.

Audiences must be forewarned with 1917 though to expect a journey of particularly unnerving suspense that plays out from its very first moments to the final scene. And viewers are sure to remain on the edge of their seats. Mendes, Deakins and their team build this incredible level of tension by keeping their audience right in the heart of the action and focusing in on the incredible dangers of seemingly routine activities, like walking up a hill or simply opening a door, that in this wartime setting could mean the difference between life and death. There are shocking moments when you come to terms with the devastation of this conflict, alongside just being unprepared for the chaos to unfold that will make you jump up in fright. Mendes keeps his audience on edge the entire time and 1917 is all the more powerful because of it.

1917 is one of 2019’s most powerful and confronting pieces of cinema. It should be required viewing for all, lest we forget the tragic cost of the great war and those who had to pay it. It’s a true marvel of the cinematic art form, made by a group of extremely talented individuals who are working at the top of their game and those who witness it are sure to never forget its powerful story.

Image: Universal Pictures

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A brand new trailer has arrived and it sure is gripping. Watch it below:

Here’s the official synopsis:

Sam Mendes, the Oscar®-winning director of Skyfall, Spectre and American Beauty, brings his singular vision to his World War I epic, 1917. At the height of the First World War, two young British soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers – Blake’s own brother among them.

This new trailer showcases Mendes broad vision for 1917 and the director really focuses in on the ticking clock and the resulting catastrophe that will await 1,600 men if Schofield (George MacKay) and Blake (Dean-Charles Chapman) do not complete their mission.

We also get to see the broad scope of 1917 on display here, and the breathtaking cinematography of Academy Award winning cinematographer Roger Deakins is on full display here….and it is utterly beautiful to look upon. Deakins and Mendes recently opened up on how the realized the cinematography of 1917, and their effort to create a film that is one continuous single shot.

1917 is a true epic in every single sense of the word and audiences will surely be kept on edge when it arrives in cinemas on January 16, 2020.

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Watch the tension filled new teaser trailer below:

Here’s the full synopsis.

Sam Mendes, the Oscar®-winning director of Skyfall, Spectre and American Beauty, brings his singular vision to his World War I epic, 1917. At the height of the First World War, two young British soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers – Blake’s own brother among them.

Packed together by a dreaded claustrophobia and a ticking clock, 1917 is a period perfect piece of filmmaking that really attempts to capture the devastation and horrors of the mud soaked battlefields of the First World War and this one will certainly make for a heart-pulsing watch.

Young stars George MacKay and Dean-Charles Chapman star as British soldiers Schofield and Blake, and must somehow find a way through the mess of No Mans Land in an effort to stop a suicidal charge that will lead to hundreds of causalities, including Blake’s own brother. And both actors look like they’ve really been pushed to the limit here in this pulse-pounding watch.

Director Sam Mendes has really got the details right, and 1917 looks like an incredible piece of cinema committed to film stock. Part of that is related to the presence of noted cinematographer and Oscar Winner Roger Deakins who is behind the lends this time and is bringing his incredible eye to craft images that will be incredibly beautiful to look upon.

Get ready for a very intense rush when 1917 arrives in cinemas next year on January 9, 2020.

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Here’s the synopsis for Spectre:

In the aftermath of the attack on MI6, a cryptic message sets in motion events that will see James Bond come face-to-face with the sinister organisation known as SPECTRE. As Gareth Mallory, the newly appointed M, continues fighting political pressures that threaten the future of MI6, Bond follows a trail from Mexico to Austria and Morocco as he is drawn into a confrontation with an enemy from his past; one who holds a dangerous secret that will force him to question the value of everything he has fought to protect.

Spectre is rumoured to be the final round for both Mendes and star Daniel Craig, and while this version of Bond is coming to an end, many wonderful memories of the film are set to live on. Here are five reasons to watch:

5. Danny Kleinman’s exquisite title sequence

While Sam Smith’s theme tune ‘Writing’s on the Wall’ received some backlash, there’s no denying that the song worked beautifully with Danny Kleinman’s title sequence. Slick, sexy and alluring, the combination of imagery was masterfully created. Never before have octopus tentacles been so suggestive.

4. Impeccable style

Following the retro-infused tone that director Sam Mendes established with Skyfall, Spectre plays out as very sexy and classy picture. The combination of production design and costuming have created an exquisite and beautiful film, with Bond dressed in the finest tailored suits courtesy of Tom Ford, while Lea Seydoux and Monica Bellucci shine in Jany Temime’s stunning costumes creations. This attention to detail really adds the all-important suave element expected of a Bond film.

3. In-your-face action

From its opening moment in Mexico City to the penultimate showdown in London, Spectre is filled with exotic globe-trotting, and some of the most intense, and inventive action scenes that the Bond franchise has ever seen. The brutal hand-to-hand combat scene between Bond and the ferocious Mr. Hinx (Dave Bautista) leaves a particularly lasting impression.

2. Madeleine Swann: a real character 

While Bond girls have often been portrayed as interchangeable play things for the various versions of Bond, there has been some level of progression over the last few films (Eva Green’s Vesper Lynd in Casino Royale comes to mind). In Spectre, Lea Seydoux’s Madeleine Swann is the new woman in Bond’s life – but she’s no damsel. The daughter of a previous Bond enemy, Swann is a sharp shooter (literally) who can more than hold her own with Bond.

1. Daniel Craig: James Bond laid bare

Over the course of four films, Daniel Craig has crafted a layered portrait of Ian Fleming’s secret agent, which has completely modernised the character in a wondrously complex way. In Spectre, Craig gives us his most raw Bond yet – a man with a purpose, but one who is becoming disillusioned with his place in the world. But while Bond may be dealing with his own issues, he is no less focused, instead compelled by a desire for answers. Spectre charts Bond coming full circle, completing a cycle for the intrepid super spy.

Image source: Sony Pictures.

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The final trailer shows off some very dynamic action sequences, as well as giving audiences the most detailed look at Bond’s sinister new adversary Franz Oberhauser (Christoph Waltz).

In the aftermath of the attack on MI6, a cryptic message sets in motion events that will see James Bond come face-to-face with the sinister organisation known as SPECTRE. While Gareth Mallory (Ralph Fiennes), the newly appointed M, continues fighting political pressures that threaten the future of MI6, Bond discovers that the only way to unravel the web of conspiracy is to protect the innocent daughter of a powerful enemy. Following a trail from Mexico to Italy, Austria and Morocco, he is forced to operate outside his purview as he is drawn into a confrontation with an enemy from his past.

Packed with non-stop action, style and a killer storyline, director Sam Mendes is pushing for SPECTRE to be the grandest entry in the James Bond mythos. SPECTRE is set to premiere on October 26 in the UK, followed by a general release of November 6 in the US, and November 12 in Australia and New Zealand.

The post James Bond Is All Action In Final ‘Spectre’ Trailer appeared first on SpicyPulp.

In the aftermath of the attack on MI6, a cryptic message sets in motion events that will see James Bond come face-to-face with the sinister organisation known as SPECTRE. As Gareth Mallory, the newly appointed M,  continues fighting political pressures that threaten the future of MI6, Bond follows a trail from Mexico to Austria and Morocco as he is drawn into a confrontation with an enemy from his past; one who holds a dangerous secret that will force him to question the value of everything he has fought to protect.

In addition to a leaner and meaner Bond, we also get our first look at Lea Seydoux’s Dr. Madeleine Swann, Monica Bellucci as Lucia Sciarra, Dave Bautista as Mr. Hinx and Christoph Waltz as the dangerous Franz Oberhauser.

Following on from the triumph that was 2012’s Skyfall, director Sam Mendes and star Daniel Craig have created a dark, compelling and exciting new chapter of the James Bond mythos with Spectre which will arrive in cinemas on November 6.

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When a cryptic message from an unlikely source sets James Bond navigating the layers of a sinister organisation known as SPECTRE. As M continues fighting political pressures that threaten the future of M16, Bond draws closer to uncovering the hidden truth at the foundation of the conspiracy that will force him to question the value of everything he has fought to protect.

The teaser is filled with mounting tension as Bond looks set to confront the sins of his past, and comes face to face with Spectre’s mysterious benefactor Franz Oberhauser (Christoph Waltz).

On November 6 get ready for a brand new chapter of the James Bond mythos with Spectre.

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