British Independent Film Awards 2014 Winners

A glittering array of talent turned out this evening for the 17thMoët British Independent Film Awards. The winners were announced at the star-studded ceremony, held at Old Billingsgate, which was hosted by The Inbetweeners star, Simon Bird.

The lucky winners took home the iconic award designed by Fredrikson Stallard and created by Swarovski as well as a personalised, Swarovski crystal encrusted magnum of Moët & Chandon.

Best British Independent Film was won by PRIDE. Yann Demange won Best Director for ’71, Gugu Mbatha-Raw won Best Actress for BELLE and Brendan Gleeson won Best Actor for CALVARY. Andrew Scott collected his award for Best Supporting Actor for PRIDE and Imelda Staunton took home her award for Best Supporting Actress also for her role in PRIDE.

PRIDEwon the most awards on the night, picking up Best British Independent Film, Best Supporting Actress and Best Supporting Actor.

Joint Directors; The Moët British Independent Film Awards Johanna von Fischer & Tessa Collinson said: “In our final year as Directors it is terrific to see such an amazing mix of the established and new being represented in our honourees tonight. The range of diverse and unique talent in this country is awe inspiring. Our jury has had some truly tough decisions to make. We hope these results will excite audiences and encourage more people to search out these films creating a greater demand for British Independent cinema. 2014 also sees us celebrate five years of a fabulous partnership with title sponsor Moët & Chandon, who add that extra sparkle each year for which we are incredibly grateful.”

As previously announced, Emma Thompson was awarded the coveted Richard Harris Award for outstanding contribution by an actor to British film, and Benedict Cumberbatch the Variety Award, which recognises an actor, director, writer or producer who has helped to shine the international spotlight on the UK. The Special Jury Prize went to John Boorman.

The Raindance Award was won by LUNA. Elliot Grove, Founder of BIFA and the Raindance Film Festival added; “British filmmakers are at the top of their game and amongst the most creative in the world, covering a diverse range of stories, passionately told and featuring outstanding acting talent. BIFA is proud to lead the celebrations at the start of the Award season.”

The Moët British Independent Film Awards are proud to announce the following winners for 2014 (highlighted below in red):

BEST BRITISH INDEPENDENT FILM Pride

BEST DIRECTOR Yann Demange – ’71

BEST DEBUT DIRECTOR Iain Forsyth, Jane Pollard – 20,000 Days on Earth

BEST SCREENPLAY Jon Ronson, Peter Straughan – Frank

BEST ACTRESS Gugu Mbatha-Raw – Belle

BEST ACTOR Brendan Gleeson – Calvary

BEST SUPPORTING ACTRESS Imelda Staunton – Pride

BEST SUPPORTING ACTOR Andrew Scott – Pride

MOST PROMISING NEWCOMER Sameena Jabeen Ahmed – Catch Me Daddy

BEST ACHIEVEMENT IN PRODUCTION The Goob

BEST TECHNICAL ACHIEVEMENT Stephen Rennicks – Music – Frank

BEST DOCUMENTAR Y Next Goal Wins

BEST BRITISH SHORT The Kármán Line

BEST INTERNATIONAL INDEPENDENT FILM Boyhood

THE RAINDANCE AWARD Luna

THE RICHARD HARRIS AWARD Emma Thompson

THE VARIETY AWARD Benedict Cumberbatch

THE SPECIAL JURY PRIZE  John Boorman

Now in its 17th year, the Awards were created by Raindance in 1998 and set out to celebrate merit and achievement in independently funded British filmmaking, to honour new talent, and to promote British films and filmmaking to a wider public.

Previous winners of the prestigious Best British Independent Film Award include METRO MANILA, TYRANNOSAUR, THE KING’S SPEECH, MOON, CONTROL, SLUMDOG MILLIONAIRE, THE CONSTANT GARDENER and THIS IS ENGLAND.

Proud supporters and patrons of The Moët British Independent Film Awards include Mike Figgis, Tom Hollander, Adrian Lester, Ken Loach, Ewan McGregor, Helen Mirren, Samantha Morton, James Nesbitt, Michael Sheen, Trudie Styler, Tilda Swinton, Meera Syal, David Thewlis, Ray Winstone and Michael Winterbottom.

The Hobbit The Battle of the Five Armies Review

The Plot:

In the third instalment of The Hobbit trilogy, finally completing the epic Tolkien franchise, the battle continues to rage for the riches of the fabled Mountain Kingdom of Erebor. Diminutive Hobbit hero Bilbo Baggins and the forces of good stand against an ancient evil and a deadly array of monstrous foes. As Dwarves, Men, Wizards, Dragons and Elves each play their part in shaping the destiny of middle earth…

The Good:

After literally decades of production, patient Tolkien fans finally have a complete six film saga with the Hobbit and Lord of the Rings trilogies both at last complete. The Battle of The Five Armies is a satisfying final piece of that vast fantasy adventure, delivering the usual mix of CGI wizardry and shamelessly epic storytelling.

Those that found the earlier Hobbit films lacking in pace will be pleased to see the final chapter open with a spectacular action sequence. As the wicked dragon Smaug brings down fiery death and destruction on the poor inhabitants of middle earth. From this literally explosive beginning, the film moves quickly, pulling together now familiar faces from the entire saga to give fantasy fans and blockbuster crowds the precisely promised climactic battle. The near constant fighting in this film equals the technically high standards of the previous films, but offers enough new adversaries and memorable moments to distinguish it beyond simply repeating successful CGI formulas.

The returning cast including firm fan favourites like Sir Ian McKellan’s Gandalf and Orlando Bloom as princely elf warrior Legolas each deliver excellent performances with effortless ease. Sherlock star Martin Freeman remains perfectly typecast as unlikely hero Bilbo Baggins and Evangeline Lilly is suitably enchanting as elf heroine Tauriel. Richard Armitage also has a chance to flex some dramatic muscles between wielding his sword in battle, as Thorin confronts his inner demons.

The Bad:

Those who failed to feel the magic of Peter Jackson previous middle earth epics are perhaps unlikely to suddenly discover it here. Jackson’s impressively crafted battle scenes will not win over those uninspired by whimsical adventures so absolutely detached from real life. Likewise those left numb by the franchises notoriously long running times will likely still find the film’s comparatively trimmed down 144minutes a little daunting. If you lack patience or an appetite for the fantasy genre then this won’t be an easy ride.

In particular those already watching the clock may find that interrupting the action for frequent slow motion reaction shots and expositional dialogue leaves them more frustrated than emotional. Being perhaps overly cynical it’s noticeably convenient just how often characters manage to have friendly chats, bickering arguments or exchange lingering gazes in the midst of war torn battlefields.

Though the film has poignant conclusions to a number of character arcs, it feels obliged to include occasional instances of heavy handed but ineffective humour. Weasley coward Alfrid played by Ryan Gage is guilty of most of this. As with the Lord of the Rings it simply feels like the film would have been a shorter more compelling adventure without these pointless moments of attempted levity.

That being said the film does similarly find time to wade through lengthy melodrama, as clearly heroic characters like Dwarf leader Thorin, battle greed and paranoia long before they ever draw swords with an actual enemy. Though these struggles all play out in the context of a wider saga and expansive journeys for the various characters, the corrupting madness of power is an all too familiar theme for this franchise.

Though the film boasts largely impressive special effects there are occasional moments where less convincing CGI proves distracting. Legolas unbelievably defying the laws of gravity even more than usual is a specific example of this. Without ignoring the amazing digital achievements and artistry behind the film, the sheer scale of the action means it sometimes lacks the tactile credibility of practical effects.

The Ugly Truth:

The Hobbit trilogy has stood on the impressive shoulders of the cinematic Lord of the Rings saga which preceded it, to at least match its technical brilliance. This action packed final chapter will delight devoted Tolkien fans and casual blockbuster crowds equally. The series violent conclusion is propelled with a sense of urgency towards an undeniably satisfactory finale.   Jackson gives fans a must see middle earth adventure, possibly for one last time.

Check out full London Press Conference Interviews below:

British Independent Film Awards 2014 Nominations

 

Star Wars: The Force Awakens Official Teaser

J.J. Abrams has finally given Star Wars fans their first glimpse at the first chapter in the new trilogy of the Star Wars Saga with an 88 second long teaser trailer for Episode VII The Force Awakens.

Watch it yourself below but here’s Five of the obvious talking points:

1. Is that Benedict Cumberbatch?

The ominous voice over bears an uncanny resemblance to the vocal charms of Sherlock and Star Trek star Benedict Cumberbatch, seemingly restoring credibility to the early suggestion that he may still play a major role in the new saga.

2. New Faces

While Luke, Han and Lea are nowhere to be seen the trailer does introduces John Boyega in a storm trooper suit, Daisy Ridley on a speeder & Oscar Isaac in an X-wing. Firmly establishing our next generation of heroes.

3. Old Ships

In just 88 seconds the trailer manages to give us Three X-wing’s, Two Tie-Fighters and one glorious hunk of junk… the Millennium Falcon. Though they might be more CGI now than plastic model kits, the return of these classic designs instantly injects the new saga with a nostalgic style that was so sadly missing from the prequels.

4. Lightsaber Broadsword

The lightsaber remains one of the most iconic elements of the Star Wars universe. Arguably Episode I’s sole redeeming feature was the invention of the double ended lightsaber,  as wielded by fan favorite Darth Maul.  Episode VII will apparently introduce the first lightsaber to have a crossguard. Turning it into more of a claymore style medivial bade. While fan’s are already fiercely debating the combat effectiveness of this subtle modification, it is at least a stylish riff on the familiar designs.

5. Is The Empire still the bad guys?

The inclusion of ominous ranks of battle ready storm troopers and Tie Fighters taking shots at a rapidly maneuvering Millennium Falcon suggests that perhaps the galactic war rages on and the Rebel Alliance may still be facing up to the might of the Evil Empire.

Episode VII in the Star Wars Saga, Star Wars: The Force Awakens, opens in theaters December 18, 2015. Till then re-watch the trailer below endlessly while awaiting more news/footage. It is your destiny…

 

Shock Treatment set for Stage Revival

Richard O’Brien is set to adapt his much maligned  Rocky Horror Picture Show follow up Shock Treatment into a new stage production to premiere at London’s King’s Head Theatre in April 2015. Speaking of the news creator O’Brien said

“Shock Treatment has been waiting patiently in the wings for a stage premiere since the film was released in 1981. Just as Rocky began life upstairs at the Royal Court, it seems a perfect fit for Shock Treatment to start its stage life in the effervescent atmosphere of the astounding King’s Head Theatre.”

The original film released in 1981 was a critical and commercial disaster, failing to gain wide release or the cult classic status of O’Briens Rocky Horror Picture Show. The sequel once again features hapless couple Brad and Janet, this time caught up in a sinister 24h tv gameshow that aims to imprison them in an insane asylum. The  film failed to connect to fans perhaps mostly because it featured few of the characters from the original and lost most its main stars like Susan Sarandon, Barry Bostwick, Meat Loaf and Tim Curry. 

It will be interesting to see how O’Brien updates the show for the stage and whether it resonates more with a contemporary audience all too familiar with the concept of reality television which the original film ominously predicted.