Top 10 Offbeat Romances

Picture this: Steve Carell and Keira Knightley in a car together. Falling in love. Scoff you might, except that’s what we get in Seeking a Friend for the End of the World, a madcap dramatic comedy that locks those two odd birds in a cage together to see what happens. It’s something cinema loves to do, as this lot are here to prove…

1. Lars and the Real Girl (Craig Gillespie, 2007)
Before he buffed up as a cruiser of the mean streets in Drive, Ryan Gosling got up close and personal with a life-sized doll in this kooky drama. Arriving in a big coffin-shaped box, anatomically correct sex doll Bianca is Lars’s first, um, ‘real’ girlfriend. Hey, it’s a lifestyle choice and who are we to judge?

2. Harold & Maude (Hal Ashby, 1971)
What’s a teenager to do? Young Harold (Bud Cort) is obsessed with death, but he soon gets very interested in life when he comes across sprightly OAP Maude (Ruth Gordon). Though the age difference is cavernous, these two strike up one of cinema’s most interesting (and unusual) romances. Genuinely moving.

Read the full article at Grolsch Film Works

Behind The Scenes: Being Human Series 4

Total Film recently wandered down to the set of the fourth series of Being Human, the BBC’s ever-popular supernatural drama. Here’s what we got up to…
On Set
There’s a topless man on-screen doing press-ups. “98… 99… 100.” He’s barely breaking a sweat. Off-screen, Lenora Crichlow isn’t impressed, cradling a baby and demanding attention. This guy’s having none of it. “101… 102…” he pants. “Oh, you’re just showing off now,” rants Lenora. And… “CUT!”
Total Film is perched by a monitor in a cavernous, abandoned Cardiff bus depot, which is now crammed with the towering, false-backed wooden frames of a massive set. Here, a series four episode of supernatural BBC drama Being Human is being filmed.
Except we don’t recognise the owner of that rather well-defined torso. “He’s our sexy new vamp,” producer Phil Trethowan tells us. “As you can see, he is sexy…”
New Blood
Everything’s changing on Being Human. Entering its fourth year, the super-soap closed out its third on a creative high, but with a devastating blow, as resident vamp Mitchell (Aidan Turner) got wood and bid everybody a fond farewell.
Enter new fanger Hal (Damien Molony), an ancient blood-sucker going on something of a diet. Apparently he’s also rather good at doing press-ups (insider gossip, he didn’t /really/ do 102).
Think the changes were hard on the viewers? They were harder still on the stars of the show. “You’ll never replace Aidan!” screams Damien, doing an impression of Twittersphere BH fans who didn’t like the idea of a new vamp on the block.
“I’m not trying to replace him!” the actor assures TF. Possessing a soft Irish lilt, he’s dressed in a tight black T-shirt, blue jeans and slippers as he chats with us in the show’s Green Room. Friendly, if a little nervous (ours is only his second ever interview), he’s big-eyed and serious when on-screen, dropping the Irish cadence for an upper class English. So just who is Hal?
Hal Of A Guy
“I was a big bad motherfucker of a vampire for a long time,” Damien reveals. “Hal is so different to Mitchell; he’s from a completely different orientation. He’s so OCD. He’s got some great clothes, but it’s all very twee. He’s very different, so I was able to relax a bit.”
Fresh out of acting school, Damien bagged the role just before graduating. His agent called to tell him he’d got the gig four minutes before he was due on-stage for a play in Leeds.
“She screamed: ‘You got it, you fucking got it!’” the actor remembers with a laugh. “That was one of the worst performances I ever did…”
Dearly Departed
Mitchell isn’t the only departee, though. As series four of Being Human opens, resident werewolf George (Russell Tovey) is mourning the death of beau Nina (Sinead Keenan). By the end of episode one, he’s followed her into the big boneyard in the sky.
Show-runner Toby Whithouse knew the changes were coming, though. Mostly. “When he auditioned Aidan Turner, we knew one day we were gonna lose him to be a movie star,” Whithouse reveals. “He’s just that good and beautiful. Similarly with Russell and Sinead and Lenora, you can’t get actors that good and expect nobody else is going to notice.”
So it wasn’t a shock when Russell and Sinead both decided not to return, then? “It was,” the show-runner admits. “It was a shock when Sinead decided she didn’t want to do series four at all, not even one episode. We parted on good terms. The timing was a bit of a shock, but the act itself wasn’t.”
Ghost Stories
Not everything has changed. For a start, phantom Annie (Lenora Crichlow) is still in her patented grey outfit when we meet her for a chat.
“Oh, you noticed,” quips Lenora (or just ‘Nora’, as everybody on set calls her) when TF points that fact out. “It’s this year’s grey! It actually does change each year, it often goes with her emotional state, so this year it’s all very flow-y and mother-y, she has to swaddle the baby.”
Just as her outfit’s subtly evolving, so is Annie’s place in the show. With Mitchell and George gone, she’s suddenly left looking after George and Nina’s baby. “She becomes the heart of the series,” Nora explains. “She has little Eve to look after, which she takes to as well as she can considering she’s a ghost!”
Annie’s also grieving, of course. “So much of her sense of herself is caught up with her friends, George, Mitchell and Nina; they gave her a purpose. There’s a lot of adjusting to losing that. She has to look after Eve, so there’s not much time for grieving.” Talking of Eve…
The War Child
Having a baby on set  (“several”, according to Nora) was always going to shake things up. And they come at a price. Each fake infant, which the cast and crew affectionately call ‘jelly babies’, costs a whopping £4,000.
“We have the jelly baby,” Nora says. “But then we have the real babies as well. We have two sets of twins, so that takes up a lot of Annie’s time. A lot of my time actually, ‘cos you spend ages just cooing at them. I love children.”
One person who’s not so natural with the kids is Damien. “I can’t do babies,” he admits. “My first scene was in the attic and I had to take the baby out of the cot. We had to do about six takes because everybody was like, ‘The neck, the neck!’” Ah, the perils of leaving vampires with children…
New Moon Rising
To complete the show’s trio of ghost, vampire, werewolf, Whithouse turned to Michael Socha, series three bit-player and This Is England star, who they bumped up to series regular.
“I was ever so worried,” Michael says, dressed in his character’s signature grey vest, khaki green trousers and muddy trainers. “I read the script, and I thought, ‘Fuck, Tom’s here now! There’s a lot of him in this!’ In the last series he wasn’t in it half as much.
“There’s certain emotions he’s not revealed before. There’s loads in store for him. He gets a missus. He’s finding his way in the normal world.”
The Tour
After a bite of lunch, it’s time for a tour of the set. We’re led through a warren of corridors and finally wind up in the Honolulu Heights kitchen, which is currently being used as a dumping ground for filming equipment.
A nose around the hallway reveals a great mound of National Geographic magazines piled by the door. Outside, a doormat reads ‘Welcome to the mad house’, and there’s a massive backdrop of a Cardiff street hanging opposite the house.
In the dining room, the set’s been dressed for ‘A Spectre Calls’, the fourth episode of series four. There’s a baby rota on the wall (Annie’s doing), a carrycot in the corner, stuffed toys everywhere. Even the floor’s creaky.
“Apparently it is haunted,” Nora tells us. “You’d think if there’s a ghost they’d come and talk to me personally! At least we could swap notes. But no, I’ve not seen the ghost. I’ve heard all the rumours. I’m quite annoyed…”
Big Bad
Talking of ghostly things, a mysterious threat hangs over the fourth series of Being Human. Whereas series one and three had William Herrick (Jason Watkins), this year there’s a strange ghost from the future, and scary vampires known only as the Old Ones.
“The Old Ones are the old, old vampires,” Nora explains. “They’re centuries old, they’re attracted to our home and are definitely a threat. They’re vampires who don’t have to be invited in. They break a lot of rules.
“They’re an unknown. For Annie it’s terrifying. The more you hear about them and don’t see them, the scarier they get…”
Going Fourth
Being Human has a very vocal fan base, and it’s no surprise that the changes have split audiences. For the most part, though, Whithouse and his writers have been commended for organically developing the show – and the fans have predominantly stuck by them.
“People have been pleasantly surprised by how much they’ve engaged with the new cast,” Whithouse says, “and that’s a testament to Damien, Michael and Lenora. They’ve knocked it out the park. I’m pleased the public have welcomed them.”
After the success of series four, the BBC have swiftly commissioned a fifth round of supernatural hi-jinks. What does that mean for the show, then?
“Who can say?” Whithouse teases. “We stumble from year to year in terms of the commission, so the future isn’t completely assured. As with most TV shows. We’ll always start developing, so we’re developing series five.” Can he reveal anything? “Absolutely nothing.” Talk about a howling shame…

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Ichi The Killer (2001)

Top Ten Greatest Comic-Book Movie Posters

10. X-Men: The Last Stand (2006)

50 Greatest Ghost Movies

The Sixth Sense (1999)
The Movie: M. Night Shyamalan’s confident directorial debut, with one of cinema’s most famous rug-pulling twists. Cole (Haley Joel Osment) thinks he can see dead people, so he starts having visits with Bruce Willis’ bemused psychologist. But is Brucie all that he seems?
If It Had Been Found Footage: “I film dead people…” Cole fishes his dad’s old camcorder out of the attic in order to commit his ghostly visitors to celluloid, with seriously spooky results.

Read the full article at TotalFilm.com

Worst To Best: Bruce Willis

Die Hard (1988)

The Film: The action movie to end all action movies – and one of the coolest Christmas films ever made. Officer John McClane (Willis) attempts to free his wife’s high-rise workplace from evil terrorists, who are headed up by the eeevil (cos he’s British) Hans Gruber (Alan Rickman).

Willis Genius: We’d never had an action hero like this before. A wise guy. A tough nut. A one-liner machine. Willis goes through a gruellingly physical performance, coins ever-quotable lines and looks super-cool doing it – and he makes it look EFFORTLESS. This is why he’s a ledge.

Worst To Best: Nicolas Cage

51. The Wicker Man (2006)

The Movie: Sheriff Edward Malus (Cage) investigates the disappearance of a young girl on a small island and uncovers a neo-pagan community with sinister intentions.

So Cage It’s Good? Cage delivers a performance so tortured, so earnest and so hilarious, that it’s surely some sort of masterpiece in subversion.

Cage assures us it’s his favourite film he’s made, which only makes his performance the more compelling. As we’ll see over the next 50 pages, this guy has massive steel balls…

Worst To Best: Bill Murray

44. Meatballs (1979)

The Film: Summer camps in the ‘70s provided much fun at the movies – not least in this franchise-opener, in which counsellors and campers get up to all sorts of naughtiness.

Murray Magic: Murray embraces the silliness, and offers us an early look at great things to come. The film’s a bit of a disappointment, but Murray’s full of youthful energy – just check out that shaggy mane.

Worst To Best: Stephen King Movies

24. Firestarter (1984)

The Movie: Andy McGee (David Keith) goes on the run with his daughter Charlie (Drew Barrymore), attempting to escape government agents who want to exploit their psychic abilities.

What It Got Wrong: A flabby mid-section stops Firestarter from being the explosive firecracker it should be. The first 40 minutes provide intrigue and on-the-run excitement, but that’s all lost when Charlie and her paps are caught by The Shop. A Carrie-aping climax attempts to reignite things, but comes too late.

50 Greatest Improvised Movie Scenes

50. Inception (2010)

The Improvisation: “You mustn’t be afraid to dream a little bigger, darling,” advises Eames (Tom Hardy), as he shoulders Arthur (Joseph Gordon-Levitt) out of the way and whips out a super-huge firearm.

What Was In The Script: The “darling” part was Hardy’s own affectionate, plummy addition. “The ‘darling’ part was accidental,” the actor admits. “I came out with ‘darling’ and we kept it in because it was funny.”