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MY WEEK WITH MARILYN

JANUARY 2012...

“possibly�Britain’s�most�beautiful�cinema...”�(BBC)

01442 877759Mon-Sat 10.30-6pm Sun 4.30-5.30pm

JANUARY 2012 Issue 82www.therexberkhamsted.com

M A G A Z I N E

To advertise email [email protected] INTRODUCTION

Some of the girls and boys you see at the Box Office and Bar:

Ushers:Amy, Amy P, Annabel, Ella, Ellie, Ellen W,Hannah, India, James, Kitty, Luke, Meg, Tyree

Sally Thorpe In chargeAlun Rees Chief projectionist (Original)Jon Waugh 1st assistant projectionistMartin Coffill Part-time assistant projectionistAnna Shepherd Part-time assistant projectionistJacquie Rose Chief AdminOliver Hicks Best BoyBecca Ross Best GirlMichael Glasheen GafferJane Clucas & Lynn Hendry PR/Sales/FoH

Andrew Dixon Resident ArtistDarren Flindall MaintenancePaul Fullagar, Alan Clooney Advisors and InvestorsEd Mauger GeniusDemiurge Design Programme Design 01442 864904Lynn Hendry Advertising 01442 877999

James Hannaway CEO 01442 877999Betty Patterson Company Secretary and THE ORIGINALVISIONARY of The Rex.

The RexHigh Street (Three Close Lane) Berkhamsted HP4 2FGwww.therexberkhamsted.com

SEAT PRICES (+ REX DONATION £1.00)Circle £8.00+1 Concessions £6.50+1At Table £10.00+1 Concessions £8.50+1Royal Box (seats 6) £12.00+1 or for the Box £66.00+1All matinees £5, £6.50, £10 (box) +1

BOX OFFICE: 01442 877759Mon to Sat 10.30 – 6.00Sun 4.30 – 6.30

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Julia ChildsAlly CliftonNicola DarvellRomy DavisRosa GilbertOllie GowerElizabeth HannawayBillie Hendry-HughesLucy HoodAbigail KellettAmelia KellettLydia Kellett

Helen MillerLiam ParkerAmberly RoseGeorgia RoseSid SagarLiam StephensonTina ThorpeBeth WallmanJack WhitingOlivia WilsonYalda Yazdanian

January Matinees 25

January Evenings 11Gallery 4-5

Coming Soon 23January Films at a glance 23

Rants and Pants 38-40

FILMS OF THE MONTH

The spy spoof (2006), from THE ARTIST ensemble

OSS 117: Cairo Mon 23 7.30. France 2006

BEST IN JANUARY

A fabulous story nobody’s talking about. Come before they start

Moneyball Sat 21 7.00. USA 2011

Irreligious, but reverent Papal fun. Don’t missWe Have A Pope

Sun 15 6.00. Italy 2011

Dangerous ground covered better than expected.

50/50 Tue 17 7.30. USA 2011

4 Box Office: 01442 877759 DEAR MRS TRELLIS...

TERENCE DAVIES AT THE REX SUNDAY 1 1 TH NOVEMBER

Terence Davies returned to the Rexwith his latest beautifully finishedand much applauded film

adaptation of The Deep Blue Sea. Thiswas his third visit here to talk about hiswork. And talk he did, with greateloquence and unreserved passion. After being asked to choose somethingto celebrate Terence Rattigan’s centenaryhe alighted on The Deep Blue Sea with abrief to ‘Be radical’. So he was! He toldhow he saw Rachel Weisz on TV insomething or other, didn’t know who shewas, but wanted her there and then forHester. He admits to not keeping up. Heknew Simon Russell Beale was perfectfor William and Tom Hiddleston came

prepared for audition so got Freddie. He eased extraordinarily powerful andtruthful performances from each ofthem. My favourite director’s note; “I told them not to act.”

More than anything it isTerence’s passion that will winany audience. His passion for

film and many things, includingpassionately repulsed by violence andhorrid behaviour, was at the heart ofeverything he said. He recited freelyfrom John Betjeman and EmilyDickenson, and even hummed a littleSchubert. As before it was an honourand a real treat listening to Mr Davies.We wish him well.

DEAR MRS TRELLIS... www.therexberkhamsted.com 5

Rachel Weisz and Tom Hiddleston in The Deep Blue Sea

Debbie Wilson (aka Debbie Juvenile on the 70s punk scene) having tea with Siouxsie Sioux. Debbie was props buyer and design on The Deep Blue Sea. She lived up the hill from the Rex and loved it here. She was a lovely friend missed by us all. (Debbie died early summer 2011. She was very young)

J A N U A R Y E V E N I N G S

12 Box Office: 01442 877759 JANUARY EVENINGS

The Adventures ofTin Tin Wed 4 7.30

Director: Steven SpielbergStarring: Jamie Bell, Daniel Craig,

Simon Pegg, Andy SerkisCertificate: PGDuration: 105 mins Origin: New Zealand, USA 2011By: Paramount International Pictures

Director: Woody AllenStarring: Owen Wilson, Rachel McAdamsCertificate: 12ADuration: 94 mins Origin: Spain/USA 2011By: Warner Brothers

Midnight In ParisTue 3 7.30

Back by huge demand on the bigscreen, this has been one of our boxoffice hits of late 2011. Happily, this is Woody’s best since VickyCristina Barcelona. Owen Wilson is perfect as Gil, Woody’stypically neurotic alter-ego, almost in lip-sync with his early years endearingwhine. Michael Sheen is fantasticallycringy as Paul’s smarmy, pseudo know-all. Allen let’s the camera play withCotillard’s and McAdam’s, beauty. But it is his clear love of Paris, throughDarius Khondji’s lens, that will take yourheart. Luckily, this (Woody’s ultimatefairy story) too is warm, assured, andperhaps most reassuringly, funny. The rest are fun caricatures Dali (AdrianBrody) Scott Fitzgerald (Tom Hiddleston)Corey Stoll (Hemingway) Picasso,Bunuel, Degas, Gauguin, TS Eliott, ManRay, Josephine Baker, Cole Porter, andeven Carla Bruni turn up, and you’ll lovethe score.“It’s all very recognisable but not tired,and the film’s lightly-played time-travelling element gives it a hint ofboldness. It’s fun and most welcome.”(Time Out) (research SM)“Look at me, I was a nightclub comedian.I didn’t know how to make films.” (47titles later) “It’s fun to live for months ina completely artificial world. Paris withall these beautiful, funny, inventive,quick-witted people.” (Woody Allen FilmProg R4) Come for the love of Paris andthe music.

Tintin (apparently played by Jamie Bell,buried somewhere underneath theanimators’ rendering) finds the modelof a ship, The Unicorn, from a marketstall only to discover it contains the keyto the whereabouts of a sunken galleon’sburied treasure.Together with Snowy, the bumblingThompson twins (Simon Pegg, Nick Frost),and the soused Captain Haddock (AndySerkis), Tintin must endeavour to retrievethe booty before the nefarious Sakharine(Daniel Craig) beats them to it…The opening half of the film is a delight,replete with a lavish opening sequence,and enough in-jokes, and sight gags tosatisfy the most obsessive Tintinologist.The latter portion then descends into rip-roaring, Indiana J territory. Purists mayloathe the dead-eyed animation techniqueswhich Spielberg employs here, but there’senough big-screen action, plot and intrigueto grip throughout.“Tin Tin is without doubt the finestexample of Spielberg’s family-friendly funside since Jurassic Park. It’s also the mostcreative, enjoyable and invigoratingblockbuster of the year.” (Time Out)(research Simon M) It looks fabulous butthe cartooning of real faces is irritating.Why not cast Mickey Mouse? Even so, it is far less irritating than Jurassic Park!Besides, Spielberg probably wiped thestars faces, so you’d watch the film. So don’t look for them, watch the film.

JANUARY EVENINGS www.therexberkhamsted.com 13

The GuardThu 5 7.30

Hugo is as much about the way thatcinema encodes our collective dreamsand memories, as it is the tale of animaginative and resourceful young boydesperate to fill the void left by his lostpapa. Hugo (Asa Butterfield) is an orphan wholives in lives in the rafters of an old railwaystation in 1930s Paris. His father (JudeLaw, seen in flashback) used to look afterthe station’s network of clocks, and Hugohas unofficially assumed his job. He eats stolen croissants and spends muchof his time dodging the station’s bumptiousinspector (Sasha B Cohen).The boy’s attempts to repair a strangemannequin inherited from his father, leadhim to the bookish teenager Isabelle(Chloë Moretz) and her godfather, thegroundbreaking French filmmaker GeorgeMéliès (Ben Kingsley) now eking out aliving selling toys. Together, the children delve into the oldman’s past…“What an exceptionally un-MartinScorsese-like film Hugo appears to be onthe surface: a festive kids’ adventure with aboo-hiss baddie set on the not-so-meanstreets of 1930s Paris. Yet it is possible this is one of his mostpersonal films: a love letter to cinema, tothe magical imperfection of celluloid justas its days are numbered. He directs everyfilm with the passion of his first. And itshows.” (Time Out) Don’t miss.

Hugo Fri 6 7.30, Mon 9 7.30

Director: Martin ScorseseStarring: Asa Butterfield, Chloe Moretz,

Emily Mortimer, Jude Law, Ben Kingsley, Sacha Cohen,

Certificate: UDuration: 126 mins Origin: USA 2011By: Entertainment Film Distribution

Director: John Michael Mcdonagh Starring: Brendan Gleeson, Don CheadleCertificate: 15Duration: 96 mins Origin: Ireland/UK 2011By: Optimum Releasing

It is one of the best, most completeyarns of 2011. Brendan’s first shrug,caused a ripple of involuntary laughterthrough our Sept/Oct/Novemberaudiences, as he confiscates drugs froma dead joyrider. “I don’t think yourmammy would be too pleased about thatnow” he tuts paternally. Then remainsbelievably irreverent thoughout He is an unconventional policeman,investigating a seemingly random murder. FBI agent Wendell Everett (Cheadle)arrives in Galway to mount a large-scaleoperation to catch mafia-style drugsmugglers. At first irritated by Gerry’s manner,Everett is reluctantly impressed by hismatter-of-fact canniness, connecting itall, without fuss.Without overstating its similarities to InBruges, directed by McDonagh’s youngerbrother Martin, let’s just say MrsMcDonagh should very proud indeed, asindeed should Mrs Gleeson, casuallanguage and all. “A cracking film with Gleeson’s SgtGerry a beautifully observed comedycreation. Cuts its laughter with a dose ofCeltic melancholy.” (Empire)“Brendan Gleeson delivers McDonagh’sdelicious dialogue with gusto, filling incharacter detail but keeping himunpredictable to the end.” (HollywoodReporter) John Michael McDonagh wasour guest Q&A director in October. SgtBoyle’s way-with-words lived the thingsJohn Michael wished he’d said at the time(like us all). A real ‘little gem’.


Director: Simon CurtisStarring: Michelle Williams, Kenneth

Branagh, Judi Dench, EmmaWatson, Dominic Cooper

Certificate: 15Duration: 99 mins Origin: UK 2011By: Entertainment Film Distribution

My Week WithMarilynSat 7 7.00, Sun 8 6.00, Tue 10, Wed 11, Fri 13 7.30 Ostensibly based on Colin Clark’s diaryof the halcyon summer of 1956, whenMarilyn Monroe came to England tostar in The Prince and the Showgirl. Colin Clark, a lowly third assistant (withfamily connections, so don’t feel too sorryfor him) meets Monroe on set, and thetwo strike up a friendship and have fun(so don’t feel sorry for him at all!) As filming begins her new husband,Arthur Miller (Dougray Scott) leaves forParis. Hence she finds herself alone, in acountry she doesn’t recognise, surroundedby strangers she neither likes nor trusts,who demand everything of her, so amusesherself with lucky bugger Colin.Michelle Williams is excellent, despitewhat was evidently written to be an Oscarbaiting role, as she conveys the fracturesbeneath the surface of Monroe’s sugary,seductive public persona. Branagh toodeserves plaudits for his volcanic,bombastic portrayal of Olivier. “It doesn’t pretend to offer any greatinsight, but it offers a great deal ofpleasure, and an unpretentious homage toa terrible British movie that somehow,behind the scenes, generated a very tenderalmost-love story.” (Guardian)It will run and run, so take your time.(research Simon Messenger)The genius casting of Michelle Williams,in the face of pressure from the usualblondes, shows uncharacteristic nerve.



Midnight In ParisSat 14 7.00

Director: Woody AllenStarring: Owen Wilson, Marion CotillardCertificate: 12ADuration: 94 mins Origin: Spain/USA 2011By: Warner Brothers

Director: Martin ScorseseStarring: Neil Young, Eric Clapton, Paul

Butterfield, Bob DolmanCertificate: 15Duration: 117 mins Origin: USA 1978By: Park Circus Films

The Last WaltzThu 12 7.30

One of Scorsese’s early results fromhanging about with iconic musicians,and often touted as one of the greatestconcert films of all time. The Last Waltzis a documentary shot in and around TheBand’s final concert at the WinterlandBallroom in San Francisco, November1976. Having been on the road for anastonishing sixteen years, they wereabout to become a legend. Interspersed with interviews from Bandmembers, in particular Robbie Robertson,Scorsese captures a momentous eveningin American rock history, and indeed, thelist of special guests reads like a who’swho of 20th century popular music - NeilYoung, Joni Mitchell, Muddy Waters,Eric Clapton, Emmylou Harris, VanMorrison and Mr Dylan himself…Whilst it might be possible to criticiseScorsese for not managing to capturequite what an era-defining moment thiswas, it’s a marvellous and fitting tributeto a seminal band. “A labour of love…immaculately filmed”(Observer)“With Scorsese directing and legendarycinematographers Laszlo Kovacs andVilmos Zsigmond behind the cameras, itis arguably the most beautiful of rockmovies. For fans of Proper Music, TheLast Waltz remains the gold standard.”(Time Out) (research Simon M) ‘ProperMusic’? Isn’t that all rather denim andover excited. The Band were good, but allthose eyes closed guitar solos…?


Director: Nanni MorettiStarring: Michel Piccoli, Jerzy StuhrCertificate: PGDuration: 102 mins Origin: Italy 2011By: Soda Pictures

Habemus Papam (WeHave A Pope) Sun 15 6.00

We Have a Pope is a beautifully craftedItalian irreligious comedy, written anddirected by Nanni Moretti.The Holy Father has gone to meet hismaker, and the Papal conclave meets atthe Vatican to elect a new Pontiff. Theensuing rounds of Papal voting occur toreach Habemus Papam! Step forwardsurprise winner: the supremely reluctantCardinal Melville (Michel Piccoli). Asthe multitude of devoted followers waitpatiently in St. Peter’s Square for theinauguration, Melville goes to step outonto the balcony… What happens nextthrows the Papal election process intodisarray. With the conclave unable tomeet with the outside world until he isordained, a psychoanalyst (Lopsicoanalista, underplayed perfectly bythe director himself Moretti) is called into talk to him.With a strong, moving opening sequence,and an intriguing conclusion, Moretti hascrafted a gentle and very amusing, ifslightly meandering, critique of theburdens of religious office. “There’s farce, soul-searching and comicabsurdism, with little for the Vatican toworry about.” (Time Out)“What makes it a gem is Piccoli’sperformance. At 85, he imbues his Popewith a level of grief, disappointment andsad-eyed questing, wholly beguiling.”(Telegraph) (research SimonM). You don’t need to be too catholic. Comelapsed! Miss mass, but don’t miss this.

They say it’s always the quiet ones. Theenigmatic Michael Shannon is seldomseen as a leading man. He prefers tohide in plain sight, quietly stealing sceneswith his memorable supporting roles(Bad Lieutenant and Revolutionary Roadspring to mind). Here he plays Ohio family man CurtisLaFoche, there is nothing inherentlywrong with Curtis; he’s well manneredwith a beautiful wife (Jessica Chastain)and daughter. The trouble is, he isplagued with nightmares andhallucinatory visions of the world’s end.As these increasingly believable scenariosbecome more frequent Curtis’ sanity isput into question. It starts affecting hisrelationship with his wife, causing him tobecome aggressive and even violent. Butwe’re unsure if all of this is in his head,or if the world is indeed coming to itsend.“Curtis is an embattled hero for ourtimes, and the darkening world heinhabits is one we can all recognise.When future film historians look back atthe cultural fallout from America’sfinancial collapse, Take Shelter will be akey text.” (Time Out)“Director Jeff Nichols’ control of mood,sense of setting and handling of themes(family, community, security) is for themost part first-rate.” (Total Film)Just brace yourself for a stormy ending.(research Jack Whiting)

Take ShelterMon 16 7.30

Director: Jeff NicholsStarring: Shea Whigham, Michael Shannon,

Jessica ChastainCertificate: 15Duration: 120 mins Origin: USA 2011By: The Works UK Distribution


Director: Jonathan LevineStarring: Joseph Gordon-Levitt, Anna

Kendrick, Seth RogenCertificate: 15Duration: 100 mins Origin: USA 2011By: Lionsgate Films UK

50/50Tue 17 7.30

Writer director Jonathan Levine(responsible for some terrible pap) has,for him, created an exceptional comedybased on the experiences of screenwriterWill Reiser.Adam (Gordon-Levitt) is a young radioproducer. Complaining of back pain, hevisits his doctor, and is subsequentlydiagnosed with a rare form of cancer. He is given a 50% chance of survival.The film chronicles the consequences ofthe news on his family and friends, hisbest friend, the boorish Kyle (Rogen), hisgirlfriend (Howard) and his mother(Anjelica Huston). To appropriate the title, the entire filmfeels split 50/50 between a ‘bromance’movie of the highest order and agenuinely upsetting film about seriousillness. Levine walks a fine line, but thereare many laughs in the face of the worst.Amusing, but not for everyone. “A comedy about cancer might sound aspromising as a musical about shingles,but this frequently funny and movingfilm proves humour can be wrung fromtricky subjects, providing it’s done withsufficient thoughtfulness and wit.”(Telegraph) “Harmless, shallow, smug and unlikable:a bromance weepie about cancer with avery serious “bros before hos” attitude.”(Guardian) (research SimonM) Hugebollocks to the Telegraph (a phrase I tendto use Daily). The dreaded c-wordtouches all of us every day. It’s worth aslant, albeit American. Don’t miss.

We were honoured to have the brilliantTerence Davies back at the Rex to talkabout the making of this, his latestbeautifully finished film, withunreserved passion. A literary adaptation of TerenceRattigan’s 1952 play about a middle-classwoman, Hester (Rachel Weisz), trappedin a passionless but caring marriage andlost in a self-destructive love affair with aman who will break her heart. Herhusband William a High Court Judge(Simon Russell Beale) remains dignifiedin his sorrow. A rare film outing for themagnificent Russell Beale. The RAFpilot Freddie (Tom Hiddleston) is the cador perhaps not?It is a haunting exploration of theemotional glass ceiling that hung overmany in 1950s Britain. “Weisz is terrific, and Davies’ use of lowlight, soft focus and faded, yellowing setsmakes her look positivelyphosphorescent. Critics complained thatVivien Leigh was too attractive to playHester in Anatole Litvak’s 1955adaptation. If they were alive to seeRachel Weisz’ Hester, they’d probablyhave a stroke.” (Telegraph)Is Hester mad? “Madness is a validinterpretation of love. When you reallyfall in love, it’s not a choice. Hester’s notdoing it because she wants to humiliateherself, she is humiliating herself becauseshe doesn’t have a choice.” Rachel Weisz(Times 19.11.11) Don’t miss.

The Deep Blue Sea Wed 18 7.30

Director: Terence DaviesStarring: Rachel Weisz, Tom HiddlestonCertificate: 12ADuration: 98 mins Origin: UK 2011By: Artificial Eye


Back by demand, this hugely enjoyable,honey-marinated adaptation of KathrynStockett’s novel struck a chord with USaudiences although exactly which chordis up for grabs.Set in 1960s Jackson, Mississippi, the filmtells how Skeeter Phelan (Emma Stone), ayoung, white would-be writer, convincestwo black maids, Aibileen and Minny(Viola Davis and Octavia Spencer) to worksecretly with her on a book. Skeeter wants the maids to reveal,anonymously, the hardships routinelyinflicted on them by the wealthy familieswhose food they cook and whose childrenthey raise – thereby winning them avaluable step towards true racial equalityand the girl, a big fat publishing deal.“Let’s clear those caveats out of the wayfirst. The Help is a broad southernmelodrama that implicitly frames the pushfor racial equality as the tale of oppressedAfrican-Americans who are given theirvoice by a lone white do-gooder.“While the story takes place at a time ofseismic social upheaval, director TateTaylor’s screenplay niftily sidestepspolitics for specific personal injustices.In short, The Help not only has its cake iteats it. This is as brazen an Oscar-baiter aswe’re likely to see this year” (Telegraph)“Viewed as an airbrushed, Dettol-heavyfairytale, however, it’s rousingly effective.”(Guardian) The oblivious, fluffy whitewomen are a treat. Polish up thestatuettes…

The HelpThu 19 7.30, Fri 20 7.30, Wed 25 7.30

Director: Tate TaylorStarring: Bryce Howard, Jessica Chastain,

Viola Davis, Emma StoneCertificate: 12ADuration: 146 mins Origin: USA 2011By: Walt Disney Studio INTL

This is an anti-sports movie. Thescreenplay by Steve Zallian and AaronSorkin (based on Michael Lewis’s book)is about statistics, money and winning,not glory. (that doesn’t sound like thePremier League?)Brad Pitt plays his best loveable rogue asBilly Beane, manager of baseball’sperennial outsiders the Oakland Athletics,who takes a punt on a statistical system ofrecruiting players devised by ball-obsessedYale graduate Peter Brand (Jonah Hill). Money-men sneer, commentators scoff andfans moan, but as the season progressesthis odd couple find themselves sitting onan unprecedented winning streak. Power, statistics, economics and the rise ofthe nerd: screenwriter Aaron Sorkin’sfollow-up to ‘The Social Network’ hassimilar inspired-by-real-events ingredientsas that film, but ‘Capote’ director BennettMiller’s approach is altogether breezier.For viewers unfamiliar with the game, theconstant discussion of ‘bunts’, ‘walks’ and‘flies’, coupled with some intentionallyimpenetrable statistic-speak, renderschunks of Moneyball incomprehensible.Don’t let that put you off. Think: JeffBridges in True Grit.“You don’t need to understand anything ofbaseball to get behind this, a chest-swellingstory about second chances.” (Empire)“Moneyball doesn’t conform to the usualupmarket drama or (perish the thought)“sports movie” templates, but it’s anaccomplished, bracingly intelligent filmthat scores points on all fronts.”(Telegraph) Don’t miss this quiet gem.

Moneyball Sat 21 7.00

Director: Bennett MillerStarring: Robin Wright, Brad Pitt,

Jonah HillCertificate: 12ADuration: 133 mins Origin: USA 2011By: Sony Pictures Releasing


Daniel Auteuil’s directorial debut seeshim waltzing headlong into MarcelPagnol’s Provence of the 1940s with thissun-bleached tale of salty, lionisedbumpkins, dastardly shop owners,inexperienced daughters and fighterpilots whose morals are as loose as theirflies. It’s tale of love across the class divide, withthe beautiful 18-year-old Patricia (theridiculously pretty Astrid Bergès-Frisbey),the devoted daughter of Provençal welldigger Pascal (Auteuil himself), falling fora dashing pilot Jacques (NicolasDuvauchelle) on the eve of WWII. An early mixed review: “Hardly whatyou’d call envelope-pushing for someonewho’s worked with Michael Haneke, butthere’s a broad appeal to be gleaned fromits antiquated charm, modest focus and aclutch of ripe, old-school character turns”(Time Out)This was our second special preview tomark the The Rex’ 7th anniversary inDecember. It’s a lovely soft focus tale of ahardworking widower toiling to find andpreserve his own water supply on thewrong side of the river from the ‘bighouse’.With his beautiful daughter, the tale addsmore than a bow to Jean de Florette/Manon des Sources almost 30 years earlier.Nothing happens but it is beautiful to see.

The Well DiggersDaughter Sun 22 6.00

Director: Daniel AuteuilStarring: Daniel Auteuil, Sabine Azema,

Kad MeradCertificate: PGDuration: 107 mins Origin: France 2011By: Pathe Distribution

Suave, abundantly silly and outrageouslyFrench, this perfectly pitched 2006 spooffrom director Michel Hazanaviciusparodies both the original OSS 117novels and the Bond series.Integral to the film’s charm and success isthe casting of the simultaneouslyhandsome and rubber-faced comedian JeanDujardin as the bungling OSS 117. Aneyebrow wiggler par excellance, Dujardin’sdelightful mugging and considerable flairfor physical comedy means that so long ashe’s onscreen the film is funny, whichluckily is all of the time. The year is 1955, and OSS-117 has beensent to Cairo to monitor the growing Suezcrisis, make contact with a beautiful agentLarmina, (Bérénice Bejo)…“It superbly recreates a 1950s look, withDujardin playing the supercool hero as asmug, preposterous type. With hissculptured, hair and light tailored suits; heresembles the young Connery in FromRussia with Love.” (Total Film)“Dujardin carries the day: he probably hasthe élan, physical presence, hauteur andgrace to play the role straight, but you canfeel his enjoyment of his tuxedoedcharacter’s cluelessness.” (Wally HammondTime Out) This is back at The Rex to celebrate thehuge multiplied talent of MichelHazanavicius, Bérénice Bejo & JeanDujardin, who, together, would go on tomake THE ARTIST. Our 7th anniversaryfilm and about to win a few prizes. Don’t miss.

OSS 117: Cairo, NestOf Spies Mon 23 7.30

Director: Michel HazanaviciusStarring: Bérénice Bejo, Jean DujardinCertificate: 12ADuration: 102 mins Origin: France 2006By: Park Circus Films


We Need To TalkAbout Kevin Tue 24 7.30

Director: Lynne RamsayStarring: Tilda Swinton, Ezra Miller,

John C. Reilly, Siobhan FallonCertificate: 15Duration: 112 mins Origin: UK/USA 2011By: Artificial Eye

Based on Lionel Shriver’s best-sellingnovel and back by demand, a compellingunpleasant terrifying psychologicalthriller. The aftermath of a brutally violent incidentperpetrated by her son, Kevin leaves hismother, Eva a haunted, broken woman.Having put her successful career on hold tohave a family, she is left with nothing butto replay the defining moments of herwoefully malevolent son’s upbringing. The novel’s glaring “nature/nurture”subtext is reproduced faithfully inRamsay’s film as is Eva’s role asunreliable narrator, with Swintoncontributing a subtle, muted portrayal ofthe fractured mother. As always, John C.Reilly turns in a strong performance; thistime a useless dad. “Thought-provoking, confident andfearless. It’s experimental but neveralienating.” (Time Out)My arse.“A skin-peelingly intimate character studyand a brilliantly nihilist, feminist parable:what happens when smart progressivewomen give birth to boys: the smirkinglittle beasts they have feared sinceschooldays?” (Guardian) “It’s inspired by the book not adapted fromit. It’s played from inside the mother’smind… two people trying to reach eachother. Not a social comedy, it’s anightmare. Not a thriller, it’s a state ofmind. It IS a fantasy about giving birth to amonster…” (Tilda Swinton BBC R4)‘Relentless’ was the audience word inNovember. Feel free to put yourselfthrough it one more time.

The Ides Of MarchThu 26 7.30

Director: George ClooneyStarring: Ryan Gosling, George Clooney Certificate: 15Duration: 100 mins Origin: USA 2011By: eOne Films

Big man for now, Ryan Gosling isbrilliant in three very different zeitgeistfilms (Drive & Crazy…Love). He stars,alongside director George Clooney, in ataut political thriller. Clooney is Mike Morris, a populargovernor on the cusp of victory in amajor Ohio primary, a victory whichwould almost guarantee his nominationas Democratic presidential candidate, andbring him within groping distance of theWhite House. His press secretary StephenMyers (Gosling) is responsible forkeeping the campaign trail on track; all isgoing swimmingly until Myersaccidentally uncovers news which couldlay a fatal blow to Morris’ chances. A thrilling question of loyalties carriesthe film beautifully…Clooney proves he’s becoming asconfident behind the lens as he is in frontof it, yet perhaps unexpectedly, Goslingtakes the plaudits with his wide-eyedportrayal of a youngster cutting his teethon the seamier side of politics (butSeymour Hoffman wins the screen). “A political thriller exploring themes ofloyalty, ambition and the gap betweenpublic ideals and private fallibility, and itengages the brain.” (Telegraph)“The points made about politics here arevalid, if a little obvious: ugly things go onbehind the scenes and people in the gameare shits. Who would have guessed?”(Time Out) (research Simon M) Greatword play, come for this and more.


Director: Guy RitchieStarring: Jude Law, Robert Downey Jr,

Noomi Rapace, Daniel Day Lewis,Rachel McAdams

Certificate: 15Duration: 129 mins Origin: USA 2011By: Warner Brothers

Sherlock Holmes: A Game of ShadowsFri 27 7.30, Sat 28 7.00, Sun 29 6.00A Game of Shadows applies the ‘biggeris better’ ideology, sacrificing cleverdeduction for generic adventure, inGuy Ritchie’s riveting, yet hollowspectacle.Robert Downey Jr and Jude Law returnas the heroic ‘couple’, Mr Holmes and DrWatson, respectively. After parting wayssince Blackwood’s demise, they are left totheir own devices. It isn’t long, however,before the daddy of all villains, ProfessorJames Moriarty (played with coolconfidence by Jared Harris), arrives onthe scene with scheming in mind. Inparticular, he’s after the weapons market,while at the same time plottingassassinations, to hasten the threat of war.Can the duo deduce their way throughsituations laid down by their nemesis tobetter him at his own game? Surprisingly,it is something that never really develops,as Game of Shadows prefers to focus onits now familiar action set pieces and slo-mo fights and explosions.It can all get rather exhausting, and mayleave older audiences longing for theclassic quieter, 1940s Universal Picturesdays of the noble Basil Rathbone and thebumbling Nigel Bruce. Still, it clearlyand shamelessly brandishes itsblockbuster attitude (what more is thereto expect from Mr Madonna?). However in doing so, one is never bored.(research Jack Whiting)


ResistanceMon 30 7.30

Director: Amit GuptaStarring: Andrea Riseborough, Michael

SheenCertificate: PGDuration: 92 mins Origin: UK 2011By: Metrodome Distributors

“Resistance” is a curious alternate-history. Set in Wales1944. OperationOverlord, the Allied invasion of German-occupied Western Europe, has failed; aGerman counter-offensive is rapidlyworking northwest through the BritishIsles. A Wehrmacht platoon has entered aremote Welsh village on a top secretmission, only to find that all the menfolkhave disappeared, seemingly to join theBritish Resistance movement. The filmchronicles the remaining inhabitants’decisions to collaborate or resist; andultimately, to live or die. The film is passable, with a gloriouslycomplex performance from AndreaRiseborough; her character languishing inthe dark, now hostile, Welsh valleys.“It’s an intriguing premise given a tangiblycreepy atmosphere. The tone shifts fromalmost paranormal thriller to war movie tolove story and back.” (Time Out)“This is an overwhelmingly bleak film,progressing with a dreamlike drift, and thehowling wind in continuousaccompaniment. There is littleconventional suspense or action, just anundertone of violence, and a sense ofhallucination and disorientation.”(Guardian) (research Simon M) What makes new British digital filmmakers want to step in misery and rub itover us? It’s worse than pop-kids lyrics orstudent poetry. Still, come for AndreaRiseborough and Michael Sheen.

MargaretTue 31 7.30

Director: Kenneth LonerganStarring: Mark Ruffalo, Matt Damon,

Anna Paquin, Jean RenoCertificate: 15Duration: 150 mins Origin: USA 2011By: Twentieth Century Fox

Kenneth Lonergan’s Margaret is aspecial film for many reasons, not theleast of which is its now legendarilytortuous journey to the screen. Shot six years ago in New York, thisbreathtakingly ambitious drama ofclashing ethics and responsibilities was tobe Lonergan’s second film after the much-admired, Oscar-nominated You Can Counton Me. Only now does it reach us, many re-cuts,budgetary crises and legal squabbles later.The movie opens with a brilliant andshocking sequence in which Lisa tries toflag down a bus driver (Mark Ruffalo,sparingly used) and in an instant flips alyrical, flirtatious tone into trauma andhorror. The repercussions of this incidentlinger and won’t go away. “It’s a phoenix of a film, risen from theashes of what looked alarmingly likefailure, and it needs to be seen.”(Telegraph)“Paquin creates that rarest of things: aprofoundly unsympathetic character whois mysteriously, mesmerically, operaticallycompelling to watch.” (Guardian)“Paquin deserves the highest accoladesfor her ferociously committedperformance, turning what could havebeen a privileged prep-school archetypeinto a scorching depiction of adolescentgrief.” (Time Out)It also has a surprisingly fabulous castincluding Matt Damon, Jean Reno andMatthew Broderick. Don’t miss.

JANUARY LISTINGS AND COMING SOON 23

1 Sun CINEMA CLOSED2 Mon BANK HOLIDAY3 Tue HAPPY FEET 2 12.303 Tue MIDNIGHT IN PARIS 7.304 Wed MIDNIGHT IN PARIS 2.004 Wed THE ADVENTURES OF TINTIN 7.305 Thu THE ADVENTURES OF TINTIN 2.005 Thu THE GUARD 7.306 Fri HUGO 7.307 Sat HUGO 2.007 Sat MY WEEK WITH MARILYN 7.008 Sun MY WEEK WITH MARILYN 6.009 Mon HUGO 2.00, 7.3010 Tue MY WEEK WITH MARILYN 12.30, 7.3011 Wed MY WEEK WITH MARILYN 2.00, 7.3012 Thu MY WEEK WITH MARILYN 2.0012 Thu THE LAST WALTZ 7.3013 Fri MY WEEK WITH MARILYN 7.3014 Sat HAPPY FEET 2 2.0014 Sat MIDNIGHT IN PARIS 7.0015 Sun WE HAVE A POPE 6.0016 Mon WE HAVE A POPE 2.0016 Mon TAKE SHELTER 7.3017 Tue 50/50 12.3017 Tue 50/50 7.3018 Wed THE DEEP BLUE SEA 2.00, 7.3019 Thu THE HELP 2.00, 7.3020 Fri THE HELP 7.3021 Sat THE ADVENTURES OF TINTIN 2.0021 Sat MONEYBALL 7.0022 Sun THE WELL DIGGER’S DAUGHTER 6.0023 Mon THE WELL DIGGER’S DAUGHTER 2.0023 Mon OSS: CAIRO – NEST OF SPIES 7.3024 Tue WE NEED TO TALK ABOUT KEVIN 12.30, 7.3025 Wed THE HELP 2.00, 7.3026 Thu THE IDES OF MARCH 2.00, 7.3027 Fri SHERLOCK HOLMES 2 7.3028 Sat PUSS IN BOOTS 2.0028 Sat SHERLOCK HOLMES 2 7.0029 Sun SHERLOCK HOLMES 2 6.0030 Mon SHERLOCK HOLMES 2 2.0030 Mon RESISTANCE 7.3031 Tue SHERLOCK HOLMES 2 12.3031 Tue MARGARET 7.30

JANUARY FILMS AT A GLANCEPlease check times carefully and watch out for early shows.

COMING SOON

New releasesThe Artist Girl With The DragonTattoo (Hollywood)Iron Lady Another Earth

Back by demandMy Week With MarilynSherlock HolmesMargaret

Girl With The DragonTattoo

Another Earth

The Iron Lady

The Artist

J A N U A R Y M A T I N E E SALL MATINEES: Balcony £5.00 • Table seats £6.50 • Royal Box seats £10.00

Matinee�Warning:�May�contain�babies

26 Box Office: 01442 877759 JANUARY MATINEES

Happy Feet 2Tue 3 12.30, Sat 14 2.00

Director: George MillerStarring: Robin Williams, Brad Pitt, Matt

Damon, Elijah WoodCertificate: UDuration: 103 mins Origin: Australia 2011By: Warner Brothers

Directed by George Miller (Babe & theMad Max films!) featuring an all-starcast and eye-popping animation, HF2 islikely to be the best animated featureabout dancing penguins you’re likely tosee all year! The film centres around Mumble (ElijahWood) star of the first one, Gloria (Pink),their tiny son Erik (Ava Acres) whosurprisingly, given his lineage, doesn’tenjoy dancing and Sven (Hank Azaria) a“penguin who can fly” (a puffinmasquerading as a penguin self-helpguru). Together they attempt to free thepenguin colony from a dangerous icesheath cave-in! Matt Damon and Brad Pitt,have great fun with the voices of Will andBill the Krill, making glorious aquaticpuns. It’s visually gorgeous, fun for all thefamily stuff, although the sight ofthousands of animated penguins dancingin unison might well prove too much forsome; as might the chaotic narrative. Still,it is perfect for icy January afternoons. “A family-friendly food chain in which noone gets eaten.” (Observer)“Effectively, it’s a few computer-generatedbirds staring into the abyss for an hour anda half. I know exactly how they felt.”(Telegraph) (research Simon Messenger)Penguin droppings on silly critics. Comeand love it.


Midnight In ParisWed 4 2.00

Director: Woody AllenStarring: Owen Wilson, Marion CotillardCertificate: 12ADuration: 94 mins Origin: Spain/USA 2011By: Warner Brothers

JANUARY MATINEES www.therexberkhamsted.com 27

The Adventures OfTin Tin Thu 5 2.00




HugoSat 7 2.00, Mon 9 2.00

Director: Martin ScorseseStarring: Asa Butterfield, Chloe Moretz,

Emily Mortimer, Jude Law, Ben Kingsley, Sacha Cohen,

Certificate: UDuration: 126 mins Origin: USA 2011By: Entertainment Film Distribution

Hugo is as much about the way thatcinema encodes our collective dreamsand memories, as it is the tale of animaginative and resourceful young boydesperate to fill the void left by his lostpapa. Hugo (Asa Butterfield) is an orphan wholives in lives in the rafters of an old railwaystation in 1930s Paris. His father (JudeLaw, seen in flashback) used to look afterthe station’s network of clocks, and Hugohas unofficially assumed his job. He eats stolen croissants and spends muchof his time dodging the station’s bumptiousinspector (Sasha B Cohen).The boy’s attempts to repair a strangemannequin inherited from his father, leadhim to the bookish teenager Isabelle (ChloëMoretz) and her godfather, thegroundbreaking French filmmaker GeorgeMéliès (Ben Kingsley) now eking out aliving selling toys. Together, the children delve into the oldman’s past…“What an exceptionally un-MartinScorsese-like film Hugo appears to be onthe surface: a festive kids’ adventure with aboo-hiss baddie set on the not-so-meanstreets of 1930s Paris. Yet it is possible this is one of his mostpersonal films: a love letter to cinema, tothe magical imperfection of celluloid justas its days are numbered. He directs everyfilm with the passion of his first. And itshows.” (Time Out) Don’t miss.


Director: Simon CurtisStarring: Michelle Williams, Kenneth

Branagh, Judi Dench, EmmaWatson, Dominic Cooper

Certificate: 15Duration: 99 mins Origin: UK 2011By: Entertainment Film Distribution

My Week WithMarilyn Tue 10 12.30,Wed 11 2.00, Thu 12 2.00 Ostensibly based on Colin Clark’s diaryof the halcyon summer of 1956, whenMarilyn Monroe came to England tostar in The Prince and the Showgirl. Colin Clark, a lowly third assistant (withfamily connections, so don’t feel too sorryfor him) meets Monroe on set, and thetwo strike up a friendship and have fun(so don’t feel sorry for him at all!) As filming begins her new husband,Arthur Miller (Dougray Scott) leaves forParis. Hence she finds herself alone, in acountry she doesn’t recognise, surroundedby strangers she neither likes nor trusts,who demand everything of her, so amusesherself with lucky bugger Colin.Michelle Williams is excellent, despitewhat was evidently written to be an Oscarbaiting role, as she conveys the fracturesbeneath the surface of Monroe’s sugary,seductive public persona. Branagh toodeserves plaudits for his volcanic,bombastic portrayal of Olivier. “It doesn’t pretend to offer any greatinsight, but it offers a great deal ofpleasure, and an unpretentious homage toa terrible British movie that somehow,behind the scenes, generated a very tenderalmost-love story.” (Guardian)It will run and run, so take your time.(research Simon Messenger)The genius casting of Michelle Williams,in the face of pressure from the usualblondes, shows uncharacteristic nerve.


Director: Nanni MorettiStarring: Michel Piccoli, Jerzy StuhrCertificate: PGDuration: 102 mins Origin: Italy 2011By: Soda Pictures

Habemus Papam (We Have A Pope) Mon 16 2.00 We Have a Pope is a beautifully craftedItalian irreligious comedy, written anddirected by Nanni Moretti.The Holy Father has gone to meet hismaker, and the Papal conclave meets atthe Vatican to elect a new Pontiff. Theensuing rounds of Papal voting occur toreach Habemus Papam! Step forwardsurprise winner: the supremely reluctantCardinal Melville (Michel Piccoli). Asthe multitude of devoted followers waitpatiently in St. Peter’s Square for theinauguration, Melville goes to step outonto the balcony… What happens nextthrows the Papal election process intodisarray. With the conclave unable tomeet with the outside world until he isordained, a psychoanalyst (Lopsicoanalista, underplayed perfectly bythe director himself Moretti) is called into talk to him.With a strong, moving opening sequence,and an intriguing conclusion, Moretti hascrafted a gentle and very amusing, ifslightly meandering, critique of theburdens of religious office. “There’s farce, soul-searching and comicabsurdism, with little for the Vatican toworry about.” (Time Out)“What makes it a gem is Piccoli’sperformance. At 85, he imbues his Popewith a level of grief, disappointment andsad-eyed questing, wholly beguiling.”(Telegraph) (research SimonM). You don’t need to be too catholic. Comelapsed! Miss mass, but don’t miss this.


The Deep Blue SeaWed 18 2.00

We were honoured to have the brilliantTerence Davies back at the Rex to talkabout the making of this, his latestbeautifully finished film, withunreserved passion. A literary adaptation of TerenceRattigan’s 1952 play about a middle-classwoman, Hester (Rachel Weisz), trapped ina passionless but caring marriage and lostin a self-destructive love affair with aman who will break her heart. Herhusband William a High Court Judge(Simon Russell Beale) remains dignifiedin his sorrow. A rare film outing for themagnificent Russell Beale. The RAF pilotFreddie (Tom Hiddleston) is the cad orperhaps not?It is a haunting exploration of theemotional glass ceiling that hung overmany in 1950s Britain. “Weisz is terrific, and Davies’ use of lowlight, soft focus and faded, yellowing setsmakes her look positivelyphosphorescent. Critics complained thatVivien Leigh was too attractive to playHester in Anatole Litvak’s 1955adaptation. If they were alive to seeRachel Weisz’ Hester, they’d probablyhave a stroke.” (Telegraph)Is Hester mad? “Madness is a validinterpretation of love. When you reallyfall in love, it’s not a choice. Hester’s notdoing it because she wants to humiliateherself, she is humiliating herself becauseshe doesn’t have a choice.” Rachel Weisz(Times 19.11.11) Don’t miss.

Director: Terence DaviesStarring: Rachel Weisz, Tom HiddlestonCertificate: 12ADuration: 98 mins Origin: UK 2011By: Artificial Eye

50/50Tue 17 12.30

Writer director Jonathan Levine(responsible for some terrible pap) has,for him, created an exceptional comedybased on the experiences of screenwriterWill Reiser.Adam (Gordon-Levitt) is a young radioproducer. Complaining of back pain, hevisits his doctor, and is subsequentlydiagnosed with a rare form of cancer. He is given a 50% chance of survival.The film chronicles the consequences ofthe news on his family and friends, hisbest friend, the boorish Kyle (Rogen), hisgirlfriend (Howard) and his mother(Anjelica Huston). To appropriate the title, the entire filmfeels split 50/50 between a ‘bromance’movie of the highest order and agenuinely upsetting film about seriousillness. Levine walks a fine line, but thereare many laughs in the face of the worst.Amusing, but not for everyone. “A comedy about cancer might sound aspromising as a musical about shingles,but this frequently funny and moving filmproves humour can be wrung from trickysubjects, providing it’s done withsufficient thoughtfulness and wit.”(Telegraph) “Harmless, shallow, smug and unlikable:a bromance weepie about cancer with avery serious “bros before hos” attitude.”(Guardian) (research SimonM) Hugebollocks to the Telegraph (a phrase I tendto use Daily). The dreaded c-wordtouches all of us every day. It’s worth aslant, albeit American. Don’t miss.

Director: Jonathan LevineStarring: Joseph Gordon-Levitt, Anna

Kendrick, Seth RogenCertificate: 15Duration: 100 mins Origin: USA 2011By: Lionsgate Films UK


The Adventures OfTin Tin Sat 21 2.00




The HelpThu 19 2.00, Wed 25 2.00

Director: Tate TaylorStarring: Bryce Howard, Jessica Chastain,

Viola Davis, Emma StoneCertificate: 12ADuration: 146 mins Origin: USA 2011By: Walt Disney Studio INTL

Back by demand, this hugely enjoyable,honey-marinated adaptation of KathrynStockett’s novel struck a chord with USaudiences although exactly which chordis up for grabs.Set in 1960s Jackson, Mississippi, the filmtells how Skeeter Phelan (Emma Stone), ayoung, white would-be writer, convincestwo black maids, Aibileen and Minny(Viola Davis and Octavia Spencer) to worksecretly with her on a book. Skeeter wants the maids to reveal,anonymously, the hardships routinelyinflicted on them by the wealthy familieswhose food they cook and whose childrenthey raise – thereby winning them avaluable step towards true racial equalityand the girl, a big fat publishing deal.“Let’s clear those caveats out of the wayfirst. The Help is a broad southernmelodrama that implicitly frames the pushfor racial equality as the tale of oppressedAfrican-Americans who are given theirvoice by a lone white do-gooder.“While the story takes place at a time ofseismic social upheaval, director TateTaylor’s screenplay niftily sidesteps politicsfor specific personal injustices.In short, The Help not only has its cake iteats it. This is as brazen an Oscar-baiter aswe’re likely to see this year” (Telegraph)“Viewed as an airbrushed, Dettol-heavyfairytale, however, it’s rousingly effective.”(Guardian) The oblivious, fluffy whitewomen are a treat. Polish up thestatuettes…


We Need To TalkAbout Kevin Tue 24 12.30

Based on Lionel Shriver’s best-sellingnovel and back by demand, a compellingunpleasant terrifying psychologicalthriller. The aftermath of a brutally violent incidentperpetrated by her son, Kevin leaves hismother, Eva a haunted, broken woman.Having put her successful career on hold tohave a family, she is left with nothing butto replay the defining moments of herwoefully malevolent son’s upbringing. The novel’s glaring “nature/nurture”subtext is reproduced faithfully inRamsay’s film as is Eva’s role as unreliablenarrator, with Swinton contributing asubtle, muted portrayal of the fracturedmother. As always, John C. Reilly turns ina strong performance; this time a uselessdad. “Thought-provoking, confident andfearless. It’s experimental but neveralienating.” (Time Out)My arse.“A skin-peelingly intimate character studyand a brilliantly nihilist, feminist parable:what happens when smart progressivewomen give birth to boys: the smirkinglittle beasts they have feared sinceschooldays?” (Guardian) “It’s inspired by the book not adapted fromit. It’s played from inside the mother’smind… two people trying to reach eachother. Not a social comedy, it’s a nightmare.Not a thriller, it’s a state of mind. It IS afantasy about giving birth to a monster…”(Tilda Swinton BBC R4) ‘Relentless’ wasthe audience word in November. Feel freeto put yourself through it one more time.

Director: Lynne RamsayStarring: Tilda Swinton, Ezra Miller,

John C. Reilly, Siobhan FallonCertificate: 15Duration: 112 mins Origin: UK/USA 2011By: Artificial Eye

The Well DiggersDaughterMon 23 2.00

Daniel Auteuil’s directorial debut seeshim waltzing headlong into MarcelPagnol’s Provence of the 1940s with thissun-bleached tale of salty, lionisedbumpkins, dastardly shop owners,inexperienced daughters and fighterpilots whose morals are as loose as theirflies. It’s tale of love across the class divide, withthe beautiful 18-year-old Patricia (theridiculously pretty Astrid Bergès-Frisbey),the devoted daughter of Provençal welldigger Pascal (Auteuil himself), falling fora dashing pilot Jacques (NicolasDuvauchelle) on the eve of WWII. An early mixed review: “Hardly what you’dcall envelope-pushing for someone who’sworked with Michael Haneke, but there’s abroad appeal to be gleaned from itsantiquated charm, modest focus and aclutch of ripe, old-school character turns”(Time Out)This was our second special preview tomark the The Rex’ 7th anniversary inDecember. It’s a lovely soft focus tale of ahardworking widower toiling to find andpreserve his own water supply on thewrong side of the river from the ‘bighouse’.With his beautiful daughter, the tale addsmore than a bow to Jean de Florette/Manon des Sources almost 30 years earlier.Nothing happens but it is beautiful to see.

Director: Daniel AuteuilStarring: Daniel Auteuil, Sabine Azema,

Kad MeradCertificate: PGDuration: 107 mins Origin: France 2011By: Pathe Distribution


Puss In BootsSat 28 2.00

No Shrek or Donkey to be seen here.This spin-off starring the likeableswashbuckler (voiced by AntonioBanderas), follows his origins throughMexico and beyond in a kid-friendly,Sergio Leone inspired yarn (thinkRango meets Zorro).Puss in Boots is on the hunt for a pouch ofmagic beans, with help from a standard-issue Girl Power sidekick, Kitty Softpaws(Salma Hayek), and his childhood friendHumpty Dumpty (Zach Galifianakis).These beans are currently in the possessionof Jack and Jill, whom for no immediatereason are a pair of fat, ugly, middle-agedoutlaws!“What unfolds is a mad dash throughspectacularly mounted set-pieces along theway, taking in voguishly cute felinehilarity, oater pastiche, and the comedybrilliance of an egg with an identity crisis.”(Little White Lies)The narrative moves at a pleasant pace,despite what is essentially a ninety minutestring of sketches. Jokes are light andinoffensive and DreamWorks havesharpened their animation to a point thatmakes you want to reach into the film andstrangle the cat!Whereas Puss in Boots lacks the astutepop-culture beatings of its mostly lovableparent franchise, it does its honest best tocharm and delight, maybe relying on onetoo many feline jokes in the process. Not for dog lovers (Jack Whiting).

Director: Chris MillerStarring: Antonio Banderas, Zach

Galifianakis, Salma HayekCertificate: UDuration: 90 mins Origin: USA 2011By: Paramount International Pictures

The Ides of MarchThu 26 2.00

Big man for now, Ryan Gosling isbrilliant in three very different zeitgeistfilms (Drive & Crazy…Love). He stars,alongside director George Clooney, in ataut political thriller. Clooney is Mike Morris, a populargovernor on the cusp of victory in amajor Ohio primary, a victory whichwould almost guarantee his nomination asDemocratic presidential candidate, andbring him within groping distance of theWhite House. His press secretary StephenMyers (Gosling) is responsible forkeeping the campaign trail on track; all isgoing swimmingly until Myersaccidentally uncovers news which couldlay a fatal blow to Morris’ chances. A thrilling question of loyalties carriesthe film beautifully…Clooney proves he’s becoming asconfident behind the lens as he is in frontof it, yet perhaps unexpectedly, Goslingtakes the plaudits with his wide-eyedportrayal of a youngster cutting his teethon the seamier side of politics (butSeymour Hoffman wins the screen). “A political thriller exploring themes ofloyalty, ambition and the gap betweenpublic ideals and private fallibility, and itengages the brain.” (Telegraph)“The points made about politics here arevalid, if a little obvious: ugly things go onbehind the scenes and people in the gameare shits. Who would have guessed?”(Time Out) (research Simon M) Greatword play, come for this and more.

Director: George ClooneyStarring: Ryan Gosling, George ClooneyCertificate: 15Duration: 100 mins Origin: USA 2011By: eOne Films


Director: Guy RitchieStarring: Jude Law, Robert Downey Jr,

Noomi Rapace, Daniel Day Lewis,Rachel McAdams

Certificate: 15Duration: 129 mins Origin: USA 2011By: Warner Brothers

Sherlock Holmes: A Game of ShadowsMon 30 2.00, Tue 31 12.30A Game of Shadows applies the ‘biggeris better’ ideology, sacrificing cleverdeduction for generic adventure, inGuy Ritchie’s riveting, yet hollowspectacle.Robert Downey Jr and Jude Law returnas the heroic ‘couple’, Mr Holmes and DrWatson, respectively. After parting wayssince Blackwood’s demise, they are left totheir own devices. It isn’t long, however,before the daddy of all villains, ProfessorJames Moriarty (played with coolconfidence by Jared Harris), arrives onthe scene with scheming in mind. Inparticular, he’s after the weapons market,while at the same time plottingassassinations, to hasten the threat of war.Can the duo deduce their way throughsituations laid down by their nemesis tobetter him at his own game? Surprisingly,it is something that never really develops,as Game of Shadows prefers to focus onits now familiar action set pieces and slo-mo fights and explosions.It can all get rather exhausting, and mayleave older audiences longing for theclassic quieter, 1940s Universal Picturesdays of the noble Basil Rathbone and thebumbling Nigel Bruce. Still, it clearlyand shamelessly brandishes itsblockbuster attitude (what more is thereto expect from Mr Madonna?). Howeverin doing so, one is never bored. (researchJack Whiting)


It has become a true odyssey. Moneyalways has the final say, never theidea. In the current world nightmare

(2011) money has eaten itself and us withit. Investment banks have lost it all on thesame losing hand. While we, their whoresand horses work for them still. No government is to be trusted (especiallyfor excuses to do with Control disguisedas Care). But I thought they made independentdecisions. It is only now in the mid-afternoon of my life, I realise “It was Barzini all along” Governmentsare held in the bank’s pockets “like somany nickels and dimes.” None is braveenough (unless you’re Switzerland) todare declare banks don’t own us – weown them.

THAT ASIDE…The banks have all said no to the Odysseyin St Albans. Even though they can see itis unlikely to fail.In turn and without fail, they havedeclared the Rex “A miracle ofcommerce. A business model without amodel! The greatest, most unlikelybusiness success story of our time”(para).Beating all the odds of recession, and theEuro tomfoolery, we are hailed by allcolours and pirates, as this brave, newadventurer/entrepreneur riding therecession like the Lone Ranger onShergar (one a fancy Hollywood cowboy,the other kidnapped, presumed dead).

So we’re back where we started. Butagainst current ‘wisdom’, we’re better off.Instead of despair it provides renewedhope. I will continue to forfeit sleep, ifthere are those of you who can find waysto raise the rest of the money,unencumbered by conditions or profit,you’re welcome indeed. My close friendsand advisors are losing their own sleep tosupport this work, asking for nothing inreturn. A fair deal? No, but it shows theirspirit to get us this far. They, you and theold Odeon building are all we have.

In summary: It is hard to believe wecan do it twice: raise the rest the waywe did the first. In just eight/nine

weeks from late January to end of March 2010, we raised the £1millionto buy the Odeon site.The argument against doing it again isloud and logical. However, there is moregoodwill than self-interest in and aroundSt Albans and more genuine longing thanpersonal gain, to see this cinema liveagain.

There is no doubt we couldn’t havepicked a worse time, but this is the onlytime we have. The best of it is wewouldn’t have the Odyssey at all if thebottom hadn’t fallen out of the money (orvice versa) in 2008.Worse, it hasn’t stopped falling. We onlyneed £500,000ish (if the banks keep theirword to match it).

ST ALBANS: THE ODYSSEY – A JOURNEY TO RESTORATION

IMAGES FROM THE ODYSSEY 2010 – TO DATE

DEAR MRS TRELLIS... www.therexberkhamsted.com 39


HS2 RESISTANCE IN PICTURES 2010/11

We all know Thomas the TankEngine’s face makes moresense than spending £33billion

(plus a new £50m-ish for a tunnel) on atrain when there’s Olympics opening topay for? Parliament has put back itsdecision to January to include thecontruction of a tunnel under TheChilterns. Apart from a few millions paidalready in compensation/compulsorypurchase etc, there is no face to save incancelling HS2. Afterall They inherited itfrom the other-crowd, didn’t they? Perhaps the Fat Controller will have itrouted through Chequers…

Fabulous protest above Chequers

The Railway Children stopping the train with red bloomers. It’s that easy.

3 TRIBUTE ALBUMS (DYLAN, LENNON & CAT STEVENS)BY JAMES HANNAWAY AND FRIENDS, RECORDED 10 YEARS AGO – NOW RELEASED TO RAISE PENNIES FOR THE ODYSSEY ST ALBANS

BLATANT FUND RAISING AT £12 PER CD(NOT AS BAD AS YOU THINK!)

REX 2012 CALENDARS

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