5 Film Sets That You Can Go Explore

If you love films and travel, you might want to combine the two on a pilgrimage to the sets of your favourite movies. Here are our top 5 film sets that you can go and explore.

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  1. Jurassic Park – Kualoa Ranch, Oahu

Originally set to be filmed in Costa Rica, Steven Spielberg’s 1993 mega blockbuster Jurassic Park was relocated to the craggy, prehistoric landscape of Oahu, Hawaii. Standing in for the mythical Isla Nublar, Kualoa Ranch is arguably one of the stars of the film, as it sets the mood and tone for this ‘science gone too far’ escapade. Visitors to Kualoa today can take guided ATV tours of the vast acreage, also used as a filming location for Lost and Godzilla.

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  1. Harry Potter – Warner Brother Studios, Leavesden

A perennial favourite of kids of all ages, the 8 Harry Potter films were all shot in and around London and Oxford. A specialised team of designers, visual effects experts and artists built the elaborate sets—and you can visit them to this day! Take a wand waving class, get up close to prosthetics and costumes actually used during filming, and of course – visit the unbelievable shop at the end. If you want to catch a glimpse of filming locations around the city, head to the Millennium Footbridge, King’s Cross Station (home to the iconic Platform 9 ¾) and Leadenhall Market.

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  1. The Grand Budapest Hotel- Görlitzer Warenhaus Department Store, Görlitz, Germany 

Fans of Wes Anderson’s quirky alternate universe often cite The Grand Budapest Hotel as their favourite of his films. Nominated for 9 Oscars in 2014, this visually arresting movie was shot primarily in a department store, not a hotel. While the hotel’s façade was a model (a technique that Anderson often employs), the interior shots were all filmed in this handsome art nouveau department store, built in 1913 and located 60 miles from Dresden. Open daily, you can treat yourself to a bit of retail therapy while you walk through the halls of cinematic history.

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  1. Ghostbusters, Tribeca Firehouse, New York City

This 1984 classic is beloved by generations of fans who grew up watching the films, television series, cartoons and playing with Slimer action figures – and that is why so many fans flock to the Tribeca Firehouse at 14 North Moore Street in New York City. Now valued at over $16 million due to its newly trendy location, the newest reboot of the film due next year may not be able to afford to hire the space!

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  1. Friday the 13th, NoBeBoSco campground, Blairstown, New Jersey

If you love scary slasher flicks and you want to pay homage to Jason at the fictional Camp Crystal Lake, you will have to get the permission of an organisation so wholesome that it is the antithesis of Friday the 13th: The Boy Scouts of America! ‘Camp Crystal Lake’ is actually set on the NoBeBoSco campground in New Jersey, and during the off season they will occasionally grant permission to film buffs who want to wander through the original cabins.

These filming locations are iconic, interesting and affordable (or even free) to visit. Do you have any others you would like to see added to this list? Leave your suggestions in the comment section below!

 

 

The Theory of Everything Review by David Evan Giles

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The Theory of Everything is, quite simply, brilliant.  In the same way that director Steven Soderbergh lifted Erin Brockovich from being a legal procedural TV movie to its position as a major motion picture, Oscar-winning documentary director James Marsh has taken what could have been an awkward mix of impenetrable science and a terrible disease and made a deeply human story that is moving, inspiring and so totally engaging that audiences often sit right through the end credits as they take in what they have just seen.

It is the humanity, the frailty, the warmth, the humour, the kindness and – to use a very old fashioned word for an unfashionable quality – the decency of the story, played by a faultless cast with such little apparent effort or strain, that makes The Theory of Everything the most memorable film in a rich field at this year’s Oscars.

Eddie Redmayne’s transformation from a slightly awkward ‘natural scientist’ (the traditional expression at Cambridge University for a ‘geek’) to the towering brain caught in an unco-operative body is little short of miraculous.  This is not a star turn, where the dribbling is designed to win prizes for being ‘confronting’.  Redmayne plays the man and not the disease.  The character of Stephen Hawking stays vigorously alive as more and more of his body fails and what Jane, his wife played so delicately by Oscar-nominated Felicity Jones, fell in love with is still there in his eyes though his voice is gone, replaced by the American accent in a box that most of us have heard.  His family and friends are brave, supportive and accepting.  As played by Redmayne, Stephen Hawking inspires love because of the man he is, alive and laughing, inside the body he no longer controls.

A recent article in a national newspaper carried a cynical headline, asking that no more films be made about white, male, British geniuses.  It was a painful bit of smartypantsness, because the two movies that could fall into that category this year are both brilliant pieces of filmmaking – the other film is The Imitation Game, for which Benedict Cummerbatch is also deservedly Oscar-nominated. Between them, these two films are likely to do more to wash away prejudice against homosexuality and the disabled than a thousand pages of legislation ever could.  Their heroes are both great men, great minds and in great pain.  They are treated by the writers and directors with enormous respect and played faultlessly by young actors reaching the top of their game.   In the English-speaking world, the film culture has lately been dominated by endless sequels, remakes, stories based on comic books, gross-out comedies and cynical violence.  The Theory of Everything proves that complex stories about real people can still be told and the audience is rewarded by the feeling that the human journey can still be an ennobling experience, in which we are not limited by our bodies, but only by the barriers we set up in our minds.  Don’t miss this film.

 

 

The Pretty One Film Review

The Pretty One has a lot going for it. A unique storyline, dazzling performances from all of the actors, a banging script and the two wonderful leads, Zoe Kazan and Jake Johnson. Jake has slowly been building up a stellar career, moving from bit parts to New Girl, he is having a career peak at the moment. Zoe Kazan is something to behold. She is just perfect in this film. Oh, and adorable.  Both her and her character.  She plays both twin sisters, Laurel and Audrey.  Laurel is shy and stayed with their father after the death of their mother, looking after him and painting with him. She even wears her mothers old clothes. A lot of people think she is strange. Audrey is confident, ballsy, the woman everyone is in love with. 

After Audrey dies in a head-on collision whilst driving with her sister, just after they switch seats, Laurel doesn’t realise who she is straight away. And when she does it seems that people don’t really care that much, her step-mother even says it was a good thing Laurel died as she would not have coped with losing her sister. Devastated, Laurel decides to become her sister and live her life. As the consequences mount, and the lie becomes bigger she has to decide whether to come clean or continue living the lie. What will she do?

 

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The Pretty One is a truly wonderful, uplifting film, despite its moments of tragedy. I loved it and so did the people I watched it with. It is newly out on DVD and I highly recommend it. It is surely set to become a classic. It is funny and warm, tragic and sad all rolled into one perfect ball of a film. The DVD also has a great, delightful, visual effects featurette.

 

The Pretty One is available here.

 

Directed by Jenée LaMarque. With Jake Johnson, Zoe Kazan, Ron Livingston, Frances Shaw.

 

 

Jay Z & Beyoncé Release Star-Studded Run Trailer

Putting all family discord behind them, Jay Z and Beyoncé have released a star-studded video to promote their On The Run tour. Proving why they are multimillionaires on top of their game. The video stars Sean Penn, Don Cheadle, Guillermo Díaz, Emmy Rossum, Jake Gyllenhaal, Blake Lively, Rashida Jones, Kidada Jones, JAY Z, Beyoncé.

The video shows Beyoncé rob a bank in a skimpy bra and is like a modern-day Bonnie & Clyde. The married couples tour starts next month in Miami and will then go across the US and Canada until August. Can someone get us tickets please?

Roc Nation & Parkwood Entertainment Present: “RUN”

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Directed by Melina Matsoukas.

What do you think?

Those Who Steal Movies Are Also Happy To Pay

People who illegally download billions of pounds worth of movies also love going to the cinema and don’t mind paying to watch movies.

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In the first study to examine the differences between movie and music pirates, the key finding was those who steal movies seem to be an entirely different breed from those who steal music.

In addition to movie pirates being less likely to stop paying to see movies alongside stealing them, prolific movie pirates also tend to be wealthier, less worried about being caught and more likely to cut down their piracy if they think they are harming the industry.

The research, by Dr Joe Cox and Professor Alan Collins, economists at the University of Portsmouth, also found that compared to those who steal music, movie pirates are more likely to live in large cities and be ‘early adopters’ of new technology.

The research is published in the Journal of Behavioural and Experimental Economics.

The researchers analysed results from a survey of more than 6,000 people aged seven to 84 to examine the attitudes of those who illegally download movies and music from the internet.

On average, each person had illegally downloaded about 2,900 music files and 90 movie files. Experts claim the cost of piracy in the US alone is $US12.5bn to the music industry and $US20.5bn to the movie industry.

Dr Cox said: “It is interesting to see that people who illegally download large quantities of movie files continue to pay for legal movie consumption to a far greater extent than music downloaders.

“However, it came as no surprise to find that the most prolific pirates of either movies or music tend to be younger men. They have the skills, the motivation and the equipment to between them to steal large volumes of music tracks and movies every month.”

Pirates are generally motivated first and foremost by saving money, and second, by seeing themselves as helping artists bypass middlemen and reach wider audiences, the study found. But it also found significant differences in the behaviour and attitudes of music and movie pirates. Those who illegally download large volumes of movie files are likely to be significantly:

– less likely to cut back their spending on legal movies compared to those who steal music;
– better off financially than music pirates;
– more likely to be male;
– less likely to think they’ll be caught compared to those who steal music;
– more likely to limit their piracy if they think stealing is harms the film industry.

Dr Cox said: “These findings are important from a policy perspective, because they suggest campaigns that emphasise the harmful effects on the movie industry of piracy are much more likely to be effective than similar campaigns focusing on the music industry.

“One of the reasons movie pirates are a different breed is downloading and file-sharing films is much more technologically demanding. It requires faster internet speeds, greater digital storage capabilities and access to a wider range of devices for playback than pirating music, which has now become relatively simple, fast and cheap.”

The researchers, from Portsmouth Business School, analysed a Finnish survey dataset of 6,100 people, which reinforces that piracy is not limited to the US and UK markets and that the behaviours and attitudes are similar worldwide.

Among the reasons people gave for downloading files illegally were that it saved money, allowed access to material not on general release or before it was released, and has benefits such as helping artists bypass record companies or movie studios.

Reasons given for not downloading or for limiting piracy included fear of downloading viruses or malware, content not matching the description, being difficult to find, and being of poor quality.

Fruitvale Station Film Review | Sundance 2014

One of the most praised dramas at Sundance USA last year and early Oscar contender to boot, Fruitvale Station finally got it’s UK bow at this year’s festival. The true story drama has been hoovering up acclaim and awards over the last year and it is very easy to see why. Over the course of December 31st, 08 and January 1st, 09 we track Oscar Grant (Michael B. Jordan), a young father and resident of Hayward, California who begins his day determined to turn his life around. Following a spell of recent criminal convictions and prison spells, Oscar is resolved to get his house in order; get a new job, cut off bad habits and treat his family right including his adoring yet straight talking mother (Octavia Spencer). However, this search for redemption is to have a tragic end as a New Year’s Party in the city culminates in a cruel, needless tragedy that leaves the community -and America- in shock.

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Having an entire movie rest largely on a single performance is a risky business indeed. If your lead is underwhelming or just flat out doesn’t convince then you and your movie are dead in the water. Debut writer/director Ryan Coogler was surely aware of this going into production on Fruitvale Station. But he must also have been aware when he cast Michael B. Jordan that he really didn’t have to worry much. Still perhaps best known for playing the young, doomed drug dealer Wallace in the exceptional TV series The Wire, Jordan is an absolute flat out revelation here, a breakout role if ever there was one. Throughout Grant’s trials and tribulations over the course of the film, there is the feeling of raw anger and frustration at his surroundings and even many of those who surround him. Yet Jordan never feels like he’s showing off on a soap box like a lot of other ‘awards worthy’ performances have a habit of doing. Every beat, glance and observation feels real and lived in. The story of of fallen man going straight could easily fall into cliche yet the sheer humanity of the performance is more than enough to steer clear of any pitfalls. As mesmerizing as Jordan is it would be unfair to dismiss other cast members especially, Octavia Spencer on blinding form as Oscar’s rock steady mother. Her crumbling composure at the film’s climax is going to break hearts.

As a director, Coogler keeps a steady hand on incendiary material. Make no mistake, this is an angry film and rightly so. Rather than letting that anger disrupt the story and tone, he keeps everything on an even keel. There’s no fuss or confusion to the film’s beautiful and precise shooting. There’s even a touch of playfulness with Oscar’s text messages popping up on screen à la BBC’s Sherlock (don’t worry; it’s nowhere near as gimmicky or intrusive as it could be). We witness actual phone footage of the Fruitvale incident in the films opening act so there’s no surprise to the terrible outcome yet we feel all the gut-wrenching tension and heartbreak as Oscar goes about his daily grind and moves steadily towards his fate. It’s almost unbearably upsetting yet Coogler has managed to find the beauty and tenderness in the frank observations of an individual in his last moments. It’s a paean to life in America in all its wonder – and indeed its horror – and it deserves every bit of your attention.

Little Accidents Film Review | Sundance 2014

Recent news stories of industrial mining accidents across the world linger in the background of this stark, character based drama from debut feature director Sara Colangelo. Expanded from her short film of the same name and assisted via the Sundance Institute’s Writers Lab, the story focuses on a rural Appalachian community devastated by a disaster at the local coal mine which has claimed ten lives. Already people are looking for someone to blame from a legal angle and pressure steadily mounts on the sole survivor of the disaster; Amos Jenkins (Boyd Holbrook) whose testimony could seal some hefty compensation. Meanwhile, one of the kids (Jacob Loflland) of the dead miners struggles with his own grief and sets off a chain of consequences that envelope Bill and Diana Doyle (Josh Lucas and Elizabeth Banks). The former is one of the managers of the coal mine and is a figure of rising blame and anger amongst the locals…

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Steeped in an authentic style and filmed entirely on location with no sets, Little Accidents doesn’t have to work hard to convince in its portrayal of an America that’s seldom seen along with those inhabiting it. It’s a place which would probably spring up on Google if you typed ‘small town America’; everyone knows each other and each others business whatever their background and class. The town is presented as its own internal universe. It’s a simmering cauldron of mistrust and quiet rage that boils over in the wake of tragedy and boy does it ever boil over. The films earthy and natural tone perfectly encapsulate this, as well as the authentic environment that includes what appear to be genuine residents appearing as themselves. It’s also bolstered by some really superb performances, most notably from Boyd Holbrook as the haunted Amos. Hindered via a limp and with a thousand yard piercing stare, Amos could prove too sheltered and quiet to engage with the audience, but Holbrook makes it connect finding the perfect manners for a deeply wounded yet profoundly decent everyman.

Where the film does seem a little less sure footed is in later developments. Characters meet and interact in ways that at first seems natural, but as events unfold grow increasingly cliched or even unbelieveable. A subplot which see’s Amos and Diana embark on an affair seems almost redundant; a cheap device to bring their characters and desires closer together and intertwine. Josh Lucas does the best he can (actually the best he’s ever been) as the put upon yet unshakable husband, but even his character’s arc seems very deliberately placed and dropped off without much thought. Performance wise the film is nearly stolen by Jacob Lofland (of Mud fame) who perfectly captures the innocence, anger and uncertainty of youth here compounded by tragic events. A lingering close up of his weary face late in the story provides the film with one its most striking images. It’s he and his fellow actors who hold Little Accidents steady even as it hits occasional rocky ground.

Third Contact Film Review

A permanent sense of dread and the unknown hangs over this impressive low budget British psychological thriller from debut writer and director Si Horrocks. Filmed on location in London for a shoestring budget and on a single handheld camera, the film has benefited enormously from a successful Kickstarter campaign, pulling in independent funds to secure an international screening tour both at festivals and local venues. It’s another brilliant inspirational example of filmmakers marshalling their own resources and bringing their own unique vision to a broad audience.

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Private psychiatrist David Wright (Tim Scott-Walker) is in utter despair; he is hounded by memories of his long lost love and the guilt over a patient’s recent and seemingly pointless suicide. At his nadir and contemplating his own suicide, David is contacted by the patient’s sister Erika (Jannica Olin) who is seeking answers to her brother’s death. United by their grief and loss, the pair investigate the suicide further and soon uncover a mysterious and sinister agenda that defies both their expectations.

Early in the drama of the film, one of David’s patients relates to him the theory behind ‘quantum suicide’, a concept that theorizes that the universe can be split open at the firing of a gun into two states: one of life and the other of death. It’s a lofty, ambitious concept to hit your audience with moments out of the start gate of your movie. Yet that’s all the more credit to Third Contact, a thriller that avoids the cliches and conventions of other projects made under similar circumstances. Writer and director Horrocks discards tired indie Brit cliches of gangsters and banal romance for cerebral science fiction, with a fine eye for minute detail and delivering in a fresh, fractured narrative style. Shot on a relatively inexpensive handheld camera, Horrocks has worked wonders with the films visual look. Filmed in a bleak and stark monochrome, the portrait of urban London comes to a vibrant and urgent life whilst remaining disconcertingly alien and hauntingly lonely. It reminded me somewhat of Christopher Nolan’s debut feature Following, also filmed for pennies and looking spectacular. This is matched by the eerie and otherworldly soundscape where sound and score seem to bleed into each other and become indistinguishable, not unlike the work of David Lynch.

Horrocks has taken on a one man band approach with the project but has still surrounded himself great talent to round out the project. Tim Scott-Walker is pretty terrific in central role, successfully convincing David’s fraying mental state and anguish and his increasingly fraught encounters with those he meets. It’s a world where no one can be fully trusted and supporting players are very effective at portraying characters whose allegiances are uncertain. That this team have managed to come up with such a well constructed project with minimal resources is nothing short of remarkable as is the films unique and dogged release strategy. On the basis of this, the concept of the writer/director with a larger budget is very enticing indeed.