Review: The LEGO Movie

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In Order of Disappearance trailer: Taken to Norway Print E-mail
Written by Ivan Radford   
Friday, 22 August 2014 12:03

Stellan Skarsgard. A dead son. Guns.

Taken to Norway? I'm in.

It's out on Friday 12th September.

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Film review: Into the Storm Print E-mail
Written by Ivan Radford   
Friday, 22 August 2014 10:21

Director: Steven Quale
Cast: Richard Armitage, Sarah Wayne Callies, Matt Walsh
Certificate: 12A

Love storms? Love Richard Armitage? Then you might enjoy INTO THE STORM. The film tells the dramatic, intense, disastrous story of what happens when Richard Armitage goes… INTO THE STORM. And not much else.

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Film review: Lucy Print E-mail
Written by Ivan Radford   
Friday, 22 August 2014 10:20

Director: Luc Besson
Cast: Scarlett Johansson, Morgan Freeman
Certificate: 15

What is life? How does it evolve? How many bad guys can Scarlett Johansson beat up? Lucy asks all the important questions - and a ton of others to boot.

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Competition: Win tickets to the Gala Screening of Million Dollar Arm Print E-mail
Written by Ivan Radford   
Saturday, 16 August 2014 18:38

Jon Hamm stars in Million Dollar Arm, out in UK cinemas on Friday 29th August - and we're giving away two tickets to the Gala Screening of the film on Thursday 21st August in a London hotel, attended by celebrity guests including Jon Hamm himself.

Based on a true story, Million Dollar Arm follows failing, struggling US sports agent JB Bernstein (Hamm), who travels to India in a last ditch effort to save his career by finding a young cricketer to turn into a major sports star. With the help of a cantankerous retired talent scout (Alan Arkin), JB sets up a national contest called "The Million Dollar Arm" and discovers Rinku (played by Life of Pi's Suraj Sharma) and Dinesh (Slumdog Millionaire’s Madhur Mittal), two 18-year-old boys who have a knack for throwing a fastball. Hoping to make a quick buck he brings them to LA to train, but the boys, who have never left their rural villages before, struggle with their new life and cope and the pressure heaped on them.

His livelihood on the line and relationship with the boys at stake, with the help of his friend Brenda (Lake Bell) JB realises that family and friendships are more important than sealing the deal.

But enough of that - how can you see the film early while making eyes at Don Draper at London's Mayfair Hotel? All you have to do to win two tickets to the screening is answer the following question:

Who does Jon Hamm play in Mad Men?
A) Don Draper
B) Roger Sterling
C) Dan Dopper

Email your answer to This e-mail address is being protected from spambots. You need JavaScript enabled to view it along with your name and - if you're on Twitter - your Twitter username by 23:59 Monday 18th August. The winner will be informed on Tuesday.

Note: You must be free on Thursday 21st August and available to attend the screening at the Mayfair Hotel (Stratton Street, W1J 8LT). Doors open at 6.30pm (the film starts at 7pm).

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Film review: The Expendables 3 Print E-mail
Written by Ivan Radford   
Friday, 15 August 2014 11:37

"Why were you in prison?" asks one of The Expendables after they bust Wesley Snipes' Expendable out of a maximum security fort. "Tax evasion," he quips. This is as edgy as Sly Stallone's sequel gets.

In a normal film, that wouldn't necessarily be a problem. In a two-hour, $90 million blockbuster designed to wow with brutal violence, it's something of a surprise.

Surprises aren't something The Expendables do: the word isn't in the team's collective vocabulary of loud grunts, forced bon mots and constant declarations of friendship. When you go to the cinema to watch Stallone, Statham, Schwarzenegger et al. blow things up, you're meant to know exactly what you're going to get: Carnage. Catchphrases. Cheese. And lots of it.

After two movies, then, you might expect it to get a little stale.

The first film delivered on its promise, drenching the screen in 18-rated blood despite an overly serious tone. The Expendables 2 scaled down the gore for a 15 certificate but ramped up the self-aware humour to introduce a new sense of fun - right down to the fact that its villain was called, erm, Vilain. With Con Air director Simon West out of the cockpit for The Expendables 3, though, that light touch has been replaced once again with clunky gravity. And with the violence also scaled down to a 12A certificate, the result is an action comedy that doesn't have enough of either.

"Get to the choppa!" yells Arnie, looking increasingly like an ageing dog wheeled out to shake paws with people on special occasions. He says the word another couple of times, regardless of context, just to make sure he earns his paycheck. Stallone feels equally tired, barking with such a butch, gravelly voice that you can't understand what he's saying - although he's still a darn sight more agile than the other veterans. And so they all get ditched by the star in favour of younger, newer models. There's the computer hacker one (Victor Ortiz), the female one (Ronda Rousey) and the Hey He's Like A Young Sylvester Stallone one (Kellan Lutz). Unlike their senior counterparts, though, none of them are recognisable from modern action cinema, which makes them as bland as the mature Expendables are two-dimensional. (Where are Channing Tatum and Chris Hemsworth? Henry Cavill and Armie Hammer?)

The newcomers to the fray who do stand out are Harrison Ford, replacing Bruce Willis as a grouchy CIA agent - and proving, once again, that he could be the new Leslie Nielsen - and Mel Gibson, who plays our unhinged bad guy, an ex-Expendable against whom Sly has a grudge.

Teaming up, falling out, teaming up again but with more people; the narrative is as predictable as it gets. But of course, that shouldn't be an issue. This is an Expendables film. You should be having too much fun to think about plot. With the set pieces cut down to their bare, non-bloody minimum, though, the thrill of OTT combat is sorely missing, along with bullets and blood. In the first movie, a man got blown in half by a shotgun. Here, men fall over after other men wave guns in their general direction - presumably because they've fallen asleep from boredom. Even Lutz's impressive motorbike stunts fail to liven up the climactic sequence in an abandoned apartment block, a fantastically-designed set with towering, wasted potential.

Thank goodness, then, for Antonio Banderas. The Spanish star is just as much an OAP as the rest, but he steals the show with his sprightly antics, jumping, climbing and running almost as quickly as speaks - which is very, very fast. He may be playing Puss in Boots minus the hat, but every joke he makes hits hard, a fact that only emphasises the lack of laughs (and hard-hitting) elsewhere.

Banderas proves that what this series needs isn't necessarily a brand new generation of heroes, but a smart script with a sense of humour that doesn't just rely on Arnie saying the word "choppa". The Expendables 3 can't decide what it wants, though: fresh blood or old tricks; new viewers or existing fans. The result is a mediocre, formulaic sequel with too many characters and not enough clout for them to ever make an impact. It appears to offer even more of the same, but serves up far smaller portions. (In the case of Jason Statham, almost no portions at all.)

Gibson gives good evils, but it's telling that even his addition to the ensemble is free of any controversy or interest. Blunted for a younger audience, rebooted without being rebooted, The Expendables 3 is a dull, boring spectacle that's as entertaining as tax evasion - and that is the franchise's first big surprise.

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Film review: God's Pocket Print E-mail
Written by Ivan Radford   
Friday, 08 August 2014 17:47
Director: John Slattery
Cast: Philip Seymour Hoffman, John Turturro, Christina Hendricks, Richard Jenkins
Certificate: 15

"The only thing people from God's Pocket can't forgive is not being from God's Pocket." That's our introduction to John Slattery's first film as director, a dark drama with even darker bits of comedy. The tone is set from the off with a funeral, which is promptly disrupted by a punch-up. Your reaction to that wallop will likely determine your reaction to the whole film.

Philip Seymour Hoffman, in one of his last performances, stars as Mickey, a loser slob of a husband who steals meat so he can chop it up for sale. It's a textbook reminder of what makes Hoffman such a powerful screen presence; neglectful, self-centred and usually drunk, Mickey is a flawed fuck-up of a person but feels absolutely real, a quality that somehow earns our sympathy.

His step-son, Leon (the ever-pale Caleb Landry Jones), doesn't.

Racially abusing co-workers while threatening people with a flick knife, it's no surprise that someone bumps him off - and even less of a surprise that nobody cares. Nobody, that is, except for his mother, Jeanie (Hendricks). And so she asks Mickey's friend, Arthur (John Turturro), to investigate.

Things, naturally, go from bad to worse. Dead bodies, one-eyed goons and gambling debts all pour out onto the streets of the fictional community from the shadowy cracks in which they were festering; boils on the already ugly plague of humanity.

If it sounds like a confused plot, that's because it is: based on Peter Dexter's novel, Alex Metcalf's screenplay is part silly, part sad, part strange crime thriller, part marital breakdown. The result is a slippery tone that Slattery does not always control: he shoots everything with a grim, grubby deadpan look that treats humour and high drama the same. It's all black and bleak, which leaves you unsure whether to laugh or cry at one man punching another at a funeral - or people moving corpses in the rain or elderly women brandishing firearms.

And yet the uneven nature feels oddly fitting for this fable of family, society and psychotic florists. Like God's Pocket, this is a patchwork of stories knitted by people. Christina Hendricks communicates the weight of her happiness just by looking forlornly out of a window, Eddie Marsan's sympathetic funeral director is delightfully manipulative, while Turturro's natural bond with Hoffman lets the loose narrative slide easily from gear to another. Through it all, one thing remains constant: the voiceover of local reporter Richard Shellburn. Richard Jenkins' journalist completes the accomplished ensemble, carting around a drinking problem to go with his receding hairline, as much a revered veteran as he is a sleazy pervert.

"The only thing people from God's Pocket can't forgive is not being from God's Pocket," he declares with the hackneyed air of yesterday's fish and chip wrappings, at once both romantic and wrecked. Perhaps that's the movie's problem: Slattery's blue-collar neighbourhood is so close-knit that we never quite feel a part of it. We watch this fascinating parade of open wounds go past, held together with the band-aid of humanity, but end up stumbling away down the street, resigned to indifference.

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I plagiarised The Verge's Expendables 3 piracy article and I'm still going to read it on their website Print E-mail
Written by Ivan Radford   
Wednesday, 30 July 2014 06:08

Why theft could be the best thing that ever happened to David Pierce and The Verge.

The Expendables 3 comes out August 15th in thousands of theaters across America. I watched it Friday afternoon on my MacBook Air on a packed train from New York City to middle-of-nowhere Connecticut. I watched it again on the ride back. And I'm already counting down the days until I can see it in IMAX.

Last week, torrent sites lit up with a high-quality Expendables 3 screener, which almost never happens before a big movie's release date. Much hand-wringing ensued: Will the leak kill its chances in the box office? Will everyone who might otherwise pay $17 to watch Sylvester Stallone And His Merry Men blow things up just download the movie instead?

Two hours and six minutes later, I'm pretty sure it's going to be the opposite. Leaking a month before its release might just be the best thing that ever happened to The Expendables 3.


When George Lucas and Steven Spielberg said moviegoing will someday be more like a sporting event, they must have had in mind movies like The Expendables 3. It's worth seeing in theaters because the spectacle trumps the content, not because that's the only way to see it. It's obvious in the way the film is shot (tight, moving, disorienting), the way it's scored (loud, loud, loud) even the way it's cast. This movie is meant not to be watched but to be experienced. As art becomes commoditized experience becomes the only thing worth paying for, and there's evidence everywhere that we'll pay for it when it's worth it. We don't want to pay for access, but we'll gladly pay for experience. Those that won't (and there are certainly some) will be served with easier ways to get and watch movies at home. Those that will, will get something remarkable for their money.

This movies begs for that something remarkable. Enables it. I watched The Expendables 3, but it doesn't feel like I really saw it. I watched a two-hour trailer, really: it showed me just enough to entice me to want to see more. A lot more — and a lot bigger.

Critics are going to hate The Expendables 3. They hated the last two, they'll hate numbers four through forty if they get made. They hate most movies like this one, and with plenty of good reasons. But The Expendables 3 isn't a terrible movie, unlike X-Men Origins: Wolverine, the last high-profile movie to leak well before its release date. (Wolverine was slightly but demonstrably hurt by the leak, if only because it gave downloaders time to say, "Hey guys that movie sucks don't go see it.")

It's not a complex, deep, or particularly thoughtful movie, but it's fun as hell. It's a series of set-piece action scenes, like levels in a video game, that culminate in one of the most sprawling and exciting fight scenes I've seen in a long time. That's good enough for me, and likely for everyone else who's seeding the movie right now on The Pirate Bay.

The people who have downloaded a leaked torrent of the movie are, almost certainly, the series' most fervent fans. They're the ones most likely to go see it in theaters, the ones who turned the two previous films into a $600 million franchise. And sure, maybe some of them won't pay $13 to see it again. But many of them will, because they'll realize how much they missed the first time. Many of them will also spend the next three weeks telling everyone they know how awesome this movie is, how Rotten Tomatoes is full of it and that really The Expendables 3 is two-plus hours of near-flawless action porn. They'll tell their friends to go back and watch the other two movies before this one comes out. They'll get all their best bros together and go to the theater to watch a movie that is basically 300 with way more guns and way fewer visible abs.

Ok, I haven't plagiarised the whole thing. Just a few chunks. Because if I did copy the whole article, that would be theft - and, contrary to this article's headline, many probably wouldn't go to read it again on The Verge's website. Which would mean the site would lose out on traffic and David Pierce wouldn't get any money for his work. Something he probably wouldn't be very happy about.

Funny, that. It's almost like Intellectual Property and copyright has a point.

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Film review: Dawn of the Planet of the Apes Print E-mail
Written by Ivan Radford   
Thursday, 17 July 2014 22:16




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FIlm review: Transformers 4: Age of Extinction Print E-mail
Written by Ivan Radford   
Thursday, 10 July 2014 07:21
Transformers: Age of Extinction
Director: Michael Bay
Cast: Mark Wahlberg, Nicola Peltz, Jack Reynor
Cast: 12A

"A new era has begun. The age of the Transformers is over," declares Kelsey Grammar as Harold Attinger at the start of Transformers: Age of Extinction. He plays a CIA head intent on hunting down all the giant robots and killing them - bad news for Optimus and chums, who have all gone into hiding, until Mark Wahlberg's inventor, Cade Yeager (yes, that's his actual name), uncovers an old truck at an abandoned cinema.

The owner of the theatre cheekily laments to Cade that movies are all just "sequels and remakes" these days - but in a week where Christopher Nolan mourns the turning of "film" into "content", Michael Bay's blockbuster champions the unique value possessed by the big screen. Namely, the value of big robots blowing up big buildings while making big noises. It may seem like a sequel offering more of the same, but for the first time, Transformers 4 serves up something different: actual people.

"You gotta have faith, Prime. Maybe not in who we are, but who we can be," Cade tells Optimus in his garage. As a professional tinkerer, he reminds the Autobot leader of the importance of looking for the "treasure among the junk". It's an approach that suits the overall film.

Amid the carnage, Ehren Kruger's script swaps out Shia LaBeouf and Megan Fox's couple for a far different dynamic: Cade and his daughter, Tessa (Peltz). That father-child relationship steers Age of Extinction away from the minefield of problems that has beset the franchise and into some surprisingly effective new territory.

Tessa soon introduces Cade to her boyfriend, Shane (Jack Reynor). "His name is Shane," she explains. "He drives." It's either an admirably economical piece of character exposition or a sign that he has no character at all, but Cade's disapproving dad act is, for once, a recognisable emotion in this sea of metallic mayhem.

After the self-aware opening gag, you get the sense that this is an intentional step forward from the writer and director. Even Peltz's role as token female feels less lecherous with Bay avoiding any slow-motion shots of her leaning over motorbikes, Megan Fox-style - although Kruger's attempt to justify the 17-year-old's relationship with an older boy feels uncomfortably forced. At any rate, Tessa certainly fares better than Sophia Myles' supporting character, who is completely shafted in the favour of macho, mechanical combat.

And what combat it is. Bay continues his quest to go bigger and, well, bigger - and largely succeeds. It's helped by the fact that since his adoption of 3-D and IMAX cameras, he's had to limit his shots to longer, slower takes that show the action clearly. But his childish ambition to smash toys together is still evident: this time, there are Transformers who break down into giant pixels before reassembling mid-flight. It's a stunning feat of CGI - even if these robots still feel the incomprehensible need to disguise themselves as a Camaro, a Bugatti Grand Sport Vitesse and a Lamborghini Aventador.

That continued striving for scale, inevitably, proves to be Transformers' downfall. In the past, this testosterone-led thinking has meant not enough plot to fill the overlong runtime. Now, the problem is that there's too much. In addition to Cade and his daughter helping the Autobots from being hunted down by Attinger, we're soon introduced to his villainous partner, Lockdown - another robot, who carts around a prison ship of arrested junk - and a tech company trying to build their own Transformers using a metal called "Transformium" (a name so dumb that, to its credit, the script jokes about people making it up).

As another evil robot, Galvatron, hijacks that process, though, Age of Extinction suffers from the main symptom of sequelitis: too many bad guys. Showdowns happen halfway through the movie, only for villains to walk away for no reason, before returning again for another final act punch-up. The result is a bloated runtime of 165 minutes.

It's a shame because when the set pieces do occur, humans are woven cleverly into the chaos; final blows are delivered by men (and women) as much as machines. They may be puny but people actually matter. Chief of them all is Stanley Tucci, who is clearly having fun as Steve Jobs-like entrepreneur Joshua Joyce. "I wanted transcendent!" he whines hammily, as his designs topple around him.

The robots, surprisingly, are the dodgy members of the cast, from (toned down) racial stereotypes to John Goodman playing a Transformer effectively disguised as John Goodman. As Prime, Peter Cullen's voice may be as deep as ever, but Optimus' motivations are wobbly to say the least. "I swore I would never harm humans," he booms, "but if I catch the man responsible, I will kill him." Later, his attempt to persuade other robots to let him lead team literally descends into him shouting "Let me lead you!" At least over-bearing male man Cade, despite his unexplained ability to operate alien weaponry, is consistent.

Does that mean Age of Extinction counts as a success? In many ways, yes. Some will, after the last three films, expect rubbish - another sequel or remake to add to the pile. But despite Bay's horrible penchant for blatant product placement, there is something that works here. Like or lump the commercialised music video production, full of Malick-esque magic hour sunsets and soft rock pumped over slow-mo sequences, Transformers 4 has already become the highest-grossing film of all time in China; modern cinema may be dying, but - as Robbie Collin points out in The Telegraph - this juggernaut of sheer spectacle is bringing the crowds in.

Remove the pointless 45-minute Lockdown subplot and those crowds could be seeing a (relatively) tightly-packed summer thriller. In its current, ungainly form, Age of Extinction has many shortcomings, but in their hulking shadow lie glimmers of achievement; bits of treasure beneath the trash. Transformers: Age of Extinction is, whisper it, good. For a Transformers movie.

As Bay paves the way for another two sequels, Attinger's opening speech takes on another meaning: the age of Transformers is far from over, but with identifiable humans on the screen, you wonder whether, in his own, small way, Michael Bay might just have begun a new era after all.

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1 reason why I don't go back to Slashfilm every day Print E-mail
Written by Ivan Radford   
Monday, 07 July 2014 13:38

Last week, Slashfilm published an article called "107 reasons you need to see Richard Linklater's Boyhood". It looked to be an interesting exercise in subverting a Buzzfeed-style article to promote a small, indie film. Until you clicked on the link and saw this message: "Seriously, fuck you."

The article is a middle finger stuck right up at its readers - and that single digit is the one reason why I don't read Slashfilm.

"You really need me to list 107 reasons to see this incredible film?" the post continued. "You went and paid $15 bucks to see Transformers: Age os Extinction in 3D even though you hated the other Transformers films and saw all the bad reviews in your twitter stream… but you can't just take our word on this epic indie film?

"You've already heard us rave about this film many times over the past six months… But you haven't bought ticket yet…"

The article raises all sorts of questions, not least those of grammar and snobbery. (For an excellent takedown of that, see The Shiznit, who continue to write essentially what I think in a more eloquent way than I can manage.)

But it also shows an astonishing lack of self-awareness on the part of a website that has written roughly 8 times as many articles about Michael Bay's blockbuster as it has Boyhood.

Why? The same old reason: traffic. Click bait like "107 reasons you need to see Richard Linklater's Boyhood" is exactly the kind of thing you expect to find cluttering up Slashfilm's endless cycle of blog posts about anything and everything, including - yes - 40 Things I Learned On The Set Of Transformers: Age Of Extinction.

If you're going to run a website and make that decision to become a marketing machine, fair enough. But to shovel adverts for the latest Transformers sequel onto your readers' monitors and then tell them off for not paying attention to a tiny film you've (relatively) barely featured is absurd. Scratch that, it's insulting.

"Fun fact; you can make a healthy living from the ad-fees garnered from running a website solely about films like Boyhood," tweeted Adam Batty, the chap who runs the always-impressive Hope Lies.

It's true - you can. But what helps sites like Hope Lies isn't their coverage of Boyhood, but that (in my opinion) they have the thing Slashfilm does not: integrity. And without self-awareness, it's hard to come by.

Slashfilm could well defend their slew of Transformers content as a response to their readers wanting to read it. It wouldn't be a dissimilar argument to that used by UK site What Culture when they posted a spoiler-filled article about Iron Man 3 before the movie was even released. While both sites arguably show a lack of respect for their readers with such pieces, Slashfilm's post shows a lack of respect for themselves - or, to put it another way, a misunderstanding of what their site is.

Every time an article is published by a website, it sends a message: this is what we are about. Choose to cover something, choose not to cover something; every decision positions you and confirms your identity. Recently, I started a video on-demand magazine called, devoted to all things digital video. Does it cover cinema releases? No, of course not. That wouldn't fit in with the site's remit.

For Slashfilm, before publishing such an article, the question is simple: Is it a website about Boyhood or Transformers? If the answer is Boyhood, why publish the article at all? People reading the site are more likely to see it over Transformers anyway. If the answer is Transformers, why swear at the people they have been promoting Michael Bay's blockbuster to? If the answer is both, and that the website welcomes all kinds of films and film fans, why be hostile at all?

Now stop me if I'm getting carried away here, but that lack of self-awareness and integrity is something that seems to be a problem in media today.

With print publications struggling, media's in a bit of a bewildered state. Sites are desperate to do anything to keep their audiences up: traffic, the assumption goes, is the most important thing.

And so articles spread across multiple webpages to garner more clicks is a common practice, while every little event - be it a tweet or a leaked set photo - is pounced upon by film sites and speedily reported, re-reported and then, hours later, corrected. If it gets changed later, who cares? That just means people will click on it again, right?

That willingness to readily publish rumours, "exclusive" photos, teasers for trailers, etc, seems to be spreading to subject matter too.

Empire Magazine, a film publication, has dedicated lots of coverage to the small screen for some time - something that its editor, Mark Dinning, admitted was controversial in an interview with the Guardian. Nonetheless, despite that awareness, the website's title still promises "Movie News and Interviews" with no mention of TV; their coverage is good, but it's a confused brand statement to say the least. Other movie blogs have followed suit. A number of film sites cover not just TV but plays without question as to whether it fits within their remit - a fact helped, perhaps, by the fact that a film PR company has expanded their very efficient and effective work into the theatre realm.

(Away from film, just look at the Metro, where Buzzfeed-style lists now regularly crop up in an attempt to emulate the popular site. Does it have anything to do with news? Of course not. Or The Daily Mail's side bar of shame and regular publication of 'controversial' columns to drive up rage traffic from angry users.)

It's telling that in the last year, a number of new websites have sprung up to counter the trend; a backlash of principle. Verite Magazine has found success in its monthly digital format, offering coverage of off-beat, independent and foreign language cinema. Film Divider has also launched since then with a similar, equally admirable, intention - although, despite their name, they also cover TV., meanwhile, has gone from strength to strength thanks to its unique scope of coverage.

What they have in common is not just a niche focus, but an awareness of what their sites are about. This is, of course, still possible with bigger, broader websites - and, indeed, is achieved by many, both within film criticism and outside of it. Den of Geek has established itself as not just a hub of all things nerdy, but one with a strong moral (as well as editorial) stance that never ceases to impress. The same is true of, who are not afraid to call a spade a spade. If by spade, you mean something that isn't a spade. As I mentioned earlier, they often seem to write what I think in a more eloquent way than I can manage - and that's important. If I visit there, I know what to expect. Well, that and Photoshopped movie posters. These websites don't just have identities, but integrity.

If you want to run a website that covers Transformers in extensive detail, great. The internet is a wide open place with space for any and all opinions. But if you're going to do that, don't blame your readers for reading your content. Well, don't do it and expect me to have any respect for you.

But hey, what do I know? Look at the comments on Slashfilm's article: "Hahahaha, that's awesome!" said one. "Best post ever, probably it pretty much explains why I keep on coming back to /film every day," said another. Meanwhile, The Daily Mail enjoys nearly 11.8 million visitors a day. And the Metro recently hit 1 million unique daily hits.

Maybe this really is what people want. But if that requires a website to start telling its loyal readers to go fuck themselves, you wonder if something's gone wrong somewhere.

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Competition: Win the soundtrack from Jon Favreau's Chef Print E-mail
Written by Ivan Radford   
Thursday, 26 June 2014 16:28

To celebrate the release of Chef in cinemas now, we are giving away 2 copies of the movie's soundtrack, stuffed with Latin and New Orleans jazz rhythms.

Chef features an all-star cast including Sofia Vergara, Scarlett Johansson, John Leguizamo, Bobby Cannavale, Dustin Hoffman, Oliver Platt, Robert Downey Jr. and young actor Emjay Anthony. It follows Chef Carl Casper (Jon Favreau), who suddenly quits his job at a prominent Los Angeles restaurant after refusing to compromise his creative integrity for its controlling owner (Dustin Hoffman). Finding himself in Miami, he teams up with his ex-wife (Sofia Vergara), his friend (John Leguizamo) and his son (Emjay Anthony) to launch a food truck. Taking to the road, Chef Carl goes back to his roots to reignite his passion for the kitchen - and zest for life and love.

To be in with a chance of winning a copy of the soundtrack, either RT this tweet, or answer the question below:

Jon Favreau is the director of which of the following action films?

a) Spider-Man
b) Batman
c) Iron Man

Send your answers to This e-mail address is being protected from spambots. You need JavaScript enabled to view it along with your UK postal address and - if you're on Twitter - your Twitter username. The deadline for all entries is 23:59 on Monday 30th June.

Chef is out in UK cinemas now. Follow the foodie fun on Facebook at and Twitter at with the hashtag #ChefMovie.

Terms and Conditions

• The winner will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives.

• The competition is only open to people in the UK.

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