Monday, 30 September 2013

Interview with Aaron Guzikowski

Having a script scooped up and bought is never as simple or as final as it may seem. Aaron Guzikowski wrote Prisoners years and years ago but only now has it finally been created after many start ups then drop offs.

Now it stars Hugh Jackman and Jake Gyllenhaal in their respective roles. Hugh Jackman’s daughter and her friend go missing with his character becoming incessant in their rescue whilst Jake Gyllenhaal plays the detective searching for the same thing. The less you know about the twists and turns of the plot, probably the better, but there are plenty of reviews gushing over how suspenseful and intense the movie is. Aaron Guzikowski was a normal guy with a normal job until he decided that his path should be as a writer and, thankfully, his efforts have far been in vain, hitting huge Hollywood success with Prisoners, penning Mark Wahlberg vehicle from last year, Contraband and now in production on his TV show The Red Road. Below the man tells us about his film, how to write in Hollywood, his inspirations and what’s coming up next.

Wednesday, 25 September 2013

The Way, Way Back Review

After the success of writing The Descendants, an oddly uplifting, heartwarming experience considering it’s a story about a mother and wife going into a coma after an accident, Jim Rash and Nat Faxon got a chance to share the director’s chair – it’s possible they had two, but reports remain unconfirmed. The Way Way Back follows the same way The Descendants does by making light of uncomfortable situations but instead of a man having to become a real father to his kids, it’s a kid having to actually put himself out there. Otherwise he’ll remain a 3 out of 10. This is the familiar coming-of-age dramedy but it’s got actors that are known and loved putting in fantastic performances alongside a few young newcomers. Mixing its indie style with its famous cast, its offbeat dramatic but happy writing can turn any frown upside down.

Summer: no school, family getaways, parties, drinking and fun. Not really the case for 14 year-old Duncan (Liam James) who’s on holiday with his mum Pam (Toni Collette), her new boyfriend Trent (Steve Carell) and his daughter Steph (Zoe Levin) at a sunny seaside town. Duncan is the typically awkward, anti-social outcast that’s expected which starts off a little grating wearing jeans to the beach for no apparent reason other than suffering in his own skin. Early on it’s hard to feel sorry for him because he brings much of it on himself. Then, when he discovers the water park managed by Owen (Sam Rockwell and yes he does dance), his life beings to change as he starts to belong, starts to find friends, to build as a person. We know where it’s going but the journey is one of the most pleasurable of the year, infecting you with warmth and hollowing out your chest whenever it wants.

Touched upon before was the performances and the ensemble cast really work well together. Liam James as a youngster with talent to spare but hopefully won’t suffer the awkward typecasting that could befall him. Toni Collette is a mother in turmoil with plenty of emotion to show whenever she feels like spilling herself out. Steve Carell is an ignorantly vicious villain who damages others accidentally or to manipulate, projecting his own insecurities onto those around him. It’s a magnificently layered performance of someone who thinks he’s doing something good by telling Duncan he’s a 3 when in reality he’s crushing him. Sam Rockwell is on top form as expected as the carefree, irresponsible but fun water park manager. He may dance or joke around but he cares for the people at least, loving all of his co-workers and customers. Maya Rudolph, Amanda Peet, Rob Corddry, Jim Rash and Nat Faxon fill in the blanks with great personalities and AnnaSophia Robb plays the girl next door, Susanna, who has more to offer than the vapid company she keeps. Allison Janney plays her loudmouth mother with a funny-annoying authenticity.

The film was originally supposed to be set in 1984 and you can feel it, it has that vibe, much like Adventureland‘s. All pumped out with a typically retro soundtrack could give this film a timeless quality, comfortably capturing the moments to transcend time by listening to REO Speedwagon on an iPhone. Writing about a thematically familiar concept that’s been done plenty of times before is risky but they’ve captured youth and have it glowing from its saturated hues of summer. The Way Way Back may not be new or an entirely original story but it’s so damn charming and sweet that it’s hard not to fall in love with a film as good natured and well made as this. It’s simple, effective and hits all the right notes at the right times, designing an uplifting movie event that will hit you with personal truths, make you leave with a smile but long for the youthful days of summer.

Friday, 20 September 2013

Insidious: Chapter 2 Review

James Wan has now confirmed that he’s retiring from horror because it’s mainly what he’s been doing for the past decade but with this and The Conjuring coming out this year means it’s a huge loss for the genre. Fingers crossed it’s only a hiatus rather than a full blown retirement. Regardless, after 2010′s sleeper hit of Insidious Wan and Whannell – writer and regular co-collaborator – are back together again for the sequel. Its predecessor was criticised for its messy third act but its third act is one of its strong points because of its originality. Originality in horror is lacking often, many complaining about the genre being quiescent but Insidious was still a hit leading to sequel rumours for the off. Insidious Chapter 2 won’t convert many who were sceptical about the way it went because it takes it further – that’s far from a bad thing.

We’re back with the Lamberts right after the happenings of the first. They’re in the childhood home of father Josh (Patrick Wilson) where more things are going to bump in the night than allSTARS can sing about. Renai (Rose Byrne) is again being tormented by spirits that seem to love torturing the mother of three. Real pleasure in this comes from the extension of the mythology of the first as well as its relentlessness from the off. Horrors usually begin by creating an atmosphere, an eerie air of unease of things to come, but its predecessor did all the work already meaning they can launch straight into merciless paranormal torture.

Leigh Whannell is refining his craft with every movie, learning the balance between comedy, sentimentality and, of course, scares. He’s doing this while creating some of the most refreshing horror that started the gory horror trend with Saw and now by taking the paranormal into a further realm. Dialogue used to be a problem of his earlier work which contained dialogue that was sappy. That is no longer a problem in this film, adorned with creepy dialogue, spine-tingling whispers, Whannell writes an atmosphere that comes off the page. Wan, then, reinforces it with his brilliant camerawork and sound-mixing which will have you wondering if the rest of the audience heard it too.

Another hero of the film is Patrick Wilson who puts in a performance very different from the original and even further from this year’s The Conjuring. Performances that are this unnerving help elevate the horror too but could easily fall into a hammy portrayal that’s laughable. Wilson never falls into that pitfall, creating an atmosphere with every sinister second he spends on screen by himself, regardless of everything else surrounding it. Rose Byrne plays the drained mother who doesn’t recognise the man staring back at her well. Then newcomer to the series Danielle Bisutti pops up to make you terrified of ever doing a double take again. Ty Simpkins returns from his Iron Man 3 success as Dalton but spends considerable more time awake and proving he has talent.

Unfortunately it screams post-production rush which could extend to production too. With James Wan releasing two films this year and planning to release Fast and Furious 7 by next year too, this suffers from a lot of continuity errors that are blatant ones due to poor editing. Insidious was an editing feat, takes and scenes shown for the perfect amount of time and the sound perfectly edited and mixed in to create the atmosphere that is the centre of the fear it invokes. In this, it sometimes detaches the audience from the movie because of errors that are too common too often and uncharacteristic of a meticulous director like James Wan. After a mishap is spotted, it’s back to being terrified because it successfully recreates the mood.

Horror sequels usually suffer from rehashing the first, by trying to recapture the lightning the bottle, this may borrow from it but it’s much more than its predecessor. Where the first started as a quiet horror that escalated into something grander, this has its quiet moments but it’s angrier, scarier and it has more scares than the first but less of the crafting in execution because of the visual errors. Looping it around the first means the story is incredibly well-written, going in a way unexpected that outsmarts the majority of the audience. Insidious Chapter 2 is a scarier, nosier, full on horror film that recreates the same atmosphere from the first but elicits more scares than its predecessor and possibly the majority of other sequels. James Wan retiring from the genre isn’t with a whimper but with a bang. Multiple bangs. Terrifying ones. Bringing something to hide behind. You’ll need it.


Rush Review

F1 got the cinema treatment last with the Stallone vehicle Driven that was shambolic in excitement and realism in racing. Ron Howard has now taken upon himself the task of translating F1 to the big screen with Rush, a story about the feud between Niki Lauda (Daniel Brühl) and James Hunt (Chris Hemsworth), their 1976 season and the crash at the Nürburgring that entirely changed Niki’s life. Translating the tempo of the car, the intensity of being in that open cockpit, is tricky as it can seem almost ordinary but thanks to Howard and the help of his DP, Anthony Dod Mantle, they’ve managed to give the audience the thrill and exhilaration of going over 100mph Rusharound corners – putting the danger back in the seat.

As was said before, it’s a biopic on the feud of Niki and James from F3 to F1 up until the 1976 season. Daniel Brühl is nothing short of excellent as Niki Lauda, giving a strong performance imitating the great committed F1 driver; even having the overbite that’s the result of many insults from Hunt. He plays the distant, calculated man with the precision that Niki had on and off the track. Playing it with the key blunt confidence that Niki possessed. James Hunt is then a larger than life character who is a cocky hedonist but has this charisma that is enigmatic, difficult to hate but hard to like too. Chris Hemsworth has put in the best performance of his career so far as Hunt, his vitriol stings, his lifestyle chaotic but ultimately superficial.

Off the track, the film is shot like a period indie film, recreating the ’70s without going overboard with the costumes and hairstyles – the fashion failings are still there. We get involved with the drivers and their obsessions, whether it’s their love of the adrenaline from racing wheel-to-wheel in the rain at speeds close to 170mph or their love for other extremities. Nothing is subtle in a film that’s about extremes and excesses, it’s all handled bluntly as if Niki Lauda wrote and directed. We get to see the intimacy behind the scenes that’s rarely as romantic as it feels to the drivers. Olivia Wilde pops up as Hunt’s model wife who has a perfect English accent but unfortunately gets too little screentime to explore their relationship.

Biopics and sport films do become formulaic, many complain about the use of commentary or shots of TV screens to release information but it’s the best way to present the information – if it was expositional dialogue instead then again people would complain but the information is necessary to advance the film. Familiarities of the sport genre rarely seem as invigorating as Rush which manages to encapsulate the drama of the feud and the danger of the racing. Structurally it’s the same territory as other biopics or feudal odd-couples, we start with an introduction to the characters and their intersecting stories until the 1976 season starts, but being deftly edited means it’s not tiring.

Ron Howard has managed to create an F1 film that will please fans of the sport and even thrill the naysayers of racing in a circle. Much of the craftmanship comes from how the drama unfolds in an intimate manner then expanding to exciting races. Putting the audience into the cockpit of a violently twitching car that’s inches away from others could even convert people to become a fan of the high-octane motorsport. Rush captures the magic and masculinity involved in getting your ego into a sponsored death trap, injecting the audience with the same rush as an F1 driver pushing everything to the limit. Cameras that are put in every nook and cranny along with excellent editing give Rush an identity. Characters don’t have to be nice early on to be interesting, it’s even hard to decide who to root for.


Monday, 16 September 2013

Riddick Review

As Vin Diesel remortgaged his house to get this film made there’s an air of romance around the character that essentially launched his career. Richard B. Riddick was first introduced to us with Pitch Black in 2000 and it was a modest success at the box office which gained a bigger following in the home entertainment market. It was a great sci-fi thriller that chilled the audience and created what would be an iconic character looking at us with his special, enhanced eyes. This then gave Vin Diesel and director David Twohy – who’s directed all three – a chance for a sequel which gave them the ability to increase the scope, advance the mythology, but The Chronicles of Riddick was a disappointment for audiences and critics alike. Riddick is now back nine years later with Riddick and the trailer shows that it’s a return to Pitch Black but that’s very misleading.

At the end of The Chronicles of Riddick he had become the King of Necromongers but as the king, he gets betrayed and left for dead on a deadly planet that is most definitely not his home planet of Furya. There he must survive but once a rain storm is coming in that brings out scorpion-serpent creatures, Riddick must activate a beacon for bounty hunters to use them as a taxi service out of there. The scope is much grander than Pitch Black again therefore it’s not a return to that smaller action-thriller. It again progresses the mythology they’re creating too with a different planets, different creatures and different weapons but it’s not as vast or cataclysmic as The Chronicles of Riddick. It’s ended up mixing both vehicles. The original a tiny hot hatch, the latter a jack-knifing lorry; this then is like a sporty estate car like an Audi RS4, economical but good fun sometimes.

There are problems that are hard to ignore in it. It has a second act lull, it’s been falsely marketed misleading audiences and, as highlighted by Empire’s Helen O’Hara, it’s extremely sexist and misogynistic – that post does contain spoilers by the way.  It has a really bizarre structure where we get primarily Riddick for the first act but then it’s about these mercenaries more than the eponymous character in the second. That lack of titular character makes the second act messy and out of place. It’s extended for no clear reason considering it has nothing to actually do; the mercenary characters end up making one really stupid and essentially pointless decision that’s supposed to be tense. They aren’t even interesting either, the film is largely inhabited with characters that aren’t well drawn gaining no reaction.

As was said before – and said better by Helen O’Hara – there is far too much misogyny in the film where there are only two female characters with actual dialogue. One of which is in it for about a minute or two and is an unnecessary addition to the story. Then there’s Katee Sackhoff‘s character Dahl (pronounced “Doll”) who plays the standard tough chick routine who has to fend off creepy and rapey Santana’s (Jordi Mollà) disgusting advances. Twohy and Diesel may believe that this is an empowering portrayal because she kicks ass but that’s a deluded one, there is nothing there that is remotely empowering, intriguing or even believable about her character. In the future, she’s still treated secondary, it does paint a bad picture for Santana but it’s uncomfortable, squirming listening to disgusting lines that come from his mouth and one incredibly messed up line that comes from the anti-hero himself, Riddick.

Riddick is by no means a failure but it is in no way the success of the first which managed to create characters that had more of a purpose than all of these ones combined. Characters which were different, intriguing, survivalists, cowards, manic, panicky, broken, innocent. These are all painted with the same badass brush that bronzes Batista’s biceps. Sorry, Dave Bautista. Regardless, this entry expands on an already interesting mythology, creating interesting CGI hybrid creatures in a heavily CGI land but the CGI is blurry, choppy because of the lack of budget. Some mixture of real locations with a greenscreen would be far more compelling and would capture an authenticity that’s not seen here. There are a few interesting action beats, some tense moments, a perhaps exploitive but effective relationship with a canine, a couple of laughs and some good lines but it all revolves around a clunky three act structure strung together by rain and you can feel how faint that connection is.

Saturday, 14 September 2013

Interview with Nicolas Wright

Before the American premiere of White House Down, we got the chance to chat to Nicolas Wright about his upcoming role alongside Channing Tatum and Jamie Foxx. It seems that this experience has led Nicolas Wright to a lot of potentially great future projects, finding collaborators here and there, as well as keeping a watchful eye on proceedings to really learn as much as he can while he can. That’s the type of guy he comes across as, he romantically talking about his involvement in the business with a positivity and optimism that should be sold as a drug. For the second White House invasion of the year, this sees Channing Tatum as the John McClane of the moment, rescuing Jamie Foxx and the world from villains and their sinister plan. Whereas Olympus Has Fallen went for a more serious style and a lower budget, White House Down is more comedic with a chunky budget for Roland Emmerich to destroy the White House yet again.

Before I’ve even asked a question, Nicolas is ready to gush and gush about the movie, really loving his involvement and what Roland Emmerich tries to do with it, some of which was missed out because the recording hadn’t yet started.

My interview with Nicolas Wright is on Cinema Chords

Tuesday, 10 September 2013

Back to University

On the 21st - probably - I'll be heading back to university for my second year on my film course. Considering I'm already 21, I should have graduated already but, alas, mistakes result in delays. At first it was something I didn't like, I let it bother me a lot but now I couldn't care because what's an extra two years in your entire life? It's better now that I'm on the right course for me and worth the wasted time. It's given me a direction, a goal, a target, that's to get involved in the film industry as you might have guessed. What's going to be good about returning is that I'm going to learn from my main mistake from last year: laziness. It was funny at the time, we laughed about how much of wastemen we were and we all got decent marks considering our lack of attendance and lack of work but I have a motivation to work. I'm doing a module on classic Hollywood cinema and horror films this semester then next year I'm doing contemporary Hollywood cinema (I get to study Fincher, it's like a dream), contemporary art cinema and screenwriting. All of which I want to do, all of which I want to get a good mark in, all of which I will actually try for.

What I'm also excited for is when I go back I get to do make a short film that I've had in my head for at least 9 months now. It's written down into a screenplay. I've tried writing others and started a few, jotted down ideas, gotten some plot outlines written. Hopefully we'll shoot that as soon as possible so I can edit it and send it around to attempt to get it into film festivals. I know it's hopeful but it's how Máma got picked up from a short into a full length feature produced by Guillermo del Toro, worked with James Wan and Leigh Whannell when they made Saw. Then a couple of friends of mine have their own ideas so we can film those too and whatever else pops up in our heads. We even want to shoot an entire feature length film. That way, if it's good, we can enter into festivals and again wish for the best. Worked for Christopher Nolan with Following, worked with Adam Wingard and Simon Barrett with A Horrible Way to Die, worked with Jonathan Levine and All the Boys Love Mandy Lane, worked with Gareth Edwards when he went and made Monsters. They all led somewhere and it was on a wing and a prayer that they were created. Perhaps we can be that lucky.

Wednesday, 4 September 2013

Aliens Review

After Ridley Scott’s patient, slow burning sci-fi horror-thriller success, the studio were itching to get another one out there to continue the canon. James Cameron was on duty for directing and writing this time. The smartest move James Cameron makes for Aliens is that he doesn’t rehash its predecessor with any claustrophobic surprise horror; instead he goes all guns blazing, turning this into a visceral action-thriller bleeding acidic tension. Changing the sequel into something that continues, pays respect but doesn’t rip off is a difficult task for any writer or director but James Cameron worked on making this one of the most creatively successful sequels of all time. He didn’t dare to stay strict to the rules of the sci-fi already established but advance it even further, creating more mythology surrounding the current one. This is how you extend a universe into something new but satisfyingly similar.
Changing the sequel into something that continues, pays respect but doesn’t rip off is a difficult task for any writer or director but James Cameron worked on making this one of the most creatively successful sequels of all time.
Enter Ripley (played of course by Sigourney Weaver) again, she remains in hyper sleep with mischievous cat, Jones, to be salvaged and awoken by Weyland-Yutani. There she learns that she’s been in hyper sleep for 57 years, floating endlessly through space, being picked up by pure chance. When she starts to tell everyone her story about the Xenomorph, no one believes her as it was investigated to no evidence of an alien creature but instead a whopping bill from the self-destruct button that she had authorised. LV-426, where they originally found the Xenomorph, has now been terraformed into a habitable planet with families living there much to Ripley’s shock and surprise. No one believes her until they get a call about a familiar facehugger, causing Ripley and a team of marines to investigate the station.


A running time shrunk per the studio’s request, action, huge sets, breakthrough special effects, this could be the definition of one of the first true blockbusters. Many have since followed suit, usually not straying from a familiarly formulaic structure. If you look at the Save the Cat! beat sheet, you’ll recognise that Aliens does a lot as they say but what it also does – especially in the Director’s Cut/Special Edition – is explore the characters. It gives them more than one-dimensional and an arc to play through, especially our lead Ripley who is trying to forget the trauma of the original movie. Playing with the characters adds a texture to it, one that sees a lot more people enjoying and investing in the movie itself instead of spectating simple carnage. Characters become people you are willing to survive rather than expendables you do not care survive or not – although there are a couple in here.
James Cameron’s approach to all the hardware is something that helps build up an authenticity. Creating new weapons that are explained, named and aimed to precision.
James Cameron’s approach to all the hardware is something that helps build up an authenticity. Creating new weapons that are explained, named and aimed to precision. Everything is created in a industrial style to be efficient but dark and unwelcoming, creating a gloomy atmosphere, even as families play around inside before the attack. Once the attack is hit, it’s like a hard-hitting apocalyptic war zone  Details is what helps make a sci-fi organic but at the same time mechanical and with purity – a bit like Bishop (Lance Henriksen), the android, instead of the flawed Ash. It shows an advancement in the universe, that it’s progressing, striving for perfection, while being hunted down by the ultimate hunter.

Aliens is layered in subtext, from the dominant feminist hero , a far cry from slashers’ “final girl”; to a possibly intentional political standpoint mimicking the Vietnam war. It’s unlikely but it could even be about the arrogance of the American military while Hudson brags about him and his band of “badasses” that go in gung-ho to be ripped apart by the Xenomorphs. Aliens is far from simple but never too focused on a point or a message to not make it one of the most entertaining and rewarding viewing experiences in sci-fi history. You get to know the characters that are faced against a constant wave of angry aliens who are basically the ultimate weapon. Aliens is such a success because it’s built upon the story that Ridley Scott told in 1976, then raised the stakes to create an energetic, physical experience that’s as gripping as it is interesting.

Hannibal Season 1 DVD Review

There have been many iterations to bring Thomas Harris‘s famous cannibal Hannibal Lecter to the screen. It started back in 1986 with Michael Mann‘s Manhunter with a Brian Cox playing Hannibal Lecktor – a variation of the spelling for some reason. Then there was the successful series with Anthony Hopkins as the deranged sociopath in The Silence of the Lambs, Hannibal and Red Dragon followed by a critically unsuccessful prequel called Hannibal Rising with Gaspard Ulliel in the role. Dr. Hannibal Lecter has now found himself on the small screen as Mads Mikkelsen before he’s been captured by Will Graham (Hugh Dancy), playing the role of compassionate therapist, FBI helper and cannibalistic serial killer on the side as he plays his games. He’s not blatantly obvious about his endeavours, not making the audience scream at the TV at the FBI’s stupidity, Hannibal is playing it so subtly that sometimes we even forget what he’s doing.

Will Graham is one of the best FBI profilers around because of his vivid imagination and total immersion in empathy. He can recreate scenes, he can not only feel why the killer(s) are doing what they’re doing but understands their reasoning for doing so without any judgement. It’s a huge psychological undertaking to delve into a murderer’s mind but a much more traumatising and damaging one to capably understand everything they are feeling. Jack Crawford (Laurence Fishburne) brings Will Graham’s special abilities out at the beginning, calling for his specific brand of immersive analysis.

This incarnation of the Will Graham character is a neurotic creation, one which has an element of chic geekiness, perhaps drawing on the current cultural phenomenon of nerdy protagonists. Recreating the crime scene through another’s eyes and motives means that we delve in with Will Graham as he shuts everything out, colours everything in an Instagram filter and begins to murder – in his head; he’s not Dexter Morgan. Creating a character much more nerdy is a bit of a weird reimagining of an unstable empathetic sociopath, it feels like a significantly style orientated move. Clothing him in muted knitwear and shirts to oppose everyone else’s suave suits, having him standout as an outcast.

Implanting deep thoughts of control, identity and sanity is one of Hannibal’s strong suits but it never quite details itself like its sets, its costumes, its murders. Everything else seems second hand to a style over substance viewpoint that has everything dripping with a contemporary liquidity as it flows from one scene to the next. You can see that there’s sometimes time constraints placed upon them by NBC because the cut-to-black-for-commercials can sometimes can come poorly edited, transitioning poorly; music hasn’t reached its end or the camera yet static. That can sometimes detract from an otherwise seamless production. Another problem is when we’re in a POV shot of Will Graham, just before the reconstruction, it’s black but gold flashes across and flashes across again, it seems much more poorly done compared to the rest of the effects.

One of the earlier problems in the episodes is that the murders that are being investigated are too open and shut cases. Sometimes there’ll be conversations about the characters, about problems in their lives, while the murder is still being investigated. It’ll then cut to the highly stylised FBI headquarters where a supporting character will hand them an iPad full of information on the murder and the suspect, solving the case in one simple, short lived moment. That leaves no reward for the search of the killers early on because it gives the audience uncomfortable closure to an episode that’s only there to advance characters, it doesn’t particularly contain its own story, it doesn’t warrant its own episode. Seeing things from the side of the killer before the investigation is completed too creates a lack of suspense to the murderer because we know who it is but we don’t know where they are. It turns into more a game of Where’s Wally? rather than an exercise in profiling or real investigation. That iPad will surface soon enough to pinpoint their location on Google Maps, don’t worry.

Hannibal is enjoyable but there are many detracting flaws to realise. There’s too much simplicity to supposedly intricate, dedicated murderers. Everything is created to be lavish, modern, stylish, with great cinematography – and cinematography Guillermo Navarro on directing duties for three episodes could explain why. There are details, there is beauty, there is violence but there’s never any doubt or interesting storylines that stray from the personal ones or from Hannibal himself. It more or less boils down to the eponymous character because his motivations are the only thing that aren’t ever let slip, that are intricate, that are dedicated. The majority of other episodes are played out in a finite fashion. Hannibal has interesting moments that boil down to the cannibal’s motivations and reasons, his sociopathic mind and then his manipulative relationship with Will Graham. Graham starts to grow as a character into more than a neurotic styled geek but into a full blown panicking problem of his own doing. Hannibal is an elegant stylish creation that has a constant interest in its characters but lacks the episodic complexity that it thinks it has. Too simple to be as clever as it wants to be.

Eat the Rude, First Look and Forensics 101 featuretes are all that’s available.

Hannibal is available on DVD (£29.99 RRP) and Blu-ray (£34.99 RRP) on the 2nd of September.