Bless Jessica Hynes. Our interview with the star of Spaced, The Royal Family and Twenty Twelve was moved last minute from midday to the end of a long afternoon of media coverage. And, in the nicest way possible, you can tell in her voice that it’s been a long afternoon of media coverage. Despite this, Hynes only grows in animation as we discuss her new film – The Fight – and the Kent town at its beating heart.
If an extended look at Disney’s new Aladdin remake was one of your three wishes, then today is your lucky day.
‘We are all on our path to University’ is really not so inspirational a mantra as the teacher who announces it to a group of troubled eleven year olds towards the start of H is for Harry believes. Neither is it revolutionary. In fact, the word reductive springs to mind. Not that directors Edward Owles and Jamie Taylor particularly pass comment. Theirs is a nicely made little feature – cutely produced and warm to the core – but frustrates as a documentary. Without the focus of a critical eye or narrative voice, the film ambles without real cause or impact.
Is it even possible to defend Serenity – this year’s most harshly pilloried film to date – without blowing its gargantuan twist right out of the water? Probably not, but let’s have an eager crack at it anyway. The pundits detest Stephen Knight’s latest creation but it’s actually pretty exceptional. Yes, it’s a somewhat sour-tasting bouillabaisse of ill-assorted ingredients. Yes, it’s disgustingly saccharine. And yes, it’s weirder than a smitten Tom Cruise. One to miss, though? Absolutely not.
‘Just a quick question.’
It’s not a convention start to our interviews with Jeremy Wooding, Elinor Crawley and Aki Omoshaybi. But, then again, Burning Men is no conventional film. This is the story of two would be musicians who hit the road in an attempt to raise cash enough to fund a relocation to the USA but get more than they bargained on trying to flog a stolen black metal vinyl.
For all the diversity in her career to date, it seems impossible to fathom that Keira Knightley will not be remembered in film history predominantly for her willowy period romances. Even the more daring Collette! Oh, but she does them so well. Even if The Aftermath is by no means a top tier entry in the Knightley catalogue – far from it – the star looks divine, emotes splendidly and willows like none other of her generation.