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SAM RILEY as DAVID
HAPPY NEW YEAR, COLIN BURSTEAD ( 2018 )
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đ achievement unlocked: ben wheatley feature completist đ iâm not going to rank them but i am going to talk about them a bit!
down terrace (2009) âď¸
v impressive debut. the key pillars of the idiom are already here, and thatâs why itâs good. unglamorous low-level organised crime and violence; family dysfunction/parent-child trauma; and â less obviously, but itâs there â folk sensibility. and michael smiley is there. he totally steals the show, as he does every time he pops up in one of these (with one exception obviously). not to get ahead of myself but my main takeaway from this whole exercise is that michael smiley is a genius
kill list (2011) đ¨
like down terrace, but MORE. more violent organised crime, more overt folk horror, more smiley. same amount of family dysfunction. if down terrace is the seed from which you can extrapolate the rest of the filmography, kill list is a perfectly condensed smoothie, all the key themes fully realised but blended together. i love it. i think you can draw a clear line from this to mother's ruin. reece says that after seeing this, he turned to wheatley and asked âwhy did you make that?â which i think is a fair question. i relayed the anecdote to my bf who spluttered indignantly and said âi donât know, reece, why do we do anything? why did you black up?â
sightseers (2012) đ
all these films are at least a little bit funny, but sightseers is probably the most overt comedy, and it REALLY works for me. alice lowe is fantastic and i wish theyâd work together more. her performance suits wheatleyâs style. again, gestures to all the key pillars, but none of them actually take centre stage here. it ends up being about⌠love, i guess. a successful departure. dark, depressing, very funny. the dog lives
a field in england (2013) đ
iâve probably made my thoughts on this one clear enough for the time being. one of the best modern folk horror films, one of reeceâs best performances, one of the best british films ever. the interesting thing to note here is that for the first time, wheatley takes one of his key pillars (in this case, folk horror) and runs with it as far as possible, to the exclusion of everything else. heâll do this again with his other pillars later, and it will be successful every time
high rise (2015) đ˘
iâve seen high rise twice this year, and the second time i was really hoping it would turn out to be good after all. itâs not, though. itâs a huge mess. the ending is particularly baffling and stupid. some actors are good in it, especially reece, but heâs not even in it enough to make it really worth rewatching. thematically, a huge departure for wheatley, but unlike sightseers, it doesnât come up with anything else to latch onto. it does have a brief psychedelic sequence which feels very tacked-on and underwhelming. further points deducted for michael smiley not being there
free fire (2016) đŤ
speak of the devil!! whoâs that, itâs michael smiley!! and he crushes in this!! as does EVERYBODY in this wonderful cast!! oh man. another exercise in taking one pillar of the idiom and running with it as hard as possible. this time, itâs unglamorous low-level organised crime and violence. and itâs JUST THAT. itâs insane and weird and it rules. itâs also a metaphor for the troubles. i miss armie hammer unfortunately, he was really good at playing total bastards and he looked good in this
happy new year, colin burstead (2018) đĽ
another âone pillar to its logical extremeâ exercise, this time revolving entirely around family dysfunction. again, very successful. funny, sad, absolutely wonderful ending. made me think about my sisterâs wedding lmao
rebecca (2020) đ
rebecca is alright, but the fun for me mostly came from looking for little ways wheatley snuck his idiom into it around the edges of the studio. itâs really about gender roles/femininity and womanhood in particular; iâm sure plenty has been written about that wrt the source material and the more famous film
in the earth (2021) đł
zach is babie. what else can i say? if he was in this more, and/or if the film was a lot more violent, i would like it more. if it dropped the pandemic angle, i would like it more. itâs not a worthy successor to field, but nothing could be. itâs fine. itâs got some good stuff in it. i like it, and iâd probably like it more if it had no relationship to field whatsoever, or if it leaned hard into being an overt sequel / continuation of that story. can you even imagine? i think my issue is just that it doesn't commit hard enough to being any one particular thing
meg 2: the trench (2023) đŚ
fuck this movie fr. and iâm not saying that because iâm a snob. i actually liked the first one okay! i thought it succeeded on its own terms! meg 2 does not succeed at fucking anything. it has brief flashes of being good, like when that chickâs head implodes, or the shot from inside the sharkâs mouth, or when statham kicks a man into a sharkâs mouth and says âsee you later, chum.â and then for the whole rest of the time itâs complete balls. the dialogue is so clunky. the bits that are just humans interacting with each other about non-shark business should be good or at least NOT SHIT, like⌠iâve SEEN happy new year colin burstead i KNOW wheatley can do humans. except he forgot how, apparently. baffling. heartbreaking. i used to work with reality tv ip, and we used to say âjust because itâs trash, that doesnât mean it has to be bad.â meg 2 had to be trash but it didnât have to be bad. at least, not this bad. rip
#what do i tag this.#i've never actually sat down and intentionally smashed out an entire director like this#ben wheatley
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things may come and things may go but Happy New Year, Colin Burstead is on iplayer forever
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Happy New Year, Colin Burstead Ben Wheatley. 2018
House Pennsylvania Castle, Portland, DT5 1HZ, UK See in map
See in imdb
#happy new year colin burstead#pennsylvania castle#portland#england#dorset#uk#sam riley#united kingdom#charles dance#neil maskell#sura dohnke#castle#movie#cinema#film#location#google maps#street view#2018#isle of portland
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Happy New Year, Colin Burstead
2018, Ben Wheatley
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Happy New Year, Colin Burstead
This is about a guy who get a expensive home for the whole family to celebrate new years. O, a nly to later realize that his seat of power in the family can easily be stolen by someone else. I found this so so. Its suppose to be part funny but is not even close.
My Rating 2/5
#movies#follow#follow me#movie recommendation#movie review#movie rentals#honest review#followme#follow my tumblr#real review#like if you read#review#like if u read#movie blog#drama#drama movies#comedy movie#comedy movies#happy new year colin burstead
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Happy New Year, Colin Burstead Soundtrack
Happy New Year, Colin Burstead Soundtrack by Clint Mansell #ost #movie #film #soundtrack #drama
Original Motion Picture Soundtrack (OST) from the film Happy New Year, Colin Burstead (2018). The music composed by Clint Mansell (The New Radical, Loving Vincent, The Fountain, Smokinâ Aces).
Source: Happy New Year, Colin Burstead Movie Genre: Original Motion Picture Soundtrack Music by Clint Mansell Label: Lakeshore Records Format: Digital Release Date: October 5, 2018
Happy New Year, ColinâŚ
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Happy New Year, Colin Burstead (2018) Ben Wheatley.
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'Clint Mansell' Receives The Ivor Novello Awards Best Soundtrack Nomination For Ben Wheatley's 'Happy New Year, Colin Burstead'!
âClint Mansell�� Receives The Ivor Novello Awards Best Soundtrack Nomination For Ben Wheatleyâs âHappy New Year, Colin Bursteadâ!
â[music still, with shouts]â has the hallmarks of Mansellâs work to date; the hypnotic and ethereal wash, the insistent strings, but here they have a Celtic flavour, with a particularly brilliant use of woodwind. Of course this is a Ben Wheatley film, so the track slowly descends into something twisted and dissonant â Charlie Brigden, The Quietus
Lakeshore Records congratulates Composer ClintâŚ
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Happy New Year, Colin Burstead https://letterboxd.com/brandonnn/film/happy-new-year-colin-burstead/
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Life in Film: Ben Wheatley.
As Netflix goes gothic with a new Rebecca adaptation, director Ben Wheatley tells Jack Moulton about his favorite Hitchcock film, the teenagers who will save cinema, and a memorable experience with The Thing.
âThe actual process of filmmaking is guiding actors and capturing emotion on set. Thatâs enough of a job without putting another layer of postmodern film criticism over the top of it.â âBen Wheatley
Winterâs coming, still no vaccine, the four walls of home are getting pretty samey⌠and what Netflix has decided we need right now is a lavish, gaslight-y psychological thriller about a clifftop manor filled with the personality of its dead mistressâand a revival of one of the best menaces in screen history. Bring on the âMrs Danversâ Halloweâen costumes, because Rebecca is back.
In Ben Wheatleyâs new film adaptation of Daphne du Maurierâs best-selling 1938 novel, scripted by Jane Goldman, Lily James plays an orphaned ladyâs maidâa complete nobody, with no known first nameâwho catches the eye of the dashing, cashed-up Maxim de Winter (Armie Hammer).
Very quickly, the young second Mrs de Winter is flung into the intimidating role of lady of Manderley, and into the shadow of de Winterâs late first wife, Rebecca. The whirlwind romance is over; the obsession has begun, and itâs hotly fuelled by Manderleyâs housekeeper, Mrs Danvers (Kristin Scott Thomas, perfectly cast).
Each adaptation of du Maurierâs story has its own quirks, and early Letterboxd reactions suggest viewers will experience varying levels of satisfaction with Wheatleyâs, depending on how familiar they are with both the novel and earlier screen versionsâmost notably, Alfred Hitchcockâs 1940 Best Picture winner, starring Laurence Olivier Joan Fontaine, and Judith Anderson.
Why would you follow Hitchcock? Itâs been 80 years; Netflix is likely banking on an audience of Rebecca virgins (the same kind of studio calculation that worked for Bradley Cooperâs A Star is Born). Plus, the new Rebecca is a Working Title affair; it has glamor, camp, Armie Hammer in a three-piece suit, the sunny South of France, sports cars, horses, the wild Cornish coast, Lily James in full dramatic heat, andâcontroversial!âa fresh twist on the denouement.
A big-budget thriller made for a streamer is Wheatley coming full circle, in a way: he made his name early on with viral internet capers and a blog (âMr and Mrs Wheatleyâ) of shorts co-created with his wife and longtime collaborator, Amy Jump. Between then and now, they have gained fans for their well-received low-to-no budget thrillers, including High-Rise, Kill List and Free Fire (which also starred Hammer).
Over Zoom, Wheatley spoke to Letterboxd about the process of scaling up, the challenge of casting already-iconic characters, and being a year-round horror lover. [The Rebecca plot discussion may be spoilery to some. Wheatley is specifically talking about the du Maurier version, not his film.]
Armie Hammer and Ben Wheatley on the set of âRebeccaâ.
Can you tell us how you overcame any concerns in adapting a famous novel that already has a very famous adaptation? How did you want to make a 1930s story relevant to modern audiences? Ben Wheatley: When you go back to the novel and look at how it works, you see itâs a very modern book. [Author Daphne du Maurier is] doing stuff that people are still picking up the pieces of now. Itâs almost like the Rosetta Stone of thrillersâit tells you everything on how to put a thriller together. The genre jumping and Russian-doll nature of the structure is so delicious. When you look at the characters in the book, theyâre still popping up in other stuffâthereâs Mrs Danvers in all sorts of movies.
It remains fresh because of its boldness. Du Maurier is writing in a way thatâs almost like a dare. Sheâs going, âright, okay, you like romantic fiction do you? Iâll write you romantic fiction; hereâs Maxim de Winter, heâs a widower, heâs a good-looking guy, and owns a big house. Hereâs a rags-to-riches, Cinderella-style girl. Theyâre going to fall in love. Then Iâm going to ruin romantic fiction for you forever by making him into a murdering swine and implicating you in the murder because youâre so excited about a couple getting away with it!â
Thatâs the happy endingâMaxim doesnât go to prison. How does that work? Heâs pretty evil by the end. Itâs so subtly done that you only see the trap of it after you finish reading the book. Thatâs clearly represented in Jane Goldmanâs adaptation that couldnât be done in 1940 because of the Hays Code. That whole element of the book is missing [in Hitchcockâs Rebecca]. But I do really like this style of storytelling in the 1930s and â40s that is not winky, sarcastic, and cynical. Itâs going, âhereâs Entertainment with a big âEâ. Weâre going to take you on holiday, then weâre gonna scare you, then weâre gonna take you around these beautiful houses that you would never get a chance to go around, and weâre gonna show you these big emotions.â
After High-Rise, you ended up circling back to more contained types of films, whereas Rebecca is your lushest and largest production. How was scaling up for you? Free Fire does feel like a more contained film, but in many ways it was just as complicated and had the same budget as High-Rise, since itâs just in one space. Happy New Year, Colin Burstead is literally a contained film, thatâs right. What [the bigger budget] gave me was the chance to have a conversation where I say I want a hotel thatâs full of people and no-one says you canât have any people in it. You donât have to shoot in a corner, so that scale is suddenly allowed.
Elisabeth Moss and Tom Hiddlestone in Wheatleyâs âHigh-Riseâ (2015).
The other movies I did are seen as no-budget or, I donât even know the word for how little money they are, and even though High-Rise and Free Fire were eight million dollars each, theyâre still seen as ultra-low budget. This is the first film that Iâve done thatâs just a standard Hollywood-style movie budget and it makes a massive difference. It gives you extra time to work. All the schemes you might have had to work out in order to cheat and get around faster, but now itâs fine, letâs only shoot two pages today. We can go out on the road and close down all of the south of Franceâdonât worry about all the holidaymakers screaming at you and getting cross! That side of it is great.
You had the challenge to cast iconic actors for iconic roles. What were you looking for in the casting? What points of reference did you give the actors? I donât think we really talked about it, but [Armie Hammer] definitely didnât watch the Hitchcock version. I can understand why he wouldnât. There was no way he was going to accidentally mimic [Laurence] Olivierâs performance without seeing it and he just didnât want to have the pressure of that. I think thatâs quite right. Itâs an 80-year-old film, itâs a beloved classic, and weâd be mad if we were trying to remake it. Weâre not.
The thing about the shadow that the film cast is that itâs hard enough making stuff without thinking about other filmmakers. Iâve had this in the past where journalists ask me âwhat were your influences on the day?â and I wish I could say âit was a really complicated set of movies that the whole thing was based aroundâ, but itâs not like that. When you watch documentaries about filmmakers screening loads of movies for their actors before they make somethingâitâs lovely, but itâs not something Iâve ever done.
The actual process of filmmaking is guiding actors and capturing emotion on set. Thatâs enough of a job without putting another layer of postmodern film criticism over the top of itââweâll use this shot from 1952, that will really make this scene sing!ââthen youâre in a world of pain. Basically, itâs my interpretation of the adaptation. The book is its own place, and for something like High-Rise, [screenwriter Amy Jump] has the nightmare of sitting down with 112 pages of blank paper and taking a novel and smashing it into a script. Thatâs the hard bit.
Armie Hammer and Lily James in âRebeccaâ.
Current industry news is not so greatâcinemas are facing bankruptcy, film festivals in the USA are mostly virtual, Disney is focusing on Disney+ only. How do you feel about a future where streaming dominates the market and the theatrical experience becomes, as we fear, an exclusive niche? Independent cinema was born out of very few movies. If you look at the history of Eraserheadâthat film on its own almost created all of cult cinema programming. One movie can do that. It can create an audience that is replicated and becomes a whole industry. And that can happen again, but it needs those films to do that. They will come as things ebb and flow. The streamers will control the whole market and then one day someone will go âI donât want to watch this stuff, I want to watch something elseâ and theyâll go make it.
Itâs like The Matrix, itâs a repeating cycle. Thereâll always be âthe Oneâ. Thereâs Barbara Loden in 1970 making Wanda, basically inventing American independent cinema. So I donât worry massively about it. I know itâs awkward and awful for people to go bankrupt and the cinemas to close down, but in time theyâll re-open because people will wanna see stuff. The figures for cinemagoers were massive before Covid. Are you saying that people with money are not going to exploit that? Life will find a way. Remember that the cinema industry from the beginning is one thatâs in a tailspin. Every year is a disaster and theyâre going bust. But they survived the Spanish Flu, which is basically the same thing.
Two months ago, you quickly made a horror movie. Weâre going to get a lot of these from filmmakers who just need to create something this year. What can you identify now about this inevitable next wave of micro-budget, micro-schedule pandemic-era cinema? Iâve always made micro-budget films so that side of it is not so crazy. There will be a lot of Zoom and people-locked-in-houses films but they wonât be so interesting. Theyâre more to-keep-you-sane kind of filmmaking which is absolutely fine. Where you should look for [the âpandemic-eraâ films] is from the kids and young adults through 14 to 25 whoâve been the most affected by it. They will be the ones making the true movies about the pandemic which will be in like five yearsâ time.
People going through GCSEs and A-Levels [final high-school exams in England] will have had their social contracts thoroughly smashed by the government after society tells them that this is the most important thing youâre ever gonna do in your life. Then the next day the government tells them âactually, youâve all passedâ, then the next day they go âno, youâve all failedâ, and then âoh no, youâve all passedâ. Itâs totally bizarre. Anyone whoâs in university at the moment [is] thinking about how theyâve worked really hard to get to that position and now theyâve had it taken away from them. That type of schism in that group will make for a unique set of storytelling impetus. Much more interesting than from my perspective of being a middle-age bloke and having to stay in my house for a bit, which was alright. Their experience is extreme and that will change cinema.
Kristin Scott Thomas as Mrs Danvers in âRebeccaâ.
Itâs time to probe into your taste in film. Firstly, three questions about Alfred Hitchcock: his best film, most underrated film, and most overrated film? Itâs tricky, thereâs a lot to choose from. I think Psycho is his best film because, much like Wanda, it was the invention of indie cinema. He took a TV crew to go and do a personal project and then completely redefined horror, and he did it in the same year as Peeping Tom.
Thereâs stuff I really like in Torn Curtain. Certainly the murder scene where theyâre trying to stick the guy in the oven. Itâs a gut-wrenching sequence. Overrated, I donât know. Itâs just a bit mean, isnât it? Overrated by who? Theyâre all massively rated, arenât they?
Which film made you want to become a filmmaker? The slightly uncool version of my answer is the first fifteen minutes of Dr. No before I got sent to bed. We used to watch movies on the telly when I was a kid, so movies would start at 7pm and I had to go to bed at 7:30pm. You would get to see the first half-hour and that would be it. The opening was really intriguing. I never actually saw a lot of these movies until I was much older.
The more grown-up answer is a film like Taxi Driver. It was the first time where I felt like Iâd been transported in a way where there was an authorship to a film that I didnât understand. It had done something to me that television and straightforward movies hadnât done and made me feel very strange. It was something to do with the very, very intense mixture of sound, music and image and I started to understand that that was cinema.
What horror movie do you watch every Halloweâen? I watch The Thing every year but I donât tend to celebrate Halloweâen, to be honest. Iâm of an age where it wasnât a big deal and was never particularly celebrated. I find it a bit like âwhatâs all this Halloweâen about?ââhorror films for me are for all year-round.
Whatâs a brilliant mindfuck movie that perhaps even cinephiles havenât seen? What grade of cinephile are we talking? All of the work by Jan Ĺ vankmajer, maybe. Hard to Be a God is pretty mindfucky if you want a bit of that, but cinephiles should know about it. Itâs pretty intense. Marketa LazarovĂĄ too.
âMarketa LazarovĂĄâ (1967) directed by FrantiĹĄek VlĂĄÄil.
What is the greatest screen romance that you totally fell head over heels for? I guess itâs Casablanca for me. That would be it.
Which coming-of-age film did you connect to the most as a teenager? [Pauses for effect] Scum.
Who is an exciting newcomer director we should keep our eyes on? God, I donât know. I would say Jim Hosking but heâs older than me and heâs not a newcomer because heâs done two movies. So, thatâs rubbish. He doesnât count.
[Editorâs note: Hosking contributed to ABCs of Death 2 with the segment âG is for Grandadâ while Wheatley contributed to The ABCs of Death with the segment âU is for Unearthedâ and also executive produced the follow-up film.]
What was your best cinema experience? [Spoiler warning for The Thing.]
Oh, one that speaks in my mind is seeing The Thing at an all-nighter in the Scala at Kingâs Cross, and I was sitting right next to this drunk guy who was talking along to the screen. It was a packed cinema with about 300 people, and someone at the front told him âwill you just shut up?â The guy says âI wonât shut up. You tell me to shut up again and Iâll spoil the whole film!â The whole audience goes âno, no, no!â and he went âitâs the black guy and the guy with the beardâeveryone else dies!â That made me laugh so much.
Do you have a favorite film youâve watched so far this year? Yeah, Zombie Flesh Eaters.
Related content
Classic Gothic Literature to FilmâJennifer Boddaertâs list
Avaâs Dark Romance list
Ben Wheatleyâs Life in Film list
Follow Jack on Letterboxd
âRebeccaâ is in select US theaters on October 17, and streaming on Netflix everywhere on October 21.
#ben wheatley#rebecca#alfred hitchcock#gothic#gothic cinema#gothic film#gothic romance#thriller#psychological thriller#armie hammer#letterboxd#kristen scott thomas#kristin scott thomas#netflix#working title#the thing#free fire#high-rise#english cinema#director#directing#amy jump#lily james
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A Podcast Called FRED #80: Favourite Leonardo DiCaprio Films
A Podcast Called FRED #80: Favourite Leonardo DiCaprio Films
Kendall, Fulya, and Wayne deliver the latest in nerdy news and geeky goodness in the pop culture podcast that refuses to behaveâitâs A Podcast Called FRED!
 Nerdy News includes:
Hollywood legend Peter Fonda and Oscar-winning Roger Rabbit animator Richard Williams die;
Krypton cancelled;
Disney+ announces Love, Simon series as Netflix releases The Crown Season 3 teaser;
and so much more!
TrailerâŚ
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#A Podcast Called FRED#Angel of Mine#Catch Me If You Can#DC#Disney#Dolemite is My Name#Eddie Murphy#entertainment#films#Fulya Kantarmaci#Happy New Year Colin Burstead#Harry Styles#Hugh Jackman#Inception#Kendall Richardson#Krypton#Last Christmas#Leonardo DiCaprio#Little Women#Love Simon#Melbourne International Film Festival#Michael Cimino#MIFF#Mortal Kombat#Nerdy News#Netflix#Nick Robinson#Noah Hawley#Once Upon a Time in Hollywood#Peter Fonda
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Movie-logÂ
151. Happy New Year, Colin Burstead.
Ben Wheatley -- 2018 | UK | 7.5
#happy new year colin burstead#ben wheatley#movie log#2018#peter ferdinando#hayley squires#mark monero#english cinema
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Director Ben Wheatley heads to Exeter with Q&A tour of Happy New Year, Colin Burstead
Director Ben Wheatley heads to Exeter with Q&A tour of Happy New Year, Colin Burstead
Critically acclaimed film director Ben Wheatley will be hosting a Q&A and screening of his latest film at the Exeterâs Phoenixâs independent cinema. It will be the second time the director has appeared at Studio 74, after bringing his Q&A tour of Free Fire to the venue last year.
Not wanting to break with tradition Ben Wheatleyâs seventh feature film, Happy New Year, Colin Burstead, willâŚ
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