Back to the future

From new releases in the Bond and Batman series to follow-ups to Blade Runner and Beetlejuice. 

Sequels to a number of classic films, plus new instalments in long-running movie franchises are on the horizon. Here's our pick of the crop.

Sequels

Blade Runner 2

British director Ridley Scott will make a follow-up to his 1982 cult classic, Blade Runner, arguably one of the finest sci-fi films ever made. Inspired by Philip K Dick's novel Do Androids Dream of Electric Sheep?, the original film was set in a dystopian Los Angeles in 2019. Humans have genetically engineered "replicants" who take on the human form but were designed to serve exclusively as labourers and entertainers. "Replicants" are illegal on earth and "blade runners" like Deckard (Harrison Ford) are employed to root out and kill them. The film combines stunningly surreal imagery with an atmospheric soundtrack. As well as being an impressive thriller, the film explores what it means to be human.

Producers Broderick Johnson and Andrew Kosove say: "It would be a gross understatement to say that we are elated Ridley Scott will shepherd this iconic story into a new, exciting direction ... This is a once in a lifetime project for us." Kosove added that filming could begin in 2013 at the earliest, with the film not being in cinemas until at least 2014.

Last year Ridley Scott directed Robin Hood and next year sees the release of Prometheus, an adventure film set in outer space. 

Beetlejuice

The writing and producing pair David Katzenberg and Seth Grahame-Smith are working on a sequel to Tim Burton's 1988 horror-comedy Beetlejuice.. The original was about a couple of ghosts, Adam (Alec Baldwin) and Barbara Maitland (Geena Davis), who find that a family is moving into their new home. Their attempts to scare the family away fail because their eery ways become a money-making scheme. The ghost couple recruit Beetlejuice (Michael Keaton) to help, but soon find him hard to control.

In a recent interview with Entertainment Weekly Katzenberg and Grahame-Smith said that the film will not be a remake and will advance the plot of the original:

When Warner Bros. came to us about it, we said the only way we'd do it if we got Tim [Burton's] blessing and involvement, and we got that, and the star of the movie has to be Michael Keaton as Beetlejuice, and it's a true continuation 26 years later. Not just throwing him in as a cameo going, "Hey, it's me. I endorse this movie." We're not there yet [with Keaton] because we don't have a film to present to him.

Last year Keaton was the voice of Ken in the critically-acclaimed Toy Story 3 and played Captain Gene Mauch in Adam McKay's The Other Guys.

Tintin 2

The first person to direct three major films simultaneously, the Lord of the Rings trilogy, Peter Jackson will direct Tintin 2 after The Hobbit. Anthony Horowitz, author of the popular Alex Rider spy novels series was hired last year as the writer for the project. Horowitz's script is likely to be based on an amalgamation of two adventures: Prisoners of the Sun and The Seven Crystal Balls and might be called The Adventures of Tintin: Prisoners of the Sun

The first film in the Tintin series is released this December, directed by Stephen Spielberg and produced by Jackson. The details of the third instalment are to be confirmed.

New instalments

Bond 23 "Skyfall"  

Following on from Quantum of Solace, shooting has begun for the the 23rd Bond film, Skyfall, which will be released in October 2012. Revelations about M's (Judi Dench) past test Bond's loyalty to her, and he must also protect MI6 from attack. The new Bond girl is Sévérine played by Bérénice Marlohe, a French television actor. The film's budget is rumoured to be £125m.

Director Sam Mendes talked about Skyfall at its launch in London: "I'm incredibly excited to be doing it and it has, I think, all the elements of a classic Bond movie including, to quell rumours, a lot of action and many other things too." he added that the action would "co-exist with the drama ... That's the balancing act to strike."

The Dark Knight Rises

Christian Bale is back as Batman in Christopher Nolan's last film in the series. Set for release on 20 July 2012, the film is currently in its post-production stage.The cast includes Anne Hathaway as Catwoman, Tom Hardy as the villanous Bane, Gary Oldman, Morgan Freeman, Michael Caine and Joseph Gordon-Levitt.

From TV to film: Arrested Development

Five years since it was on television screens, the Emmy-award winning American sitcom Arrested Development will now become a film. Earlier this year, Arrested Development's creator Mitchell Hurwitz told Digital Spy that he was starting work on a feature film adaptation with co-writer Jim Valley. The film will follow the shooting of the long-awaited fourth season of the sitcom next summer. The film does not have a release date yet, although Hurwitz has said that its creative side is mostly already planned out.

Arrested Development focuses on the life of the formerly rich and dysfunctional Bluth family. The cast includes Jessica Walter, Jason Bateman, Portia de Rossi and Michael Cera. Although the sitcom never achieved especially high ratings, it attracted a strongly devoted fanbase. The sitcom is so funny that the viewer hardly has time to laugh at all of the jokes and its return is very welcome.

David Brent: Life on the Road
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Ricky Gervais thinks his latest brand of David Brent comedy is subversive and clever. It’s not

Unlike The OfficeDavid Brent: Life on the Road is lazy, cheap, dated, and appeals to the lowest human impulses.

I love The Office. This is not a controversial statement. Who doesn’t love The Office? Just this morning, the series came second in a BBC poll of the greatest British comedies of the century. I loved The Office so much as a teenager that I watched every episode so many times I knew them by heart. I even knew parts of the DVD special features by heart. Still, now, if I want to cry with laughter I’ll watch Martin Freeman cracking up in bloopers. If I just want to cry I’ll watch the Christmas special.

It’s the toughest possible act to follow. Ricky Gervais has had to state over and over again that it would be crazy to try and recreate it at this point, and that the David Brent-starring works that have followed the series are not meant to be The Office. Still, the latest instalment, Gervais’s film David Brent: Life on the Road, begins in a (new) office, with the same mock-doc format as the television series. We see Brent making bad taste jokes with colleagues, telling the camera about his love for entertaining, embarrassing himself regularly. This is where the similarities end.

Perhaps deliberately, Life on the Road rejects every structural feature of The Office that made it such a celebrated programme. The Office stuck pretty rigidly to the documentary format, and used the constraints that format placed on the drama to its advantage (with scenes glimpsed through plastic blinds, or filmed from slightly too far away, feeding into the observational nature of the show). Life on the Road never bothers to commit either way, with cinematic shots and documentary style film-making meeting awkwardly in the middle alongside talking heads that would feel more at home in an overly earnest toothbrush advert than a tour doc.

The Office team knew that the best way to deepen our empathy with their characters was to hint at their emotions without ever fully giving them away. The most excruciating feelings in the show remained out of shot and unsaid, with glances across rooms (or the lack of them) becoming as dramatic as a high-octane argument in the rain. The romantic climax between Tim and Dawn in the second season comes when they disappear into a meeting room and take their microphones off – the audience never gets the satisfaction of hearing an explicit conversation about how they feel about each other.

Life on the Road takes the opposite tack – at every turn its characters tell the camera exactly how they feel, or how Brent feels, in detail. A receptionist we barely see interact with him at all wells up as she feels Brent is “bullied”, another female colleague notes that she can see the sadness behind his smiles, and Brent’s band repeatedly explain why he behaves in certain ways (He’s bad around women because he’s insecure! This man is strange because he’s desperate to be liked!) when they really don’t need explaining. It’s the ultimate example of telling instead of showing.

All the drama of the film unfolds this way. There is no real narrative arc to the story (the plot can be summed up as Brent goes on tour, it’s not that great, and he comes home), so instead, it uses talking heads to tell the audience how they should feel. Brent’s backing band are in effect a voice for the audience – they say how cringeworthy Brent is after he does something cringeworthy, they express pity for him in his more tragic moments.

“I didn’t quite know whether to laugh or cry,” one says to camera after Brent injures an audience member at a gig. “There’s been quite a few moments like that.” It’s a line that feels like it could have been written for the trailer – clearly, this is where the makers of this film position their ideal audience.

Of course, there comes a point where this film wants you to have more empathy for Brent. When this time comes, the script doesn’t bother to show any change in behaviour from him, or show him in a more redeeming light. Instead, it shrugs off the issue by getting a few band members and work colleagues to say that actually, they find him quite funny, and that really, he’s not so bad, he just wants to make people laugh.

As Brent reaches the end of his tour, he begins to feel that it’s all been a bit anti-climactic. (So, too, does the audience.) Already in debt, he wants to waste even more money on a snow machine, to provide his tour with “a magic moment”, but is persuaded against it. “I just wanted a magic moment,” he repeats to camera, just so we all get what is coming. In the very next scene, while on stage, he is surprised by falling snow – a bandmate has bought a snow machine for him, and thus the film’s magic moment arrives. But in actuality, it feels limp. You can’t create “a magic moment” by simply telling your audience that it is one. The Office would never speak in such cloying terms in the first place.

All these problems pale in comparison to the issue of Brent himself. The Office realised that the beating heart of the show was not David Brent, but the other office members and their relationships (basically, Tim and Dawn), Life on the Road doesn’t make even a half-hearted effort to engage with any peripheral characters, instead choosing Brent as its emotional centre. Trying to encourage an audience to empathise with such a dislikeable character is tricky territory, but not impossible to navigate. But Life on the Road barely even tries.

In The Office, Brent is a pretty horrible character offered occasional, heartfelt moments of redemption – when he stands up to a sexist, bullying colleague, or challenges his own patronising and cruel approach to dating after he meets a nice woman. In Life on the Road, Brent is self-absorbed, mean, sexist, racist, homophobic, ableist, delusional and exploitative. There is nothing, except the tragedy of his life, that even begins to counterbalance that.

Let’s start with the sexism. Life on the Road has a few female characters who fall largely in to one of three categories: women who we like and see as good because they put up with all of Brent’s shit, and even like him for it, because he’s “funny”; women who don’t like him at all and are therefore condemned as sullen bitches with no sense of humour (men who don’t like Brent, in contrast, are allowed to exist on a spectrum of sensible to awful, heartless cunts); and fat women. And fat women, of course, have no worth, outside of their capacity to be a punchline. Brent’s only response to fat women is to shake his head in disbelief: he does it about a fat woman he accidentally shoots with a tshirt gun, a fat woman he tells us he used to date, and a fat woman he invites into his hotel room.

It’s easy here to claim, in Gervais’s defence, that the joke is actually about Brent’s own sexism, but when the punchline of a scene repeatedly involves zooming in on a fat woman as she eats chocolates and crisps (and focusing in on the wrappers again the next morning), it feels less and less defensible. The portrayal of women as either personality-less voids that take on the burden of Brent’s sexism by constantly making excuses for him, or as tight-lipped, po-faced and joyless (as a woman who doesn’t “get” the point of Brent in his current form, I’m confident that Gervais would see me as one of these), shifts the blame away from Brent and onto the women around him, perpetuating the idea that offence is simply taken, not a product of offensive acts.

Racism functions in a similar way. Brent uses the black people around him as props by which he can demonstrate his own progressiveness – bringing his friend Dom (Doc Brown) to work to “prove” that he is not politically incorrect after he is disciplined for a racist impression of an Asian stereotype (a Chinese man called Ho-Lee Fuk, a character my cinema screening found pretty funny). While Dom is one of the most developed characters (which isn’t saying much) in this film, it sometimes feels as though Gervais is doing the same thing – when Dom excuses Brent for his use of the n-word, the audience is invited to as well, which feels uncomfortable to me.

So, too, does ableism. In what I found to be the most egregiously offensive scene in the film, Brent sings a song called “Please Don’t Make Fun of the Disableds”. The song’s lyrics include references to those “mental in the head or mental in the legs”, “the ones with feeble minds”, “the awkward”, and reminds the listener to “understand you might have to feed the worst ones through a straw: it’s basically a head on a pillow”. Rarely do we hear disabled people dehumanised quite so violently as this. If the joke here is how deeply offensive Brent’s behaviours are, why is he never condemned for his actions? (All that happens at the end of this song are a few pained expressions from bandmates, and an awkward raised pint of semi-thanks from a wheelchair user in the audience.)

No, the joke here is simply the shock of the language, and when you say that shock is funny for shock’s sake, regardless of who you target, you encourage the grimmest forms of oppressive humour. Sadly, the belief that people with severe disabilities are essentially subhuman is far too common to be handled flippantly on screen – never mind perpetuated and left uncriticised. The bad taste of the whole thing rancours even further when you remember Gervais has a history of using ableist language casually. It’s not edgy. It’s lazy, cheap, dated, and appeals to the lowest human impulses.

We also see Brent being occasionally homophobic, and generally inconsiderate towards all those around him. He’s a bad friend, buying people’s time rather than stopping and thinking about how his behaviours make people unhappy to be around him. When Dom, who has consistently and inexplicably supported Brent, starts to become successful, he offers him none of the same kindness and rejects him. He expects endless generosity from his fellow man, but sees no reason why anyone should receive the same from him.

Despite all his stunning flaws, we are meant to love him. “I don’t think there’s any real racism on David’s part,” a band member tells us. “He just doesn’t quite get it.” Clearly, we are meant to agree. On The One Show, Gervais confirmed that he does not see David Brent as genuinely bigoted.

“He’s accidentally offensive. He tries to please everyone, he’s trying to say the right thing, and because he’s not sure . . . It’s about that white, middle-class angst where he knows about political correctness and he doesn’t want to put his foot in it. And he’s not racist, and he’s not homophobic, and he’s not sexist, but he panics, and he digs himself into a hole.”

Let’s be clear, David Brent is all of those things. Life on the Road is not an interrogation of white, middle-class anxiety. It’s a portrayal of a racist, ableist, sexist person who we are encouraged to forgive because he has “good intentions”. I know a saying about good intentions.

When confronted about homophobic impressions, Brent responds, “I never actually specify whether he is a homosexual or not, so that’s in your mind.” Like Dapper Laughs, defences of Brent rest on the idea that if you find him offensive, the joke’s on you – that Brent as a character is actually mocking the Brents of real life. But in Life on the Road, it’s too unclear where the joke truly lies, and Brent is simply let off too easy. Personally, I wish I’d stuck to re-watching The Office.

Anna Leszkiewicz is a pop culture writer at the New Statesman.