Rob Zombie's "Halloween" Fueled by Brutal Violence

TRASH IN MY EYE No. 8 (of 2009) by Leroy Douresseaux


Halloween (2007)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for strong brutal bloody violence and terror throughout, sexual content, graphic nudity, and language
DIRECTOR: Rob Zombie
WRITER: Rob Zombie (based upon the movie written by John Carpenter and Debra Hill)
PRODUCERS: Malek Akkad, Andy Gould, Rob Zombie, and Andy La Marca
CINEMATOGRAPHER: Phil Parmet (D.o.P.)
EDITOR: Glenn Garland

HORROR

Starring: Malcolm McDowell, Scout Taylor-Compton, Brad Dourif, Daeg Faerch, Sheri Moon Zombie, William Forsythe, Hanna Hall, Ken Foree, Lew Temple, Danny Trejo, Danielle Harris, Kristina Klebe, Pat Skipper, Dee Wallace, and Tyler Mane

In 2007, musician turned movie director Rob Zombie already had two brutal horror films to his credit, House of 1000 Corpses and its sequel, The Devil Rejects, when he unleashed Halloween, a remake and re-imagining of director John Carpenter’s 1978 classic horror film of the same name. Zombie’s film followed the now familiar storyline, but went into the past to reveal some origins.

It’s Halloween, and 10-year-old Michael Myers (Daeg Faerch) goes on a murderous rampage in the quiet town of Haddonfield, Illinois. He spends the next 17 years in the Smith’s Grove Sanitarium under the care of noted child behaviorist, Dr. Samuel Loomis (Malcolm McDowell). Loomis seems to be the only person who can truly understand the evil of Michael’s nature.

After 17 years, the adult Michael Myers (Tyler Mane) escapes from the mental facility on the day of Halloween and begins a bloody trek back to Haddonfield. He stalks a high school girl, Laurie Strode (Scout Taylor-Compton), and her friends, Annie (Danielle Harris) and Lynda (Kristina Klebe). When Dr. Loomis hears about Michael’s escape, he races to Haddonfield and joins Sheriff Brackett (Brad Dourif) to find Michael and to put an end to Michael’s reign of terror. There, Loomis discovers that Myers and Laurie Strode have ties to a similar past.

Rob Zombie’s Halloween is a prequel, a re-imagining, a reinvention, and a remake of the original film. This new film is partly a prequel because Zombie, as both writer and director, chose to begin the story earlier in Michael Myer’s life than the writers of the original movie, John Carpenter and the late Debra Hill, did. That the story begins before the scene in which Michael puts on the mask and kills his sister, which is where the first film began. Zombie’s film begins Halloween morning, at the breakfast table of a highly dysfunctional “white trash” family. The audience sees Myers the “perfect storm” as Dr. Loomis calls it: Myers’ destructive home environment and his murderous tendencies.

Zombie re-imagines the film in the way he presents Michael Myers. Michael is not something of supernatural force, as the first film suggest, but he is simply a human monster – a psychopath. In the original film and its sequels (in which John Carpenter was involved to some extent) Carpenter suggested that Michael Myer’s evil was in some way a reflection of the darkness that existed at the heart of small towns like Haddonfield. Zombie provides no such social context or metaphor. Myers is simply a bad-ass, evil killer dude.

The film is a re-invention of sorts because it presents the violent slasher film as sort of a reality show in which all the gushing fluids of violent murder must be on display before the voyeuristic audience. In the original Halloween, Carpenter showed no blood, although Myers’ attacks on his victims were quite violent. In Zombie’s hands, the attacks are rude and crude – exercises in blood and mayhem and in bloody mayhem.

This film remains a respectful remake. Scenes, sequences, and even certain shots are repeated from the original or are only slightly altered. Halloween 2007 can stand on its own. The acting wasn’t great, but Zombie chose a nice mixture of character actors for the major parts and some famous faces and somewhat cult figures to fill in the bit parts and cameos, and that works out well.

Towards the end, the film seems out of control, both in terms of Zombie’s usual excesses and the fact that the ending seems padded. Still, Halloween is a scary movie, a celebration of raw violent horror, and true to Zombie’s rebel spirit. It is scandalous and disrespectful of those “our values” about which so-called conservatives like to preach. It’s funny and scary – a black comedy and horror movie that is stained dark with a lot of blood.

6 of 10
B

Wednesday, August 26, 2009

Review: John Carpenter's "Halloween" is a Great Horror Movie and Great Film

TRASH IN MY EYE No. 112 (of 2006) by Leroy Douresseaux

Halloween (1978)
Running time: 91 minutes (1 hour, 31 minutes)
DIRECTOR: John Carpenter
WRITERS: Debra Hill and John Carpenter
PRODUCER: Debra Hill
CINEMATOGRAPHER: Dean Cundey
EDITORS: Tommy Lee Wallace and Charles Bornstein

HORROR/THRILLER

Starring: Jamie Lee Curtis, Donald Pleasence, Nancy Loomis, P.J. Soles, Charles Cyphers, Kyle Richards, Brian Andrews, and Nick Castle

On Halloween night 1963 in Haddonfield, Illinois, six-year old Michael Myers stabbed his sister to death. Fifteen years later, Michael escapes from a mental institution in Smith’s Grove, IL, and he heads back to Haddonfield with his psychiatrist, Dr. Sam Loomis (Donald Pleasence), hot on the trail. Halloween night 1978, Michael is about to go on a bloody rampage, and high school student and babysitter Laurie Strode (Jamie Lee Curtis) and her friends are his targets.

John Carpenter’s Halloween, more than any other film, was responsible for the 1980’s slasher movie genre. Lunatic/spree killer Michael Myers would influence the horror movies psychos that would wield knives, axes, and assorted sharp and blunt instruments to kill their teenage and 20-something victims in such films as Friday the 13th and Prom Night, especially the characters that had sex sometime during the course of the movie.

Although slasher films are a particularly bloody movie genre, Halloween is relatively free of blood and gore. There are only four onscreen murders (one off screen), and one of those happens at the beginning of the film to establish Michael’s legend. Carpenter spends most of the films first 50 minutes or so establishing mood and atmosphere. Once night falls, Carpenter allows only minimal lighting, so that most of the violence occurs in near total night darkness, which only adds to the creepiness and heightens the scares.

Carpenter also scored the film, and his “Halloween theme” is one of the most famous scary pieces of movie music. The other element that helped Carpenter create such a great horror flick is actress Jamie Lee Curtis, whose appearances in scary movies in the late 70’s and early 80’s made her the quintessential scream queen. Here, she personifies suburban innocence and all-American teen beauty – a flower ready to be plucked – which makes her the perfect victim for a knife-wielding maniac.

9 of 10
A+

"Paranormal Activity 3" a Spine-Tingler for Real

TRASH IN MY EYE No. 88 (of 2011) by Leroy Douresseaux


Paranormal Activity 3 (2011)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – R for some violence, language, brief sexuality and drug use
DIRECTORS: Henry Joost and Ariel Schulman
WRITER: Christopher B. Landon (based on film created by Oren Peli)
PRODUCERS: Jason Blum, Oren Peli, and Steven Schneider
CINEMATOGRAPHER: Magdalena Gorka Bonacorso
EDITOR: Gregory Plotkin

HORROR

Starring: Christopher Nicholas Smith, Lauren Bittner, Jessica Tyler Brown, Chloe Csengery, Dustin Ingram, Hallie Foote, Johanna Braddy, Katie Featherston, and Sprague Grayden

Paranormal Activity 3 is a 2011 supernatural horror film, and it is also a prequel to the earlier films, Paranormal Activity (2009) and Paranormal Activity 2 (2010). Paranormal Activity 3 is set 18 years before the events depicted in the first two films and focuses on the two sisters at the heart of the series when they were children.

The main story opens in late summer of 1988 at the birthday party of Katie (Chloe Csengery), during which her younger sister, Kristi (Jessica Tyler Brown), can be seen in the background talking to empty space. The girls live with their mother, Julie (Lauren Bittner), and her boyfriend, Dennis (Christopher Nicholas Smith).

Dennis notices that strange things have begun to happen in the house ever since Kristi began interacting with an imaginary (or invisible) friend whose name she says is Toby. Dennis sets up cameras around the house to record these strange events. Through his investigations, Dennis discovers a strange symbol drawn on a wall in the house, which leads to an even more shocking discovery. As Dennis tries to learn more, the paranormal activity increases both in number and in intensity.

I compared the first two Paranormal Activity films to The Blair Witch Project, and the final act of this film has striking similarities to the end of the original Blair Witch film, which is a good thing in this instance. I really like Paranormal Activity 3 because it is genuinely scary. Several times, I hugged myself tightly in an anticipation of the next bump in the night or shadowy figure standing in the background. This movie delivers the chills. I was still thinking about it the morning after seeing it.

Still, it feels as if something is missing from Paranormal Activity 3. It’s as if there is a glitch in the storyline that runs through this film series and through the backstory that is the series’ spine. I won’t let that bother me. This movie is a real Halloween, scary movie thriller. Perhaps, it is because the entity seems angrier this time and because it threatens small children so much in this film. Whatever the reason, Paranormal Activity 3 is the real deal, and I’m looking forward to the next film.

7 of 10
A-

Sunday, October 30, 2011

Review: Will "I Am Legend" Smith - The Film Rests on His Shoulders

TRASH IN MY EYE No. 143 (of 2007) by Leroy Douresseaux

I Am Legend (2007)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for intense sequences of sci-fi action and violence
DIRECTOR: Francis Lawrence
WRITERS: Mark Protosevich and Akiva Goldsman (based upon the 1971 screenplay by Joyce Hooper Corrington and John William Corrington and based upon the novel by Richard Matheson)
PRODUCERS: Akiva Goldsman, David Heyman, James Lassiter, Neal H. Moritz, and Erwin Stoff
CINEMATOGRAPHER: Andrew Lesnie
EDITOR: Wayne Wahrman
Image Awards nominee

SCI-FI/DRAMA/HORROR/THRILLER

Starring: Will Smith, Alice Braga, Charlie Tahan, Salli Richardson, and Willow Smith

I Am Legend is the third film adaptation of Richard Matheson’s 1954 novel, I Am Legend, following the 1961 film, The Last Man on Earth (starring Vincent Price), and the 1971 film, The Omega Man (starring Charlton Heston). The book also apparently influenced George Romero’s Night of the Living Dead.

Robert Neville (Will Smith) is the last human survivor in what is left of New York City, and perhaps the last man on earth, after a manmade virus – unstoppable and incurable – ravages humanity. Neville, however, is not quite alone. He shares the city with “the Infected,” victims of the plague who were mutated into monstrously fast and powerful carnivorous beings, who can only exist in the dark (and look like the belong in a video game).

For three years, Neville, who is also a brilliant scientist and military virologist, has scavenged for food and supplies. He also sends radio messages hoping to find other human survivors – his only companion a faithful dog named Sam. Immune to the virus, he also continues to search for a cure to the virus, a way to reverse the effects to the virus. Meanwhile, the Infected are watching him, waiting for him to make a fatal mistake, and Neville knows that he is outnumbered and running out of time.

There’s something missing in I Am Legend, and I can’t quite put my finger on it. I know what it does have in its favor – Will Smith, and that’s enough to carry the incomplete things and wash over the bad things. Neville played by Smith seems a powerful force in the lonely canyons and abandoned edifices of New York City – alone because man finally brought about Armageddon all on his own. It was the end of everything, and Satan didn’t have to break a sweat to bring it about, but here is the stubborn Smith-Neville, single-minded in his pursuit to survive and find a way to make hungry monsters human again. That makes him something like a persistent weed or an oblivious roach, or maybe he’s too clueless to remember that quite a bit of humanity was already trading in monstrosity before the virus wiped them out. This complexity of character and the ambivalence and stubbornness Smith gives Neville is what marks Will Smith as a great movie star and exceptional actor. His excellence is both in the process and in how he executes his preparation into fashioning engaging, riveting, mesmerizing characters.

Smith is glorious in a film that traffics in the mundane and sometimes makes intractable boredom the narrative, and what’s amazing is that he does it by playing a character that, while he may earn our sympathy, is largely unattractive. Neville is either slowly going crazy because he is lonely or has already been driven bonkers because he’s so desperate for human contact. He can’t be friends with the Infected who only want to eat him (although one could get the idea that he’d like to be friends). Smith presents Neville as someone, who because of his current state of affairs, should be avoided.

I Am Legend is well-served by the lovely German shepherd, Sam. In a world that has died, a dog is hope, love, friendship, and loyalty on four legs. Director Francis Lawrence, fortunate that Warner Bros. Pictures gave him another chance after Constantine, makes the best of this wonderful dog. Lawrence is also lucky for Smith’s masterful, rich performance and for the incredible CGI work that went into creating an empty NYC. That’s why “the whatever” that’s missing in I Am Legend seems like such a small thing, so Lawrence helms a film that is almost a great sci-fi movie, but is still a really good one.

7 of 10
A-

Sunday, December 16, 2007

NOTES:
2008 Image Awards: 2 nominations: “Outstanding Actor in a Motion Picture” (Will Smith) and “Outstanding Motion Picture”

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Vincent Price Carries "The Last Man on Earth"

TRASH IN MY EYE No. 87 (of 2006) by Leroy Douresseaux


The Last Man on Earth (1964) – B&W
Running time: 86 minutes (1 hour, 26 minutes)
DIRECTORS: Ubaldo Ragona and Sidney Salkow
WRITERS: William Liecester, Furio M. Monetti, Ubaldo Ragona, and Logan Swanson (Richard Matheson); (based upon the novel I Am Legend by Richard Matheson)
PRODUCER: Robert L. Lippert
CINEMATOGRAPHER: Franco Delli Colli
EDITORS: Gene Ruggiero and Franca Silvi

HORROR/SCI-FI/DRAMA

Starring: Vincent Price, Franca Bettoia, Emma Danieli, and Giacomo Rossi-Stuart

A worldwide plague (or pandemic) seemingly kills all of humanity, but it also causes the dead to arise and return as shambling, simple-minded, vampire-like creatures who want blood. Dr. Robert Morgan (Vincent Price) is apparently the only human unaffected – the last man on earth. Every night a group of these “living dead” attack Morgan’s house, calling his name, and demanding his life. What makes it worse is that one of the creatures was Morgan’s best friend, Ben Cortman (Giacomo Rossi-Stuart). Eventually, Morgan encounters a young woman named Ruth Collins (Franca Bettoia), whom Morgan at first assumes to be another surviving human. However, there is more to Ruth than meets the eye, and it may mean there are others like her – others who want Morgan dead.

The Last Man on Earth was the first film adaptation of one of the most famous vampire novels of 20th century, Richard Matheson’s I Am Legend. Stephen King claims that the book was a huge influence on him, and both Matheson’s book and this 1964 adaptation influenced George A. Romero’s seminal zombie film, Night of the Living Dead. This adaptation is a somber and occasionally creepy, if not chilling, film about loneliness and what it truly means to be “the only one.” Price ably carries the film practically by himself, as every other character only has a small part. The surreal black and white photography and the carefully designed sets give this film a forlorn mood. However, the locations, which feature abandoned cars, debris, and bodies scattered about the streets make this a depressing and haunting, but engaging apocalyptic film.

7 of 10
B+

Saturday, April 22, 2006

Review: Great Performances "Walk the Line" (Happy B'day, Joaquin Phoenix)

TRASH IN MY EYE No. 177 (of 2005) by Leroy Douresseaux

Walk the Line (2005)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – PG-13 for some language, thematic material, and depiction of drug dependency
DIRECTOR: James Mangold
WRITERS: Gill Dennis and James Mangold (based upon the books The Man in Black by Johnny Cash and Cash: An Autobiography by Johnny Cash and Patrick Carr)
PRODUCERS: James Keach and Cathy Konrad
CINEMATOGRAPHER: Phedon Papamichael
EDITOR: Michael McCusker

DRAMA/BIOGRAPHY/MUSIC-SONGS with elements of romance

Starring: Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick, Dallas Roberts, Dan John Miller, Larry Bagby, Shelby Lynne, Tyler Hilton, Waylon Malloy Payne, Shooter Jennings, Sandra Ellis Lafferty, and Dan Beene

Walk the Line, the Johnny Cash biopic, chronicles Cash’s beginnings as the son of Ray Cash, (Robert Patrick), a poor Arkansas cotton farmer, his rise to fame with Sun Records in Memphis, and his early status as a rock and country music star with Columbia Records. Along the way, Johnny Cash (Joaquin Phoenix) battles an addiction to pills, struggles with his first marriage to Vivian Cash (Ginnifer Goodwin), and meets the true love of his life and his soul mate, June Carter (Reese Witherspoon), a singer Cash admired when he was a poor Arkansas boy and she was a child star singer on the country music circuit of the 1940’s.

Joaquin Phoenix as Johnny Cash is the primary reason Walk the Line succeeds. He plays Cash with equal parts mad abandon and quiet intensity. His Cash is one moment a wild man and the next moment a vulnerable soul desiring an intimate connection with June Carter or perhaps seeking reconciliation with the past. A film biography usually can’t give us the interior substance of the man a book could. However, a film biography can give us some kind of emotional and visual approximation of Cash. That’s what Joaquin does in Walk the Line.

Sadly, the film’s (almost) fatal flaw is the script because it’s shallow. The writers, Gill Dennis and director James Mangold, rely on several elements to give the film its emotional impact. One of them is Cash’s drug use, but the film takes a very surface look at it. Cash uses drugs; he becomes addicted, acts like an ass to his friends and family, and breaks things. That entire sub-plot comes across as what it is – old hat. It’s more annoying than interesting.

Two other important sub-plots are Johnny’s relationship with his father, Ray, and his wife Vivian. Robert Patrick gives a good performance as Ray Cash, but Mangold and Dennis mishandle the relationship (or misunderstood it while doing research for the film). It’s a clunky bit of writing that usually has a strung-out Cash staring oh-so-intensely staring at Papa Cash while Ray simply acts like a mean sumbitch. The film doesn’t need the father-son dynamic to be touchy-feely, but that relationship has no heart, is paper-thin, and the resolution is tacked on for a feel-good ending.

Vivian Cash, expertly played by the stunningly gorgeous Ginnifer Goodwin, gets the same dismissal. Mangold and Dennis once again rely on an old film stereotype, one especially big in biopics – that of the shrewish wife. Vivian is more whiny than happy, and the marriage is more or less played as being misbegotten from the get-go. That’s inaccurate (certainly by the accounts of Cash’s four children by Vivian), and if the filmmakers intended to play the marital strife for dramatic effect, they failed, instead ruining a good character.

The biggest waste in Walk the Line is Reese Witherspoon’s June Carter. As written here, the part isn’t a co-lead; it’s a glorified supporting role. Ms. Witherspoon and Phoenix certainly have some serious screen chemistry. They butt heads, stare deeply at one another, and bicker like siblings – or like longtime lovers. Ultimately, however, the story plays June Carter as being only important because she is something Johnny has to have. Of course, this isn’t really June’s story, but it’s obvious to anyone who sees Walk the Line how important June was to Johnny, though we only get a tantalizing piece here and there.

In Ray, the Ray Charles biopic, actor playing important supporting characters get at least one scene to define his characters both as an individual and as a larger part of the narrative. Walk the Line doesn’t allow this except for June Carter’s part. We also get very little of Johnny Cash’s backup band and or of his industry collaborators and acquaintances. Ray also gave the viewer numerous looks at Ray Charles’ creative process of songwriting, performing, and producing. Other than the concert scenes, Walk the Line gives us very little of Johnny Cash’s creative process.

Still, I found myself getting emotional during much of Walk the Line. There are some powerfully emotional scenes here (for instance, when Johnny first performs for Sam Phillips, founder of Sun Records). Add such magical moments to Joaquin Phoenix and, to a lesser degree, Reese Witherspoon’s performances, and Walk the Line is a special biographical movie.

7 of 10
B+

Monday, November 28, 2005

NOTES:
2006 Academy Awards: 1 win: “Best Performance by an Actress in a Leading Role” (Reese Witherspoon); 4 nominations: “Best Achievement in Costume Design” (Arianne Phillips), “Best Achievement in Film Editing” (Michael McCusker), and “Best Achievement in Sound Mixing” (Paul Massey, Doug Hemphill, Peter F. Kurland), and “Best Performance by an Actor in a Leading Role” (Joaquin Phoenix)

2006 BAFTA Awards: 2 wins: “Best Performance by an Actress in a Leading Role” (Reese Witherspoon) and “Best Sound” (Paul Massey, Doug Hemphill, Peter F. Kurland, and Donald Sylvester); 2 nominations: “Anthony Asquith Award for Film Music” (T-Bone Burnett) and “Best Performance by an Actor in a Leading Role” (Joaquin Phoenix)

2006 Golden Globes: 3 wins: “Best Motion Picture - Musical or Comedy” (Cathy Konrad and James Keach), “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Joaquin Phoenix), and “Best Performance by an Actress in a Motion Picture - Musical or Comedy” (Reese Witherspoon)

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"We Need to Talk About Kevin" Wins 2011 BFI Best Film Award

BFI LONDON FILM FESTIVAL ANNOUNCES 2011 AWARD WINNERS

London – 10.30pm, 26 October 2011: The 55th BFI London Film Festival, in partnership with American Express announced the winners at its high profile awards ceremony, supported by Montblanc at London’s LSO St Luke’s this evening. Hosted by Marcus Brigstocke, the four awards were presented by some of the most respected figures in the film world.

BEST FILM: WE NEED TO TALK ABOUT KEVIN, directed by Lynne Ramsay
Celebrating the most original, intelligent and distinctive filmmaking in the Festival, the Best Film award, presented in partnership with American Express, was chaired by John Madden who presented the award with fellow judge Gillian Anderson.

On behalf of the jury John Madden (Chair) said: “This year’s shortlist for Best Film comprises work that is outstanding in terms of its originality and its stylistic reach. It is an international group, one united by a common sense of unflinching human enquiry and we were struck by the sheer panache displayed by these great storytellers. In the end, we were simply bowled over by one film, a sublime, uncompromising tale of the torment that can stand in the place of love. We Need to Talk About Kevin is made with the kind of singular vision that links great directors across all the traditions of cinema.”

BEST BRITISH NEWCOMER: Candese Reid, actress, Junkhearts
This award is presented in partnership with Swarovski and honours new and emerging film talent, recognising the achievements of a new writer, producer, director, actor or actress. The award for Best British Newcomer was presented by Edgar Wright and Minnie Driver to Candese Reid, for her acting role in Junkhearts, a sophisticated, social drama about hope and the search for redemption. Starting acting at the age of nine, she joined Nottingham’s prestigious Television Workshop, and her role in Junkhearts, at the age of 18, was her first professional acting role. Candese also received a bursary of £5,000 courtesy of Swarovski

Chair of the Best British Newcomer jury, Andy Harries said, “Candese is a fresh, brilliant and exciting new talent. Every moment she was on screen was compelling.”

SUTHERLAND AWARD WINNER: Pablo Giorgelli, director of LAS ACACIAS
The long-standing Sutherland Award is presented to the director of the most original and imaginative feature debut in the Festival. This year, Argentinian director Pablo Giorgelli took the award for his film Las Acacias, a slow-burning, uplifting and enchanting story of a truck driver and his passengers. The director received his Star of London from film director Terry Gilliam.

The jury commented: “In a lively and thoughtful jury room debate, Las Acacias emerged as a worthy winner, largely because of the originality of its conception. Finely judged performances and a palpable sympathy for his characters makes this a hugely impressive debut for director Pablo Giorgelli.”

GRIERSON AWARD FOR BEST DOCUMENTARY: INTO THE ABYSS: A Tale of Death, A Tale of Life directed by Werner Herzog
The award is co-presented with the Grierson Trust, in commemoration of John Grierson, the grandfather of British documentary. Recognising outstanding feature length documentaries of integrity, originality, technical excellence or cultural significance, the jury was chaired by Adam Curtis and the award went to Werner Herzog’s coruscating study of the senselessness of violence and its consequences.

BFI FELLOWSHIP: Ralph Fiennes and David Cronenberg (as previously announced)
Awarded to an individual whose body of work has made an outstanding contribution to film culture, the Fellowship is the highest accolade that the British Film Institute bestows and was awarded to Canadian auteur David Cronenberg whose film A Dangerous Method premiered at the Festival on Monday. The Fellowship was presented by Jeremy Thomas and Michael Fassbender.

Ralph Fiennes, one of Britain’s pre-eminent actors, who has just made a bold and critically well received transition to film directing with his festival film Coriolanus, was also presented with a Fellowship, this time from fellow actor and personal friend Liam Neeson.

Greg Dyke, Chair, BFI said: ‘The BFI London Film Festival Awards pay tribute to outstanding film talent, so we are delighted and honoured that both Ralph Fiennes, one of the world’s finest and most respected actors and David Cronenberg, one of the most original and ground-breaking film directors of contemporary cinema, have both accepted BFI Fellowships - the highest accolade the BFI can bestow. I also want to congratulate all the filmmakers and industry professionals here tonight, not only on their nominations and awards, but also for their vision, skill, passion and creativity.’

The Star of London award was commissioned especially for the Festival and designed by leading sculptor Almuth Tebbenhoff.

Jurors present at the ceremony included: Best Film jurors John Madden, Andrew O’Hagan. Gillian Anderson, Asif Kapadia, Tracey Seaward and Sam Taylor-Wood OBE; Sutherland jurors Tim Robey, Joanna Hogg, Saskia Reeves, Peter Kosminsky, Hugo Grumbar, and the artist Phil Collins. Best British Newcomer jurors Anne-Marie Duff, Tom Hollander, Edith Bowman, Stephen Woolley and Nik Powell; and Grierson Award jurors Mandy Chang of the Grierson Trust, Charlotte Moore, Head of Documentary Commissioning at BBC, Kim Longinotto and Adam Curtis.

Other guests included: Alfonso Cuarón , Sheharazade Goldsmith, Duncan Kenworthy, Aaron Johnson, Paul Gambaccini, Chair of the BFI Greg Dyke, Chief Executive Amanda Nevill and Festival Director Sandra Hebron.