Anna Massey

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David Suchet Delight As 'Poirot' Returns For Final Run

David Suchet Agatha Christie Anna Massey

David Suchet and 'Poirot' fans can rejoice; it's been announced that the much-loved actor will return next year to reprise his most famous role for the final five times. Back in March it was revealed that the show's network, Itv, were to cut the series after 22 years with just a handful of the original books written by Agatha Christie still to be adapted.

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Actress Anna Massey Dies

Anna Massey BAFTA

British actress Anna Massey has died at the age of 73.

She passed away on Sunday (03Jul11) after a battle with cancer.

Her agent says in a statement, "She will be remembered as a loving wife and mother, a cherished grandmother, a generous colleague and, always, a consummate professional. She will be greatly missed."

Massey was born into a showbusiness family - her father was famed Canadian-born actor Raymond Massey and her mother was British actress Adrianne Allen, while legendary director John Ford was her godfather.

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Frenzy Review

One of Hitchcock's final movies is also one of his goriest -- his first R-rated feature -- and most dryly funny. The story's a relatively straight-up crime drama; we know who the bad guy is from the start -- Jon Finch, playing the Necktie Murderer. But he's framed another guy for his crime spree. Meanwhile, inspector Oxford (Alec McCowen) is on the case, and when he isn't tracking down clues, he's eating the increasingly questionable cooking of his trying-hard-but-failing wife. It's Hitch's last great film (he made one more movie and died eight years later), and proof that he still had his form -- last seen put to good use in 1963's The Birds.

Haunted Review

It's an old-timey ghost story as Aiden Quinn visits a creepy old haunted house at the behest of a crazy old woman who lives there with her two nephews and a niece (played by the lovely Kate Beckinsale).

Just now released on DVD, presumably in the hopes of getting any pop from an interest in Beckinsale thanks to her Pearl Harbor appearance. That's probably not going to do it, but Haunted stands fairly well on its own, a truly creepy slow burn that looks at madness and hints at incest.

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Peeping Tom Review

Movie critics in England didn't just pan Peeping Tom when it was released in 1960 - they eviscerated it. "The only really satisfactory way to dispose of Peeping Tom would be to shovel it up and flush it swiftly down the nearest sewer," one critic blared, joining a chorus of voices calling it "sick," "nasty," and "beastly." The film was pulled from theaters in less than a week, and the foofaraw all but ended director Michael Powell's big-screen career, which was built on outsize - and much more polite - successes like The Red Shoes and Black Narcissus, his collaborations with Emeric Pressburger. It wasn't until the late '70s, when Martin Scorsese celebrated the film, that it began finding audiences again.

In most movie-business tales like this one, you can later look at the film in question and wonder what the fuss was all about. That's not the case here. Peeping Tom remains an intense, thoroughly disarming film about madness - not cackling, loony-bin madness, but the sort of insanity where the person is painfully aware of just what's cracked inside him. Psycho, to which this movie's often compared (they were released the same year) eventually reveals Norman Bates as utterly certifiable. That doesn't happen to Mark Lewis (a tremendous Carl Boehm), the handsome gent who spends his days as a focus puller at a film studio and his nights killing women - and filming the proceedings. Only until the very end is Lewis revealed as unsalvageable - until then, you're half rooting for the guy, and that's both the brilliance and the horror of the film.

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The Importance Of Being Earnest (2002) Review

The Importance of Being Earnest is a sharp, humorous look at the duality of romance and the fear of commitment, served up on a delicate and witty plate in this summer season of comic book heroism and galactic space battles.

The story revolves around two dashing English gentlemen in the 1890s - John "Jack" Worthing (Colin Firth) and Algy Moncrieff (Rupert Everett) - and their trials and tribulations in the games of love and marriage under the moniker of Ernest. Jack spends his days watching over his bookish charge Cecily Cardew (Reese Witherspoon) - the granddaughter of his adopted father - at his country estate. When his restless spirit calls for adventure, he travels to London and visits his wayward city brother "Ernest." In London, Jack becomes "Ernest" and partakes in decadence with his affluent but reckless best friend Algy and ends up madly in love with Algy's sophisticated society cousin Gwendolen Fairfax (Frances O'Connor) - who has a strange love for the name of "Ernest."

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De Sade Review

There's only a twitch of irony in seeing 2001's ultimate good guy, Keir Dullea, star as one of the biggest sons of bitches in all history, the Marquis de Sade, in his biography. In a bizarre film that alternates orgies and madness with dream sequences and narrative about the Frenchman's life in the 1700s (most of it spent in prison). Essentially the film is Caligula set 1700 years later, complete with washed-out photography and no-name actresses willing to show off their, ahem, talents.

Sweet Angel Mine Review

Offbeat Canadian thriller (in the grand tradition of offbeat Canadian thrillers) is reminiscent of Psycho, Sleepwalkers, and Offbeat French thriller See the Sea. When a young man travels through Nova Scotia on motorcycle in search of his missing father, he stumbles upon a small farm run by a woman and her daughter. He signs on for a brief tour of duty and gets far more than he bargained for. (Isn't this always the case with these remote farms?) Taut and deeply disturbing, if not entirely believable. Recommended if you can find it on cable.

Possession Review


Interweaving two hindrance-hurdling love stories that share a literary connection but take place more than a century apart, director Neil LaBute has taken another large and confident step into an unexpected genre with gratifying results.

"Possession," which is lovingly but sometimes loosely adapted from A.S. Byatt's novel of the same name, follows the germinating romance between two relationship-reluctant academics as they in turn follow a trail of evidence revealing a passionate secret affair between two Victorian poets.

A wild departure from LaBute's previous films -- the caustic, even cruel social satires "In the Company of Men" and "Your Friends and Neighbors," and the upbeat black comedy "Nurse Betty" -- this effort has the melodic trappings of a Merchant-Ivory romance. But it's also a perceptive musing on what has and hasn't changed between the two time periods in the emotional, practical and sometimes prohibitive logistics of love.

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The Importance Of Being Earnest Review


Film director Oliver Parker is fond of controversial fiddling with established stage classics. In 1995 he reinvented William Shakespeare's "Othello" as a relationship-intensive, semi-erotic psychological thriller. In 1999 he took liberties with Oscar Wilde's "An Ideal Husband," adding scenes and whole subplots with amusing but contentious results.

"The Importance of Being Earnest" is Parker's second stab at going Wilde, and while he once again retains the playwright's savory wit, this time out his plot-tweaking attempts to break out of the drawing room are often distractingly blunt and obvious. Chase scenes, tattooed buttocks and flashbacks of an out-of-wedlock pregnancy -- all new elements dictated by Parker -- are hardly the caliber or the character of any Victorian writer, even one as droll and roguish as Oscar Wilde.

However, a talented cast with keen comic timing helps assuage many of the movie's misfires. Colin Firth ("Bridget Jones's Diary") is nebbish perfection as Jack Worthington, a mannerly turn-of-the-Century country gentleman who invents a wayward brother named Earnest as an excuse for frequent trips to London to sow wild oats. In town he adapts the name Earnest himself and romances the prim but rebellious and beautiful Gwendolen Fairfax (Frances O'Connor), whose stuffy, high society mother (Judi Dench) is resolutely disapproving of all her daughter's suitors.

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