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Diana Review


While this odd biopic is a real mess, it's not quite the cinematic disaster snootier critics claim it is. Essentially fan fiction, the script spins a story that has only the vaguest basis in fact, drawing much of its dialog from screenwriter Jeffreys' and book author Kate Snell's imaginations. And if what these people say to each other wasn't so laughably silly, the film's genuinely intriguing themes might have emerged with more force.

We pick up the story in 1995, after Diana (Watts) has been separated from Prince Charles for three years. She still hasn't moved on romantically, and spends most evenings alone in Kensington Palace, making beans on toast and quietly crying herself to sleep. So when she meets heart surgeon Hasnat Khan (Andrews), she's relieved that he doesn't treat her like a princess. Over the next two years, their romance develops in secret because Hasnat is a very private man and Diana is the most famous woman on earth. Fed up with the intrusive paparazzi, Hasnat puts the brakes on their relationship. So Diana uses her friend Dodi Fayed (Anvar) to provide misleading headlines and spark Hasnat's jealousy.

Of course, we know their love is doomed for another key reason: the film is bookended by scenes in Paris on the fateful evening of 31 August 1997. But even if this romance has clearly been fictionalised, it offers some intriguing themes that catch our sympathies, mainly due to an understated performance from Watts that occasionally catches Diana with remarkable detail. So it's frustrating that Khan is portrayed as such an icy, uninteresting figure, which means that Andrews never generates any chemistry with Watts.

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Diana Trailer

Princess Diana was most definitely one of the most famous and inspirational women in the world, known to all as the People's Princess. Never seduced by the lure of wealth, fame and royalty, she lived her life for others, but struggled deeply from her own personal troubles; her failed marriage to Prince Charles embroiled in affair scandals and subsequent divorce, the constant hounding of the press and her later romances. When she met heart surgeon Dr. Hasnat Khan, she fell deeply in love, feeling for the first time in years, like a real woman. But it was a relationship doomed to failure with further media attention forcing a rift between them. She could never escape the scrutiny of the media, even while she put all her efforts into her hands-on charity work.

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First Light Awards

Art Malik - First Light Awards held at the Odeon Leicester Square - Arrivals - London, United Kingdom - Tuesday 19th March 2013

Art Malik
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Art Malik

Ghosted Review

This dark British prison drama is a bit too overwrought to keep us engaged right to the end. Without much subtlety, it tells an inflammatory, somewhat contrived story of guilt and redemption. But the actors make it worth seeing.

After four years in prison, on the anniversary of his young son's death, Jack (Lynch) finds out that his wife is leaving him. Meanwhile, new young inmate Paul (Compston) is quickly taken under the wing of tough-guy Clay (Parkinson).

Seeing this, Jack and his friend Ahmed (Malik) start to worry about Paul's safety. Sure enough, things turn violent, so Jack arranges to help Paul cope with the situation and becomes his mentor-protector. But there are more tensions brewing between various factions of inmates, and clearly things are going to get much worse.

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Everywhere and Nowhere Trailer

For all his life, it has been presumed that when Ash finished his studies he'd enter the family business but recently he's been realising that he has dreams and ambitions of his own, far from those that his father always took for granted. A clever and attractive guy, Ash is stuck between two worlds: there's the hedonistic life he leads with his friends in London city where nothing is off limits and there's also the more conservative part of his life which centres on his family.

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The Wolfman Review

This B-movie made on an epic budget is so over-the-top that the earlier you start giggling the better. Even though it's played dead straight, it's an old-style monster romp that couldn't be any more camp if it tried.

American-raised actor Lawrence (Del Toro) returns to his family manor on an English moor, where his wild-haired father Sir John (Hopkins) lives with his Sikh servant (Malik). Lawrence discovers that his brother has just been killed in the woods by a vicious creature, which later wounds him as well, turning him into a werewolf. And on the first full moon, he finds himself on the hunt as well as chased by a Scotland Yard detective (Weaving). But maybe a gypsy woman (Chaplin) and his brother's ex-fiancee (Blunt) hold the key to his salvation.

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Franklyn Review


Have you ever experienced something that is simultaneously both admirable and annoying? Bono engaging the Pope on contraception, perhaps. Or maybe Ernest Vincent Wright's 'Gadsby' - a book written in its entirety without the letter 'e'? Well, Gerald Mcmorrow's 'Franklyn' very much falls into this category, occasionally even approximating those transcendental nadirs of irritation such as when, in the erstwhile example, John Paul II actually donned Bono's 'fly shades' for that most unholy of photo ops

The film is composed of four story strands each centring on a different character. Sam Riley plays Milo, a heartbroken young rake recently jilted at the altar. Eva Green is the panda-eyed goth-artist, Emilia, an enfant terrible railing against her mother and university course via the production of macabre videos of her various suicide attempts. Bernard 'gizza job' Hill plays Peter Esser, a church warden searching for his missing son and Ryan Phillipe is Preest a sack-masked vigilante battling his way against the state officials of the Meanwhile City theocracy.

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Franklyn Trailer

Watch the trailer for Franklyn.

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The Living Daylights Review

The casting of Timothy Dalton as James Bond in this 15th entry into the adventures of 007 is widely considered a classic mistake: Dalton isn't suave like Sean Connery or even Roger Moore. It's hard to explain, but he's too outright mean and gruff, and he doesn't come across with the sly sense of humor that, in my opinion, is essential in a good Bond. The vehicle he has to work with in The Living Daylights isn't exactly stellar, tagging along with a European cellist (Maryam d'Abo) as he unravels a KGB plot to kill MI-6 agents. The settings are on the lackluster side (Afghanistan?), aside from one notable sequence which gives Bond a trip down a snow-covered mountain in the Bond girl's cello case.

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Tempo Review

No matter how large your crush on Rachael Leigh Cook might be, do not see Tempo. It'll ruin your image of her forever. In this pathetic film, Cook is an oblivious American inexplicably brought to Paris to work in an ultra-luxe jewelry shop -- which is in the midst of being cased by a young robber (Hugh Dancy) and his geriatric girlfriend (Melanie Griffith). Love triangle develops, and robbery goes badly (we see it's aftermath, Reservoir Dogs-style, in the first scene). Unfortunately, Tempo needs to up its body count by at least three, and in the first 10 minutes of the film, to merit anything beyond a "you must avoid this film!" rating.
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