Charles Sturridge

Charles Sturridge

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Charles Sturridge Thursday 18th October 2012 48th Chicago International Film Festival screening of 'The Scapegoat' - Arrivals

Charles Sturridge
Charles Sturridge
Matthew Rhys, Charles Sturridge and Chicago International Film Festival

Where Angels Fear To Tread Review


Weak
Insanely overwrought British period drama (based on E.M. Forster's first novel) has corset-ready standbys like Rupert Graves, Helena Bonham Carter, Judy Davis, and Helen Mirren headed to turn-of-last-century Italy. The story gets off to a promising start as the wealthy Mirren decides to marry an Italian of low status (Guidelli), finding a culture clash that only gets worse with the pronouncement that she is pregnant. Unfortunately, Mirren's character dies during childbirth, launching the movie into its primary plotline -- the war over the child, fought by her family and her no-Ingles husband. Sadly, this plot is melodramatic, incredibly phony, and nearly unwatchable. Unless you've just got a thing for corsets and petticoats, give this one a pass.

Where Angels Fear To Tread Review


Weak
Insanely overwrought British period drama (based on E.M. Forster's first novel) has corset-ready standbys like Rupert Graves, Helena Bonham Carter, Judy Davis, and Helen Mirren headed to turn-of-last-century Italy. The story gets off to a promising start as the wealthy Mirren decides to marry an Italian of low status (Guidelli), finding a culture clash that only gets worse with the pronouncement that she is pregnant. Unfortunately, Mirren's character dies during childbirth, launching the movie into its primary plotline -- the war over the child, fought by her family and her no-Ingles husband. Sadly, this plot is melodramatic, incredibly phony, and nearly unwatchable. Unless you've just got a thing for corsets and petticoats, give this one a pass.

Aria Review


Bad
Every decade or so, those wacky independents try this stunt -- getting a bunch of Big Name Directors together to make a collaborative movie. Invariably, it sucks (see Lumiere and Company), but rarely does it suck so hard as it does in Aria.

The conceit this time: Each director takes a piece of classical music and sets it to film -- mostly without dialogue and invariably without any sense whatsoever.

Continue reading: Aria Review

Charles Sturridge

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