Comedies don't get much darker than this pitch-black British movie, written and directed by Sally Potter (Ginger & Rosa) with lacerating irony and such a furious sense of humour that it's impossible to stifle our laughter no matter how we try. Impeccably played by a great cast, it's a lot like watching a play, as it unfolds in real time in a single setting with just seven characters. But Potter's decision to film it in black and white adds a sharp edge of surrealism that makes it also feel like a classic.
It opens as Janet (Kristin Scott Thomas) is preparing for a small dinner party to celebrate her appointment as a government minister. With something else on his mind, her husband Bill (Timothy Spall) is completely drunk before the first guest arrives, but Janet doesn't really notice. Her outspoken best friend April (Patricia Clarkson) turns up first with her German philosopher boyfriend Gottfried (Bruno Ganz). Next is feminist professor Martha (Cherry Jones) and her younger girlfriend Jinny (Emily Mortimer), who is pregnant with triplets. And finally it's the banker Tom (Cillian Murphy), hopped up on cocaine with a gun in his pocket. His wife is running late. And over the next hour, everyone lets a few secrets out of the bag.
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An extraordinary cast lifts this grim British drama into something watchable, even if the script ultimately gives up trying to make any sense. The main problem is that the story is very badly fragmented, but it still captures a vivid sense of how it felt to grow up in 1962 Britain. And the actors give performances that bring the characters to life even in scenes that are somewhat melodramatic.
Ginger and Rosa (Fanning and Englert) are inseparable 16-year-olds who were born in the same hospital on the same day. As they both ponder the horrific possibilities of the Cold War, their reactions begin to diverge, perhaps their first disagreement ever. Ginger's parents (Hendricks and Nivola) are liberal-minded and about to separate yet again, so she takes a militant approach to stopping nuclear annihilation. Rosa lives with her deeply religious single mother (May) and believes that the only thing to do is pray about it. But the thing that drives a real wedge between the girls is Ginger's suspicion that her dad might be having an affair with Rosa.
In the early scenes, Potter establishes the girls as imaginative friends with free spirits who do everything together. Then the plot begins to take increasingly dark twists and turns, leading to a series of awkward or downright horrible confrontations that are freaky and emotional but also thoroughly mawkish. There's a lot of glowering and weeping on display from everyone on-screen. Fortunately Fanning and newcomer Englert maintain a loose honesty in their performances that helps carry us through the difficult moments. And the starry supporting cast is terrific.
Continue reading: Ginger And Rosa Review
Christopher Sheppard and Andrew Litvin - Producer Christopher Sheppard and Producer Andrew Litvin Saturday 13th October 2012 56th BFI London Film Festival: Ginger And Rosa - Official screening held at the Odeon West End - Arrivals
"She" (Joan Allen) is a London-based scientist (born in Belfast, raised in America) whose open marriage to her stoic, stuffy husband (Sam Neill) is dying a slow, painful death. "He" (Simon Abkarian) is a cook from Beirut, who meets her at a party, beginning a torrid affair that puts both on a physical and emotional trek taking them to Beirut, Belfast, New York, and a groovy Cuba.
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Comedies don't get much darker than this pitch-black British movie, written and directed by Sally...
An extraordinary cast lifts this grim British drama into something watchable, even if the script...
Rambling monologues featuring rhyming dialogue. Lead characters named "He" and "She." Camerawork aching to be...