Daniel Bruhl (born 06.06.1978) is a German actor.
Childhood: Daniel Bruhl was born in Barcelona, Spain but grew up in Cologne, Germany. His father is TV director Hanno Brühl and his mother is a Spanish teacher. He attended the Dreikönigsgymnasium. He was brought up in a multilingual home and can speak Spanish, German, Catalan, French , English and some Japanese.
Acting career: Daniel Bruhl made his TV debut in the soap opera 'Verbotene Liebe' (Forbidden Love) in 1995. His breakthrough role was in the movie 'Good Bye, Lenin!' with Maria Simon in 2003. He subsequently won a European Film Academy award. In 2004, he was in 'Ladies in Lavender', opposite Judi Dench and Maggie Smith. He was also in 'Love in Thoughts' and 'The Edukators' in the same year. In 2005, he played Lieutenant Horstmayer in the war film 'Joyeux Noël' alongside Diane Kruger. The following year he briefly appeared in 'Two Days in Paris' which starred Julie Delpy and Adam Goldberg. In 2007, he had a small role in 'The Bourne Ultimatum' which starred Matt Damon. He had a larger role in Quentin Tarantino's 'Inglourious Basterds' alongside Brad Pitt, Christoph Waltz and Michael Fassbender in 2009. The same year saw him in the historical drama 'The Countess'. He also opened a production company called Fouronfilm. In 2010, he starred in 'In Transit' opposite John Malkovich. In 2011 he appeared next to Clive Owen in 'Intruders'.
Personal life: Daniel Bruhl split with his fiancé Jessica Schwarz in 2006.
Based on a true story, this Chilean drama has a chilling edge to it that's difficult to shake. Strikingly well played by an international cast, the film's dark themes get under the skin. German director-cowriter Florian Gallenberger has a skilful eye that draws the audience in, focussing on characters to provide a strong emotional kick. That said, the film feels eerily stuck in the past, never quite finding present-day relevance that would make it even more powerful.
It's 1973 in Chile, as the political unrest grows surrounding Pinochet's brutal coup d'etat. Flight attendant Lena (Emma Watson) has just arrived for a four-day holiday with her journalist boyfriend Daniel (Daniel Bruhl) when street protests spin out of control. Detained by the new government, Daniel is cruelly tortured. Lena sets out to find him, following his trail to Colonia Dignidad, a religious cult out in the countryside where rebel activists are hidden from sight and forced to work. Posing as a true believer, Lena enters the compound and is quickly terrified by the ruthless, charismatic leader Paul (Michael Nyqvist) and his heartless housemaster Gisela (Richenda Carey).
Gallenberger begins building the underlying tension even in the opening scenes, which feature the happy romantic reunion between Lena and Daniel. Angry demonstrations and military action surround them, ramping up the tension. And then as the story shifts to Colonia, the film takes on nightmarish echoes of Nazi Germany, with chanted greetings ("God bless" sounds rather a lot like "Heil Hitler"), torture chambers and claustrophobic bunkers. Through all of this, Watson and Bruhl deliver remarkably grounded performances as real people caught up in unimaginable horrors. Underneath the intensity, both actors are likeable and tenacious, and together they have very strong chemistry. Meanwhile, the always superb Nyqvist (star of the original Girl With the Dragon Tattoo trilogy) brings a genuinely unsettling nastiness to his all-powerful father figure.
Continue reading: The Colony [Colonia] Review
After the formulaic thrills of The Winter Soldier and Age of Ultron, Marvel's Avengers were in danger of getting stuck in a rut, but a smart script for this surprisingly focussed thriller kicks everything into a new direction. What's surprising is that the screenwriters have managed to incorporate a wide range of characters without the film ever feeling overcrowded. Each person has a journey to travel, so the actors get a chance to invest plenty of personality into the action.
After the events of Ultron, there's a political debate about the need to oversee the Avengers' missions. Iron Man Tony (Robert Downey Jr.) thinks a special UN council is a good idea, but Captain America Steve (Chris Evans) thinks that will limit the team's ability to help people. Then Steve's best pal Bucky (Sebastian Stan) is framed for a bombing, and Black Panther T'Challa (Chadwick Boseman) is drawn into the fray. The Avengers are forced to take sides, with those supporting Bucky becoming outlaws. Tony recruits Spider-Man Peter (Tom Holland) to his team, while Steve drafts in Ant-Man Scott (Paul Rudd). And as they all face off against each other, none of them realise that this entire situation is being manipulated by a vengeful man named Zemo (Daniel Bruhl).
Watching this film requires the audience to suspend disbelief that these super-powered friends could be pushed to try to kill each other. That never quite makes sense, and indeed the script acknowledges this fact when one person goes down and everyone reacts emotionally. But the high-powered cast is so good at creating these intensely driven superheroes that it's not difficult to go with it.
Continue reading: Captain America: Civil War Review
The Avengers are suffering from an image crisis. As much good that they do and as many lives that they save, the superheroes also cause unlimited amounts of damage to cities and civilisation. The government wish to find an answer to this problem and they decide that all superheroes should be registered and held accountable for their actions.
Tony Stark is brought in to begin talks on behalf of The Avengers, knowing how much damage he's personally done under his superhero disguise, Stark see the government's point and decides that a register wouldn't be entirely unwelcome. Captain America on the other hand has no such wishes; The Cap sees any government intervention as something beyond reasonable requirement. In the middle of all this is Cap's old friend Bucky who could be prosecuted under the new laws. As The Avengers are forced to split into two halves, it looks like there's going to be no way for the old team to form any kind of agreement.
As their opinions deepen and rivalries are deepens, certain members of Hydra begin to tighten their control and their plans for future domination of the world are getting stronger. The Avengers must find a way to put their differences aside in order to beat the real enemy.
Strong characters help hold the attention as this overcooked drama develops, but in the end it feels so concocted that it's difficult to believe. While there's plenty of potential in the premise, the film becomes distracted by irrelevant subplots that try to stir up some tension but never quite manage it. And for a movie about food, the cuisine is simply too abstract to be mouthwatering.
At the centre is Adam (Bradley Cooper), a bad boy chef whose partying ways ended his high-flying career in Paris. After a period of penance in New Orleans, he moves to London to start again, with the goal of finally getting his elusive third Michelin star. Since he has alienated his friends, he turns to Tony (Daniel Bruhl), a guy who always had a soft spot for him and happens to be running a posh restaurant, which Adam quickly takes over. He rustles up some old colleagues (Omar Sy and Riccardo Scamarcio) and hires hot-shot Helene (Sienna Miller) as his sous chef. But his demanding perfectionism is keeping things from running very smoothly.
This set-up is ripe for both black comedy and soul-searching drama, and yet writer Steven Knight throws in irrelevant sideroads including a mandated therapist (the wonderful Emma Thompson), a bitter rival (a jagged Matthew Rhys), a couple of randomly violent loan sharks and a precocious little girl. Even though the actors do what they can to make every scene intriguing, none of these story elements add anything to the overall film. Still, Cooper holds the movie together with sheer charisma, even if his sudden transition from absolute tyrant to cuddly sweetheart isn't terribly convincing. At least he adds some surprising textures to his scenes, and indulges in sparky banter with those around him. And while Miller is solid in her thankless role, even she can't breathe life into such a thinly developed romance.
Continue reading: Burnt Review
Restauranteering is not a profession that should be taken lightly. Indeed, it's less of a job and more of a way of life for Adam Jones, who has wanted to become the greatest chef the world has ever seen since as long as he can remember. He was just 16-years-old when he left school to go to Paris and achieve his dream; becoming a Michelin star chef infamous across the Parisian culinary scene. But his rise to success came much too soon, and it wasn't long before his dream began to crumble around him, beaten by a life of drugs, violence, and volatile behaviour. With many of his opponents thinking him dead, he returns to London a new man to reignite his passion, earn a third Michelin star, and open the best restaurant in the world. All he needs is a talented team behind him, who is willing to give him the benefit of the doubt.
Continue: Burnt - Teaser Trailer
Captain America will be joined by Iron Man, Black Widow, Hawkeye and a whole host of others in 'Captain America: Civil War'.
Marvel has announced the cast of Captain America: Civil War and it looks like pretty much everyone from the Avengers world will return alongside Chris Evans as Steve Rogers. The news was announced by Marvel on Thursday (7th May).
Chris Evans' Captain America will lead the Avengers team in the upcoming Captain America: Civil War.
Continue reading: 'Captain America: Civil War': Marvel Announces Cast & Plot Synopsis
This fascinating true story is strong enough to hold up against the formulaic Hollywood treatment, boosted by another riveting performance from Helen Mirren. She adds some badly needed prickly humour to the film, which continually resorts to unsophisticated sentimentality as it traces a remarkable series of real events. And it helps that the story has some intriguing things to say about both art and history.
It opens in 1998 Los Angeles, where Maria Altmann (Mirren) has discovered some documents in her late sister's belongings that refer to a beloved portrait of their Aunt Adele (Antje Traue in flashbacks). The problem is that the painting is Gustav Klimt's Woman in Gold, which is regarded as the "Mona Lisa of Austria" and held in pride of place in the national gallery. Since Austria has begun restoring art stolen from its citizens by the Nazis, Maria hires novice family-friend lawyer Randy Schoenberg (Ryan Reynolds), who quickly realises the futility of the case. But they travel to Vienna to begin the process, getting some help navigating the system from local journalist Hubertus (Daniel Bruhl). Sure enough, the Austrian government fights Maria at every step of the way.
The compelling argument in this film is that if Austria acknowledges that this national treasure was stolen, it implicates the government and the population in complicity with the Nazis. And that's something no one is willing to do. There's also of course the issue of greed, since Woman in Gold is worth $100 million. But Maria's simple question is why the painting's value or status matter when its true ownership is so clear. Director Simon Curtis and writer Alexi Kaye Campbell wisely dash through the series of hearings, court cases and appeals, while emphasising this undeniable fact of the case. Although this also simplifies most scenes into little more than "Nazis bad, Jews good". While the flashbacks to Maria's past are moving and informative, Randy's sideplots feel irrelevant and undercooked, featuring his pregnant wife (Katie Holmes) and sardonic boss (Charles Dance).
Continue reading: Woman In Gold Review
By taking a fictionalised approach to the Meredith Kercher murder case in Italy, filmmaker Michael Winterbottom sets out to show how tricky it is to find the truth in any case, but he actually ends up proving how impossible it is to make a movie based on complex, unresolved real events. The film has a fascinatingly mysterious tone to it, but never comes together into something the audience can properly engage with, mixing big themes with bizarre filmmaking flourishes that only serve as a distraction.
It centres on Thomas (Daniel Bruhl), a London-based filmmaker who flies to Sienna to make a movie about the case of a student (Genevieve Gaunt) who's been charged with brutally killing her flatmate (Sai Bennett). Thomas immediately locates the foreign press corps, which hangs out together to cynically discuss the case. And he starts working with Simone (Kate Beckinsale), who's writing a true crime book. But Thomas is worried that there are too many layers to the story for a movie, and he becomes increasingly confused after consulting with Edoardo (Valerio Mastandrea), an expert on the case who also wants to be a screenwriter. To try to find the root of what happened, Thomas hires the sexy young Melanie (Cara Delevingne) to show him around town.
All of this is complicated by the fact that Thomas has a coke addiction and is reading Dante's Inferno, which combines with his imagination to cause freak-out hallucinations that make everything even murkier. Winterbottom builds this atmosphere beautifully, but falls short of establishing the fever-dream style of an Italian Giallo horror movie. This is mainly because he's trying to have it both ways, creating a wildly disorienting mystery while at the same time trying to make a pointed comment on how the media exploit a personal tragedy.
Continue reading: The Face Of An Angel Review
When the Nazis took over Vienna prior to the Second World War, they stole countless, priceless artefacts. One of these artefacts was the Portrait of Adele Bloch-Bauer I, and an Austrian Holocaust survivor has the perfect claim to it. Maria Altmann (Helen Mirren) hires Randol Schoenberg (Ryan Reynolds), a lawyer of Austrian decent, to help her become once again acquainted with the famous painting of her aunt. The problem is, that the painting is held in a Vienna art gallery, and the Austrian government are adamant in keeping the national treasure. Altmann, on the other hand, is desperate to get back what is rightfully hers.
Continue: Woman In Gold - Trailer And Clips
In 2041, mankind has managed years of living side-by-side with robots. Álex (Daniel Brühl), is a renowned cybernetic engineer, returning to Santa Irene after a ten-year departure. Once there, he is reunited with David (Alberto Ammann), his brother, to help with the final stages of the most advanced robot on the planet. David and his wife, Lana (Marta Etura), have successfully created a robot child, named Eva (Claudia Vega). The problem is, Álex’s arrival drags up history between he and Lana, and there is also a special connection he shares with Eva. Family, love, and humanity will be tested by the events that follow.
Continue: Eva Trailer
Date of birth
16th June, 1978
Based on a true story, this Chilean drama has a chilling edge to it that's...
After the formulaic thrills of The Winter Soldier and Age of Ultron, Marvel's Avengers were...
The Avengers are suffering from an image crisis. As much good that they do and...
As the world of Marvel super heroes become ever more entwined, Captain America: Civil War...
Strong characters help hold the attention as this overcooked drama develops, but in the end...
Restauranteering is not a profession that should be taken lightly. Indeed, it's less of a...
This fascinating true story is strong enough to hold up against the formulaic Hollywood treatment,...
By taking a fictionalised approach to the Meredith Kercher murder case in Italy, filmmaker Michael...
When the Nazis took over Vienna prior to the Second World War, they stole countless,...
In 2041, mankind has managed years of living side-by-side with robots. Álex (Daniel Brühl), is...