David Garrett

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David Garrett - Echo Klassik 2015 awards at Schauspielhaus - Outside arrivals - Berlin, Germany - Sunday 18th October 2015

David Garrett
David Garrett
David Garrett
David Garrett
David Garrett

The Devil's Violinist Review


Very Good

Filmmaker Bernard Rose gives the period biopic a kick in the seat of the pants with this raucously creepy drama about 19th century violin virtuoso Nicolo Paganini, who played so innovatively that people thought he had made a pact with the devil. Rose takes this idea and runs with it, stirring in modern-day ideas of fame and celebrity and finding a series of very clever ways to make violin-playing feel fresh and intriguing. So it's a little frustrating that the central figure remains so oddly out of reach.

After struggling to get anyone to pay him any attention in early 1800s Vienna, Nicolo (played by real violin prodigy David Garrett) signs his soul away to Urbani (Jared Harris), a fast-talking promoter who turns him into a celebrity across Europe. In London, musician Watson (Christian McKay) wants Nicolo to play the Royal Opera House and restore the local fortunes, so hawks his home to bring him over. When he finally arrives, the streets are full of screaming fans, clamouring tabloid hacks (including Joely Richardson) and women protesting Nicolo's notorious womanising and devil worship. But Watson, his mistress Elizabeth (Veronica Ferres) and daughter Charlotte (Andrea Deck) try to sooth Nicolo's artistic temperament. Of course, Nicolo is immediately smitten by Charlotte.

The film has a refreshingly free-wheeling tone, with handheld camerawork, whizzy editing and a continual sense of the music, which is played at high-energy in a variety of colourful locations. Every scene is also layered with bawdy intrigue, as characters mistrust and/or lust after each other. The seasoned cast members have a great time with this. Harris is gleefully sinister with his towering hat and sinister accent. McKay is haplessly eager for his ship to come in far against the odds. And Richardson goes enjoyably broad as a journalist willing to do anything for a scoop.

Continue reading: The Devil's Violinist Review

David Garrett - GQ Maenner des Jahres (Men of the year) 2013 at Komische Oper. - Berlin, Germany - Thursday 7th November 2013

David Garrett
David Garrett
David Garrett
David Garrett
David Garrett
David Garrett

David Garrett - Elle's 4th Annual Women in Music Celebration at The Edison Ballroom - New York City, NY, United States - Thursday 11th April 2013

David Garrett
David Garrett
David Garrett

Tara Palmer-Tompkinson and David Garrett Thursday 28th July 2011 Tara Palmer-Tomkinson out for a night with violinist David Garrett. Tara left the Ivy restaurant in high-spirits, before heading to Mahiki. She looked worse for wear when leaving the venue and almost fell over a pole. The socialite also looked to have spilled a drink on her top. London, England

Tara Palmer-tompkinson and David Garrett
Tara Palmer-tompkinson
Tara Palmer-tompkinson and David Garrett
Tara Palmer-tompkinson
Tara Palmer-tompkinson and David Garrett
Tara Palmer-tompkinson and David Garrett

David Garrett, Celebration and Tommy Hilfiger Sunday 12th September 2010 Tommy Hilfiger 25th Anniversary celebration at The Metropolitan Opera New York City, USA

David Garrett, Celebration and Tommy Hilfiger
David Garrett, Celebration and Tommy Hilfiger

Step Up Review


OK
Advertising materials tell us all we need to know about Step Up. She's a little bit Fame, and he's a little bit West Side Story. She's an ice queen, while he's a Vanilla Ice clone. We get it. Yet choreographer-turned-director Anne Fletcher does everything short of laying down railroad track and positioning her leads on opposite sides to hammer home the from-different-worlds hook that carries her fleet-footed tween fairy tale.Channing Tatum fills the baggy jeans of street-tough foster kid Tyler - all the truly edgy names must have been taken. Using a baseball cap and blank stare as method tools, the actor aims for the fiery rebellion of James Dean or early Richard Gere but achieves a flatness reserved for James Franco.This watered-down Eminem walks his own 8 Mile until the cops bust him for vandalizing property at the Maryland School of the Arts. Tasked with serving 200 hours of community service, Tyler mouths off to authority (Rachel Griffiths, longing for her Six Feet Under days), romances self-centered dancer Nora (Jenna Dewan), and discovers a career path that might one day lead him out of the ghetto.Fletcher's resume is littered with professional choreography jobs on films like Bring it On and Ice Princess. She pours her creative juice into this film's numerous dance routines, and it's during those moments that Step Up shows flashes of potential. Tatum and Dewan have limited ability as dramatic actors, but each can move to the beat with the best of them.Fletcher desperately needs someone in her cast to - pardon the pun - step up and elevate the film past the stacks of storytelling clichés cranked out by screenwriters Duane Adler and Melissa Rosenberg. Their script half tries, with unfinished results. Days after Tyler arrives on campus, Nora's dance partner conveniently drops out of her senior routine with a temporary injury. Nora's mother frowns on her unyielding dedication to dance, yet pays for her daughter to attend a private arts program. When Step Up reaches beyond the dance floor, exploring a gang grudge that leads to the death of someone close to Tyler, the movie fatally stumbles and never regains its footing.Step up? How 'bout you step off!?

Step Up Review


OK
Advertising materials tell us all we need to know about Step Up. She's a little bit Fame, and he's a little bit West Side Story. She's an ice queen, while he's a Vanilla Ice clone. We get it. Yet choreographer-turned-director Anne Fletcher does everything short of laying down railroad track and positioning her leads on opposite sides to hammer home the from-different-worlds hook that carries her fleet-footed tween fairy tale.Channing Tatum fills the baggy jeans of street-tough foster kid Tyler - all the truly edgy names must have been taken. Using a baseball cap and blank stare as method tools, the actor aims for the fiery rebellion of James Dean or early Richard Gere but achieves a flatness reserved for James Franco.This watered-down Eminem walks his own 8 Mile until the cops bust him for vandalizing property at the Maryland School of the Arts. Tasked with serving 200 hours of community service, Tyler mouths off to authority (Rachel Griffiths, longing for her Six Feet Under days), romances self-centered dancer Nora (Jenna Dewan), and discovers a career path that might one day lead him out of the ghetto.Fletcher's resume is littered with professional choreography jobs on films like Bring it On and Ice Princess. She pours her creative juice into this film's numerous dance routines, and it's during those moments that Step Up shows flashes of potential. Tatum and Dewan have limited ability as dramatic actors, but each can move to the beat with the best of them.Fletcher desperately needs someone in her cast to - pardon the pun - step up and elevate the film past the stacks of storytelling clichés cranked out by screenwriters Duane Adler and Melissa Rosenberg. Their script half tries, with unfinished results. Days after Tyler arrives on campus, Nora's dance partner conveniently drops out of her senior routine with a temporary injury. Nora's mother frowns on her unyielding dedication to dance, yet pays for her daughter to attend a private arts program. When Step Up reaches beyond the dance floor, exploring a gang grudge that leads to the death of someone close to Tyler, the movie fatally stumbles and never regains its footing.Step up? How 'bout you step off!?

Dot The I Review


Good
Lips. The one thing I kept thinking about while watching Mathew Parkhill's debut comedy-cum-thriller Dot the I, was lips. The reasons were quite obvious. The stars of the film, Gael García Bernal (Bad Education) and sultry Natalia Verbeke (Life: A User's Manual), both have extraordinary ones. Bernal in particular has lips that can only be described as Kinski-ian in their curl. And that's fitting because he has mentioned in interviews that the oft times rabidly deranged Klaus Kinski, who's autobiography I Need Love was an outrageously raw memoir of out-and-out insanity, as an inspiration. Verbeke's lips aren't as weirdly fascinating as Bernal's, though they are sexy, out J. Lo-ing J. Lo.

My focus on the lips wasn't by chance, Parkhill actually opens and practically closes the film with zoomed shots of the lead's puckers. In Dot the I, the camera follows lips and eyes almost reverentially. It's as though Parkhill believes he can capture the soul of his actors in close-up shots of their faces. It's telling because despite the pretension of depth, the film is quite superficial, with an odd, almost off, affectation. Parkhill wants to tell us an engaging, deliriously snappy story but he loses us with half-baked dialogue and patchwork style.

Continue reading: Dot The I Review

Deuce Bigalow: European Gigolo Review


Terrible
I like movies, I really do. But sometimes the movies have to meet you halfway. Deuce Bigalow: European Gigolo is an extreme case of what is becoming a chronic pattern -- desperately out of ideas and out of touch, Hollywood ignores critics and moviegoers and relapses into infancy. The early buzz about this project should have told them that it would be a disaster. I believe that everyone in America knew that a Deuce Bigalow sequel would be unsuccessful as soon as they learned of its existence... except apparently for the studio executives who approved it. Now here it is, and for a few weeks it will inspire embarrassed laughs from a few moviegoers here and overseas, and the usual round of incredulous bad reviews from critics, before following the usual trajectory into oblivion.

In the first Deuce Bigalow, Rob Schneider created an amusing character, probably the first male prostitute to carry a feature film aside from American Gigolo, and there's no reason the joke couldn't have lasted through a sequel or two, except one: Schneider is a non-presence on screen. Whether he's wearing a diaper, swordfighting, or dancing to accordion music, or whatever else he's doing, Schneider has no comedic appeal, nil.

Continue reading: Deuce Bigalow: European Gigolo Review

Corky Romano Review


Weak
The one question that eats at me after seeing Corky Romano is why Touchstone spent so much money marketing this throwaway film. Since June, I haven't been able to turn on the TV or go to the movies without getting hit by some ad depicting Chris Kattan as the spastic Corky, shrieking out A-Ha's "Take On Me" in his yellow Miata. Why would Disney sink so much cash into the Corky hype machine? Honestly, I was hoping that all the goofball ads were actually a front for a decently funny movie.

Man, was I wrong. Corky Romano is one of those throwaway, cliché-ridden TV-star-to-film vehicles built upon the most rickety of plots. Fortunately for Chris Kattan's precariously positioned career, Corky does have some good laughs, even if most of them are of the lowest-brow variety.

Continue reading: Corky Romano Review

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David Garrett Movies

The Devil's Violinist Movie Review

The Devil's Violinist Movie Review

Filmmaker Bernard Rose gives the period biopic a kick in the seat of the pants...

Step Up Movie Review

Step Up Movie Review

Advertising materials tell us all we need to know about Step Up. She's a little...

Step Up Movie Review

Step Up Movie Review

Advertising materials tell us all we need to know about Step Up. She's a little...

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Deuce Bigalow: European Gigolo Movie Review

Deuce Bigalow: European Gigolo Movie Review

I like movies, I really do. But sometimes the movies have to meet you halfway....

Corky Romano Movie Review

Corky Romano Movie Review

The one question that eats at me after seeing Corky Romano is why Touchstone spent...

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