This British satirical comedy may be a bit of a mess, but since it's based on a Stephen Fry novel, the snappy wit in the dialogue zings with his specific brand of intelligent humour. This keeps the audience entertained as the story plays lightly with ideas of social privilege and deep-seated faith. The film is overcrowded, and the themes are all over the place, but it's often quite funny.
The story is told through the eyes inebriated curmudgeonly writer Ted (Roger Allam), a former poet who has just been sacked as a theatre critic. Thankfully, he has a distraction when he's asked to look into the rumours that his 16-year-old godson David (Tommy Knight) has some sort of mystical healing powers. So he heads to the manor house where David lives with his parents (Matthew Modine and Fiona Shaw) and older brother Simon (Dean Ridge). As Ted tries to get to the bottom of things, he speaks with a local playwright (Tim McInnerny) and his old flame Rebecca (Geraldine Somerville). But it's not easy to keep focussed on his task when he's drinking so much.
The film is very loosely directed by John Jencks (The Fold), which means that the tone is all over the place. Some scenes are played for slapstick value, while others are darkly pointed or intensely emotional. There are also so many characters that it's tricky to work out the connections between them, especially as their constant bickering reveals a labyrinth of past issues, and Ted never stops talking in the voiceover narration. All of this is amusing but noisily chaotic. So it's up to the actors to hold our interest. Allam is reliably entertaining as the likeably smug Ted, and his interaction with each of the others is energetic and sometimes funny. Amid the shameless scene-chompers in the cast, it's Knight who emerges as the most sympathetic figure even though, like everyone else, he's just using other people to get what he wants.
Continue reading: The Hippopotamus Review
Testament of Mary is the latest play to take Broadway by storm, for all the right reasons too.
Testament of Mary is an ambitious project as far as Broadway productions go, with the striking stage set up almost as awe-inspiring as the actual one person show. A live vulture, an uprooted tree suspended in mid-air and a seemingly bottomless pool of water litter the stage that is soon inhabited by the show's star, Fiona Shaw, who gives a commanding performance in Irish writer Colm Toibin and director Deborah Warner's one woman show.
Fiona Shaw and Colm Toibin at the show's premiere.
The script is adapted from 2012 novella about Mary, the mother of Christ in 'historical' terms and the Mother of God and the Queen of Heaven in the Biblical sense. Holding lilies, surrounded by a Plexiglas cube or by candles, or stripped of any defining qualities, Toibin's presentation of the Virgin Mary is bound to be one that you have never seen before as Testament of Mary really is a spectacle to behold.
Continue reading: Fiona Shaw Gives Powerhouse Performance In Testament Of Mary
Jack O'Brien (McCracken, then Penn) grows up in the 1950s American Midwest with his harsh-but-caring dad (Pitt), loving mother (Chastain) and little brothers RL and Steve (Eppler and Sheridan). Over the years, events shift and shape the family, including illness, injury and death. But what does it all mean? And can the truths of humanity be traced back to the dawn of evolution or the age of the dinosaurs?
Continue reading: The Tree Of Life Review
Dorian (Barnes) is an orphan who inherits a sprawling mansion when his tyrant grandfather dies. Young and eligible, he's quickly taken under the wing of Lord Henry (Firth), who introduces him to the licentious ways of late 19th century London. But the sex and drugs sabotage his relationship with an innocent young actress (Hurd-Wood), and Dorian pledges his soul to the devil in exchange for eternal youth. Now instead of aging, a portrait painted by his friend Basil (Chaplin) shows the scars of his depraved life.
Continue reading: Dorian Gray Review
Fracture has no excuse to be so lazy, given the actors at its disposal and a setup that should have made this an easy slam-dunk. Hopkins plays Ted Crawford, an aeronautics engineer who's found out that his wife Jennifer (Embeth Davidtz) is having an affair with police detective Rob Nunally (Billy Burke). Confronting her at home, Crawford shoots her in the head and calmly waits for the cops to arrive. When they do, it's with none other than Nunally at the lead, who's shocked and enraged at finding Jennifer in a pool of blood and Crawford standing there as though nothing had happened. After a quickly-interrupted beating from Nunally, Crawford later confesses and even waives his right to a lawyer. When it's all dropped in the lap of assistant district attorney Willy Beachum (Gosling), the case couldn't seem more airtight, which is good since Beachum can't wait to slip the bonds of lowly civil employment for a well-paying private sector job.
Continue reading: Fracture Review
The generally limp script by Josh Friedman starts off smartly, setting us up for the bruising friendship between the stars, a couple of L.A. cops who also happen to be boxers and get paired up for a publicity-machine fight that touts them as "Mr. Fire and Mr. Ice." Ice is "Bucky" Bleichart (Josh Hartnett), a cool and low-key guy charitably described as a loser who gets his shot at a good chunk of change as well as reassignment to the LAPD's hotshot Warrants department for agreeing to the fight. Fire is Lee Blanchard (Aaron Eckhart), one of those bigger-than-life cops who cuts corners with aplomb and seems happy enough to bring Bucky on as his partner after knocking his teeth out (literally) in the ring. Further binding the two men together, besides work and friendship, is Kay Lake (Scarlett Johansson), the sultry blonde dame on Lee's arm who takes a shine to Bleichart that doesn't seem to be entirely platonic.
Continue reading: The Black Dahlia Review
Mira Sorvino plays a princess who dresses up as a dandified male student to infiltrate the summertime estate of a misogynistic philosopher (Ben Kingsley). Under the old man's tutelage, a dashing prince (Jay Rodan) has been instructed to distrust the female sex. So clever Sorvino attires herself as a man to earn his friendship, trust, and above all, love.
Continue reading: Triumph Of Love Review
Harry Potter is growing up, and so is his movie franchise.Under the tutelage of a new director -- Alfonso Cuarón, known for both children's fare (the 1995 remake of "A Little Princess") and an edgy, insightfully soulful, sex-charged teen road-trip flick ("Y Tu Mama, Tambien") -- the boy wizard has graduated from the world of kiddie movie spectacles with tie-in toys.
"Harry Potter and the Prisoner of Azkaban" is a film in which depth of character, cunning humor and hair-raising chills come shining through the visual blitzkrieg of special effects -- which are also magnificently improved over the series first two installments. Case in point: a half-horse, half-eagle creature called a Hippogriff that gives "Lord of the Rings'" Gollum a run for his money as the most life-like CGI creation in cinema history.
Beyond just its detailed feathers (which fluff when it shakes) or its golden eyes (which bore holes in the screen with obstinate personality), this winged equine's every movement, from its canter to its peck, is a studied yet natural, amazingly fluid amalgam of the two beasts that were combined to create it.
Continue reading: Harry Potter And The Prisoner Of Azkaban Review
Overly self-indulgent director Chris Columbus could have cut out the entire middle hour of "Harry Potter and the Sorcerer's Stone" and if you hadn't read the popular children's book, you'd never know the difference.
A good 70 percent of the picture consists of showy set pieces that don't service the plot (which we'll get to in a minute) so much as obligingly recreate unrelated passages that would be missed by the boy wizard's enthusiastic and possessive fan base had they been omitted.
One 10-minute episode is spent watching a sport called Quidditch, sort of a flying-broom version of field hockey with more than one puck and incredibly intricate rules that go largely unexplained. It's a lot like the pod race scene in "The Phantom Menace" -- irrelevant but spirited -- although with 1/10th the special effects budget. (Oh, that blatant blue-screening!)
Continue reading: Harry Potter & The Sorcerer's Stone Review
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