Frances O'Connor - 2016 Los Angeles Film Festival 'The Conjuring 2' premiere at TCL Chinese Theatre IMAX - Arrivals at TCL Chinese Theater IMAX, Los Angeles Film Festival - Los Angeles, California, United States - Tuesday 7th June 2016
Frances O'Connor - A host of stars were photographed as they took to the red carpet at the 72nd Annual Golden Globe Awards which were held at The Beverly Hilton Hotel in Los Angeles, California, United States - Sunday 11th January 2015
Frances O'Connor - A host of stars were snapped as they attended the British Academy of Film and Television Awards (BAFTA) Los Angeles Tea Party which were held at The Four Seasons Hotel in Beverly Hills, Los Angeles, California, United States - Saturday 10th January 2015
Frances O'Connor - The opening of the National Theatre's production of Great Britain at the Theatre Royal Haymarket - Arrivals at Theatre Royal, Haymarket, Theatre Royal Haymarket - London, United Kingdom - Friday 26th September 2014
The story is typical Michael Critchon hooey, only shorn of all the techno-speak which his books use to cloud the sheer implausibility of their central conceits. An archaeological group on a dig in France finds a couple of interesting artifacts: one is a modern-day bifocal lens, the other a note from the dig's leader, Prof. Ed Johnston (Connolly), which is in his handwriting but dates from the 14th century. Just as this is discovered, the gang (mostly young attractive archaeologists and Walker, who was just there visiting his dad) is all summoned back to the desert headquarters of ITC, the big firm that's funding their dig. There, ITC's boss (David Thewlis, long MIA from Hollywood films) says that they've discovered how to send people back in time through a freakily-discovered wormhole to a spot in France circa 1357, and oh yeah, that they sent Johnston back there a couple days ago, he hasn't returned and they're starting to get worried about him. You see, that particular part of the world was at that time embroiled in a battle between the French and the English, meaning that there were lots of angry men on horses riding about looking for people to practice one-sided swordplay on.
Continue reading: Timeline Review
A.I. Artificial Intelligence is, too my deep dismay, neither breezy nor particularly fun. The level of anticipation of the film, of course, would be impossible to effectively sate, but A.I. just doesn't cut it. It doesn't even come close.
Continue reading: A.I. Artificial Intelligence Review
Book of Love is strangely, simultaneously obvious and moving. Happy couple Elaine (Frances O'Connor) and David (Simon Baker) are getting along just fine, when for some reason they take an interest in 16-year-old Chet (Gregory Smith), who's a local swimmer and soda jerk at their favorite drug store. Chet is obviously smitten with Elaine, and it isn't long before one drunken night when she submits to his tentative advances.
Continue reading: Book Of Love (2004) Review
Based on P.G. Wodehouse's novel, the film concerns the exploits of one Jim Crocker (Sam Rockwell), a young wastrel whose social-climbing American mother (Allison Janney, sharp as a tack) has forced him and his father (Tom Wilkinson), a failed British actor, to live in London and try and impress the swells there. She does this just to tick off her competitive sister, Nesta (Brenda Blethyn), a fact not wasted on the men of the family. Spoiling his mother's plans is Jim's penchant to booze it up all over town, getting into fistfights and leaving flappers scattered about the house and in his bed. Jim decides to ostensibly reform his wayward ways when he meets Nesta's step-niece Anne (Frances O'Connor), who won't have anything to do with him unless he pretends to be someone else - Jim once wrote a gossip column under the name "Piccadilly Jim", and once someone else writing the column (he hasn't worked on it for years) gave a negative review to a collection of Anne's poems. Jim thusly does the only sensible thing a fellow could do: He pretends to be a teetotaler Christian named Algernon Bayliss. Somehow, along the way, a German spy and some scientific secrets come into play, but one would be well-served to not wonder how.
Continue reading: Piccadilly Jim Review
Let's see if I can, without giving away too much, get to the crux of why "About Adam" self-destructs despite being quite entertaining and consistently amusing.
The movie is a buoyant but dark comedy about a conspicuously charming young grifter (Stuart Townsend, "Shooting Fish") who seduces an entire generation of one average suburban Irish family, carrying on torrid, secret affairs with all of them at the same time.
It's clever in that the same story is told in turn from each sibling's perspective and is brimming with glib wit in both dialogue and circumstance. But throughout the picture there are nagging little problems that foreshadow a 500-pound gorilla of a debacle that runs amok through the finale.
Continue reading: About Adam Review
It's easy to understand why Brendan Fraser wanted to star in "Bedazzled." He gets to play a Colombian drug lord, a half-witted hick version of Dennis Rodman and a whole series of other screwball characters -- all fantasy incarnations of Elliot Richards, a lonely doormat of a tech support geek who sells his soul to the devil.
For four years Elliot (Fraser) has admired from afar a comely co-worker named Alison (Frances O'Connor, "Mansfield Park"). Bumping into her in a bar after work one day, his already diminutive ego is squashed when she doesn't even know who he is. "God, I'd give anything to have that girl in my life," he whimpers under his breath.
God may not have heard him, but the next thing Elliot knows a slinky sexpot Satan (Elizabeth Hurley) in a micro-mini red dress appears and promises him seven wishes for his soul.
Continue reading: Bedazzled Review
No Steven Spielberg movie without dinosaurs or lost arks is complete until some part of it is slathered in schmaltz, and no Spielberg finale has ever been as thick with it as "A.I. Artificial Intelligence."
Of course, I can't go into detail without spoiling said finale, but just imagine something so soft-focused, saccharine and teary-eyed that E.T. himself would go into sugar shock -- then multiply that by 10 and you'll get the general idea.
As with most Spielberg films, the irony is that up until the Gatorade cooler of sappy sentimentality is dumped over the audience's collective head, "A.I." is an admirable cinematic feat -- a mesmerizing mix of cautionary futuristic fairy tale, prudently measured intentional corniness, and neon-colored three ring circus.
Continue reading: A.I Artificial Intelligence Review
Film director Oliver Parker is fond of controversial fiddling with established stage classics. In 1995 he reinvented William Shakespeare's "Othello" as a relationship-intensive, semi-erotic psychological thriller. In 1999 he took liberties with Oscar Wilde's "An Ideal Husband," adding scenes and whole subplots with amusing but contentious results.
"The Importance of Being Earnest" is Parker's second stab at going Wilde, and while he once again retains the playwright's savory wit, this time out his plot-tweaking attempts to break out of the drawing room are often distractingly blunt and obvious. Chase scenes, tattooed buttocks and flashbacks of an out-of-wedlock pregnancy -- all new elements dictated by Parker -- are hardly the caliber or the character of any Victorian writer, even one as droll and roguish as Oscar Wilde.
However, a talented cast with keen comic timing helps assuage many of the movie's misfires. Colin Firth ("Bridget Jones's Diary") is nebbish perfection as Jack Worthington, a mannerly turn-of-the-Century country gentleman who invents a wayward brother named Earnest as an excuse for frequent trips to London to sow wild oats. In town he adapts the name Earnest himself and romances the prim but rebellious and beautiful Gwendolen Fairfax (Frances O'Connor), whose stuffy, high society mother (Judi Dench) is resolutely disapproving of all her daughter's suitors.
Continue reading: The Importance Of Being Earnest Review
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