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A Monster Calls Trailer

Conor's life has never been easy, his mother is loving but any other family members are distant from the young boy. He's bullied at school and is increasingly turning into a loner. One night Conor goes to sleep but it awakened by a noise at the window.

What is revealed to Conor is a monster who starts talking with the boy. He says he'll tell the boy a series of stories in return for the boy eventually telling his own. As nights pass, the monster and the boy become closer friends but as the monster begins to get Conor into trouble, he must face up to a few issues in his life that he's been avoiding.

A Monster Calls is an adaptation of the Patrick Ness book of the same name. The book was originally published in 2011 but had its roots actually came from famed children's author Siobhan Dowd who wrote Bog Child. Dowd began work on the A Monster Calls before her death but unfortunately ran out of time, at which point Ness picked the novel up.
A Monster Calls stars Liam Neeson, Lewis MacDougall, Felicity Jones & Sigourney Weaver.

Geraldine Chaplin Attends Geraldine Chaplin Tribute Photocall

Geraldine Chaplin - Geraldine Chaplin attends Geraldine Chaplin tribute photocall at Palafox cinema - Madrid, Spain - Friday 2nd October 2015

Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin

The Impossible Review


Director JA Bayona (The Orphanage) draws out exceptional performances in his cast, as well as his technical crew, to turn a true story into a potent dramatic thriller. This is such a staggering story of survival that the title almost feels understated. And even though it has a hugely emotional tone, the film never feels mawkish, taking a gritty, intimate approach to a situation that's seriously mind-boggling.

We're talking about the 2004 Boxing Day tsunami, which claimed nearly 300,000 lives. But this is the story of just one family: Henry and Maria (McGregor and Watts), who travel to Thailand with their three sons Lucas, Thomas and Simon (Holland, Joslin and Pendergast) for an idyllic Christmas holiday. Then the Indian Ocean tsunami tears through the landscape. Lucas manages to stay with the badly injured Maria, and they go looking for help. Meanwhile, Henry finds Thomas and Simon and sets out to reunite his family. But the devastation is total, and it will take a miracle for them to find each other in the confusion of relief efforts and medical emergencies.

Avoiding the pitfalls of the usual disaster movie, the script remains tightly focussed on these five characters, even as they meet others along the way. This lets us feel every moment along with them. Meanwhile, the soaring cinematography and seamless effects work make it feel like we're watching actual footage of the tsunami, complete with almost unnervingly realistic make-up. In the tidal wave's wake, these people are grippingly sympathetic, more concerned with helping their family members than with wiping the blood off their faces. And all five actors vividly let us feel their characters' internal journey.

Continue reading: The Impossible Review

The Impossible Trailer

It's December 2004 and a young mother and father take their three sons on a paradise vacation to Southeast Asia where they are not far from white sandy beaches and a clear blue ocean - a far cry from the freezing winter temperatures back home. One day, whilst the Maria relaxes by the pool, watching husband Henry play ball with the kids, an ominous, trembling noise can be heard getting closer and closer. Before the family, and other vacation-goers, have time to run for their lives, they suddenly find themselves caught in one of the most horrific natural disasters of the generation; the tsunami resulting from the earthquake of the Indian Ocean. Miraculously, the family survive; Henry drifts back to consciousness with an overwhelming fear when his children are nowhere to be seen, though it is not long before his two youngest discover him. Maria and the eldest, Lucas, have drifted elsewhere and Henry vows to search every shelter and every hospital for them. They are so far unharmed and are found by some locals who take them to a nearby hospital. Maria sends Lucas off to help people find their families and finds his own along the way.

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The Monk [Le Moine] Review

This 16th century freak-out is ravishingly beautiful to look at, but it's also turgid and relentlessly grim. So what's essentially a dark supernatural thriller will only really appeal to arthouse audiences.

Left on the steps of an isolated Spanish monastery as an infant, Ambrosio (Cassel) has grown up to be a celebrated priest, wowing the population of nearby Madrid with his radical sermons. But he's haunted by visions, as well as a dark secret kept by an oddly powerful woman (Francois). Meanwhile, young Antonia (Japy) is being wooed by the sexy Lorenzo (Noaille), a match her mother (Mouchet) approves but worries about. And no one has a clue that all of their fates are intertwined.

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The Monk Trailer

When he was a baby, Ambrosio was raised by Capucin monks in a Spanish monastery. He becomes a devout monk and, as an adult, his sermons are among the most popular in the country, if not the most popular. However, most of his fellow monks are jealous of Ambrosio's success.

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The Wolfman Review

This B-movie made on an epic budget is so over-the-top that the earlier you start giggling the better. Even though it's played dead straight, it's an old-style monster romp that couldn't be any more camp if it tried.

American-raised actor Lawrence (Del Toro) returns to his family manor on an English moor, where his wild-haired father Sir John (Hopkins) lives with his Sikh servant (Malik). Lawrence discovers that his brother has just been killed in the woods by a vicious creature, which later wounds him as well, turning him into a werewolf. And on the first full moon, he finds himself on the hunt as well as chased by a Scotland Yard detective (Weaving). But maybe a gypsy woman (Chaplin) and his brother's ex-fiancee (Blunt) hold the key to his salvation.

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Chaplin Review

Movies about movie stars are always a dodgy affair. They reek of in-jokes, chumminess, and a glossy version of Hollywood that has never really existed.

As actors go, Charlie Chaplin is at least a worthy candidate for a biopic. His impact on the acting profession and especially physical comedy is hard to overstate, and the man remains an icon whose face (or silhouette) embodies cinema. In the hands of Richard Attenborough, Chaplin's life is digested into the highlights -- from vaudevillian youth to his arrival in Hollywood to his amazingly fast rise to fame. Attenborough even dabbles in Chaplin's investigation by J. Edgar Hoover's FBI. Naturally, the running series of Chaplin's famous romantic entanglements are carefully tallied, the actresses playing the various Mrs. Chaplins (and near misses) making up a who's who of early-'90s starlets.

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Osgar Awards At Leipziger Rathaus City Hall - Red Carpet Arrivals

Geraldine Chaplin and Patricio Castillo - Geraldine Chaplin, Patricio Castillo Leipzig, Germany - Osgar Awards at Leipziger Rathaus city hall - Red carpet arrivals Tuesday 24th June 2008

Premiere Of The Witzigmann & Roncalli Dinner Show "Bajazzo" At MS Rhein Energie

Geraldine Chaplin - Geraldine Chaplin, Cologne, Germany - Premiere of the Witzigmann & Roncalli dinner show "Bajazzo" at MS Rhein Energie Thursday 11th October 2007

Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin
Geraldine Chaplin

The Orphanage Review

In a towering and creaking old beast of a building somewhere in a gorgeous coastal part of Spain, an attractive couple on the younger slope of middle age pass the days in enjoyable semi-solitude with their adorable, seven-year-old son. The building is actually an old orphanage, where the mother, Laura (Belén Rueda), spent her formative years and which she and her husband, Carlos (Fernando Cayo), now intend to open again as a home for children with special needs. It makes sense; their boy Simón (Roger Príncep) is lonely and seems to be getting a little too involved with his two invisible friends, Watson and Pepe. One day, Laura and Simón go for a walk down by the sea cliffs and she loses him briefly in a cave. When she finds him, he appears to have made a few more imaginary friends. And things aren't quite the same after that in the orphanage.

In his stealthily creepy The Orphanage, first-time director Juan Antonio Bayona makes a decent bid for being considered one of the new wave of Spanish directors, and looks likely to be soon making the hop to Hollywood in the footsteps of the film's producer, Guillermo del Toro. He's managed a very difficult task here in taking a large batch of genre tropes, from lost children to haunted houses to buried crimes and even lonely lighthouses in the foggy night, and made them all jump out of the precisely ordered mise-en-scene like they were freshly minted. Add to this the fact that his film shares so many stylistic and thematic characteristics of del Toro's (particularly The Devil's Backbone) that he had the added pressure of not aping his producer's work. Despite all this, on almost every level that it needs to, The Orphanage succeeds.

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Talk To Her Review

The cinema of Pedro Almodóvar is one of our finest imports. He has a talent for creating entertaining stories from the most difficult universal condition, often through deftly balancing melodrama and comedy, such as in the operatic stylings of All About My Mother or the more simplistically toned Women on the Verge of a Nervous Breakdown. His latest, Talk to Her, returns Almodóvar to a more interactive sentimentality through a pair of male pals that bond over their desire for comatose patients.

This central focus, the platonically affectionate friendship of two men, is admirably rare to begin with. Sure, men are pals in domestic-made features, but they rarely hug or discuss emotional dysfunction because American society is so homophobic. Audiences and critics alike are attuned to the slightest hint that a film might be presenting a gay character or subplot so that it can be easy to dismiss even the most intelligent works of fiction as simply "queer" without giving it the further attention to human issues it deserves. One would think that writer/director Almodóvar would lean more towards gay/lesbian issues, being a homosexual, but he thankfully seems bent on capturing the essence of people, in all their parts, and not just whom they choose to sleep with. His consistently honest stance, both in interviews and film projects, fuels his ability to intelligently articulate heart-wrenching and heartwarming experiences with all of his creations, regardless of sexual orientation.

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The Bridge Of San Luis Rey Review

There's a sure-fire way to spot a lurching cinematic failure: look at the stars. Not in astronomic terms, but in who is in it and why is it not getting buzz. You heard about Clint Eastwood's Mystic River a long time before it came out because it had a big cast and they were all excellent in the film. Furthermore, the film itself was brilliant, one of the best of that year. So, one has to wonder why a film starring Robert De Niro, Gabriel Byrne, Harvey Keitel, Kathy Bates, and F. Murray Abraham (all talented actors) was released and forgotten within a week? It happens once in a blue moon but when it does, look out! You're about to witness a sinker like none the world has seen. Stand in awe of Mary McGuckian's The Bridge of the San Luis Rey, a true, honest-to-God blunder.

Thornton Wilder's famed novel has been filmed three times, including this one. The story is interesting and its ideas on religion and corruption are certainly timely. Brother Juniper (Gabriel Byrne, wasted as a pointless framing device) has recently collected data and put it into a book about five souls who lost their lives when the Bridge of San Luis Rey collapsed. The book implicates a bit of a conspiracy concerning the bridge's collapse, but the Archbishop of Peru (Robert De Niro) sustains that it was an act of the devil and that Brother Juniper, and his book, are calculating heathens. Most of the film is a flashback to the events leading up to the bridge's failure, mainly concerning the wealthy Marquesa (Kathy Bates), a young actress Dona Clara (Émilie Dequenne), and their relationship with the Viceroy of Peru (F. Murray Abraham). The Viceroy has impregnated Dona Clara and is a bold faced hypocrite for first shunning the Marquesa and then making Dona show her respect and humility. The only one who seems to really care about the poor actress is Uncle Pio (Harvey Keitel), the head of the acting troupe that Dona Clara is in. The film leads up to both the breaking of the bridge and the court's judgment of Brother Juniper. Neither goes well, as you might imagine.

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Les Uns Et Les Autres Review

I love classical music, sure, but does Claude Lelouch's glorified music video really need three hours to tell its "story?" This disjointed, incoherent mess features long stretches of music and dancing (recalls Thriller), with little tidbits of narrative plot (spanning three generations during the first half of the 20th century) to hold it all together. Er, or not.

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The City Of No Limits Review

The City Of No Limits has just about everything: a health crisis, a 40-year-old mystery, three Dynasty episodes worth of backstabbing family intrigue, and an extended Spanish family battling over its destiny. There's never a dull moment.

The city in question is Paris, where Max, the family patriarch and owner of a large pharmaceutical company, has traveled from Madrid seeking treatment for a tumor that has left him slightly demented and close to death. By his side is his wife Marie (the formidable Geraldine Chaplin, as thin and cold as an icicle), who clearly has something dark on her mind. She's joined by her three sons, Luis (Roberto Alvarez), Alberto (Alex Casanovas), and the youngest, Victor (Leonardo Sbaraglia), who flies in from Argentina with his girlfriend (Leticia Bredice) for what may be Max's death watch.

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