British actress Geraldine McEwan has died at the age of 82.
Geraldine McEwan, the British actress best known for her role as Miss Marple in the ITV adaptations of Agatha Christie's detective novels, has died at the age of 82. Her family released a statement on Saturday (31st January) confirming McEwan had passed away on Friday 30th January following a stroke in October 2014.
"Following a stroke at the end of October and a period in hospital, Geraldine McEwan passed away peacefully on January 30. Her family would like to thank the staff at Charing Cross Hospital who cared for her incredibly well," McEwan's two children, Greg and Claudia, said in a statement to the BBC.
McEwan was born in Old Windsor, Berkshire in 1932. At the age of 19, she married Hugh Cruttwell, a former principal of the Royal Academy of Dramatic Arts. The couple had two children: a son, actor Greg Cruttwell, and a daughter, Claudia. Cruttwell died in 2002 and McEwan did not re-marry after his death.
Continue reading: 'Miss Marple' Actress Geraldine McEwan Dies Aged 82
14-year-old Arrietty Clock and her family live under the floorboards of a house in western Tokyo. They are 'tiny people' - or borrowers - whose survival depends on 'borrowing' things that humans won't miss, such as a single sugar cube. But their existence must be kept a secret from humans, which is why they are kept hidden and why they only borrow at night.
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There aren't any particular surprises in The Magdalene Sisters once the three heroines are locked away. Most sequences follow the same pattern, where the lank-haired, poorly fed, and half-clothed girls aspire for freedom, love, or fair treatment and are met with beatings and brutality. Lest there be any doubt of Sister Bridget's wicked witch nastiness, she's often seen counting her money and turning a blind eye to the random injustices within her makeshift girl's prison. Often compared with Louise Fletcher's Nurse Ratched, a more careful viewing of One Flew Over the Cuckoo's Nest will reveal subtleties to the character that don't exist in the one-note tyrant, Sister Bridget.
Continue reading: The Magdalene Sisters Review
Robin Hood: Prince of Thieves is yet another example of Hollywood taking a famous story and making it Hollywood-compliant. In other words, the original story is still there in some bizarre form (he robs from the rich and gives to the poor), but we're missing Prince John, and Robin Hood's not speaking in a British accent. I can accept Robin Hood not speaking in a British accent if he happens to also be an animated fox (Disney's version, which took up some of my childhood hours), but when Kevin Costner takes a stab at it I just approach the entire movie from that point on with a sort of incredulity.
Continue reading: Robin Hood: Prince of Thieves Review
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For a long time I've had a theory that the musical genre couldn't survive the cynicism of modern audiences except as a ironic in-joke, like the "South Park" movie or as a post-modern homage, like Woody Allen's "Everyone Says I Love You."
I couldn't have been more wrong -- and leave it to Kenneth Branagh, a writer-director-actor who has made his name revitalizing old (old, old!) school entertainment -- to prove it by bringing back the kind of weightless musical delight that carried Fred Astaire and Ginger Rogers to stardom.
For his new adaptation of Shakespeare's "Love's Labour's Lost," Branagh has re-imagined the buoyant romantic comedy as a classy, corny, 1930s movie musical, complete with uplifting dance numbers and a catalog of favorite big band ditties sung with great enthusiasm (if not great skill) by a quality cast of cheerful actors clearly having the time of their lives.
Continue reading: Love's Labour's Lost Review