Gina Mckee

Gina Mckee

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Cannes Film Festival - Jimmy P. Psychotherapy of a Plains Indian - Premiere

Gina McKee - 66th Cannes Film Festival - Jimmy P. Psychotherapy of a Plains Indian - Premiere - Cannes, France - Sunday 19th May 2013

'Jimmy P: Psychotherapy of a Plains Indian' - Photocall

Gina McKee - 66th Cannes Film Festival - 'Jimmy P: Psychotherapy of a Plains Indian' - Photocall - Cannes, France - Saturday 18th May 2013

Gina McKee
Michelle Thrush, Misty Upham, Mathieu Amalric, Gina McKee, Arnaud Desplechin and Benicio Del Toro

Picture - Gina McKee , Tuesday 27th March 2012

Gina McKee Tuesday 27th March 2012 'The King's Speech' press night held at the Wyndham's Theatre - Arrivals.

Gina McKee

Picture - Gina McKee, London, England, Monday 13th June 2011

Gina McKee - Gina McKee, London, England - at the press night of Mike Poulton's new production of 'Luise Miller' at The Donmar Warehouse. Monday 13th June 2011

Picture - Gina McKee at the 2011 Olivier Awards at the Theatre Royal, Sunday 13th March 2011

Gina McKee Sunday 13th March 2011 at the 2011 Olivier Awards at the Theatre Royal - Arrivals at the 2011 Olivier Awards at the Theatre Royal

In the Loop Review


Extraordinary
Frankly, it's a stroke of genius to play a tense political thriller as if it's a raucous satire. Slicing straight through any over-seriousness, this film keeps us laughing loudly as it tells a story that's probably far truer than we'd like to believe.

Malcolm Tucker (Capaldi) is the acerbic communications director for Britain's Prime Minister, and right now he has to put out a fire started by Cabinet Minister Foster (Hollander), who called war in the Middle East "unforeseeable" in a radio interview. Foster's aides (Addison and McKee) are working to keep him on the crest of a tidal wave of attention after some American politicians (Kennedy and Rasche) take an interest in him. In Washington they also meet a tough Pentagon General (Gandolfini), while unseen forces seem determined to rush to war.

Continue reading: In the Loop Review

Tsunami: The Aftermath Review


Excellent
As its title suggests, HBO Films' Tsunami: The Aftermath begins not with a crashing wave of water but rather with something far more chilling. A boatload of vacationing scuba divers returns to their Phuket resort after a morning outing on December 26, 2004 and notice all sorts of debris, and then bodies, in the water. At the dock they see that the entire landscape is destroyed, the hotel is in ruins, and everyone, including their families and friends, is gone. As they run through the wreckage screaming, you'll feel chills.

Among the group is Susie Carter (Sophie Okonedo), who quickly reunites with her husband Ian (Chiwetel Ejiofor) but is devastated to learn their four-year-old daughter slipped out of her father's arms and has disappeared. Meanwhile, Kim Peabody (Gina McKee) has lost her husband but finds her teenage son horribly injured.

Continue reading: Tsunami: The Aftermath Review

Tsunami: The Aftermath Review


Excellent
As its title suggests, HBO Films' Tsunami: The Aftermath begins not with a crashing wave of water but rather with something far more chilling. A boatload of vacationing scuba divers returns to their Phuket resort after a morning outing on December 26, 2004 and notice all sorts of debris, and then bodies, in the water. At the dock they see that the entire landscape is destroyed, the hotel is in ruins, and everyone, including their families and friends, is gone. As they run through the wreckage screaming, you'll feel chills.

Among the group is Susie Carter (Sophie Okonedo), who quickly reunites with her husband Ian (Chiwetel Ejiofor) but is devastated to learn their four-year-old daughter slipped out of her father's arms and has disappeared. Meanwhile, Kim Peabody (Gina McKee) has lost her husband but finds her teenage son horribly injured.

Continue reading: Tsunami: The Aftermath Review

MirrorMask Review


OK
If the 1980s Bowie/puppet fantasy campfest Labyrinth had been redone by British Dali fetishists with a deep love of The Wizard of Oz, the result might have been something like the ambitious but flawed MirrorMask. A joining of forces between the dark imaginations of graphic novel auteurs Neil Gaiman and Dave McKean (screenwriter and director, respectively) and the technological prowess of the Jim Henson Workshop, it attempts to create a more substantive cinematic fantasy world than today's SpongeBob and Playstation-besotted kids may be used to. As such, this admittedly stupendous-looking film deserves quite a lot of credit for trying, even if the end result never quite makes it.

A central problem with MirrorMask is that the story (as will be obvious even to those not familiar with Gaiman and McKean's work on such landmark graphic novels as Sandman and Books of Magic) is something the two of them could have dashed off in one coffee-fueled afternoon. Helena (Stephanie Leonidas) is an angry teenager whose parents (Gina McKee, Rob Brydon), to her eternal dismay, run a tatty circus that takes up all their time. As a family crisis comes to a boil - Mum goes into hospital while Dad tries to keep everything from falling apart and the circus employees wonder how they're going to get paid - Helen, who'd much rather have normal parents than eccentric showpeople, falls into a dream world where she's on a quest to find the MirrorMask, a magical object that will allow her to escape the Dark Lands and return to her family. Maybe. She just has to figure out what the MirrorMask is. And what it looks like.

Continue reading: MirrorMask Review

Notting Hill Review


Excellent
Julia Roberts is Julia Roberts - almost - in Notting Hill, a well-crafted romantic comedy from the geniuses behind Four Weddings and a Funeral.

The deceptively simple plot begins when uber-famous film star Anna Scott (Roberts) winds up in William's (Grant) book shop on Notting Hill, something of a British cross between a pre-Disney Times Square and a Moroccan street market. After William accidentally dumps orange juice down Anna's front, an on-again, off-again, on-again, off-again, on-again love affair blossoms.

Continue reading: Notting Hill Review

MirrorMask Review


OK
If the 1980s Bowie/puppet fantasy campfest Labyrinth had been redone by British Dali fetishists with a deep love of The Wizard of Oz, the result might have been something like the ambitious but flawed MirrorMask. A joining of forces between the dark imaginations of graphic novel auteurs Neil Gaiman and Dave McKean (screenwriter and director, respectively) and the technological prowess of the Jim Henson Workshop, it attempts to create a more substantive cinematic fantasy world than today's SpongeBob and Playstation-besotted kids may be used to. As such, this admittedly stupendous-looking film deserves quite a lot of credit for trying, even if the end result never quite makes it.

A central problem with MirrorMask is that the story (as will be obvious even to those not familiar with Gaiman and McKean's work on such landmark graphic novels as Sandman and Books of Magic) is something the two of them could have dashed off in one coffee-fueled afternoon. Helena (Stephanie Leonidas) is an angry teenager whose parents (Gina McKee, Rob Brydon), to her eternal dismay, run a tatty circus that takes up all their time. As a family crisis comes to a boil - Mum goes into hospital while Dad tries to keep everything from falling apart and the circus employees wonder how they're going to get paid - Helen, who'd much rather have normal parents than eccentric showpeople, falls into a dream world where she's on a quest to find the MirrorMask, a magical object that will allow her to escape the Dark Lands and return to her family. Maybe. She just has to figure out what the MirrorMask is. And what it looks like.

Continue reading: MirrorMask Review

Wonderland (2000) Review


Weak
The city of London has a million stories, and Wonderland tells just one of them -- well, okay, three. No, five -- five! Six -- eight -- all right, eleven subplots competing for screen time.

At the center are three sisters lookin' for a little love and compassion. Perky Soho waitress Nadia (Gina McKee, Croupier), her hair punked out in cute rabbit ears, indulges in the lonely hearts club of personal ads for Mr. Right, or at least a decent lay. Abrasive, no-nonsense hairdresser Debbie (Shirley Henderson, Topsy-Turvy) settles into a tract of not taking shit from anyone, especially her irresponsible ex, Dan (Ian Hart, Spring Forward). He can barely be counted on for weekend visits to their teenage son (Peter Marfleet). Molly (Molly Parker, Waking the Dead) is very pregnant and needs a little support from her friends, especially when her husband (John Simm) goes through a mid-life career meltdown.

Continue reading: Wonderland (2000) Review

Croupier Review


Good
Mike Hodges, best known for the lean and mean Get Carter (1971), returns to form with Croupier. This polished throwback to the wit and economy of British thrillers from the late '60s and early '70s certainly has style to spare, but like its smooth operator protagonist, it lacks a soul.

Down on his luck novelist Jack Manfred (Clive Owen, handsome and angular as a young Sean Connery) is forced to make ends meet by taking a job at a high stakes casino. He's a croupier, or dealer, operating with cold precision. He sizes up gamblers who line up as the roulette wheel to try their luck.

Continue reading: Croupier Review

The Reckoning Review


OK
Starting out as a cunning variation on the crime thriller, this medieval mystery (set in England at the end of the 14th century) moves with dramatic vigor and an engrossing build. Too bad it gets bogged down in the final reckoning, with grand themes and indulgent speechmaking designed to ensure we get the message. We do, but it brings out the worst in our performers.

Putting the tale into motion is Nicholas (Paul Bettany), an earnest but lustful priest who is caught bedding a married woman of his flock and fleeing from his town in disgrace. On the road without any prospects, he encounters a troupe of itinerant actors making their way from town to town and earning their keep by staging scenes out of the Bible for an entertainment-deprived, rural public. Offering his limited skills, Nicholas convinces Martin (Willem Dafoe), the troupe's main man, to accept him into the ensemble against Tobias's (Brian Cox) grousing against it. Martin's sister Sarah (Gina McKee), on the other hand, is quick to overcome her initial distrust and soon develops a growing affection for the fair-haired newbie. As her eyes increasingly fasten on him, she brings a hint of sexual tension to the scenario.

Continue reading: The Reckoning Review

The Loss of Sexual Innocence Review


Weak
Jesus, when I went to the movies today I didn't know I was going to have to think!

Mike Figgis, the genius behind Leaving Las Vegas, has put together one dense piece of celluloid here, his first outing since One Night Stand tanked last year.

Continue reading: The Loss of Sexual Innocence Review

Gina Mckee

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