In films like Wendy and Lucy and Meek's Cutoff, writer-director Kelly Reichardt has told sharply pointed stories about women's lives. So this drama weaves together three narratives with distinct female perspectives. Based on short stories by Maile Meloy, these tales only barely intersect, but they echo similar themes in a striking rural Montana setting.
In the central story, Beth (Kristen Stewart) is a young lawyer who drives four hours twice a week to teach a night class, where she develops a fan in a young rancher (Lily Gladstone) who has a secret crush on her. Meanwhile, Laura (Laura Dern) is another lawyer representing an injured worker (Jared Harris) who took a small financial settlement before learning that he would never physically recover. And then there's Gina (Michelle Williams), who is building a home in a gorgeous location with her strained husband (James Le Gros) and surly teen daughter (Sara Rodier). They need a pile of old sandstone that has been sitting for some 50 years next to the home of a man (Rene Aberjonois) everyone's afraid to talk to.
All of this is set against Montana's big-sky landscapes, sumptuously captured on-screen by cinematographer Christopher Blauvelt. Everything is crisp and wintry, and Reichardt cleverly designs the film in a simplistic, insightful way that quietly focusses on unspoken interaction between the characters. Yes, much of this movie is completely silent, as these women consider the realities of their lives. This of course allows the actresses to make the most of their characters, adding weight and depth to each scene, often without saying a word.
Continue reading: Certain Women Review
There's a terrific script at the heart of this World War II thriller, with a blast of complex romance alongside some dark Hitchcockian twists. But filmmaker Robert Zemeckis (Forrest Gump) was probably the wrong man for the directing job, as he overproduces every scene to within an inch of its life. Everything is so big and slick that the story begins to be swamped by the too-perfect costumes and scenery. Which makes it difficult for the audience to engage in what should really be a scrappy, dangerous little drama.
It all kicks off in 1942 Casablanca, where Canadian pilot Max (Brad Pitt) meets French resistance agent Marianne (Cotillard), and together they pose as a couple to infiltrate a party and assassinate a high-ranking Nazi. They also fall in love, and afterwards decide to move to London together and start a family. But a year later, as they are raising their young daughter in leafy Hampstead, Max is told by British officials (Jared Harris and Simon McBurney) that Marianne may have secretly been a German spy all along. And there's now a countdown, as a trap as been laid to prove her guilt unless Max can find evidence to the contrary.
What follows is a tense series of events that are drenched in suspicion and intrigue as Max scrambles around to find the truth while trying not to let Marianne know what he's up to. It's a clever set-up that's very nicely played by Pitt and Cotillard, both of whom bring contrasting layers of emotion and subterfuge to their roles, plus plenty of swooning romantic energy. Most intriguing is that both are able to remain likeable as things progress. So whatever the outcome, it won't change how we feel about them. The adept actors in the side roles are excellent, although they're little more than more scenery around the central couple.
Continue reading: Allied Review
It's 1942 and the world is in the middle of a war unlike any that have happened before. The Nazi Party not only have control of Germany but they've branched out into France and their grip is tightening on lands further afield. The allied forces only held relatively small areas in France and many operatives worked undercover.
Marianne Beausejour is one such operative, she's a beautiful woman who managed to infiltrate certain circles. She's deep undercover and is trusted by her enemies. Max Vatan is spy assassin who's sent to France to help the allied forces. The pair fall for one another and start a love affair. As their relationship deepens, their safety is compromised and they both must fight to protect the love they've built.
The story for Allied is written by Steven Knight (Burnt & Peaky Blinders) and is said to be based on a true story.
Jared Harris, Jean Reno, Charlize Theron, Adele Exarchopoulos , Javier Bardem - Photo call for "The Last Face" during the 69th Cannes Film Festival at Palais de Festivals, Cannes Film Festival - Cannes, France - Friday 20th May 2016
Jean Reno, Charlize Theron, Javier Bardem, Adele Exarchopoulos, Sean Penn, Zubin Cooper , Jared Harris - 69th Cannes Film Festival - 'The Last Face' - Photocall at Palais de Festivals, Cannes Film Festival - Cannes, France - Friday 20th May 2016
Adopting a deliciously groovy vibe, Guy Ritchie turns the iconic 1960s TV spy series into a flashy action-comedy. There's absolutely nothing to this frothy romp, but it's packed with hilarious characters and lively action scenes that continually surprise the audience with inventive twists on the genre. And it just might turn the suave, fast-talking Henry Cavill and the brooding, engaging Armie Hammer into A-list stars in the process.
It opens in 1963 East Berlin, where ex-con CIA operative Napoleon Solo (Cavill) is trying to help sexy mechanic Gaby (Alicia Vikander) escape to the West, chased by his nemesis, KGB agent Illya Kuryakin (Hammer). Gaby's father is a nuclear scientist on the verge of selling his secrets to a rogue Italian billionaire couple (Elizabeth Debicki and Luca Calvani) so, even though the Cold War is raging, the CIA and KGB decide to cooperate on the mission. This means that rivals Solo and Illya must work together as they travel to Rome with Gaby, making contact with British agent Waverly (Hugh Grant) and Gaby's creepy uncle (Sylvester Goth). And of course, there are unexpected wrinkles along the way.
As always, Ritchie cleverly subverts each set-piece, letting chase scenes unfold in carefully staged but enjoyably inventive ways, often putting the real action in the background while the characters act as if they're above all this nastiness. As popcorn entertainment, this is first-rate, with a cast that's more than up to the challenge. Cavill is particularly smooth, a Bond-style spy who seems unable to resist seducing every pretty woman he meets. Hammer's role is pricklier, since Illya never quite relaxes, although his petulance makes him just as likeable. Their interplay is snappy and often very funny but, unlike Ritchie's similarly toned Sherlock Holmes movies, this strains to avoid being a bromance. Solo and Illya continue to spy on each other right to the end, maintaining their Cold War distance even as they team up to save the world.
Continue reading: The Man From U.N.C.L.E. Review
America and Russia have never seen eye to eye, but they do have some of the best government spies the world has to offer. Now's the time to put their differences aside in a bid to fight the real enemy - crime - as an international organised gang find themselves in possession of an atomic bomb powerful enough to kill billions. Napoleon Solo and Illya Kuryakin, American and Russian agents respectively, are thrust together as a team to hunt down the criminals and save the world, returning the destructive weapon to the CIA. However, predictably, it's not the most comfortable of duos, but perhaps these competitive professionals can use their animosity usefully, because they're about to face off against some unlikely and dangerous suspects.
Napoleon Solo and Illya Kuryakin are American and Russian government agents respectively - and an unlikely team given America's long history with the European nation. Unfortunately for them, whether they like each other or not, they have no choice but to band together to save the world from a deadly threat. A criminal organisation with global membership have managed to get their hands on an atom bomb with which they could destroy billions of lives, so they have to investigate to ensure it's returned safely to the American government before anyone can get hurt. Along the way though they meet some unlikely suspects, including femme fatale Victoria Vinciguerra, and team up with another feisty agent named Gaby Teller. They are willing to do anything to succeed in their mission. They have the skills to save the world. They are U.N.C.L.E.
Throughout the early 1960s, the Cold War was in full swing. Two agents, one from Russia and one from America are at each other's throats throughout the conflict. Napoleon Solo (Henry Cavill) is a CIA agent, known for his suave and womanising nature. Illya Kuryakin (Armie Hammer) is a KGB known for his brutality and deadly efficiency. When a criminal organisation sprouts from former Nazi soldiers, Russia and America temporarily put aside their differences to find a solution to the problem. Unfortunately, getting the two men (who have made a career out of trying to kill one another) to work together, may not be as easy as it seems.
Continue: The Man From U.N.C.L.E - Teaser Trailer
The Man From U.N.C.L.E looks pretty awesome.
The first trailer for Guy Ritchie's take on the iconic 1960s spy series The Man from U.N.C.L.E has rolled out online and the British filmmaker appears to have made a movie - or at least attempted to make a movie - that is stylish, humorous and action-packed.
Henry Cavill replaced Tom Cruise in The Man From U.N.C.L.E
In the big-screen adaptation, Henry Cavill plays Napoleon Solo, a slick American spy who teams up with Russian Illya Kuryakin (Armie Hammer) to stop a rogue organization that is fully nuclear equipped. The duo's only real lead is the daughter of a vanished German scientist who is key to infiltrating the shadowy organization. They now face a race against time to save the world - which just sounds awesome, doesn't it?
Continue reading: First Look At Guy Ritchie's 'The Man From Uncle' [Trailer + Pictures]
Finding the perfect house is an important part of starting a family. But for one family, the perfect house may not be all that they first thought. The Bowen family, Eric (Sam Rockwell), Amy (Rosemarie DeWitt), Kendra (Saxon Sharbino), Griffin (Kyle Catlett) and young Madison (Kennedi Clements) are in for a terrifying surprise, when they discover that their estate was built upon the sight of an ancient graveyard. But rather than realising there is an army of vengeful spirits, they are under attack from a horrific poltergeist. When they seek help from paranormal expert Carrigan Burke (Jared Harris), the poltergeist itself begins to discover everyone's true inner fear, and uses it against them.
Continue: Poltergeist - Teaser Trailer
Filmmaker Bernard Rose gives the period biopic a kick in the seat of the pants with this raucously creepy drama about 19th century violin virtuoso Nicolo Paganini, who played so innovatively that people thought he had made a pact with the devil. Rose takes this idea and runs with it, stirring in modern-day ideas of fame and celebrity and finding a series of very clever ways to make violin-playing feel fresh and intriguing. So it's a little frustrating that the central figure remains so oddly out of reach.
After struggling to get anyone to pay him any attention in early 1800s Vienna, Nicolo (played by real violin prodigy David Garrett) signs his soul away to Urbani (Jared Harris), a fast-talking promoter who turns him into a celebrity across Europe. In London, musician Watson (Christian McKay) wants Nicolo to play the Royal Opera House and restore the local fortunes, so hawks his home to bring him over. When he finally arrives, the streets are full of screaming fans, clamouring tabloid hacks (including Joely Richardson) and women protesting Nicolo's notorious womanising and devil worship. But Watson, his mistress Elizabeth (Veronica Ferres) and daughter Charlotte (Andrea Deck) try to sooth Nicolo's artistic temperament. Of course, Nicolo is immediately smitten by Charlotte.
The film has a refreshingly free-wheeling tone, with handheld camerawork, whizzy editing and a continual sense of the music, which is played at high-energy in a variety of colourful locations. Every scene is also layered with bawdy intrigue, as characters mistrust and/or lust after each other. The seasoned cast members have a great time with this. Harris is gleefully sinister with his towering hat and sinister accent. McKay is haplessly eager for his ship to come in far against the odds. And Richardson goes enjoyably broad as a journalist willing to do anything for a scoop.
Continue reading: The Devil's Violinist Review
Date of birth
24th August, 1961
In films like Wendy and Lucy and Meek's Cutoff, writer-director Kelly Reichardt has told sharply...
Adopting a deliciously groovy vibe, Guy Ritchie turns the iconic 1960s TV spy series into...
America and Russia have never seen eye to eye, but they do have some of...
Napoleon Solo and Illya Kuryakin are American and Russian government agents respectively - and an...
Throughout the early 1960s, the Cold War was in full swing. Two agents, one from...
Finding the perfect house is an important part of starting a family. But for one...
Filmmaker Bernard Rose gives the period biopic a kick in the seat of the pants...
A triumph on a variety of levels, this staggeringly detailed stop-motion animation has a wonderfully...
Eggs is a young boy living in the dairy loving, wealthy town of Cheesbridge. He...
Like an ancient Roman version of 2012, this disaster epic is a pure guilty pleasure,...
The Boxtrolls are odd underground creatures that wear cardboard boxes as if they were shells....