Jeremy Thomas

Jeremy Thomas

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BFI London Film Festival - High Rise Premiere

Jeremy Thomas - BFI London Film Festival - High Rise Premiere - Arrivals - London, United Kingdom - Friday 9th October 2015

Jeremy Thomas

The BFI LUMINOUS Gala Dinner

Jeremy Thomas - The British Film Institute's LUMINOUS gala dinner held at Guildhall - Arrivals at Guildhall - London, United Kingdom - Tuesday 6th October 2015

Jeremy Thomas

Kon-Tiki Review


While this ambitious Norwegian historical adventure sometimes dips into melodrama, it's a riveting, fascinating true story about passion and tenacity. It's also directed with a terrific sense of the open sea by Joachim Ronning and Espen Sandberg, who have now turned their skills to making a Pirates of the Caribbean movie. This film is rather more serious, of course, as it's a recreation of real events that changed the way we understand global migration.

The central figure is Thor Heyerdahl (Pal Hagen Anders), who was obsessed with adventure even as a child in 1920s Norway. By 1937 he's living in Polynesia with his wife Liv (Agnes Kittelsen), noticing clear connections between the islands and South America. But this goes against the conventional wisdom that Polynesia was populated from Asia, and no one will listen to Thor's theory that the residents are actually descendants of the Incas. So he decides to prove it himself, designing a raft out of the traditional materials and planning to set sail from Peru. To do this he needs considerable help, including an engineer (Baasmo Christiansen), a documentary filmmaker (Gustaf Skarsgard) and a crew (Tobias Santelmann, Odd-Magnus Williamson and Jacob Oftebro) who won't give up when the going gets a lot tougher than any of them expect.

The film has a striking attention to period detail, so much so that everything about this project feels seriously authentic. Thankfully, Ronning and Sandberg keep the focus on the characters, and each emerges as a man forced to confront the raw power of nature as well as his own inner resilience. At the centre, Anders plays Heyerdahl as a man who is willing to sacrifice everything to find the truth, including his family and his status in the scientific community. The interaction between these men sometimes feels a bit heightened cinematically, but they are all strong-willed guys with something important to prove. And both their inter-relationships and their bodies are pushed to the brink through bristling clashes and mind-boggling physical challenges. Although as their woolly beards grow out and their clothing falls to rags, they become somewhat difficult to tell apart.

Continue reading: Kon-Tiki Review

Only Lovers Left Alive Review


It's hardly surprising that laconic filmmaker Jim Jarmusch (Broken Flowers) has created such an inventively offbeat vampire movie, helped hugely by the ace casting of Tilda Swinton and Tom Hiddleston as extremely long-term lovers. Fans of the genre might find the movie a bit slow and relaxed, but sharp humour and especially strong characters make it unmissable.

In a run-down house in Detroit, centuries-old Adam (Hiddleston) is living in squalor while anonymously creating club music with the assistance of Ian (Yelchin), who finds things like antique guitars for him to play. He gets his supply of clean O-negative blood from a helpful doctor (Wright). Meanwhile in Tangiers, Adam's wife Eve (Swinton) relies on her old pal Marlowe (Hurt) for the blood she sips at sunrise like a cocktail before lapsing into a deep sleep. Bored, Eve decides to visit Adam, so books nighttime flights and arrives to a blissful reunion. But their solace is interrupted when her wild-child sister Eva (Wasikowska) turns up.

These may be creatures of the night, but over thousands of years they have discovered exactly what kind of art soothes their souls. And Eva's boisterous presence disrupts their languorous peace even more than the fact that the blood supply is becoming increasingly contaminated. Adam and Eve call humans "zombies" dismissively and joke about their influence on key events and inventions throughout history. Hiddleston and Swinton are utterly perfect for these roles, bringing out details that are hilarious as well as emotionally moving. They also let us see the years of boredom mixed with a glimmer of childish curiosity that would be required to survive for so long.

Continue reading: Only Lovers Left Alive Review

Dom Hemingway Review


Definitely a film of two halves, this crime comedy kicks off with a spark of witty energy as the title character blusters his way through a series of events with hilariously profane rants. Then the plot kicks in. And from here on, it's a dull slog as we lose all interest in what happens next. It's well-played and stylishly directed, but it feels pointless.

We meet Dom Hemingway (Law) just before he gets out of prison after serving 12 years for refusing to rat out his boss Ivan (Bichir), a Russian mobster now living the high life on the French Riviera. So Dom and his sardonic friend Dicky (Grant) travel from London to see Ivan. After a very rocky start caused by Dom's loose tongue, they're in the middle of wildly hedonistic holiday when things take a sudden turn. Dom finds himself penniless back in England, turning to his daughter Evelyn (Clarke) for help. When she refuses to talk to him, he seeks work from a young thug (Hunter).

Up until the mid-point plot-shift, the film is a lot of fun, mainly because Dom's tirades are riotously rude but still have a literary lilt to them. This man clearly has no filter on what he says or does, so he goes from one spot of trouble to another. Law plays him with gusto, winning us over in the comical first half then struggling to keep even a hint of sympathy in the much mopier drama that follows. Frankly, we begin to think that Dom is finally getting what he deserves; we certainly don't want him to come out on top.

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U.K. Film Premiere Of 'Dom Hemingway'

Jeremy Thomas - U.K. film premiere of 'Dom Hemingway' held at the Curzon Mayfair - Arrivals - London, United Kingdom - Monday 28th October 2013

Jeremy Thomas
Jeremy Thomas
Jeremy Thomas

GREAT British Film Reception To Honor The British Nominees

Jeremy Thomas "Producer" - GREAT British Film Reception to honor the British nominees of the 85th Annual Academy Awards at British Consul General’s Residence - Los Angeles, California, United States - Friday 22nd February 2013

Jeremy Thomas

Hara-Kiri: Death Of A Samurai Review

Using muted colours and dark emotions, Miike takes a remarkably restrained approach in this 3D remake of the 1962 samurai classic. It's a slow-burning 17th century Shakespearian tragedy with an astonishing attention to detail and a huge emotional kick.

Aimless without a master to serve, the ronin Hanshiro (Ichikawa) turns up in the courtyard of a great house asking to commit ritual suicide and die with honour. Before granting permission, the house prefect Kageyu (Yakusho) recounts the story of the similarly penniless Motome (Eita), who made the same request in the hopes of receiving a compassionate payout and pardon from the nobleman.

But Kageyu called Motome's bluff, leading to a horrific seppuku with Motome's bamboo blade. What Kageyu doesn't know is that Hanshiro knew Motome.

Continue reading: Hara-Kiri: Death Of A Samurai Review

A Dangerous Method Review

Cronenberg's brainy approach makes this film fascinating but demanding as it traces the birth of psychoanalysis through the relationship and rivalry between Sigmund Freud and Carl Jung. The film radiates intelligence through clever direction and strong performances.

In 1904 Zurich, Jung (Fassbender) tests Freud's theoretical "talking cure" on manic patient Sabina (Knightley). And it works, revealing Sabina's own skills as a potential shrink. Two years later, Jung travels to Vienna to meet Freud (Mortensen), and they start a working friendship. But when Freud refers an outspoken patient (Cassel), Jung starts to question his morality. As a result, he starts an affair with Sabina, which is much hotter than his comfortable marriage to Emma (Gadon). But this causes him to question Freud's theories, leading to a clash of the titans.

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LA Premiere Of Sony Pictures Classics' A Dangerous Method - Arrivals

Sony, David Cronenberg and Jeremy Thomas - (L-r) Co-founder and Co-president at Sony Pictures Classics Michael Bernard, Producer Jeremy Thomas, Director David Cronenberg, Tom Bernard, Co-founder and Co-president at Sony Pictures Classics Beverly Hills, California - LA Premiere Of Sony Pictures Classics' A Dangerous Method - Arrivals Wednesday 19th October 2011

Sony, David Cronenberg and Jeremy Thomas

Creation Review

In tackling the story of what's been called "the biggest single idea in the history of thought", the filmmakers offer a fresh angle on a controversial topic. And it's an imaginative, human approach that brings it vividly to life.

In the mid-1800s, Charles Darwin (Bettany) faces a huge crisis: struggling after the death of 10-year-old daughter Annie (West), he's at odds with his wife Emma (Connelly) and his own Christian beliefs due to the results of his study of variations in species over time. Paralysed by what this will do to his marriage and his faith, he locks his research into a box. But swirling memories of Annie, encouragement from his friends (Cumberbatch and Jones), physical illness and marital strain force him to confront something he can no longer deny.

Continue reading: Creation Review

The Hit Review

Anyone who has kept an eye on Stephen Frears, the prolific British director of The Queen and High Fidelity, must look at Criterion's release of The Hit, his hitmen-cum-road-trip slow-burner, with a cocked head and a raised eyebrow. Of all of the filmmaker's work not available in the US, including his inspired BBC oeuvre, why put out this relatively minor work? His auspicious breakthrough, Bloody Kids, is nearly impossible to see, and God knows what deranged studio head represses a proper release of the director's wild-eyed, anarchistic masterpiece, Sammy and Rosie Get Laid. Perhaps it is not for us to know: The dark corridors and shady alleys of big-studio distribution, acquisitions, and marketing departments are scary places, dear reader.

This is not to say that The Hit is not vintage Frears. Beginning as a simple transport of a philosophical snitch from Spain to France, Frears' jaunt through the bucolic splendor of Western Europe quickly becomes a subtle meditation on what constitutes a "life worth living." Veteran assassin Braddock (John Hurt) has taken young Myron (Tim Roth in his debut performance) under his wing and along for the job of getting Willie Parker (Terence Stamp) to France and then quickly snuffing him. Ten years earlier, Parker sang like a bird about a top Brit gangster and now it's time to pay the piper. In place of panic and grieving, however, Willie seems completely at peace with his fate and his airy disposition sets both hitmen, especially Myron, off course.

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Franklyn Review


Have you ever experienced something that is simultaneously both admirable and annoying? Bono engaging the Pope on contraception, perhaps. Or maybe Ernest Vincent Wright's 'Gadsby' - a book written in its entirety without the letter 'e'? Well, Gerald Mcmorrow's 'Franklyn' very much falls into this category, occasionally even approximating those transcendental nadirs of irritation such as when, in the erstwhile example, John Paul II actually donned Bono's 'fly shades' for that most unholy of photo ops

The film is composed of four story strands each centring on a different character. Sam Riley plays Milo, a heartbroken young rake recently jilted at the altar. Eva Green is the panda-eyed goth-artist, Emilia, an enfant terrible railing against her mother and university course via the production of macabre videos of her various suicide attempts. Bernard 'gizza job' Hill plays Peter Esser, a church warden searching for his missing son and Ryan Phillipe is Preest a sack-masked vigilante battling his way against the state officials of the Meanwhile City theocracy.

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The Last Emperor Review

Toy trucks and accessorized dolls are common props of the wide-eyed two year-old's wonderment. While Puyi, who was appointed China's last emperor at that tender age, might have substituted fine silk curtains for plastic as he explored the Forbidden City -- toddling the breathtaking, empty rooms and splashing in bathtubs -- the veil of childhood was quickly lifted to reveal a solitary life of duty and responsibility. Bernardo Bertolucci's The Last Emperor deals with many false truths, but the most disappointing is that the film, itself, doesn't live up to its grandiose individual efforts.

Despite its bold opening of Puyi's attempted suicide as a prisoner in a reeducation camp in his late 50s, The Last Emperor is your standard biopic, complete with the framework of the aged character telling the story of his life. Of course, Puyi's peculiar childhood is the most interesting half of the two-and-a-half-hour film, and it's there where Bertolucci's grip on the material is the strongest. From the seven-year-old Puyi's desperation to connect with the mother he was separated from six years prior to the teenage Puyi's pet mouse. Bertolucci's poetics seem to transcend the film's immaculate design and execution. It helps that the material is inherently interesting -- we are all bound by duty in some regard and are constantly looking for an escape. Still, Bertolucci takes chances, even shocking us with a seven-year-old Puyi nestling in his mother's bare bosom or the pet mouse meeting its demise against the Forbidden City's gate at the hands of a frustrated Puyi. These are not mere exploits, however, but sad moments where it's clear that Puyi's childhood and foreshadowed adulthood needs and desires are controlled by others.

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Fast Food Nation Review

A few weeks ago, it was announced by McDonald's that it would be making an unprecedented push towards "class." Amongst other things, it will be installing wireless internet in a large amount of its restaurants and changing décor into a mellow, art-friendly utopia for college students. Basically, it's tired of Starbucks being the only double-edged sword in the drawer. Sounds nice, but these aesthetic changes won't matter much in the face of the horrors depicted in Richard Linklater's Fast Food Nation.

Adapted from the inadaptable investigative best-seller by Eric Schlosser, Fast Food Nation sets a whirlwind of brouhaha in a small Colorado town. The town in question, Cody, doesn't really exist but neither does the fast food chain that started there, Mickey's (God that sounds familiar). Mickey's flagship meal is The Big One, an extra-large patty processed and shipped at a local meatpacking plant that employs illegal aliens like young couple Sylvia (the excellent Catalina Sandino Moreno) and Raul (a shockingly restrained Wilmer Valderrama). The Big One was thought up by Mickey's marketing whiz-kid Don Henderson (Greg Kinnear), who has been sent to Cody to investigate a high amount of fecal matter being found in the product that made him a success.

Continue reading: Fast Food Nation Review

Jeremy Thomas

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