Kevin Mcnally

Kevin Mcnally

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Celebrities at BBC Radio 2

Kevin McNally - Kevin McNally pictured arriving the Radio 2 studio at BBC Western House - London, United Kingdom - Monday 27th July 2015

Kevin McNally

Celebrities at the ITV studios

Kevin McNally - Kevin McNally outside ITV Studios - London, United Kingdom - Monday 20th July 2015

Kevin McNally

The Downton Abbey ChildLine Ball

Phyllis Logan and Kevin McNally - The Downton Abbey ChildLine Ball held at the Savoy - Arrivals - London, United Kingdom - Thursday 24th October 2013

Phyllis Logan, MyAnna Burring, Cara Theobold, Esther Rantzen, Samantha Bond, Michelle Dockery and Penelope Wilton
Hugh Bonneville, Phyllis Logan, MyAnna Burring, Julian Fellows, Gary Carr, Cara Theobold, Samantha Bond, Michelle Dockery, Penelope Wilton, David Robb and Jim Carter
Hugh Bonneville, Phyllis Logan, MyAnna Burring, Julian Fellows, Gary Carr, Cara Theobold, Esther Rantzen, Samantha Bond, Michelle Dockery, Penelope Wilton, David Robb and Jim Carter
Phyllis Logan
Phyllis Logan, MyAnna Burring, Cara Theobold, Esther Rantzen, Samantha Bond, Michelle Dockery and Penelope Wilton

Picture - Kevin McNally London, England, Thursday 12th May 2011

Kevin McNally Thursday 12th May 2011 'Pirates of the Caribbean: On Stranger Tides' UK film premiere - Afterparty held at Massimo Restaurant London, England

Kevin McNally

De-Lovely Review


Good
In a darkened room an elderly man sits at a piano. He's barely outlined by light from a window, his face obscured in shadow. Then, a light fades up, spotlighting him, followed by light everywhere. Thus starts De-Lovely and its style of self-aware artificiality. It purports to be the life of composer Cole Porter (Kevin Kline) but there's little more here than a grand retrospective of his ingenious touch with a pop song and an attempt at scandalizing his personal, bisexual life.

Like a symphony that's incomplete because all the notes aren't available, what I didn't get out of this is a three-dimensional portrait of the subject. The show, structured as a dead or dying man's vision of his life played out like a movie and stage production, is loaded with talent and a detailed recreation of his period. The portrayal of the swank, rich life is as festive to behold as it is off-putting. The world in which Porter whirls and commands with assured, inevitable success is an alien one. Rather than feel a part of it, we are there to revel in the entertainment.

Continue reading: De-Lovely Review

High Heels and Low Lifes Review


Weak
If you're at all intrigued by the idea of High Heels and Low Lifes, I recommend seeing it as soon as possible, because this little movie will be gone from theaters in two weeks -- at most -- and that means you'll have to wait at least 90 days before it hits video.

Stop me if you've heard this one before: Two crazy girls overhear a crime going down, then decide to turn the tables on the criminals by extorting some cash for themselves. Hilarity ensues! Oh, you have heard it... well this time it's different -- you see, one girl is British and one is American.

Continue reading: High Heels and Low Lifes Review

High Heels & Low Lifes Review


Grim

I have two things I need to get off my chest right off the bat about "High Heels and Low Lifes." The first is, I'm dumbfounded that nobody at Hollywood Pictures was bright enough to catch and correct the grammatically erroneous title. Call it a pet peeve, but "Lowlifes" is one word, for cryin' out loud.

The second is, despite the fact that I'm about to rip into this picture for its non-stop, intelligence-insulting assault of idiotic clichés, plot holes, predictability and common sense chasms, "High Heels" has such an infectious, lively spirit that I wish it could have been better.

Minnie Driver and Mary McCormack play ditzy post-feminist pals living in London, who inadvertently overhear the coordination of a overnight bank heist on surveillance equipment belonging to Driver's lousy live-in boyfriend. (He's a wannabe avant-garde artist working on an "urban noise symphony" that includes snippets of intercepted cell phone calls.)

Continue reading: High Heels & Low Lifes Review

De-Lovely Review


OK

"This is one of those avant-garde things, is it?" says a droll, dubious and dying Cole Porter (Kevin Kline) as he sits in an empty theater at the beginning of "De-Lovely," watching his life pass before his eyes on the stage, in a production conducted by an enigmatic, ironic, ethereal director named Gabe (Jonathan Pryce).

The answer to his question is a delighted "yes." This film is an imaginative, deconstructionist, celebratory musical biography woven together from elements of theater, meta-cinema, chamber drama and Porter's own MGM musicals with gratifying -- if deliberately glossy -- results.

Kline opens the picture as a frail but feisty old man (the age makeup is remarkable) who, as he watches his own story unfold, is alternatively tickled ("Oh, look, it's an opening number!"), critical ("He'd never wear that! Change it."), fondly reminiscent and pained by regret. And the actor also plays the younger Porter in the bulk of the picture, which has a merry, dreamlike quality to its stop-and-start interactions with the elderly Porter and his theatrical spirit guide.

Continue reading: De-Lovely Review

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