Maisie Williams has described the first time she filmed a sex scene as “awkward”.
Maisie Williams has filmed her first ever sex scene. The 18-year-old actress is best known for playing Arya Stark in Game of Thrones. Whilst Game of Thrones features some pretty explicit scenes, Williams’ character has yet to appear in one. However, in her soon-to-be-released film, The Falling, her character is embroiled in a steamy sex scene but, according to Williams, it wasn’t at all erotic to shoot.
Maisie Williams at Glamour's Women of the Year Awards in London, June 2015.
Continue reading: Maisie Williams’ First Sex Scene Was “Extremely Awkward”
While cinematic blockbusters tickle the eyes, this film dazzles the soul. This is a remarkably evocative drama that gets deep under the skin, challenging us to see ourselves in a rather outrageous situation that shifts from quietly disturbing drama to unsettling freakiness. It's strikingly written, directed and performed to get into our heads and stay there like few movies do.
The story is set in 1969 in a girls' school located in the lush English countryside, where 16-year-old Lydia (Maisie Williams) and her best pal Abbie (newcomer Florence Pugh) are members of the Alternative School Orchestra. They're also inseparable, carving their undying love into a tree trunk. But once Lydia has sex with a boy, their relationship begins to shift. And when Abbie faints in class, it seems to become contagious. Suddenly girls are collapsing all around the school, much to the consternation of the headmistress (Monica Dolan) and her stern deputy (Greta Scacchi). As the hysteria spreads, Lydia gets increasingly confused by the occult beliefs of her older brother (Joe Cole) and the agoraphobic behaviour of their mother (Maxine Peake). But what she really misses is her childhood connection with Abbie.
Writer-director Carol Morley (Dreams of a Life) lets this play out like a deranged fairy tale in which Lydia's voyage to self-discovery is both wondrous and terrible at the same time. In its vivid exploration of feminine adolescence, the film echoes such classics as Picnic at Hanging Rock or Heavenly Creatures, by way of David Lynch and Nicolas Roeg (whose son Luc is one of the producers here). And the bold, knowing themes are echoed in gorgeously artful cinematography by the great Agnes Godard plus a stunner of a soundtrack by Tracey Thorn. Amid this sumptuous atmosphere, Morley weaves an enigmatic story packed with mystery, revelations and yes, burgeoning sexuality. But even more than this, the film taps in to the earth-mother power girls discover as they emerge into womanhood.
Continue reading: The Falling Review
Carol Morley and Maxine Peake - A variety of celebrities were photographed at the premiere gala screening of movie, drama 'The Falling' which was held at the Ham Yard Hotel in London, United Kingdom - Monday 20th April 2015
In 1969, an all girls' school in rural Britain come under attack from an unknown epidemic. Strange rashes and frequent fainting begin to affect the young girls, leading to some serious changes having to be made. The young girl seen to be at the centre of the epidemic is Lydia Lamont ('Game of Thrones' star Maisie Williams) and her best friend. When the two vow to never part from one another and carve their initials into a tree in the school, they come under fire for suppose occultist tendencies, forcing Lydia to search out and find the cause of the outbreak herself.
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An unusual point of view prevents this from ever turning into the standard biopic, but it's Eddie Redmayne's staggeringly committed performance as Stephen Hawking that makes the film unmissable. Based on the book by Stephen's wife Jane Hawking, the film uses her perspective to recount the events with their relationship firmly at the centre, which adds a personal angle the audience can engage with. This diverts the attention from Hawking's scientific breakthroughs, but makes the film both energetic and emotionally riveting.
It opens in 1963 when Stephen (Redmayne) is a rising-star at Cambridge, already a genius who thinks far outside the box. But he also has a sharp sense of humour, which makes it easy to see what Jane (Felicity Jones) sees in this brainy black-hole-obsessed geek. Then just as their relationship begins to get serious, he is diagnosed with motor neurone disease and given two years to live. Instead of giving up, Jane marries him and has three kids as Stephen defies the doctor's prognosis. As his physical condition deteriorates, they get help from two people who become unexpectedly close: widowed choir director Jonathan (Charlie Cox) and medical assistant Elaine (Maxine Peake). And even as their marriage comes apart under the pressure, Jane and Stephen remain deeply connected to each other.
Anthony McCarten's script cleverly lets big ideas swirl around each scene without swamping the more human story. The central factor in Stephen and Jane's interaction centres on faith: his in science, hers in God. Stephen continues to seek a theory that will scientifically explain the nature of existence, while Jane catches him out when he takes a leap of faith himself. And the film lets all of this play out through their interaction with a variety of terrific side characters, including Stephen's tutor (David Thewlis), his colleagues (Harry Lloyd and Enzo Cilenti), his father (Simon McBurney) and Jane's mother (Emily Watson). Each performance is packed with telling nuance, while Jones gives the film a textured heart and soul.
Continue reading: The Theory Of Everything Review
Coming from a privileged upbringing, cosmologist and theoretical physicist Stephen Hawking naturally had a first-rate education - though no-one could expect the kind of genius and revolutionary theories that he would eventually come up with. While wowing his university professors with his baffling discoveries, he was fighting a personal battle with his rapidly deteriorating health. Whilst still studying, he began to lose the ability to walk as well as the ability to speak before being diagnosed with Motor Neurone Disease and given a two-year expect survival rate. As to be expected from one of the world's most accomplished scientists, he defied the odds and embarked on a long and fulfilling life that lasts to this day - with just a little help from the love of his youth Jane Wilde, who encouraged him to carry on speaking with the help of his trademark speech generating device.
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Watch the eerie trailer below
Shameless and Silk actor Maxine Peake combines with Blake Harrison, known for his goofy character Neil on The Inbetweeners, in ‘Keeping Rosy’ – a tense, low-fi British thriller centred on Charlotte, a career-obsessed workaholic whose work and personal life takes multiple turns for the worst in a matter of hours.
Maxine Peake stars in 'Keeping Rosy'
Having chosen a career in advertising over any semblance of a meaningful personal life, Peake’s character’s life is constantly a fragile balance. ‘Keeping Rosy’ is a film about the tense balance between work and life, focussing on the intense pressure for people to succeed in an increasingly competitive, cut-throat marketplace.
Continue reading: Blake Harrison And Maxine Peake Star In 'Keeping Rosy' [Trailer]
Charlotte is a proud career woman living in finely placed, plush city apartment with very defined ambitions and the confidence to achieve them. Unfortunately, the media agency she works for sees her future a little differently, and she is cut off from the scheme she's worked so hard for. Angrily, she comes home and bumps into her cleaner with whom she has a violent argument. The row escalates, and Charlotte fatally injures her by accident. Panic-stricken, she dumps the body just in time for the arrival of her sister Sarah and her niece. Remembering the CCTV, she attempts to get hold of the taped evidence and meets security official Roger, who watches the tapes for himself and witnesses everything. However, this is a man with very few scruples and he has no intention of going to the police with his findings. Instead, he invites himself into her life, shamelessly seduces Sarah, and sets out to make Charlotte's life a living hell.
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Sleek and tightly constructed, this low-key British horror thriller worms its way under the skin to put us in what feels like an impossible situation. We may not be able to identify with everything the central character does, or each decision she makes, but we squirm at the thought of being in her shoes. And by keeping everything so understated and suggestive, filmmaker Steve Reeves manages to deliver several terrific jolts.
In London, corporate executive Charlotte (Maxine Peake) is having a seriously terrible day. After giving up her personal life for her job, she's bypassed for a big promotion that goes instead to Tom (Sam Hoare), whose wife (Tori Hart) has just had the baby Charlotte has always longed for. After drowning her frustration in alcohol, she goes home to find her surly cleaner Maya (Elisa Lasowski) smoking in her flat and trying to steal a bottle of champagne. But their confrontation takes a dark turn when Charlotte accidentally kills Maya. In a panic, she hides the body. But this only begins a series of major decisions Charlotte must make. She reaches out to her sister Sarah (Christine Bottomley) for help, but things begin to feel a lot more precarious when the smiley Roger (Blake Harrison) turns up.
The title refers to one of Charlotte's most important choices, which is something better discovered in the context of the story. Indeed, the entire movie seems to exist behind Peake's expressive eyes and stony face. She gives Charlotte an uncanny inner life, thinking through the ramifications of every startling twist as if it was part of a major corporate project. It's easy to see why she is so good at her job, although her intelligence also makes some of what she does feel rather contrived. But Peake's considerable screen presence makes it clear that Charlotte is the kind of woman who doesn't accept help from anyone and would rather do even the dirtiest work herself.
Continue reading: Keeping Rosy Review
The BAFTA TV Awards 2014 nominations have been announced - is your favourite show in there somewhere?
The nominations have been announced for this year's BAFTA TV Awards, which will be held on Sunday 18th May. After an outstanding year in television, this year's awards will make for gripping viewing with nominations covering all categories of TV talent. Channel 4's comedy series, The IT Crowd, leads the way with four nominations alongside the broadcaster's chilling crime drama, Southcliffe, according to BAFTA.
Actor Richard Ayoade & Comedy 'The IT Crowd' Could Clean Up At The 2014 TV BAFTAs.
The IT Crowd dominates the best performance in a comedy categories as Richard Ayoade and Chris O'Dowd are each nominated whilst their co-star Katherine Parkinson has been nominated for best female in a comedy and the show's final episode is up for best sitcom.
There's enough charming energy in this loose London music scene comedy to keep us entertained, but the plot drives us round the bend by refusing to go anywhere. Yes, this is one of those achingly British films that pulls the rug out from under its characters (and indeed its audience) every time they're threatened with even a moment of happiness.
Our hero is Dixie (Jonny Owen), who leaves rural Wales when he discovers a band on YouTube that he thinks he can manage into stardom. In London, he discovers that the Premature Congratulations (Michael Sosha, Dylan Edwards, Joel Fry and Curtis Thomson) are four hapless young men who make great music but have barely a whiff of common sense between them. So his efforts to promote them are more difficult than expected, especially since his record-exec childhood friend Horsey (Roger Evans) won't give him the time of day. Then just as Dixie's girlfriend Shell (Vicky McClure) gets fed up with his debt-incurring ways, The Prems suddenly become the hottest unsigned band in London.
Not that Dixie is capable of getting them signed to one of the labels clamouring for them. No, this is one of those movies in which everything goes wrong on cue. Not only does success remain tantalisingly out of reach, but Dixie also has problems with a loan shark (Michael Smiley) and a surly record-shop boss (Martin Freeman). And his father is dying too. These are far too many obstacles for a scruffy little movie, and not one of them feels either relevant or necessary. It's merely Owen the screenwriter torturing Owen the actor. He may be relentlessly charming on-screen, but it's all so contrived that we know it's pointless to care about anything.
Continue reading: Svengali Review