Anna Friel turned heads at the Look Of Love premiere in Soho last night.
Anna Friel was among the 'Look of Love' stars turning out for the movie's premiere in London last night (April 15, 2013). The actress wore a suitable seventies-style outfit to promote Michael Winterbottom's film about legendary porn mogul Paul Raymond. Friel, who plays the wife of the 'King of Soho' wore a banana yellow gown as she lined up alongside co-stars Steve Coogan and Timsin Egerton.
Anna Friel Wore A Banana Yellow Gown To The Look Of Love Premiere in Soho, London
Friel's dress, a vintage number by Trager Delaney, featured velvet and satin panels and a cut-out panel at the back. Her co-star Tamsin went for a simplistic white dress, while Coogan opted for a black suit and floral shirt. Elsewhere at The Curzon cinema in Soho, several burlesque girls added a touch of glamour to the occasion, carrying giant feathers while wearing flowers in their hair.
Is The Look of Love any good? Hopefully our round-up of reviews will let you know.
The Look Of Love is the quite extraordinary true story of British entrepreneur and smut peddler Paul Raymond (played by Steve Coogan), who made his fortune opening some of Britain's first strip clubs and financing other classically un-British pursuits to eventually become Britain's richest man. The film follow's Raymond's life in humorous fashion before leading up to the darkest parts of his life when his daughter (played by Imogen Poots) and heir to his empire died of a drugs overdose and his eventual withdrawal from public life.
The film has already been aired at film festivals across the globe and will be given general release across the UK on April 26, with the first round of reviews for the film giving a delicately mixed reception to the the tale of Raymond's life. So far the film holds an unflattering score of 56% on Rotten Tomatoes, with critics largely agreeing that the performances (particularly Coogan's) and the story itself are worthy of praise, however the movie doesn't quite come together as a complete entity, with the Daily Telegraph commenting that the film is "funny and touching, but feels like a missed opportunity."
Indeed, Winterbottom keeps Thompson's bleakness intact, leaving us little to engage with. But the film has an earth beauty and is a haunting look at the dark side of being human.
Lou Ford (Affleck) is a small-town deputy in 1950s West Texas, where he's still struggling with childhood demons and feelings of inadequacy. Even though he has an adoring girlfriend (Hudson), he starts a torrid fling with a prostitute (Alba) who lives on the edge of town. And as he sets in motion an elaborate revenge plot, we discover that underneath his nice guy exterior Lou is a sadistic murderer. And he's only barely staying one step ahead of the investigators (including Bower, Koteas and Baker).
Continue reading: The Killer Inside Me Review
Lou Ford leads -what looks to be a pretty unremarkable existence, he's the deputy Sheriff of a small town but has two girlfriends one who works as a schoolteacher and the other a prostitute. When murders start happening in the sleepy West Texas town, no one is quite sure who's committing the murders. As investigators lean toward Lou as their prime suspect, he finds himself in a spiral of death as he struggles to clear his name. Things are never as they seem, the unassuming person the townsfolk thought they knew in Lou soon unravels and it becomes clear that all they were seeing was a facade.
Continue: The Killer Inside Me Trailer
On a road trip to meet his bride, Asif (Arfan Usman) finds himself in need of a new best man and groomsmen when his best friend cops out on him. Ruhel (Farhad Harum) accepts it and their friends Monir and Shafiq take on the groomsmen positions on the road trip to meet his future (arranged) wife. On their way, they decide to take a bus to Afghanistan, for no other reason then to help spread peace. They hit the border and a bomb explodes, setting off a terrible series of events: Monir gets lost, the remaining three bump into Northern Alliance soldiers who believe they are Pakistanis (read: terrorists) and send the lot of them to Guantanamo. Winterbottom and Whitecross go all-out to show the inhumanity of the tortures and tricky games that the three men are put through before they are let out.
Continue reading: The Road To Guantanamo Review
What made the film's Cannes premiere and early 2005 release in England such scandal fodder, of course, is not the film's story or structure, but how Winterbottom went about the scenes with Matt and Lisa. That is, he filmed the actors actually engaging in intercourse, no fakery involved, and presents it in a straightforward manner, without the cutaways, montages, effortless orgasms, gymnastic posing and musical backdrops that comprise the average film's sexual content. If the film were more salacious and leering in approach, one could just call it pornography and be done with it. And given how little attempt Winterbottom's script (if one can call these few wisps of dialogue and few sentences of narration a script) makes to cast some meaning around Matt and Lisa's relationship, it would be pretty easy to say that this is just a porn in arthouse trimmings, with the concerts there for hipster cred, in the manner of magazines that mix punk pin-up girl pics with musician interviews as a way of updating the Playboy formula.
Continue reading: 9 Songs Review
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