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Suffragette - Teaser Trailer


Throughout the late 19th Century and early 20th Century, a secret war took place on the streets of England. For years, women of all ages and classes had fought for their right to vote, although they used politics and reason as their biggest weapon. When no clear results were seen, a specialist group formed a more radical idea - to take the political campaign out of the shadows and into the streets, with protests and fighting to gain what was theirs by right. But as the government fights back even harder, desperate times call for desperate measures. 

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Ill Manors Review


Grim
Musician Ben Drew (aka Plan B) shows impressive skill in his filmmaking debut, even if he's chosen a badly overworked genre. So no matter how stylish the film is, the lack of a central plot or an original theme make it difficult to care what happens.

On a bleak East London estate, Aaron (Ahmed) is a low-life dealer hanging out with his thuggish best pal Ed (Skrein). When Ed's phone goes missing, they trace it to crack-addict Michelle (Mond), who they force to turn tricks to pay Ed back. Meanwhile, a young kid (Indianda) must prove himself if he wants to join a gang led by Marcel (Sagar). Later, Aaron has a chance encounter with terrified Katya (Press), who abandons her baby with him. Unable to find her, Aaron lets Ed arrange a black-market adoption.

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'iLL Manors' world premiere held at the Empire cinema - Arrivals

Guest, Natalie Press and Empire Cinema Wednesday 30th May 2012 'iLL Manors' world premiere held at the Empire cinema - Arrivals

'iLL Manors' world premiere held at the Empire cinema - Arrivals

Delilah and Natalie Press Wednesday 30th May 2012 'iLL Manors' world premiere held at the Empire cinema - Arrivals

'iLL Manors' world premiere held at the Empire cinema - Arrivals

Natalie Press Wednesday 30th May 2012 'iLL Manors' world premiere held at the Empire cinema - Arrivals

Natalie Press
Natalie Press

Island Review


OK
Dark and atmospheric, this film is worth seeing just for the way it continually pushes us around emotionally. Although the plot never quite comes into clear focus, and it refuses to let us engage with the characters.

While working on a human geography project as part of her studies, Nikki (Press) travels to an isolated Scottish island and presents herself as a prospective tenant at isolated house owned by her birth mother Phyllis (McTeer), who doesn't recognise her. As she plots her revenge against the woman who abandoned her, she's surprised to discover that she has a brother, Calum (Morgan). But her continual questions about their husband-father are blanked, and life on the island becomes increasingly intriguing as she seeks answers about her past.

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at the RTS Programme Awards at The Grosvenor House Hotel.

Natalie Press Tuesday 15th March 2011 at the RTS Programme Awards at The Grosvenor House Hotel. London, England

Natalie Press

Nightwatching Review


Good
As visually fascinating as anything Greenaway has done, this film's narrative is so convoluted that it's virtually impossible to follow unless you know the life story of Rembrandt. And even then it's a challenge.

When he's commissioned to paint a local militia group in 1642 Amsterdam, Rembrandt (Freeman) has premonitions of trouble, but goes ahead and creates a fiercely untraditional painting that reveals rather too many secrets about the musketeers depicted in it. While painting it, his sparky wife (Birthistle) gives birth to his son, but becomes seriously ill in the process, eventually causing him to turn to the family nurses (Holmes and May) for company. And when complete, the portrait, The Night Watch, has drastic repercussions on his career.

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Royal Academy Summer Exhibition 2008 - VIP private view held at the Royal Academy of Arts - Arrivals

Natalie Press Wednesday 4th June 2008 Royal Academy Summer Exhibition 2008 - VIP private view held at the Royal Academy of Arts - Arrivals London, England

Natalie Press
Natalie Press

Red Road Review


Excellent
It's a sign of the times that in a film like Andrea Arnold's Red Road, the presence of omnipresent CCTV cameras which spiderweb Glasgow, are controlled from a central command called City Eye, and can peek into practically every corner of the city, is barely remarked upon. This is not a film that is going to waste time maundering about the implications of ubiquity of surveillance in 21st century life (especially in the British Isles, which has a particular fetish for filming their citizens at all times); instead it's just one more sad detail of the characters' shabby, limited lives in a shabby and limited world. Technology without progress, knowledge without wisdom, security without safety.

For all the watching going on in Red Road, there is precious little safety -- in fact one of the tropes that writer/director Arnold (in an extremely impressive feature debut) insistently returns to is the resolute unsafety of these people's worlds, no matter how much technology surrounds them. Arnold's protagonist is Jackie (the fantastically affecting Kate Dickie) a bracingly cold and shut-off woman who works at the City Eye, controlling a bank of cameras with a joystick, occasionally zooming on something menacing or just plain out of the ordinary, watching. Her contact with the human race is limited practically to these TV screens, having shut herself off from her parents and seemingly keeping no friends; the only relationship with any regularity we see is a functional and depressing affair carried on with a married man occasionally in his van. Arnold sinks viewers deep into Jackie's self-induced loneliness, letting out only the faintest hints about what tragedy has pushed her into this suffocating state (Was there a husband? A daughter?), before Jackie sees a man's face on the camera one day which she remembers from her past.

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My Summer of Love Review


Weak
Akin to 1994's "Heavenly Creatures" withoutthe murder and fantasy sequences -- and with a twist of distrust hangingin the air -- "My Summer of Love" is a squirmy parable abouttwo 17-year-old girls from opposite ends of the social spectrum who findin each other's company a powerful but uneasy release from their individualangst.

Mona (Natalie Press) is a plain and provincial redheadwith an artistic bent, sexually gullible and unsure of herself. She's beenmiserable since her caretaker older brother (the superb Paddy Considine)returned from prison, adamantly (read: desperately) clinging to newfoundborn-again Christianity.

Tamsin (Emily Blunt) is a brazen, sultry hothouse brunettebooted from a series of private schools ("Apparently I'm a bad influence")and seemingly haunted by the death of her anorexic sister while stayingthe summer at her neglectful daddy's manse in the hills above Mona's depressedYorkshire factory town.

When they meet, this pair with nothing in common discoversan addicting synergy between them that escalates into obsession that knowsfew boundaries, be they psychological or even sexual. "If you leaveme, I'll kill you," they swear to each other as if it were the mostloving promise in the world.

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