The actor finally finds the courage to open up on the death of his wife.
Liam Neeson has broken his silence five year after the tragic death of his wife Natasha Richardson in an emotionally raw interview on 60 Minutes with Anderson Cooper. Richardson, the English actress, died on the 18th March 2009 after she hit her head in a skiing accident in Quebec. The Taken star was the one who made the agonising decision to turn off her life support as she lay brain dead.
Liam Neeson Has Spoken About The Death Of His Wife, Natasha Richardson.
In the interview, Neeson guides Anderson around his upstate New York home and talks about the intense grief he has suffered in the aftermath of his loss. The 61 year-old film star also shared what must be one of his most painful memories, Natasha's final phone call to him after she'd had her accident. "I spoke to her and she said, 'Oh, darling. I've taken a tumble in the snow.' That's how she described it," Liam said.
Fisher Stevens and Natasha Richardson - Fisher Stevens and Aidan Quinn New York City, USA - Celebrities attend the wake of Natasha Richardson at the American Irish Historical Society Friday 20th March 2009
In it, all the Merchant Ivory hallmarks are present. The stalwart cast is led by Ralph Fiennes and a trio of Redgraves: Vanessa Redgrave, Lynn Redgrave, and Natasha Richardson, Vanessa Redgrave's daughter. The setting -- Shanghai in the period leading up to the Sino-Japanese War of 1937-1945 -- is lush and meticulously rendered. And the script, loosely adapted from Junichiro Tanizaki's novel The Diary of a Mad Old Man, was penned by acclaimed writer Kazuo Ishiguro.
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At least there's a handsome mental patient who's allowed to work in the grounds near the Raphael's house, giving Stella reason to get up in the morning. For those not as terminally depressed as Stella, it would seem a negative that Edgar Stark (Marton Csokas) had been put in the asylum for butchering his wife; but hey, a girl's got to keep busy. Director David Mackenzie (Young Adam) and screenwriter Patrick Marber (Closer) don't waste much of the audience's time before bringing Edgar and Stella together in a brutal coupling in a half-ruined greenhouse that shows, in one simple and uninterrupted shot, more heated passion than a half-dozen other films' frantic editing and sensuous lighting could manage. The heated connection between the two is so believable that all the events which follow from their affair - including, but not limited to, Edgar's escape - and the depths of darkness into which nearly all the characters are plunged, seem nothing less than utterly inevitable.
Continue reading: Asylum Review
Offred finds herself at the mercy of a good-natured but subtly manipulative commander (Robert Duvall) and his faded-star wife Serena Joy (Faye Dunaway). And soon enough she slips her way into an underground aiming to overthrow the fascist regime.
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Well, with one cancer diagnosis and one death in the first 15 minutes, Blow Dry is hardly the feel-good romance you'd expect. Strikingly similar to The Big Tease, Blow Dry tells the story of a haircutting competition that descends on a small town in Britain. Celebrities (well, celebrity stylists) from around England arrive to compete, and the local boys get into the act as well. But while the drama unfolds with models and shears, another drama takes place among the locals -- largely involving various romances and a singular cancer victim.
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Ethan Hawke (Training Day) courageously attempts to capture the essence of what makes this landmark so addictive in his directorial debut, Chelsea Walls. A collage of character plotlines that only barely intersect, Chelsea is a unique and respectable experiment in its focus on an inanimate object as its central character. Backed by a score that appropriately feels as if it were written while observing the production, Hawke creates an environment easily accessible to both New Yorkers and the non-initiated.
Continue reading: Chelsea Walls Review
After exuding clever charm and dodging most of the cheap Cinderella contrivances that linger around every corner of its plot, the ostensibly crisp romantic comedy "Maid in Manhattan" turns so unforgivably trite in its last 10 minutes that any moviegoer without a fortified sweet tooth will likely be sent into sugar shock.
Provided with more depth than most genre heroines, star Jennifer Lopez shines brightly as Marisa Ventura, a single mom from the Bronx who works as a maid at one of New York's most posh hotels. Mistaken for a ritzy guest while trying on a $5,000 Dolce & Gabbana suit in someone's luggage, she catches the eye of Christopher Marshall (Ralph Fiennes), the flirtatious and good-looking heir to a political dynasty, and quickly becomes the object of his affection -- and of much speculation in the New York tabloids during Marshall's run for congress.
Trapped into maintaining the illusion for the time being, Marisa ends up risking her shot for a management position as real life starts catching up with her. But in the hands of discriminating director Wayne Wang (who brings emotional authenticity to both independent films like "Center of the World," and studio pictures like "Anywhere But Here"), this fairy tale is refreshingly substantial fare with quality, character-building and considerably less predictability than recent dumbed-down hits like "Sweet Home Alabama." Or so it seems for a while.
Continue reading: Maid In Manhattan Review
"Blow Dry" is a leaden British dramedy about an estranged family of hairdressers reconciling when a big coiffeur competition comes to their small town. Like "The Big Tease" -- a similarly themed English mockumentary that came out last year, delaying the release of this one -- its laughs come mostly from tired flamboyancy stereotypes.
Hairdressers with over-styled, out-of-date dos and David Copperfield-like showmanship bite each other's backs to win what is apparently a prestigious award for clever and speedy hair cutting. Meanwhile a sad-sack local barber (Alan Rickman) enters the competition with his son (Josh Hartnett, "The Virgin Suicides") to face down his former salon partner (Bill Nighy), now the nation's star hairdresser and the dirty-tricking front-runner in the contest.
Besides suffering from the same problems "The Big Tease" had -- basically that it's a cliché-riddled underdog sports movie with a dye job and a limp wrist -- "Blow Dry" is also saddled with a maudlin, comedy-antidote subplot about Rickman's estranged lesbian ex-wife (Natasha Richardson), who is bravely dying of cancer 10 years after leaving him for his hair model (a criminally under-used Rachel Griffiths). Brought together again by the competition, everybody gets busy forgiving.
Continue reading: Blow Dry Review
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