Natasha Richardson and Liam Neeson - Natasha Richardson and Liam Neeson New York City, USA - 3rd Annual Chanel Dinner Party Honoring the 'Tribeca Film Festival Artist Program' at The Greenwich Hotel - Arrivals Monday 28th April 2008
Natasha Richardson and Chicago - Natasha Richardson and Liam Neeson Dublin, Ireland - at Fitzwilliam Square where they promoted sales for 'The Chicago Spire', an iconic Irish developed project in Chicago, USA that stands at 2000ft and will contain a mix of residential and business properties Wednesday 23rd January 2008
Swept Away more than doubled that.
Continue reading: Waking Up In Reno Review
The titular peak is a small mountain in Ireland, populated primarily by wealthy widows and their kin, while the proles labor in the town at the bottom of the hill. While grand dames like Mrs. Doyle-Counihan (Joan Plowright) are the norm, Miss O'Hare (Farrow) is a bit more mysterious, obviously far lesser in stature despite hanging with the gossipy upper class. Into this sleepy mix comes English/American import Edwina Broome (Natasha Richardson), who immediately livens up the geriatric community by romancing Mrs. D-C's son (Adrian Dunbar) and getting into a series of scuffles with Miss O'Hare. Before too long, the secrets will be spilling out of both of them as the hijinks spiral out of control.
Continue reading: Widows' Peak Review
A mid-20th-century bodice-ripper about sexual obsession and questionable sanity, "Asylum" doesn't live up to its admirable pedigree.
Adapted by Patrick Marber ("Closer") from a novel by Patrick McGrath ("Spider"), directed by David Mackenzie ("Young Adam") and featuring a stellar cast of gifted British actors, the film has yearning and buttoned-down 1950s atmosphere to spare, but fails to turn its foolish heroine into an empathetic or understandable character.
Natasha Richardson plays Stella, a restless woman whose polite, passionless marriage begets dangerous ennui when her husband (Hugh Bonneville) takes a post as deputy director of a psychiatric hospital in rural England. Feeling trapped on the hospital grounds and uncomfortable in the clique-ish sewing circle of doctors' wives, she begins a heated affair with an outwardly stable inmate and former sculptor named Edgar (Marton Csokas, "The Bourne Supremacy") who works as a groundskeeper and has befriended her young son.
Continue reading: Asylum 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
For an actor directing his first movie, Ethan Hawke has remarkable patience and an intrinsic knack for creating personal, intimate, candid, lingering moments between well-drawn characters in "Chelsea Walls."
This film is composed of handful of interwoven vignettes about denizens, new and old, of New York's Chelsea Hotel -- a legendary (and now somewhat unkempt) residential haunt of artists, poets and other Bohemians for more than a century. It is a film in which body language and unspoken human intercourse play a much more important role than dialogue, which often reveals its meaning only through the context of a scene.
Adapted by Nicole Burdette from her own off-Broadway play of the same name, "Chelsea Walls" opens with a pair of cops arriving at the hotel to investigate a suicide, then the camera wanders into another room to discover a pair of lovers whose passionate but ill-starred relationship has run its course. A leathery, hard-living writer (Kris Kristofferson) is trying to gently dismiss an uptown woman (Natasha Richardson) who wishes she had the will power to stop visiting, of her own accord, the musty Chelsea apartment he keeps darkened with forever drawn shades to better cope with his chronic hangovers.
Continue reading: Chelsea Walls Review
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