Neil Jordan - Lily Cole talks at the Web Summit while food critic Tom Parker Bowles & Man V Food host Adam Richman talk at the Food Summit, RDS, Dublin, Ireland - 05.11.14. - Dublin, Ireland - Wednesday 5th November 2014
The hit historic drama will come to an end on June16
Showtime's hit historical drama The Borgias will be brought to an end when the current third season finishes later this month. When the current season comes to an end on June 16, the Jeremy Irons-staring show will be wrapped up for good, with show creator Neil Jordan revealing that a story to tie up the series has been written.
According to Deadline, who broke the story, Jordan had previously planned on having a four-season run of the show, however he and Irons agreed during the filming of the final episode of the current season that things had been tied up nicely and that there was not real need to continue the series. Jordan told Deadline that after the filming of an important scene in the now final episode of the show, Irons turned to him and said; “this feels like the end of something, that the family has come to an end.”
Whilst working on a potential script for what would be the fourth and final season of the show, Jordan went on to explain that he was running out of ideas and finding it near-impossible to come up with an additional 10 episode for the papal drama. ”As a compromise, I proposed to finish the arc of all the characters with a two-hour movie,” Jordan went on to say, but although the idea was commissioned by Showtime and a script had been written by Jordan, it turned out that the overall cost of shooting a feature-length episode would be too much and thus the idea was scraped.
Continue reading: Showtime's 'The Borgias' Will Come To An End After Third Season
Clara and Eleanor are a mother and daughter, born two centuries ago as vampires and surviving only on the blood of mortal beings. They escape to an English seaside town and are taken into an abandoned guesthouse by the owner, Noel. While Clara takes on a job as a lady of the night who drains the blood from her clients, Eleanor has dreams of being a writer, chronicling her life as a vampire in pages that she usually scatters in the wind. It isn't long before they are discovered, both by the mortal people of the town and by The Brotherhood; an all-male vampire organisation that seek to find and kill Clara. Eleanor meets a boy called Frank, who she develops feelings for and spills the secrets of her world to, angering her mother who fears for their safety. As knowledge of their existence spreads further and further, they are forced to confront their past and the deadly secrets that come with it.
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Mona Lisa shares much in common with that painting. The film contains a female character who is serene, dark, and mysterious. It doesn't take a genius, however, to comprehend that the leading actress here is a lot sexier than the woman in the painting.
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Is it a good secret? Sure. Is it one of the most memorable in cinema's last 15 years? Possibly. But one good surprise/twist does not make a great movie, and there's very little else in director/writer Neil Jordan's drama to deserve such lavish wide-eyed acclaim. It's a solid, well-acted character study. That's it, I'm afraid.
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What Intermission resembles just as handily, though, is an Irish Love Actually, which is to say it's like Love Actually with a lot more drinking and violence. This is unlikely to placate anyone who truly hated Love Actually and, as such, would require something on the order of a soccer riot to feel fully cleansed. But if you (like me) merely thought a few of those charmingly stammering Englishmen could use a good deck, Intermission is the punch-throwing, rock-chucking romantic comedy for you.
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Whenever the plot of the movie feels rote (the thieves assemble their team, plan the robbery, carry out the robbery, and doublecross each other a couple of times along the way) the arresting images carry the day. Cinematographer Chris Menges (who recently shot another existential mystery, The Pledge) finds the right pace: active yet unhurried, kinetic yet wistful. With shadows that turn into lush purples, greens, blues, and all gradations of black, The Good Thief is intoxicating. Indeed, it might be Jordan's most visually stimulating movie, and one has to wonder if the cookie cutter nature of the script set him free to imagine new visual possibilities. Lovers of the visual image will find much to appreciate; plot-driven viewers will find very little to hang their hat on.
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Read it once again -- this is not Braveheart. Braveheart took place something like 600 years earlier, and just a stone's throw across the North Channel, in Scotland.
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The same holds true for his latest, Breakfast on Pluto, starring the ever-impressive chameleon Cillian Murphy (28 Days Later, Batman Begins) as an orphaned transvestite in Ireland during the 1960s and '70s. After seeing brief passages of his playful struggle to maintain his identity from one boarding school to the next in working class suburbia, we're swept up in the journey of Patrick, a.k.a. "Kitten," as he heads to the wilds of London in search of the mother who left him behind.
Continue reading: Breakfast On Pluto Review