Jonathan and Joa (Koch and Ormond) constantly bicker as they run their seaside B&B, mainly because they have failed careers as an author and actress, respectively. Meanwhile, daughter Beth (Jones) is preparing for her Oxford entrance interview. Enter a new cleaner, 17-year-old Emilia (Brown Findlay), who befriends Beth and shows her that there's more to life than studying. But Emilia's relentless flirting also distracts Jonathan from his writing. And as the potential for trouble rises, everyone will need to realise that who they are has nothing to do with their pasts.
Continue reading: Albatross Review
The film begins with a very funny gag involving the opening of a casket, not the easiest moment in life from which to wring humor. With it, we are introduced to Daniel (Matthew MacFayden), who is about to bury his father. With the aid of his wife Jane (Keeley Hawes) he must accommodate a gaggle of guests pre-loaded with neuroses.
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Unfortunately, there are no happy endings for dreamers in this alternate world. Sam always awakens to his mind-numbing existence, only plugging away in a system that rewards only blandness, appeasing his socialite mother (addicted to face lifts) whose only wish is to see her meek son move his way up a corporate ladder to nowhere.
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Continue reading: Les Misérables Review
Young Kevin (Craig Warnock) is a history buff trapped in the household of his shallow, materialistic parents. While they sit mindlessly in front of the television, absorbed in an insanely morbid game show, Kevin explores his history books enthusiastically, fantasizing about a more meaningful world than the one in which he lives. But when his parents finally send him to bed, his world gets a lot more interesting.
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The Victorians were well known for keeping a stiff upper lip about everything, and their romance was absolutely no exception. Their entire world was constructed around subtlety, and, in tune with that, the one word that can be used to describe An Ideal Husband is subtle.
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Watching The Mother, it's obvious that director Roger Michell and writer Hanif Kureishi, spent a little too much time watching Unfaithful or Bread and Tulips. They offer few original points in their own movie, and express autumnal passion at the expense of common sense. Really, The Mother is as exploitative and flashy as any big-budget summer blockbuster. The only difference is that this movie probably isn't part of a Happy Meal deal.
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Dustin Hoffman plays the hero, David Sumner, and at first he seems to be continuing in the string of nebbishy neurotic roles he took previously in The Graduate and Midnight Cowboy. A mild-mannered American college professor, he's arrived in western England with his wife Amy (a brave and brilliant Susan George) so he can have peace and quiet to work on his "astral mathematics." The small town, full of sad stone houses and often cloaked in fog, is where Amy grew up, and she's almost immediately stalked by a passel of alcoholic locals. The film's first five minutes has some virtuosic foreshadowing in it, giving us shots of David and Amy carrying a large and intimidating "mantrap" (basically a man-sized bear trap); tight shots of thuggish locals like Charlie (Del Henney) getting too close to the pair; a shot of Amy's sweatered chest, noticeably bra-less, which will become an important plot point later. Subtly and quickly, Peckinpah announces his three themes: sex, intimidation, and violence. It's gonna be interesting, but it's not gonna be easy to get through.
Continue reading: Straw Dogs Review
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