Rufus Wright and Richard McCabe - Opening night after party for Broadway play The Audience, held at URBO restaurant - Arrivals. at URBO restaurant, - New York City, New York, United States - Sunday 8th March 2015
Helen Mirren had already won acting's trifecta -- best actress trophies at America's Academy Awards, Britain's BAFTAs, and the Hollywood Foreign Press Assn.'s Golden Globes. Now, she has become the first actress to win the quadfecta -- adding an Olivier award -- Britain's equivalent of the Tony award -- to her collection, all of them for playing the same character, Queen Elizabeth II. The first three awards recognized her achievement in the movie The Queen. The most recent for her role on stage in The Audience. (Both the movie and the play were written by Peter Morgan.) Mirren's co-star Richard McCabe, who played former Prime Minister Harold Wilson, was named best supporting actor. But the winner of the most Oliviers was the drama The Curious Incident of the Dog in the Night-Time which took seven prizes, including best drama and best actor (Luke Treadaway), tying a record. The award for best new musical went to Top Hat, which celebrates the music, choreography and talent of 1930s' Hollywood.
The deceptively simple plot begins when uber-famous film star Anna Scott (Roberts) winds up in William's (Grant) book shop on Notting Hill, something of a British cross between a pre-Disney Times Square and a Moroccan street market. After William accidentally dumps orange juice down Anna's front, an on-again, off-again, on-again, off-again, on-again love affair blossoms.
Continue reading: Notting Hill Review
Collaborating with his City of God cinematographer César Charlone, Meirellas once again fetishistically focuses on destitution and suffering, shooting his squalid Kenyan locations in grimy, slightly overexposed colors and with expressionistic camera angles, turning the beautiful landscape into a harsh pit of fluorescent yellows, rotting greens, stark blacks, and blooming whites. It's a phony-baloney (if striking) visual aesthetic that, when married to the director's rollercoaster-ish hand-held cinematography, provides a sense of both immediacy and self-conscious artistry. Yet no amount of stylistic showing-off can offset the ludicrousness of a love scene between Justin and Tessa - shot in downy hues, it looks like a L'Oreal commercial with excessive zooms - or the preposterousness of Jeffrey Caine's clunky, preachy script, which gussies up its straightforward mystery with numerous flashbacks but fails to confront its central issues of African poverty and corporate malfeasance with anything approaching a rational mind.
Continue reading: The Constant Gardener Review