Seamus Davey-fitzpatrick

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Before Midnight Review


Excellent

It's been 18 years since Hawke, Delpy and Linklater introduced us to Jesse and Celine, and their story just gets richer, funnier and more punchy each time we see them. In 1995's Before Sunrise, they were idealistic 23-year-olds. In 2004's Before Sunset, they were thinking about bigger issues, including their future. Now at age 41, they're approaching middle age and asking questions about their life choices.

We catch up with Jesse and Celine (Hawke and Delpy) on a Greek island, where they're just finishing their summer holiday. As they prepare to go home to Paris with their 7-year-old twins (Jennifer and Charlotte Prior), Jesse's 13-year-old son Hank (Davey-Fitzpatrick) is returning to his still-angry mother in Chicago. But Jesse is wishing he had more time with Hank, and floats the idea of moving to America. This makes Celine furious, since she's just about to start an exciting new job. Clearly it's time to take stock of their relationship and make some important decisions.

Watching these characters (and the actors playing them) age is fascinating, as they encounter different issues at each stage of life. It's not necessary to have seen the earlier films, because they were essentially different people back then. This movie stands on its own as a snappy, deeply resonant look at a crunch-point in a relationship, as a couple tries to decide if their still-burning passion is strong enough to carry them forward. And Hawke and Delpy deliver the dialog impeccably, with razor-sharp wit and artistic sensitivity swirling through everything they say. Watching them is a joy.

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Before Midnight Trailer


Jesse and Celine return, though their love life is not what it once was. They are now married with twin daughters, Jesse is a successful novelist and Celine is contemplating a change of career. However, it's 18 years since they first met on a train from Budapest, 18 years since they wandered around the city of Vienna throughout the night rapidly falling more in love by the strike of each hour, and 9 years since they rekindled that whirlwind romance following the release of Jesse's best-selling book about their encounter. Now in Greece, Jesse feels a little sad about seeing his son Hank fly back to his mother (Jesse's ex-wife) and he and Celine are facing increasing strain on their relationship. Despite wooing the friends they meet in Greece with the romantic tale of their relationship, Celine has doubts as to whether he is the man she once loved and whether she is still the woman he was once so enchanted by. They are given another night alone in which to enjoy each other's company, but will it just turn into a desperate struggle to save their floundering marriage?

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Season 3 premiere of 'Damages' at the AXA Equitable Center

Seamus Davey-Fitzpatrick Tuesday 19th January 2010 Season 3 premiere of 'Damages' at the AXA Equitable Center New York City, USA

Seamus Davey-Fitzpatrick

The Omen (2006) Review


Good
My favorite character in John Moore's remake of The Omen is the Pope. I am not entirely sure which Pope it is, and it is more of a cameo role really, but every time the pontiff graced the screen, I knew why I liked this film so much. He first features in a brief conference scene. His cardinals (I presume) are concerned that a recent meteor shower is the final sign of the birth of the Anti-Christ, as predicted by the book of Revelations. These concerns are presented to the Pope in a multimedia display, with numerous screens airing a student film depicting scenes from the destruction of the Space Shuttle Columbia to September 11. In his second appearance, after hearing some disturbing news, the Pope drops his glass of red on the floor, while still in bed. I have never been to Vatican City, but I doubt this is how things go down. Yet, the film's disconnectedness from the laws of reality, personified here by its treatment of the leader of the Catholic Church, got me. Richard Donner's original Omen was a pig in a cocktail dress, a silly story treated with undeserving earnestness. Here, John Moore tells it like it should be told.Turns out the cardinals were on to something and the Anti-Christ is born. The unfortunate Anti-Joseph and Anti-Mary are Robert and Katherine Thorn (Liev Schreiber and Julia Stiles), the deputy to the U.S. ambassador to Italy and his young wife. When Katherine gives birth to a boy who dies just outside the hospital room, Robert accepts the offer of a priest at the hospital, taking in the child's place a baby boy whose mother died during labor and letting Katherine believe it is theirs. They name him Damien (cue choirs). After a bizarre explosion (so massive in scale it proves the devil doesn't pay for petrol) in which the U.S. ambassador dies, Robert takes the position and a promotion to the U.K. The family lives in British manor house bliss until, at a very public birthday for Damien (Seamus Davey-Fitzpatrick), his nanny hangs herself, shrieking, "It's all for you!" From that moment forward the dangers of raising the Anti-Christ begin to become obvious. The black dogs begin to bark, monkeys screech, priests prophesize and a very un-Doubtfire-like nanny, Mrs Baylock (Mia Farrow), shows up to keep an eye on things.Moore doesn't stray widely from the path of the original's narrative and most changes made are welcome. I liked seeing a bit of determination in Damien's face. I liked that Katherine was young and seemed to be suffering post-partum depression. A lot of the dialogue is admittedly laughable, and Pete Postlethwaite and Michael Gambon as over-caffeinated priests add to a sense of the ludicrous. However, this only compounds its The Omen's minor brilliance. Everything is overdone: Damien sleeps on red silk sheets; people at the party start running and knocking over tables when the nanny kills herself; an interview with an old crippled man is conducted outside in the snow. The horror scenes are equally flamboyant; Marco Beltrami's score may lack the original's Latinized theme, but it kicks in to stunning and loud effect practically every time the lights go out.Schreiber is good as the politician and after a shaky start Stiles communicates her anguish very well. But it is Farrow (next to the Pope, of course) who steals the show. Her Mary Poppins performance oozes subtle menace in every sweet grin and glittery eye. When she unleashes eventually, it provides for the film's most exciting sequence - if you have dreamed for the day Rosemary would take on the Manchurian Candidate, dream no more. Though some critics might begrudge the film its directness, its loudness, perhaps its lack of class or cinematic restraint, I reveled in it. The story of Damien has always seemed a little stupid to me, and here Moore has matched the story with its telling. The result is fun, in a scary/jokey kind of way. I am not sure if John Moore is in on the joke he's telling in his remake of The Omen, but he tells it very well.If only she could do one pull-up.
Seamus Davey-fitzpatrick

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