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Set Fire To The Stars - UK Film Premiere

Shirley Henderson - Set Fire To The Stars - UK film premiere held at the Ham Yard Hotel. - London, United Kingdom - Tuesday 28th October 2014

Shirley Henderson
Shirley Henderson
Shirley Henderson
Shirley Henderson

Set Fire To The Stars Trailer

New York - the 1950s. A young and aspiring American poet, John Malcolm Brinnin (Elijah Wood), takes it upon himself to wrangle his favourite poet and bring him back for a performance in the United States. The poet in question, is a lyrically powerful, yet over-the-top hell raising Dylan Thomas (Celyn Jones). As Brinnin battles against the powerful and abrasive Thomas, his idolisation for the man falters. That is, until he steadily starts to understand what is truly going on inside the head of the poet. When the two men are finally on the same page, everything begins to become clearer for Brinnin; despite his ordinary world being totally shaken up by this new addition. 

Continue: Set Fire To The Stars Trailer

The TV BAFTA Awards 2014

Shirley Henderson - The Arqiva British Academy Television Awards 2014 (BAFTA) - Arrivals - London, United Kingdom - Sunday 18th May 2014

Shirley Henderson

The Arqiva British Academy Television Awards

Shirley Henderson - The Arqiva British Academy Television Awards - Afterparty held at The Grosvenor House hotel - London, United Kingdom - Sunday 18th May 2014

Shirley Henderson

In Secret Review


Filmmaker Charlie Stratton takes a rather obvious approach to Emile Zola's iconic 1867 novel Therese Raquin, ramping up the melodrama while drenching everything in shadowy doom and gloom. It's such a bleak film that it sometimes feels like a spoof, pushing every emotional story element to the breaking point. But the resilient premise still has something to say.

In deeply repressed 19th century French society, Therese (Elizabeth Olsen) is an orphan raised by her over-involved aunt (Jessica Lange), sharing a bed with her sickly cousin Camille (Tom Felton). When she comes of age, Therese is simply expected to marry Camille, after which all three move to Paris to open a shop. Soon Therese meets Camille's old pal Laurent (Oscar Isaac), who sparks her lust in ways the wheezy Camille never could. And as they begin a torrid affair, Therese and Laurent know that they can only be together after Camille is dead. So they hatch a nefarious plan, but life doesn't play out quite as they expect it to.

Writer-director Stratton makes everything so stylised that it can't help feeling stagey, with streets, sets and costumes that are relentlessly drab. The main colour scheme is dark greys and browns, and everything is swamped in murky shadows as the characters swap anguished glances. The actors do what they can with this. Olsen and Isaac manage to generate some sweaty chemistry, which transforms into something very different in the final act. Felton finds some humanity underneath Camille's obnoxious exterior. Lange merrily chomps the scenery as the glowering, over-reacting matriarch. And casting Matt Lucas, Mackenzie Crook and Shirley Henderson in key supporting roles can't help but add some unexpected comedy ("I have a touch of the vapours!").

Continue reading: In Secret Review

BAFTAs 2014: 'The IT Crowd' And 'Southcliffe' Lead British TV Award Nominations

Richard Ayoade Olivia Colman David Tennant Dominic West Helena Bonham Carter Maxine Peake Chris O'Dowd Rory Kinnear Shirley Henderson

The nominations have been announced for this year's BAFTA TV Awards, which will be held on Sunday 18th May. After an outstanding year in television, this year's awards will make for gripping viewing with nominations covering all categories of TV talent. Channel 4's comedy series, The IT Crowd, leads the way with four nominations alongside the broadcaster's chilling crime drama, Southcliffe, according to BAFTA.

Richard Ayoade
Actor Richard Ayoade & Comedy 'The IT Crowd' Could Clean Up At The 2014 TV BAFTAs.

The IT Crowd dominates the best performance in a comedy categories as Richard Ayoade and Chris O'Dowd are each nominated whilst their co-star Katherine Parkinson has been nominated for best female in a comedy and the show's final episode is up for best sitcom.

Continue reading: BAFTAs 2014: 'The IT Crowd' And 'Southcliffe' Lead British TV Award Nominations

In Secret Trailer

Therese Raquin is a young woman living with her aunt and cousin Camille. One day Madame Raquin informs her that she and Camille are to be married after which they will settle in Paris. Though it was not a pairing of her choosing, Therese tries to attract some interest from her rather unpleasant cousin who appears to be shrugging away her every advance, even on their wedding night. In Paris, Camille meets his childhood friend Laurent, a painter, who they invite to stay. Intrigued, Therese soon finds herself engaging in an illicit and passionate affair with him behind her husband and aunt's back. As their relationship deepens, their yearning for one another becomes stronger and they began to plot a way to get Camille out of the picture which ends in his murder on a boat trip. Far from gaining peace, the couple find themselves racked with guilt and highly suspected by Madame Raquin.

'In Secret' is the tense romance thriller written and directed by Charlie Stratton ('Faux Baby'). It is based on the 1867 classic novel 'Therese Raquin' written by Emile Zola and is also the subject of a play by Neal Bell. It is set to be released in US theatres on February 21st 2014.

Click here to read - In Secret movie review

Moet British Independent Film Awards

Shirley Henderson - Moet British Independent Film Awards held at Old Billingsgate Market - Arrivals - London, United Kingdom - Sunday 8th December 2013

Shirley Henderson

Filth Review


As another full-on Irvine Welsh adaptation Trainspotting did in 1996, this bracingly original movie puts a new filmmaker on the map. Not only is this a loud blast of both style and substance, but it refuses to water down its subject matter, taking us through a shockingly profane story in a way that's both visually inventive and emotionally resonant.

This is the story of Bruce (McAvoy), an Edinburgh detective who's determined to beat his colleagues to a promotion. He's also a relentless womaniser, sexist, racist and drug addict. And he'll do anything to get ahead, hiding the sordid details of his private life from his boss (Sessions) while undermining the other cops at any chance while pretending to be their friends. In quick succession, he gets young Ray (Bell) addicted to cocaine, flirts continually with Amanda (Poots), has a fling with the kinky wife (Dickie) of fellow officer Gus (Lewis), torments Peter (Elliott) about his sexuality, and takes Bladesey (Marsan) on a sex-tourism holiday while making obscene calls to his needy wife (Henderson). All of this happens while Bruce leads the investigation into a grisly murder.

McAvoy dives so far into this role that we barely recognise him in there. Bruce is so amoral that we are taken aback by each degrading moment. And yet McAvoy somehow manages to hold our sympathy due to the film's blackly hilarious tone and a startling undercurrent of real emotion. Even though he's a monster, we see his boyish fragility, especially in surreal sequences involving his therapist (Broadbent), which merge with his fantasies, hallucinations and nightmares. 

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Filth - Red Band Trailer

This trailer is only suitable for persons aged 18 or over.

Bruce Robertson is a vile, devious and emotionally disturbed individual who also happens to be a Detective Sergeant. Off duty, he lives a life of debauchery; snorting line after line of cocaine and indulging in sordid sexual encounters with numerous women while trying to control his unpredictable bipolar personality. On duty, he does everything within his power to trick, deceive and ruin the lives of his colleagues with whom he competes to achieve a promotion to detective inspector. He does nothing to hide his radical views on race and women as he attempts to solve a grisly murder that seems to have more to it than he initially thought. With the web of lies he weaves throughout his life, will he be able to sort out truths from the untruths in order to maintain his sanity as his deteriorating mental health threatens to cripple him? And will he ever be reunited with the wife he is so desperate to resolve things with?

Adapted from the novel by Irvine Welsh, 'Filth' has been directed and written by Jon S. Baird ('Cass') and sees an intense star-studded cast convert to screen an compelling story of insanity, romance and deceit. This shocking 18-rated crime drama is set to hit UK cinemas in September 2013.

Everyday Review


An impressive cinematic experiment, this film is worth seeing for its big concept and documentary touches, even if the narrative is frustratingly underdeveloped. We can actually see the passage of time, as the cast and crew shot this fly-on-the-wall drama over five years. So it's a shame there's so little going on to hold our interest.

The story takes place in rural Norfolk, where Karen (Henderson) is struggling to take care of her four young children (played by the four Kirk siblings, using their own names). Her husband Ian (Simm) is in prison, and taking the kids to visit him is a big outing. Things get easier when he's transferred to a lower security location and given weekend passes to visit his family. But as the years pass, the children grow up and Karen and Ian's relationship begins to shift. And for help, Karen befriends a local man who fills Ian's upcoming release with mixed emotion.

Winterbottom assembles this as an intriguing blending of the kitchen-sink drama (most notably portrayed through Michael Nyman's surging score) and a grainy, hand-held documentary. There is no shape of a plot to speak of, and few significant events along the way. Essentially, the film is merely examining these four children as they age over five years, which is rather astonishing as we've never seen it captured on film like this. Their scenes with Henderson and Simm are especially well-played, beautifully revealing the affection and tension between parents, children, spouses, brothers and sisters. Even though we never find out why Ian was imprisoned, Simm gives him a quiet realism that plays nicely opposite Henderson's superbly underplayed exhaustion.

Continue reading: Everyday Review

Meek's Cutoff Review

Reichardt turns her focus on the old West with this evocative drama based on true events. Not only are the characters almost outrageously authentic, but the depiction of the Western frontier is more detailed than we've ever seen.

In the Oregon territory in 1845, three couples are travelling through the unmapped wilderness with their guide Meek (Greenwood), a woolly veteran with an endless stream of colourful stories. Emily (Williams) is more open-minded than her husband (Patton), the group's natural leader. The pregnant Glory (Henderson) is tending to both her husband (Huff) and their pre-teen son (Nelson). And young Thomas (Dano) is trying to assure his wife fearful Millie (Kazan). When they encounter an Indian (Rondeaux), everyone disagrees about whether or not to trust him.

Continue reading: Meek's Cutoff Review

Life During Wartime Review

Solondz takes a sideways approach to this sequel to his 1998 hit Happiness.

With an all-new cast, it feels almost like a jazz riff, playing with the characters and themes and sending them in new directions. And it's both hilarious and clever.

When she realises that her husband (Williams) hasn't overcome his urge to make obscene phone calls, Joy (Henderson) heads to Florida to see her sister Trish (Janney), who has told everyone that her husband Bill (Hinds) has died. But he's actually in prison for abusing a young boy. Trish is now seeing a nice Jewish man (Lerner) and being a bit too honest with her son Timmy (Snyder).

Continue reading: Life During Wartime Review

Miss Pettigrew Lives For A Day Review

Some film types die out because audiences no longer support them. Others disappear because no one has the talent or skill to successfully resurrect them. The witty, wacky screwball comedies of the '30s and '40s were really nothing more than cultural clashes, the weird and eccentric meshing with the calm and conservative for some humor based class/gender warfare. The new film Miss Pettigrew Lives for a Day harkens back to those days of ditzy heiresses, silly playboys, and suave leading men. And for the most part, it succeeds.

For Miss Pettigrew (Frances McDormand), London before the war is a cruel and heartless place. Fired from her most recent governess job, she's homeless and penniless. Without a single prospect in sight, her life looks fairly bleak indeed. An overheard referral at an employment agency has her rushing off to the apartment of American actress Delysia Lafosse (Amy Adams). When Miss Pettigrew inadvertently helps the bubble headed girl balance the three men in her life -- nightclub owner Nick (Mark Strong), novice producer Phil (Tom Payne), and sensitive pianist Michael (Lee Pace) -- she's hired as a social secretary. Desperate for a part in a West End musical, Delysia will stop at nothing to get her way. During her adventures, Miss Pettigrew meets noted designer Edythe Dubarry (Shirley Henderson). A shared secret between the two will have our heroine trying to patch things up with the fashion maven's boyfriend (Ciaran Hinds) before the day is over.

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Marie Antoinette Review

The word "soft" summarizes the world of Sofia Coppola, perfectly. Each film she has made has the tenderness, vagueness and, ultimately, the sensibility of a fluffy, white cloud in the middle of a blue sky. With two near-perfect films on her resume, 1999's The Virgin Suicides and 2003's majestic Lost in Translation, Sofia Coppola's third film should have been an easy play. Instead, we are given the beguiling Marie Antoinette.

There's the famous Marie-Antoinette (Kirsten Dunst): the one who so insipidly said "Let them eat cake" when learning of the famine and starvation of the French people and the one who had her head cut off and displayed, with ample delight, to the same people she told to eat said cake. Then there's the private Marie Antoinette: the one who was forced into a French marriage (she was Austrian originally) by her brutish mother and who would eventually lose a newborn baby right as her kingdom was crashing down. Coppola seems very confused as to whom she wants to show in Marie Antoinette.

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