'Viceroy's House' follows the life of the last Viceroy of India who was the figurehead of relinquishing British rule on the Indian subcontinent in 1947. Lord Mountbatten and his wife Lady Edwina Mountbatten were charged with overseeing India's newfound independence, wanting the nation to stay united as one. However, India was already divided by religion, with Muslim leader Muhammed Ali Jinnah wishing to establish a separate country in the form of Pakistan. The Partition of India was not a desirable option for the British rule, but as the civil unrest grew amongst the people and people began to divide themselves anyway, it became the only option for minimal damage to all nations.
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Simon Callow - At the UKTV Live Showcase, various celebrities were photographed on the Red Carpet Philips, Howick Place, London ahead of the filming for the 2013-2014 Showcase. - Thursday 4th September 2014
The film traces his life from childhood to becoming a fixture on the swinging London art scene in the late 1960s, with lively present-day interviews narrating a fabulous collection of photographs and old footage, some of which was shot by Derek Jarman, who won Logan's 1975 Alternative Miss World.
Meanwhile, Logan and his team are setting up the 2009 edition of his riotously lurid Alternative Miss World in North London.
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After his wife dies, rising-star chef Rob (Scott) lets his career slide. His celebrity friend Gordon Ramsay urges him to get back in the game, as does his preteen daughter (Gibbs). So he buys the country pub his wife had her eye on and sets out to turn it into a home for honest British cuisine, including his signature trifle. The disgruntled village is also home to snooty-sexy American food critic Kate (Forlani), whose wannabe suitor, swishy landowner James (Hepworth), sets out to sabotage the pub. And then drunken TV critic Guy (Callow) pays a visit.
Continue reading: Love's Kitchen Review
A painstakingly produced period piece, this Edwardian drama centers around the title character Maurice (pronounced "Morris") Hall (James Wilby), an Edwardian-era fancy lad who finds himself smitten with a schoolmate during his days at college in Cambridge (though this is of course notoriously against the law in England at the time). At first, he's smitten with Clive (Hugh Grant in his first major film role) but after seeing what happens to a friend of theirs (Mark Tandy) when he's busted for homosexuality and sentenced to hard labor in prison, they both attempt to mend their ways. Clive gets married, Maurice attempts hypnosis. This seems to "cure" Clive -- well enough, anyway -- but Maurice still can't shake it. Eventually he winds up shacking up with the much lower-class gamekeeper at the country estate.
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Modern wars (at least, those not involving the U.S.) aren't fought man to man, or even tank to tank. They're fought in the dead of night, when everyone thinks the United Nations "peacekeepers" aren't watching. By day, the U.N. "smurfs" (so called because of their ridiculous blue helmets) try in vain to broker half-assed ceasefires between sides that have extremely complicated reasons for fighting and have little respect for the men in blue.
Continue reading: No Man's Land Review
It's OK to have fun in your twenties, and in Bright Young Things, the characters have plenty of it. They attend lavish costume parties that scream of good times and well-funded debauchery, do cocaine like Rick James in 1979 and take trips to the countryside, all the while exchanging quips. At its best, the movie resembles a far more literate, sophisticated version of an episode of the E! True Hollywood Story.
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And, there's not a bottle of Windex anywhere to be found.
Continue reading: Four Weddings And A Funeral Review
Andrew Lloyd Webber's musicals are garish, puerile melodramas with all the elegance and sincerity of a Super Bowl halftime show -- and his brash, brassy songs have the depth and nuance of action-movie explosions.
When this pair teamed up to bring Webber's "The Phantom of the Opera" to the big screen, it was a match made in hell.
Continue reading: Andrew Lloyd Webber's The Phantom Of The Opera Review
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