Sophia Myles

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South Bank Sky Arts Awards

Sophia Myles - the South Bank Sky Arts Awards at the Savoy Hotel London 7th June 2015 at Savoy Hotel, South Bank - LONDON, United Kingdom - Monday 8th June 2015

South Bank Sky Arts Awards

Sophia Myles - South Bank Sky Arts Awards held at the Savoy, arrivals. at South Bank - London, United Kingdom - Sunday 7th June 2015

Transformers: Age of Extinction Review


With each film in the Transformer saga, Michael Bay makes it clear that all he's interested in are massive metallic special effects bashing into each other and usually exploding. Because otherwise this is a vacuous thriller without any characters to speak of, no sense of plot coherence and an appallingly simplistic sense of geography. There's plenty in this franchise to enjoy (just watch the original 2007 film again), but Bay takes everything so seriously that only die-hard fans will have any fun this time.

The story picks up five years after the cataclysmic Transformers' battle in Chicago, as Texas inventor and overprotective single dad Cade (Mark Wahlberg) builds gadgets in his rural barn, oblivious to the fact that his 17-year-old daughter Tessa (Nicola Peltz) is secretly seeing 20-year-old Shane (Jack Reynor). Luckily, Shane is a race driver, so he's handy to have around when black ops agents commanded by shadowy CIA director Attinger (Kelsey Grammer) raid Cade's farm looking for an old truck that turns out to actually be Optimus Prime in hiding. This sparks a return to Chicago for more mayhem, followed by a hop to Beijing and Hong Kong, where Optimus Prime and a handful of remaining good-guy Autobots take on the villainous Lockdown. Helped of course by Cade, Tessa and Shane, plus billionaire inventor Joshua (Stanley Tucci).

The new gimmick this time is dinosaurs, building on a prologue showing the real reason they went extinct. This comes back in the climactic battle in the form of Dinobots, ancient Transformers that will have fanboys squirming in their seats with joy while everyone else yawns and looks at their watches, astounded that Bay has somehow managed to stretch this paper-thin story out over nearly three hours of metal-on-metal chaos. As in the earlier films, the action is quite literally cartoonish, purely animated mayhem that's not easy to decipher. At least the humans help keep it vaguely approachable, as they provide running commentary in their dialogue and bounce through the air like plastic action figures who never get hurt.

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'The Wolverine' U.K. film premiere

Sophia Myles - 'The Wolverine' U.K. film premiere held at the Empire Leicester Aquare - Arrivals - London, United Kingdom - Tuesday 16th July 2013

Sophia Myles
Sophia Myles
Sophia Myles
Sophia Myles
Sophia Myles

Los Angeles Premiere of 'Pain & Gain' held at TCL Chinese Theatre - Arrivals

Sophia Myles - Los Angeles Premiere of 'Pain & Gain' held at TCL Chinese Theatre - Arrivals - Los Angeles, CA, United States - Tuesday 23rd April 2013

Outlander Review

We are apparently in the midst of a minor Viking renaissance. In 2007, Marcus Nispel followed up his successful revamp of The Texas Chainsaw Massacre with the little seen Pathfinder. Centering on an orphaned Norsemen, the Native Americans who raised him, and their battle against returning Scandinavian hordes, it was not a box office success. Heck, one imagines that most people reading this opening paragraph don't even know the movie existed. Now comes Outlander, a surreal sci-fi link up of Alien, Predator, Species, and Beowulf. When it stays in space, it works. When it hits the ancient lands of Odin however, it flops around like fetid smoked fish.

On his way back to his home planet on a funereal mission, extraterrestrial Kainan (James Caviezel) discovers a deadly alien beast known as a Moorwen onboard his ship. It causes the vessel to crash land in Norway circa the 7th century. After getting his bearings and sending a distress signal, Kainan begins to explore the area. He is soon trapped by warrior Wulfric (Jack Huston) and taken to the fortified stronghold of King Rothgar (John Hurt) and his wild, unwieldy daughter Freya (Sophia Myles).

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Mister Foe Review

Jamie Bell continues on his zigzag path to stardom, taking yet another oddball role in another oddball movie as he stars in Mister Foe, a Scottish import that's as interesting as it is weird. Teenage Hallam Foe (Bell), still undone by his mother's death two years earlier, spends much of his time in a treehouse in the yard of the loch-side estate where he lives his his father (Ciaran Hines), his sister Lucy (Lucy Holt), and his young and wicked stepmother Verity (Claire Forlani), a woman Hallam suspects may have actually murdered his drowned mother. After all, the wedding came a bit too quickly after the funeral. Sullen, quiet, and prone to making himself up like an Indian scout, Hallam wants nothing to do with his father and "that woman," and when Lucy moves away he feels he can no longer stay at home. After a very unfortunate tryst with the stepmother he claims to hate, Hallam runs away to the city.

Once in town, Hallam lines up a dishwashing job at a big hotel and instantly falls in love with Kate (Sophia Myles), the woman who hired him. Using the spying skills he developed in his treehouse, Hallam is able to peep as Kate has hot assignations with her married boss, and his knowledge of the affair will get him into much hot water, even as he busies himself with trying to solve the mystery of his mother's death once and for all. Did someone put sleeping pills in her coffee and toss her in the loch? He must find out.

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Art School Confidential Review

Few things are more mystifying to outsiders than the world of modern art. Which of course makes it the perfect backdrop for a Terry Zwigoff film. Where else is eccentricity, flamboyance, and pretension considered normal? And who's more alienated and misunderstood than an art student rejected by his art school classmates, who are, quite naturally, alienated and misunderstood themselves? Art School Confidential, Zwigoff's latest, mines this territory for humor and poignancy, raising questions about the nature of art and alienation.As in Zwigoff's previous films, which include Crumb, Ghost World, and Bad Santa, Art School's hero is far from heroic. Played by Max Minghella, with his dark eyes and brooding bushy brows, Jerome Platz is a young art student whose primary aspiration is to be the greatest artist of the 21st century, the next Picasso. His secondary concern -- to find an emotional, intellectual, erotic connection with a woman -- proves even more ambitious since he feels only one girl, luminous art model Audrey (Sophia Myles), is worthy of his attention.The trouble is, after an initial connection with Jerome, Audrey shifts her attention to another freshman painter, the hunky Jonah, whose simple, innocent paintings have turned him into something of a campus hero. In order to win Audrey back, Jerome asks for the help of Jimmy (Jim Broadbent), a bitter, reclusive, alcoholic painter. Broadbent's performance is the film's strongest, which is saying something in a film packed with celebrated actors. His Jimmy is sensitive and fearsome, wise, and terrible -- all at once. At several points in the film, during fits of artistic pique, Jimmy's eyes flash with anger and fix on Jerome -- and the misery of a rotten, wasted life paralyzes both Jerome and the audience. The jolting power of these moments, of Broadbent's poisonous eyes, makes his turn a thing to behold.Jerome's classmates and instructors at the Strathmore Institute figure prominently in the film's wry exploration of what makes good art good, and what makes the truest art timeless. Professor Sandiford (John Malkovich) is a failed painter who is unable to see Jerome's talent and potential but wouldn't mind sleeping with him. Jerome's roommate Vince (Ethan Suplee, of TV's My Name Is Earl) is a fast-talking, sexually obsessed film student. And Jerome's friend Bardo is a talentless, wayward womanizer who doesn't belong in art school. Several heavyweight actors play the bit parts that round out the cast, including Angelica Huston as a sage art history professor, Steve Buscemi as a freewheeling gallery owner, and Michael Lerner as a greedy art dealer.Art School marks Zwigoff's second collaboration with Daniel Clowes, who wrote both the screenplay and the graphic novel on which it was based. Their first collaboration, the 2001 film Ghost World, earned them an avalanche of critical praise and an Academy Award nomination for Best Adapted Screenplay. However, Art School isn't as good as Ghost World, despite their abundant similarities. The connection between the central characters in Ghost World, Thora Birch's Enid and Buscemi's Seymour, was fascinating, odd, and easily understood. Jerome and Audrey's relationship, meanwhile, never takes shape, partly because Audrey's character is completely lifeless. Zwigoff and Clowes never get around to showing us who she is or what she wants. It's never clear why she would turn her back on Jerome to pursue Jonah when she knows better than anyone that Jerome is the real talent.Such problems keep Art School from the heights of achievement of Ghost World and Crumb, but don't keep it from being a provocative, entertaining movie. Art School will go down as a minor work from the maker of off-kilter gems.Between you and me...

Tristan & Isolde Review

Kevin Reynolds is one of Hollywood's most unjustly maligned filmmakers. I'm frequently astounded by the fact that his superior craftsmanship is not more widely recognized. Surely his attention to detail and sensual prowess is equal that of championed filmmakers like Ridley and Tony Scott (who both produced this film).

I suspect that most of this disregard is due to the fact that more often than not Reynolds' films are burdened with clunky and sentimental scripts. Films like Rapa Nui and Robin Hood: Prince of Thieves were gorgeously shot and produced but weighed down by melodrama and hobbled by sentimentality. And then there was the whole Waterworld debacle from which it seems Reynolds has never really recovered. The Count of Monte Cristo was a start, but this is the film that should bring Reynolds back to the table. (I happen to think Waterworld is fantastically accomplished and enormously entertaining but don't tell anyone I said that.)

Continue reading: Tristan & Isolde Review

Thunderbirds Review

Kids who are relatively new to movies and unfamiliar with cynicism will love Thunderbirds, Jonathan Frakes' live-action take on the cult 1960s puppets and rockets show. Kids are bound to love the fast pace and broad characters as the kid cast triumphs over evil adults and get rewarded by the cool ones.

The reason why I can't recommend Thunderbirds is common in mediocre kids' fare: It offers nothing for the adults playing chaperone, who will be flat-out bored. Frakes and his screenwriters make no attempt to entertain anyone over the age of 13, unless you find stuttering and bad teeth uproarious. If ever there was a movie meant for DVD, this is it. Mom can pay the bills or read a book in the living room, as the kids argue over how cool it would be to ride one of the Thunderbirds.

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From Hell Review


A vivid yet distinctly fictitious recreation of the crime-plagued gutters of 19th Century London, the Jack the Ripper thriller "From Hell" is quite a homage to the dense graphic novel from which it was spawned.

It's nothing if not atmospheric, what with its opulently dingy, blood-red set dressings, its pinched-cheek and cheap-corset prostitutes, and its opium- and absinthe-addicted hero -- an unorthodox Scotland Yard Inspector named Abberline (Johnny Depp in lambchop sideburns) who discovers dangerous secrets in the Ripper's ritualized killings.

The film's talented directors -- brothers Allen and Albert Hughes ("Menace II Society," "Dead Presidents"), definitively demonstrating there's more to them than ghetto fare -- blend quite a transporting concoction with their viscous visuals, menacing moodiness, puzzling plot and heady performances.

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Underworld Review


"Underworld" might have been one bad-ass B-movie, if only its plot about a war between vampires and werewolves had been seen by co-writer/director Len Wiseman as anything more than a token gimmick on which to hang "Matrix"-mimicking action and antiquated genre clich├ęs.

Thick with mold-breaking potential that goes completely unexplored, the picture is populated by cardboard cutouts of aristocratic, clownishly Goth-fashioned bloodsuckers and sunken-eyed, greasy-haired, heavy-metal headbanger-styled lycans (a fancy word for werewolves). The two races exhaust every trite and tired facet of their respective horror folklore in a story that has obviously, and rather clumsily, had elements edited out -- including a romance between warrior vampiress Selene (Kate Beckinsale) and Michael (Scott Speedman), a human with werewolf ancestry.

When Kraven (ravenous scenery glutton Shane Brolly) -- the conniving, devious, temporary leader of the vampires while their sovereign is entombed in hibernation -- orders the human killed because his DNA could change the course of the centuries-old war, Selene risks her life to save the guy for reasons that aren't entirely clear in this final version of the film.

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Sophia Myles

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