Nearly 20 years after Interview With the Vampire, Neil Jordan returns to the genre to breath some new life into a mythology that has grown stale, predictable and rather mopey (see Twilight). With a lively script by Buffini, Jordan creates a lushly stylish dramatic thriller that continually takes us aback with off-beat storytelling and complex characters who don't always do what we expect them to.
The story centres on mother-daughter immortals Clara and Eleanor (Arterton and Ronan), who are on the run when they arrive in a fading British seaside town. The resourceful Clara seduces the nervous Noel (Mays) so they can stay in his dilapidated Byzantium guesthouse. To earn some cash, the always resourceful Clara turns the empty rooms into a brothel. Meanwhile, Eleanor befriends the fragile young Frank (Jones) and reveals the fact that she and her mother are actually more than 200 years old and need human blood to survive. Through all of this, they're being chased by two elder vampires, the ruthless Ruthven (Miller) and the more sympathetic Darvell (Riley), both of whom share a tangled romantic past with Clara.
Unusually intelligent, the film holds our interest with an astonishing series of twists and turns plus an array of colourful characters that play on stereotypes. Holding it all together is a fairly simple plot that reveals itself in bits and pieces until the full picture comes into focus. From this point, we pretty much know what has to happen in the big finale, but watching events unfold is satisfying and sometimes both thrilling and moving.
Continue reading: Byzantium Review
Even though Charles Dickens' oft-told story is livened up with a terrific cast and sharp script, it's difficult to see anything terribly new about this BBC-produced version. Especially since it comes less than a year after their previous lavish TV production. But there are plenty of elements in this film that make it worth seeing, as the soap-style plot twists and turns through comedy and romance to its action-thriller climax.
After growing up as an orphan with his blacksmith uncle (Flemyng) and high-strung aunt (Hawkins), Pip (Irvine) is given the chance to live as a London gentleman. He's sure that his anonymous benefactor is the barmy Miss Havisham (Bonham Carter), a broken-hearted hermit he worked for as a child. And since he's still in love with her adopted daughter Estella (Grainger), he decides to use his new position in society to court her. But things don't quite go as expected, and his life takes a surprising turn when scary prison escapee Magwitch (Fiennes) latches onto Pip and begins revealing some surprising connections between all of these people.
This faithful retelling of Dickens' novel is packed with coincidences and revelations, as well as the kind of gleefully thorny rivalries that would be expected on Dallas or Downton Abbey. Overloaded with blackly comical intrigue, it's a compulsively enjoyable film that entertains us on a variety of levels as the story develops. Although director Newell (Harry Potter and the Goblet of Fire) never tries anything too flashy. Which means that despite the high quality, the film is straightforward and perhaps unnecessary.
Continue reading: Great Expectations Review
In 1968, Rita (Hawkins) works in the Ford plant in Dagenham. She quickly rises to a leadership role on the shopfloor where 187 women work on upholstery. But they earn a fraction of their male counterparts' wages, and their jobs are being reclassified as "unskilled". So Rita and her colleagues (including James, Winstone and Riseborough) team up with their union rep (Hoskins) to demand equality from the Ford execs (including Graves and Schiff). But their strike action has repercussions, catching the attention of government minister Barbara Castle (Richardson).
Continue reading: Made in Dagenham Review
Michael (Murphy) is a slacker who has four hours to pay back his loan shark Perrier (Gleeson) before a bounty is put out on him. On this fateful day, he teams up with his dying father Jim (Broadbent) and his neighbour Brenda (Whittaker), who accidentally gets involved in his mess. As they run around Dublin trying to stay one step ahead of the goons, as well as a couple of zealous traffic wardens, this trio is forced to examine their lives and relationships, often in the face of imminent injury.
Continue reading: Perrier's Bounty Review
UK journalist Sidney Young (Pegg) is desperate to make it big. He will do anything to crash celebrity parties and get a scoop. His hijinks grab the attention of Sharps magazine publisher Clayton Harding (Jeff Bridges), and soon, the Brit finds himself in New York, working at the influential rag. Under the editorship of Lawrence Maddox (Danny Huston) and with the help of fellow reporter Alison Olsen (Kirsten Dunst) he soon discovers that a life covering the limelight isn't all its cracked up to be. As a matter of fact, it turns out that power-mad publicist Eleanor Johnson (Gillian Anderson) controls most of the magazine's celebrity content, and if Sidney wants to succeed -- and get to date her sexy star client Sophie Maes (Megan Fox) -- he better learn how to make her happy.
Continue reading: How to Lose Friends & Alienate People Review
Continue reading: Interview with the Vampire Review
It's at the shit end of excess that we find Jones (Leo Gregory) in Stephen Woolley's directorial debut, Stoned, which explores the rocker's final days, after he's alienated himself from his band, leading up to his mysterious drowning in the swimming pool of his country estate. Officially, the death was ruled an accident, but loose ends linger off the record, particularly with regard to Jones's relationship with Stones' manager, Tom Keylock (David Morrissey), and Frank Thorogood (Paddy Considine), a builder contracted to remodel Jones's estate. Woolley's movie runs on the notion that Thorogood was no mere working-class lackey, but a mole of sorts, employed by the Stones organization to keep daily tabs on Jones's erratic behavior.
Continue reading: Stoned Review
Mona Lisa shares much in common with that painting. The film contains a female character who is serene, dark, and mysterious. It doesn't take a genius, however, to comprehend that the leading actress here is a lot sexier than the woman in the painting.
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Is it a good secret? Sure. Is it one of the most memorable in cinema's last 15 years? Possibly. But one good surprise/twist does not make a great movie, and there's very little else in director/writer Neil Jordan's drama to deserve such lavish wide-eyed acclaim. It's a solid, well-acted character study. That's it, I'm afraid.
Continue reading: The Crying Game Review
What Intermission resembles just as handily, though, is an Irish Love Actually, which is to say it's like Love Actually with a lot more drinking and violence. This is unlikely to placate anyone who truly hated Love Actually and, as such, would require something on the order of a soccer riot to feel fully cleansed. But if you (like me) merely thought a few of those charmingly stammering Englishmen could use a good deck, Intermission is the punch-throwing, rock-chucking romantic comedy for you.
Continue reading: Intermission Review