Terence Davies

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at New York Premiere of The Deep Blue Sea held at BAM Rose Cinemas Brooklyn New York.

Rachel Weisz and Terence Davies - Rachel Weisz and Terence Davies Thursday 15th March 2012 at New York Premiere of The Deep Blue Sea held at BAM Rose Cinemas Brooklyn New York.

Rachel Weisz and Terence Davies

The Deep Blue Sea Review


Excellent
Based on the 1952 Terence Rattigan play, this exquisitely made British drama moves at its own slow pace, pitting repressed emotions against reckless passion. It's also rather gloomy and downbeat, almost reluctant to let us see glimmers of hope in the story.

Hester (Weisz) is tormented by the trajectory of her life: the wife of High Court judge Sir William (Beale), she has fallen for the dashing Battle of Britain pilot Freddie (Hiddleston), who lets their physical relationship dissipate as he struggles to find a role in society after the war. Now isolated and desperate, Hester attempts suicide but only succeeds in making her life worse. Freddie is furious, and William is unnervingly caring. She's caught between the devil and the deep blue sea: is there any way she can have a happy life?

Continue reading: The Deep Blue Sea Review

6th International Rome Film Festival - 'The Adventures Of Tin Tin' - Premiere

Terence Davies - Director Terence Davies Rome, Italy - 6th International Rome Film Festival - 'The Adventures Of Tin Tin' - Premiere Friday 28th October 2011

36th Annual Toronto International Film Festival - 'The Deep Blue Sea' premiere arrival at TIFF BELL Lightbox.

Terence Davies Sunday 11th September 2011 36th Annual Toronto International Film Festival - 'The Deep Blue Sea' premiere arrival at TIFF BELL Lightbox. Toronto, Canada

Of Time and the City Review


Essential
"We love the place we hate/We hate the place we love/We leave the place we hate/Then spend a lifetime trying to regain it." Director Terence Davies recites these words as his camera moves across a church edifice like an incantation in his moving and emotional paean to the lost Liverpool of his youth, the impassioned documentary Of Time and the City.

Davies' films (Distant Voices, Still Lives; The Long Day Closes) have always looked to the past as both memory and memory's sometimes distorted recollections. Much like last year's My Winnipeg of Guy Maddin, Davies looks at both the past of a city and his own past there, twisting both into a funhouse mirror. Maddin, of course, barely gets out of his childhood alive, but for Davies, his Liverpool is a state of lost innocence killed when modernity and puberty set in. He quotes Shelley in the opening shot, an image of a slowly opening curtain in a movie house, "The happy highways where I went and cannot come again." Davies is already placing Liverpool as a mythic town of his childhood and boldly states, "If Liverpool did not exist, it would have to be invented."

Continue reading: Of Time and the City Review

The House of Mirth Review


OK
Draw near and bear witness to Gillian Anderson, a very successful television actress (The X Files) who is still trying to find her legs on the big screen. Like many before her, she will try a tactic that has made stars out of otherwise B-list actors: By taking the leading role in an art house flick.

Welcome then to The House of Mirth, a period piece which bears little happiness for those within. Or, ultimately, for those in the audience.

Continue reading: The House of Mirth Review

The Neon Bible Review


Grim
To date, the only film adaptation of any work by celebrated author John Kennedy Toole is this, The Neon Bible, a book Toole wrote at the age of 16 and which he dismissed as unpublishable. (They published it anyway two decades after his death.) It is, by most accounts, a not-very-good book, and it's a far from good movie. The story concerns a young southern boy reminiscing about his life, his strange/abusive family, and religion, while riding on a train. Between lingering shots out the window, our young hero dreams of revival tents and creepy neighbors, all seen through the lens of one of cinema's most overrated directors, Terence Davies. Like so many of his films, Neon is full of gorgeous photography and minimal substance.

Distant Voices, Still Lives Review


Weak
This truly stange British production looks at a sepia-toned past where memory is revisited only through song. Everybody sings, all the time, developing a wonky revision of a family's life around the turn of the century (plus a few decades before and after). It's hit and miss, failing to really generate a really coherent vision of the past. Pete Postlethwaite provides the film's only standout performance, but it's so brief as to be quite unmemorable.
Terence Davies

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