Not to mention removing the cap on bankers bonuses and that to fund this giveaway Britain will borrow an undisputed… https://t.co/rcUpFzDwwY
It's no surprise that this creep-out horror thriller is packed with whizzy visual invention, since it's directed by Gore Verbinski, who made the first three Pirates of the Caribbean movies, as well as Rango and The Lone Ranger. And the screenplay by Justin Haythe (Revolutionary Road) starts well, stirring in some resonant themes amid the growing, gnawing nastiness. Unfortunately, over the film's overlong running time, it just gets sillier and simpler.
The story centres on Lockhart (Dane DeHaan), a rising star workaholic New York broker who's been caught in some dodgy dealings. To redeem himself, he is sent to collect the company's boss (Harry Groener) from a Swiss sanatorium, where he seems to have gone native. Or something. But when Lockhart arrives at the picturesque Alpine castle, things quickly begin to spiral out of control. He's injured in a car crash, forcing him to become a patient at the spa alongside the rather too-cheerful elderly residents, who are undergoing some sort of odd treatment. As Lockhart digs deeper, he runs afoul of the director, Dr Volmer (Jason Isaacs), especially when he befriends the doctor's star patient, the oddly naive Hannah (Mia Goth). And as things get freakier, Lockhart begins to worry that he'll never get out of here.
Verbinski develops a darkly gothic atmosphere from the first frames of the film, and things get increasingly offbeat from there. Some elements are blackly comical, but the overall tone is grotesque, with a special emphasis on slimy eels, which appear alarmingly everywhere Lockhart looks. Meanwhile, Haythe stirs in a convoluted mythology about the mad baron who lived in the castle 200 years earlier. When combined with underlying themes about the stresses of modern-day life and the relative morality of Wall Street bankers, this is all rather intriguing. Unfortunately, these clever textures slip away quickly, leaving little more than a series of repetitive set pieces designed to give the audience the jitters as they remind us of other movies.
Continue reading: A Cure For Wellness Review
Goth stars alongside DeHaan in psychological thriller 'A Cure For Wellness’.
Goth plays Hannah in the psychological thriller, a patient at a mysterious rehabilitation center in the Swiss Alps, where DeHaan’s character Lockhart is sent to rescue his boss.
Mia Goth stars in A Cure For Wellness
Continue reading: Mia Goth Has Huge Admiration For Dane DeHaan
The Malfoys are officially the cutest father and son villains.
The two actors, who played villainous father-and-son Lucis and Draco Malfoy in the film series, also both attended the Universal Orlando’s Celebration of Harry Potter, where they took part in a cast panel alongside Warwick Davis and Matthew Lewis.
Continue reading: Malfoys Unite! Jason Isaacs And Tom Felton Have 'Harry Potter' Reunion
Where does the line of wellness end and where does illness begin? That's the question on the mind of one young business official with big dreams. He is forced to visit a mysterious 'wellness center' in the middle of the Swiss Alps; a beautiful location where his boss has been staying for therapy. It seems like an incredible place to be treated, whatever your ailment, with its vast array of treatments, spas and therapies - many of which are unique and innovative. But all is not what it seems at this wellness center; there's a sinister melancholy in the air and soon our protagonist finds himself struggling with his own sanity, unable to leave but too frightened to stay. It becomes clear that there is an affliction affecting all the residents, the cure for which is an ominous mystery.
Continue: A Cure For Wellness Trailer
Wardaddy is an army sergeant with years of experience in the horrors and victories of war. He's one of the most effective and most courageous war heroes America has to offer and, now commanding a Sherman tank named Fury with a group of just five soldiers, he must lead his men into a highly risky operation right on their enemies' doorstep. Not only has he and his boys got the threat of serious outnumbering ahead of them, but Wardaddy also has to tutor a terrified new recruit named Norman Ellison, who's less than okay with shooting down hundreds of men in a vehicle he has never used before. It's all about having each other's backs and keeping everyone motivated to keep on fighting, but when a platoon of three-hundred German soldiers strike out, it doesn't look like that will be enough to keep them alive.
Continue: Fury Trailer
Harrison Ford is on the mend, but is Jason Isaac set for another big Star Wars role?
Harrison Ford continues to recover in hospital after undergoing surgery on his ankle following an accident on the set of Star Wars: Episode VII. The actor is unlikely to return to the set at Pinewood studios for six-to-eight weeks but we’ve got some new Star Wars news for you to fill the void now the furore around Ford has died down.
A new report suggests British actor Jason Isaac – best known for Harry Potter – could voice the Jedi-hunting villain The Inquisitor in the forthcoming animated TV series Star Wars Rebels. An insider speaking with TheForce.net confirmed that Isaacs has been nailed down as the choice for the Inquisitor, also suggesting that Obi-Wan Kenobi will be present for the premiere in some form.
Continue reading: Harrison Ford Recovering, But Is Jason Isaac Star Wars Inquisitor?
Fury is due for release in the UK from November
We don’t hear much about Brad Pitt’s upcoming World War II drama, Fury – apart from whispers of discontent from the locals, anyway. But finally, a behind the scenes video of the drama starring Shia LaBeouf, Logan Lerman, Michael Peña, Jon Bernthal, Jason Isaacs, and Scott Eastwood has hit at E3, giving us a peek inside this promising project.
Brad Pitt at the End Sexual Violence In Conflict Global Summit held at ExCeL, London
Ayer promises the film will be “a movie about World War II, the likes of which we haven’t seen before” Speaking about the main characters, he says in the video: “They’re exhausted, they’re tired, they’re grief-stricken, they’re combat fatigued. It’s really about a family under incredible stress.”
Continue reading: Finally, A Real Look At Brad Pitt's 'Fury' At E3
While it wins points for acting work, this TV adaptation fails to recreate the suspense of the original.
What’s not to like about Rosemary’s Baby? Horror? Check. Classic? Check. Zoe Saldana, Jason Isaacs, Patrick J. Adams? Check, check, check. The new miniseries reboot has a lot going for it, but the critics seem to want more from a TV adaptation with such great credits.
Despite Saldana and Co's best efforts, the adaptation just doesn't deliver the chills.
According to the New York Daily News’ David Hinkley, extending the two-hour film into a four episode mini-series serves to dilute the tension, instead of extending it. “Despite the efforts of a good cast, inflating “Rosemary’s Baby” into a miniseries doesn’t give the classic 1968 movie the kind of fresh life its producers no doubt envisioned,” Hinkley writes. Nevertheless, according to him, the miniseries might be good enough for audiences, who never got to see the 1968 original.
Harry Potter and his friends, Ron Weasley and Hermione Granger, continue their search for Voldemort's Horcruxes - dark magical objects that help the user gain immortality. Having found and destroyed one Horcrux - a locket belonging to Hogwarts founder Salazar Slytherin - the three friends travel from Ron's older brother Bill Weasley's house by the sea to the wizarding bank, Gringotts and then to Hogwarts to look for the final remaining Horcruxes.
Jason Isaacs, Freemasons and Harry Potter - Jason Issacs, London, England - at the 'Harry Potter and the Deathly Hallows Part 1' premiere afterparty, held at Freemasons Hall. Friday 12th November 2010
Jason Isaacs Thursday 18th February 2010 The London Critics' Circle Film Awards at The Landmark Hotel - Arrivals London, England
Jason Isaacs Friday 16th October 2009 The Times BFI London Film Festival: The Road - gala screening held at the Vue West End. London, England
It's gotten to the point where the quality of the films don't really matter: Now I feel like I'm committed to the whole Harry Potter series. I've reviewed the first five now, so by golly, I'm going to stick it out and finish the lot... even though I still can't bring myself to read any of the books. As always, consider yourself warned that I don't know the intricate backstory developed over thousands of pages in J.K. Rowling's writing. And really, I'm happy to keep it that way.
Harry Potter and the Order of the Phoenix continues in the tradition of following another year at the Hogwarts School of Wizardry, where Harry Potter (Daniel Radcliffe) has faced nothing but grueling struggle after grueling struggle. His most recent year (Goblet of Fire) saw a friend get killed by his nemesis, the evil Lord Voldemort (Ralph Fiennes), who's gaining more power every day and giving Harry severe nightmares. With few exceptions, his friends have largely abandoned him, and the new term comes with even more headaches in the form of Dolores Umbridge (the perfect Imelda Staunton), sent from the Ministry of Magic to teach the defense from the dark arts class and eventually taking over the school as an iron-fisted, fun-crushing bureaucrat.
After much pottering about (ha ha!), the film finally finds its groove as Umbridge goes too far, refusing to teach magic in the classroom, instead preferring to rely on theoretical knowledge so the students can pass their year-end standardized tests. With Voldemort approaching (this guy is always just around the corner), Harry becomes more nervous that he will be unable to defend himself, finally recruiting a handful of students to his cause to teach them what he knows about magical combat. Together they prepare for the day when they know they'll have to use those skills. (In case you haven't seen any of the first four movies, rest assured it isn't far off: This end-of-movie showdown between Harry and the forces of evil has almost become a cliché that pans out every single time.)
Continue reading: Harry Potter And The Order Of The Phoenix Review
Two U.S. Black Hawk helicopters go down in the mazelike streets of Mogadishu during a routine search-and-capture mission, leaving 100 G.I.'s stumbling around enemy territory with limited resources until the rescue Rangers show up. It's been oft-compared to having almost two full hours of Steven Spielberg's masterful 30-minute Omaha Beach sequence in Saving Private Ryan, which sounds good on paper only because Ryan suffered by following up its amazing visual prologue with a glut of character-driven monologues to invest personality within each soldier before he get killed. But Spielberg understood the basic precepts of documentary filmmaking: no matter how chaotic things got, we always understood where the soldiers were, and where they were going. Black Hawk Down, by removing exposition and cohesion, couldn't care less.
Continue reading: Black Hawk Down Review
Though it goes against everything he stands for, this rejuvenated Pan actually shows signs of growth and maturity. Special effects advancements help Peter and his cohorts pop off the screen. Cinematographer Donald McAlpine expands the rich color palette he utilized in such vivid films as Moulin Rogue and Romeo + Juliet. And director P.J. Hogan slips in subplots of unrequited love, develops pangs of loneliness, and mixes fleeting flights of happiness with his heroism.
Continue reading: Peter Pan (2003) Review
Set in the fishing town of New Bedford, Massachusetts, a beautiful middle-aged Portuguese woman, Celia Amonte (Sofia Milos) uses her day job as a seamstress to support her teenage daughter Vicky (Emmy Rossum) in the house she shares with her mother-in-law (Lupe Ontiveros). At night, she sings and dances at a local restaurant to a more somber beat, using her music as an expression for the loss she feels over her husband's death. Even seven years after his death, Celia feels she could never love another, despite Vicky's attempts to set her up on various online dates. When an English drifter and professional gambler named Charlie (Jason Isaacs) rolls in town to clean out the local casino, he quickly becomes taken with Celia and tries every trick in the book to con his way into her heart.
Continue reading: Passionada Review
Even if "The End of the Affair" didn't invite comparisons to "The English Patient" with Ralph Fiennes' auto-pilot performance as another reflective World War II-era Englishman immersed heart and soul in an adulterous love affair, this Neil Jordan adaptation of Graham Greene's novel would still be an ambitious misfire.
Beset by the oversimplification of abstract and heavy concepts of heart, mind and religion, the film looks beautiful with its foggy and well-heeled London society appointments, and it's nothing if not emotional, what with the likes of Fiennes and Julianne Moore as the (naturally!) doomed lovers and Jordan staple Stephen Rea as the betrayed, milquetoast husband/best friend.
But while Jordan's talent for screenwriting and direction are evidenced in dialogue ("I'm jealous of these shoes because they take you away from me. I'm jealous of this stocking because it kisses your entire leg...") and structure (Fiennes' point of view transitions into Moore's as he reads her stolen diary), the director's use of other stale and banal plot devices betray the pedestrian underpinnings of this seemingly complex film.
Continue reading: The End Of The Affair Review
In an era of severely dumbed-down children's movies, the first live-action "Peter Pan" picture since the silent era does something extraordinary -- it un-Disneyfies the story, revives the deeper themes of J.M. Barrie's original book and play, and emerges as an appropriately wily family-fare delight.
From its exquisite, Maxfield-Parish-inspired Neverland of golden sunlight, lush green forests and cotton-candy clouds to the quintessently pubescent and enigmatically tingly chemistry between Peter (the strangely pretty 14-year-old Jeremy Sumpter) and Wendy (the even prettier 13-year-old Rachel Hurd-Wood), the film is a vivid and surprisingly visceral experience.
Director P.J. Hogan ("My Best Friend's Wedding") evokes the true wonder of childhood in the eyes of his young stars as Peter Pan, the mythical leafy-clad boy who refused to grow up, hovers with the power of happy thoughts and fairy dust outside the third-story window of Wendy Darling on a snowy night in 1900s London, engrossed in the stories of adventure that the girl spins with wide-eyed zeal for her little bothers John and Michael.
Continue reading: Peter Pan Review
In his second big-screen outing, adolescent wizard Harry Potter is blessed with enough cinematic magic to overcome several of the very same problems that left last year's "Harry Potter and the Sorcerer's Stone" feeling a little protracted and rambling.
Sure "Harry Potter and the Chamber of Secrets" spends twice as much screen time on atmosphere and adventure scenes than on plot and character. But this time around every episode seems relevant, which is a vast improvement over last year's film, bloated as it was with Quidditch matches and monster moments that didn't advance the plot one iota.
Returning director Chris Columbus retains the enchanted ambiance as Harry heads to Hogwarts School of Witchcraft and Wizardry for his second year of instruction in the black arts. But nothing is ever easy for our young hero, as unseen forces seem to be conspiring against him -- not the least of which is some kind of elusive beast that's loose in Hogwarts' halls, turning students to stone.
Continue reading: Harry Potter & The Chamber Of Secrets Review
The Navajo code talkers who are the ostensive focus of the new John Woo World War II movie have so little to do with the story that calling the picture "Windtalkers" feels like a sham.
Sure it opens with a breathtaking shot of rock formations in the Arizona's Monument Valley, giving the film an immediate sense of place and spirituality. But it's essentially the same shot Woo used to open "Mission: Impossible 2," minus a rock-climbing Tom Cruise and plus a touch of reverent native flute music on the soundtrack.
Sure one of the main characters is a Navajo named Ben Yahzee (Adam Beach) who has a hard time fitting in with his Marine unit, which is teeming with countrified Southern bigots. And sure, once the Pacific island combat scenes get rolling Ben calls in a few air strikes using the never-broken Navajo language-based code that helped win the war.
Continue reading: Windtalkers Review
For a relentlessly unoriginal, pandering and predictable, two-and-a-half hour Revolutionary War epic that white-washes slavery, chooses exaggerated slow-motion action over any interest in historical accuracy and is helmed by a director who has demonstrated little talent for anything but overblown textbook filmmaking, "The Patriot" isn't a bad movie.
It's a mimeographed knock-off of "Braveheart" in buckskin vests and powdered wigs, but that doesn't seem to bother Mel Gibson, who won an Oscar for directing that film and stars in this one as another tread-upon colonial who takes up arms against England for his nation's freedom.
A hero of the French and Indian War who has since pledged to raise his children as a pacifist plantation farmer in South Carolina, Benjamin Martin (Gibson) is an amalgam of real revolutionary war figures, fantasized by screenwriter Robert Rodat ("Saving Private Ryan") as a politically correct hero who is a wonderful widower father, who communes with the natives (he's versed in the deadly use of a Tomahawk hatchet), who employs his plantation workers instead of enslaving them, and who takes up arms again only after a stuffy, sadistic redcoat Colonel named Tavington (Jason Issacs) kills one of his sons in cold blood when he finds Martin's home filled with rebel soldiers receiving first aid after a battle.
Continue reading: The Patriot Review
Date of birth
6th June, 1963
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