Everyone deals with death in different ways, but for Dean, he's all about trying not to deal with it at all. He's an illustrator who uses his art as an escape while his widowed father struggles to get through to him. Alone at home, he wants to sell the New York home that Dean grew up in in a bid to move on with his life. Dean is reluctant to accept his dad's decision, but decides to take his advice by jetting off to LA to figure things out. He meets an attractive young woman named Nicky at a party and, for the first time in while, begins to heal the hole in his heart. Meanwhile, his father has met a charming realtor in whom he confides his grief and who helps him come to terms with his own loss.
Continue: Dean Trailer
This remake of Disney's 1991 classic is remarkably faithful, using present-day digital animation effects to give the story a photo-realistic sheen. The addition of more songs makes it feel much more like a big movie musical. And the use of real actors adds quite a lot of detail and subtext in the character interaction. But basically, this is still the same romantic fairy tale: lovely to look as it makes the audience swoon and sigh.
It's set in a French village, where Belle (Emma Watson) is looked at with suspicion by her neighbours for her empowered-female ways, reading books, expressing her opinions and running the farm where she lives with her single dad Maurice (Kevin Kline). It's no wonder that the vain soldier Gaston (Luke Evans) pursues her, since she's the only girl who isn't chasing him. Then one day Maurice and Belle have a fateful encounter with a castle hidden in a deep woods under a curse. Imprisoned by its beastly master (Dan Stevens), Belle befriends the staff, who have been transformed into household objects like a lampstand (Ewan McGregor), clock (Ian McKellen), teapot (Emma Thompson), harpsichord (Stanley Tucci) and feather duster (Gugu Mbatha-Raw). All of them conspire to help Belle fall in love with the Beast, which would break the spell.
Director Bill Condon (who made Dreamgirls and the final Twilight movies) makes the most of the live-action cast, allowing them to stir all kinds of undercurrents into their roles, which adds weight and interest to the rather predictable storyline. The film still looks largely animated thanks to an extensive use of digital backgrounds and characters, but the actors add an earthy tone that breaks the surface, bringing in some more textured emotions and sharper humour. The whole cast is excellent, with particular scene-stealing energy coming from Evans and Josh Gad (as his super-faithful sidekick LeFou), who are both funny and villainous at the same time. And Kline is also a standout for a surprisingly thoughtful performance.
Continue reading: Beauty And The Beast Review
Take a closer look at the cast of 'Beauty and the Beast' in the final trailer for the forthcoming live-action Disney re-boot. Gaston loves himself more than Belle, Belle loves books more than boys, and Maurice loves his daughter more than anybody else. Meanwhile, the Beast hates everything and everyone equally, but that's about to change when Belle volunteers herself as his prisoner in exchange for her father's freedom. She has much pity for the Beast and wants to make the best out of a terrible situation, especially when he presents her with the library of her dreams. He's relying on her love to rescue him from the curse that binds him in his monstrous form, and to rescue his friends and servants from their furnitural guises. But together they have an important lesson to learn about love and companionship.
Continue: Beauty And The Beast Trailer
To outsiders, the castle which sits on the outskirts of a small town is just another run down building soon to be turned into ruins but the secrets the beautiful building hold are some laced in magic.
The royal prince who lives in the castle hasn't been seen for years and no one but a witch knows the truth of what happened to him. When Prince Adam was young, he was confronted by a witch seeking shelter from the weather in return for a beautiful rose. The young prince had little time for beggars and dismissed the old woman without much of a thought. As punishment for his cruel arrogance and having seen the lack of love in his heart, the witch curses the prince and his castle.
Having been turned into an unsightly beast with horns and fur much like a goat, he now spends his life in a castle along with his bewitched staff - for they suffer the same curse as their master and have been turned into household objects. The witch didn't want to just punish the thoughtless Prince, she did give him a little hope - she left him with the rose he originally turned down; if he could find true love by the time the last petal fell from the rose on his 21st birthday, he and his castle would be free from the curse.
Continue: Beauty and the Beast Trailer
Disney have released the new teaser trailer for the remake of the much-loved animated film Beauty and the Beast. The 2017 version of this classic Disney film is a live-action movie and it is claimed that the Disney magic will not be lost as a result, but rather preserved and made even more magical. Emma Watson stars as the protagonist, Princess Belle and Dan Stevens as the Beast.
The narrative follows Belle on her quest to find her father who has been captured and imprisoned in the Beasts castle, on arriving at the castle she finds herself becoming imprisoned as well. In order to free her father she agrees to stay in the Beasts castle as his prisoner. After spending time with the Beast she starts to see beyond his frightening exterior and into his kind heart and soul, which leads her to start falling in love with him.
However Belle soon finds herself caught in the middle between the two men who want her, the Beast and Gaston and it is in this climatic end that leads her to confess her love for one of them, but which one she chooses, you'll have to watch and see.
'Last Vegas' has a dream cast but fails to deliver a box office hit!
Hollywood's newest comedy 'Last Vegas', which features one of the most star studded cast in recent memories, hit theatres this Friday (Nov 1st) to an underwhelming reception. Acting legends, Robert De Niro, Michael Douglas, Morgan Freeman and Kevin Kline, star as four best friends since childhood who travel to Las Vegas for one last bachelor party.
Kline, Freeman, De Niro and Douglas in 'Last Vegas'
The film follows the story of Billy (Douglas), who is the group's ladies' man, as he finally proposes to his considerably younger girlfriend and becomes the final friend to get married. To celebrate the occasion, they decide to relive their younger days and throw a bachelor party in Sin City but on arrival, Paddy (De Niro), Archie (Freeman) and Sam (Kline) realise the years have dramatically changed the party destination.
Star power hasn't rubbed off here.
What a risk this was: Robert De Niro, Michael Douglas, Morgan Freeman and Kevin Kline sharing a screen as four old friends travelling to Las Vegas to fulfill some sort of nostalgic dream of a bachelor party in the debauched city.
Michael Douglas, Morgan Freeman, Mary Steenburgen and Robert De Niro
All four actors have made brilliant films, and are all screen legends in their own right. Apart from maybe Kline, who recently starred as 'Wounded Soldier' in 2012’s Oscar-winning Lincoln – one of his best films.
Douglas Hodge won a throng of new fans and even a Tony Award when he was last on Broadway for La Cage Aux Folles and now he is back on the stage taking on the celebrated title role in the latest version of Cyrano de Bergerac to hit New York.
It is the role, created by Edmond Rostand in 1897, that has seen such distinguished actors as Christopher Plummer, Gérard Depardieu (who won an Oscar nomination) and most recently on Broadway Kevin Kline put on the fake nose to take on the role, but this time round the Brit actor his being lamented as being the perfect casting as audiences and critics can’t help but lap on the praise for the actor, who performed the first show of the run only last night (October 11, 2012).
In fact, it isn’t just Hodge that is getting the praise for the show, as his (largely British) co-stars have also impressed all round for their performances. British director Jamie Lloyd takes helm of the new production, whilst fellow Brit Ranjit Bolt has provided a new translation of the timeless production. Kyle Soller, another Brit and French actress Clemence Poesy make up the rest of the top billed cast.
After the President is murdered in 1865, inexperienced lawyer Frederick (McAvoy) is assigned to defend Mary Surratt (Wright), who is charged with conspiracy alongside eight others. As a war hero from the North, Frederick is horrified to get this job, but is convinced by his boss (Wilkinson) that she at least deserves a fair trial. Of course, in the hysteria following the war and assassination, that's not likely. The judge (Meaney) clearly takes sides, the prosecutor (Huston) is relentlessly arrogant and the war secretary (Kline) has already decided on a verdict and sentence.
Continue reading: The Conspirator Review
Kevin Kline plays Joey Boca - a guy who runs a pizza parlor in Seattle - as an oversexed, extremely Italian workaholic who is able to explain his chronic infidelity by saying with a straight face, "I'm a man, I got a lotta hormones in my body." It's a clown's performance, a filmmaker doesn't bring Kline in for this sort of role and demand subtlety but rather one that's so over-the-top it achieves a kind of genius that Kline also showcased in his similarly stereotypical role in A Fish Called Wanda (in that one, he played a clown's view of an American abroad, here he's the clowning pizza man, bad accent, bushy mustache and all).
Continue reading: I Love You To Death Review
Unlike mostly no-name productions like The Return of Jafar, the entire original cast is back in this sequel (with the exception of Mary Wickes, who died before the original Hunchback was ever released), and how Disney convinced them to take part is beyond me. (Iron-clad contract or the promise that, after all, this will barely take an hour of their time?)
Continue reading: The Hunchback Of Notre Dame II Review
Like a symphony that's incomplete because all the notes aren't available, what I didn't get out of this is a three-dimensional portrait of the subject. The show, structured as a dead or dying man's vision of his life played out like a movie and stage production, is loaded with talent and a detailed recreation of his period. The portrayal of the swank, rich life is as festive to behold as it is off-putting. The world in which Porter whirls and commands with assured, inevitable success is an alien one. Rather than feel a part of it, we are there to revel in the entertainment.
Continue reading: De-Lovely Review
It's the mid-1970s at a proper boys' prep school in DC, and Kline's Hundert encounters his first splash in the face with the cold water of life outside revered academia when he meets the father of a mischievous underachieving student. The stern dad, a brash U.S. senator, scolds Hundert: "You will not mold my son, I will mold my son". With a dose more sympathy for the kid, Hundert befriends him and watches him turn into a studying machine.
Continue reading: The Emperor's Club Review
But much of Life as a House is completely watchable. Mark Andrus's script (he's written As Good As It Gets and the underrated, rarely seen Late For Dinner) appears cookie-cutter: he gives us the lazy, lonely, eccentric nobody (Kevin Kline); his estranged family, including beautiful ex-wife (Kristin Scott Thomas) and alienated teen (Hayden Christensen); and his predictably uptight neighbors, pissed off that his ramshackle of a house has stood in their beautiful oceanside neighborhood for twenty years.
Continue reading: Life As A House Review
It is readily apparent that Will Smith, Kevin Kline and Kenneth Branagh had a ball on the set of "Wild Wild West."
Smith -- playing gun-slinging government agent Jim West -- looks so cool in his leather pants, waistcoat, and bolero jacket and hat, that at one point in the movie he's standing next to the voluptuous and nearly naked Salma Hayek (in a largely ornamental role), and your eyes are drawn to him. It's gotta be fun to look that slick.
Kline gets to play government agent Artemus Gordon, an eccentric inventor and master of disguise, which is right up his alley. He can barely keep from cracking himself up in his introductory scene, vamping around in saloon matron drag and pancake makeup.
Continue reading: Wild Wild West Review
Making a Hollywood story with a decidedly un-Hollywood flair, co-writers, co-directors and co-stars Jennifer Jason Leigh and Alan Cumming take a casual, almost guerilla approach to their collaborative conception called "The Anniversary Party."
It's a shoestring production shot cinema vérité style in which these two gifted journeyman actors play a shaky show biz couple throwing themselves a sixth anniversary bash even though they've just recently and tentatively reconciled after a big infidelity blow-up.
Their guests -- movie stars, directors, industry types and hangers-on -- seem vaguely uncomfortable congratulating Sally and Joe Therrian (Leigh and Cumming) on their longevity under the circumstances. But in a town where fakery is the norm, it's easy for everyone to put on a happy face -- even the non-industry next-door neighbors (Denis O'Hare and Mina Badie) who have been invited only in an attempt to ease tensions over a barking dog dispute that's threatening to turn legal.
Continue reading: The Anniversary Party Review
I've always seen "A Midsummer Night's Dream" as one of Shakespeare's daffier comedies -- what with the fairies and all -- so this film version, adapted by director Michael Hoffman ("One Fine Day," "Restoration"), came as something of a surprise because it takes itself so seriously.
Hoffman seems to hold the Bard's less jestful observations on amour ("The course of true love never did run smooth") in higher regard than his saucy slapstick of miscommunication.
The laughs are definitely present, but they're subdued as two pairs of young sweethearts steal away into the forest (of 19th Century Tuscany in this adaptation) trying to escape the consequences of an arranged marriage, and rush headlong and unknowingly into the domain of impishly interfering immortals.
Continue reading: A Midsummer Night's Dream Review
A routine aerial shot swoops down over the grounds of an architecturally classic boarding school while a buoyant, sanguine score bleats with insistently lyrical French horns in the opening moments of "The Emperor's Club." And that's all most moviegoers will need to divine everything there is to know about the picture's musty, fond-memory-styled milieu of plucky, Puckish schoolboys and the dedicated, kindly educator who inspires them.
It's a movie that seems motivated more by a desire to match mortarboards with "Dead Poets Society" and "Good Will Hunting" than by its own story. It's a movie of highly telegraphed archetypes slogging their way through clichés (the off-limits girls' school is just across the lake) and only-in-the-movies moments, like the climactic scholarly trivia contest in which the three smartest boys in school don togas and answer questions on stage about the minutiae of Roman history.
These settings, these characters and this narrative arc -- about a contentious teacher-student relationship -- are so familiar that while the movie is not inept or boring, it never feels real enough to inspire much more than a shrug in response.
Continue reading: The Emperor's Club Review
"This is one of those avant-garde things, is it?" says a droll, dubious and dying Cole Porter (Kevin Kline) as he sits in an empty theater at the beginning of "De-Lovely," watching his life pass before his eyes on the stage, in a production conducted by an enigmatic, ironic, ethereal director named Gabe (Jonathan Pryce).
The answer to his question is a delighted "yes." This film is an imaginative, deconstructionist, celebratory musical biography woven together from elements of theater, meta-cinema, chamber drama and Porter's own MGM musicals with gratifying -- if deliberately glossy -- results.
Kline opens the picture as a frail but feisty old man (the age makeup is remarkable) who, as he watches his own story unfold, is alternatively tickled ("Oh, look, it's an opening number!"), critical ("He'd never wear that! Change it."), fondly reminiscent and pained by regret. And the actor also plays the younger Porter in the bulk of the picture, which has a merry, dreamlike quality to its stop-and-start interactions with the elderly Porter and his theatrical spirit guide.
Continue reading: De-Lovely Review
Date of birth
24th October, 1947
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