Eric Fellner Page 2

As it's been 12 years since the last Bridget Jones movie, expectations aren't too high for this sequel. So it's a very nice surprise that this film stands on its own as a charming and often very funny romantic comedy while rounding off the trilogy in style. The cast is terrific, and the script bristles with snappy dialogue and witty characters that lead the audience down an unpredictable route to a complicated happy ending.

On her 43rd birthday, Bridget (Renee Zellweger) is finally content with her single life. Although her romantic past continues to torment her, especially when she runs into former flame Mark Darcy (Colin Firth) at a funeral. With a corporate shake-up underway at the TV news programme she produces, presenter Miranda (Sara Solemani) suggests that Bridget needs some sex to liven up her life, whisking her off to a music festival. There she has a cute, hot encounter with the dishy Jack (Patrick Dempsey). And a week later, she rekindles her romance with Mark when she learns that his marriage has ended. So when she discovers that she's pregnant, Bridget hasn't a clue which man is the father.

This premise offers plenty of scope for both thematic meaning and awkward plot turns, and the screenplay merrily dives right into all of it, mixing some silly slapstick with darker emotions as director Sharon Maguire maintains a breezy-comical tone. This kind of balance is difficult to get right, but the film feels effortlessly engaging.

Continue reading: Bridget Jones's Baby Review

An intelligent ode to a time when Hollywood made wildly inventive movies without pressure from focus groups, there's a serious edge to what superficially looks like a madcap comical romp. But this isn't one of Joel and Ethan Coen's nutty comedies. It's a pointed exploration of the collision between art and commerce, assembled as a sprawlingly entertaining ensemble movie packed with lively, often hilarious characters.

It's set over 24 hours at Capitol Pictures in 1951 as studio minder Eddie (Josh Brolin) tries to keep several movies in production despite a series of hitches, while twin gossip columnists (two Tilda Swintons) try to get a scoop. Top movie star Baird (George Clooney) has been kidnapped by communist writers from the set of his Roman epic. Water-ballet diva DeeAnna (Scarlett Johansson) is pregnant and unapologetically unmarried. And rising-star Hobie (Alden Ehrenreich) is struggling to make the transition from Western action hero to chamber room drama, clashing with his demanding new director Laurence (Ralph Fiennes). Meanwhile, song-and-dance man Burt (Channing Tatum) is up to something on the set of his sailor musical. With all of this, Eddie begins to think that maybe he should take the offer of a job outside the film industry.

As the movie darts between these various productions, the Coens gleefully reinvent this series of genres that have essentially died out. Yes, the film is a pointed depiction of how Hollywood used to make a wide array of movies for much broader audiences. Each sequence is written and directed with witty details that perfectly catch the way the chaos of a film set can be transformed into a glamorous motion picture in time for the starry red-carpet premiere. And the entire cast rises to the challenge. Clooney is terrific as the dim-witted star who hasn't a clue what's happening around him. Ehrenreich shows real charm as a smart kid struggling in an insane situation. Brolin holds things together in a surprisingly sympathetic role, while Swinton, Johansson and Fiennes add plenty of spark, and the film is stolen by Frances McDormand as a spiky film editor.

Continue reading: Hail, Caesar! Review

Exhilarating racing action punctuates this true story, which sharply traces the rivalry between two Formula One champs. It's superbly well-shot and edited, with engaging performances from the entire cast. And with only one moment of calculated sentimentality, it's director Ron Howard's most honest movie in years.

The story begins in the early 1970s, when two rising-star F1 drivers clash over their very different styles. Britain's James Hunt (Hemsworth) is a swaggering womaniser, revelling in the rock-star lifestyle. By contrast, Austria's Niki Lauda (Bruhl) is a fiercely detailed technician who loves pushing barriers. They clearly see things they like in each other, so their different approaches on the track develop into a competitive relationship that spurs them to the front of the pack. Over the years, both meet their wives (Wilde and Lara, respectively) and move from team to team as they rise to the top of their sport. And their rivalry comes to a head at the 1976 German Grand Prix when world champion Lauda is involved in a horrific, fiery accident.

Morgan's script is essentially two biopics cleverly woven together to let us see the push and pull between these two iconic figures. Unexpectedly, Bruhl's Lauda emerges as the stronger character, with his grounded approach and sardonic wit allowing Bruhl to play effectively with submerged emotions. By contrast, Hemsworth's Hunt is little more than a gifted good-time boy who isn't worried about his lack of substance. It's a likeable, loose performance (we barely notice the wobbly British accent). Opposite them Lara and Wilde provide solid, subtle support, as do the fine actors who fill out the pit crews.

Continue reading: Rush Review

After Shaun of the Dead and Hot Fuzz, Pegg and Wright conclude their so-called Cornetto Trilogy with yet another riotously inspired exploration of British culture: the pub crawl. And this time it's apocalyptic! But what makes the film thoroughly endearing is its focus on old friendships that are so well-played that we can't help but find ourselves on-screen even when things get very, very silly.

Pegg plays Gary, the ringleader of his band of school pals. It's been more than 20 years since their failed attempt to visit all 12 pubs in their hometown of Newton Haven. Now approaching 40, Gary hasn't grown up nearly as much as his friends, so it takes a bit of convincing to get the now-settled Andy, Ollie, Pete and Steve (Frost, Freeman, Marsan and Considine) to reunite for a renewed attempt to drink their way through town. Then after the first couple of pints, they start to suspect that something isn't quite right. People are behaving strangely, as if there are alien body snatchers taking over the town. So to avoid attracting attention, the boys just carry on getting blind drunk on their way to the 12th pub, The World's End.

As in the previous films, Pegg and Wright continue developing the characters and their inter-relationships even as everything falls apart around them. Sure, the end of the humanity seems to be upon them, but there's unfinished business between them that needs sorting out, and besides there are more pints to drink. Along the way, things are spiced up as they meet Ollie's sister Sam (Pike), who shocks Gary by refusing to pick up where they left off. They also encounter a former teacher (Brosnan), the town's crazy old man (Bradley) and a shady guy known as The Reverend (Smiley).

Continue reading: The World's End Review

Not so much a rom-com as an anti-romance comedy, this brightly amusing British film makes us laugh fairly consistently, although the story itself is pretty grim. It's also a problem that the plot and characters are contrived and inconsistent. Even so, there's enough jaggedly hilarious humour in here to make it worth a look, complete with a superior cast that knows how to make the very most of even the smallest role.

The film opens with the lavish wedding of Josh and Nat (Spall and Byrne), although their friends and family not-so-secretly wonder if the marriage will last. Over the coming months, Josh's best mate Danny (Merchant) tries to distract them with inappropriate jokes, but the tension between relatives Naomi and Hugh (Driver and Flemyng) only reminds them how much work marriages require. After nine months, they begin seeing a therapist (Colman) who encourages them to try to make it to their first anniversary. But Josh is thinking about rekindling romance with an ex (Faris), while Nat is falling for the charms of a sexy client (Baker).

Essentially a collection of comedy set-pieces, the plot lurches around in search of ways to lampoon relationships, often in the rudest way possible as people say the worst things at the wrong times. Along the way there are some hilarious sequences, such as a humiliating game of charades or a ridiculous attempt at a threesome. Each set-up is are seized upon by expert improvisors like Merchant and Key (as a pessimistic insurance salesman). And the funniest moments in the film belong to Colman, who makes the most of every scene-stealing opportunity, and Driver, who expertly delivers a constant stream of withering insults.

Continue reading: I Give It A Year Review

Starting at full-emotion and never wavering for a moment, this huge movie adaptation of the long-running stage musical wears us out with its relentlessly epic approach. OK, so neither the musical nor Victor Hugo's source novel could be accused of being understated, but director Hooper (The King's Speech) never even tries to find a moment of quiet feeling here. The result is thrillingly moving, making the most of the soaring anthems that fill the show. But it's also pretty overwhelming.

The story starts in 1815 as convict Jean Valjean (Jackman) finishes 19 years in prison for stealing a loaf of bread. His parole officer Javert (Crowe) vows to keep an eye on him, but Valjean slips away and, after a redemptive encounter with a priest, eventually reinvents himself as an upstanding businessman. He tries to help fallen woman Fantine (Hathaway), rescuing her daughter Cosette (Allen, then Seyfried) from her greedy foster parents (Baron Cohen and Bonham Carter). Years later, Valjean and Cosette move to Paris, where a young revolutionary (Redmayne) falls for Cosette just as the 1832 student uprisings break out. And Javert is still determined to recapture Valjean.

Hooper maintains the play's operatic style, in which the dialog is sung-through in between the big numbers. And we're talking about massively emotional power ballads here, performed to wrenching effect. Hathaway's one-take rendition of I Dreamed a Dream is the kind of breathtaking scene that wins Oscars. Jackman's voice wavers and cracks beautifully as he holds the story together. Marks delivers a belting version of the soulful On My Own. Redmayne nearly steals the show with his soaring tenor voice and wonderful acting chops. Baron Cohen and Bonham Carter provide some raucously overwrought comical relief. And Crowe gets away with Javert's big musical moments because he has the acting power to back up his oddly thin voice.

Continue reading: Les Miserables Review

Chris (Wahlberg) is a notorious smuggler who has gone straight to have a quiet life with his wife Kate (Beckinsale) and their two young kids. But when Kate's brother (Jones) falls afoul of New Orleans thug Briggs (Ribisi), Chris and his pal Sebastian (Foster) have to plan "one last job" to get the family off the hook. This involves Chris and Andy travelling by ship to Panama to collect counterfeit bills from a crazy dealer (Luna), then furtively returning to America. But of course nothing goes to plan.

Continue reading: Contraband Review

In 1988 Barrow, at the top of Alaska, aspiring reporter Adam (Krasinski) stumbles across three whales trapped beneath the icecap. Unable to reach the open sea, there's just a tiny hole in the ice that lets them breathe. Adam's report goes viral, grabbing the attention of America's press as well as his Greenpeace-activist ex Rachel (Barrymore). And the rescue effort will require an L.A. journalist (Bell), military pilot (Mulroney), Inuit boy (Sweeney), whale expert (Nelson), oil baron (Danson), White House rep (Shaw), two chuckleheads from Minnesota (LeGros and Riggle) and the Russian Navy.

Continue reading: Big Miracle Review

After a disastrous mission in Mozambique, disgraced spy Johnny English (Atkinson) joined a Himalayan monastery. But MI7 boss Pegasus (Anderson) calls him back into service, and soon he stumbles into a nefarious plan to assassinate China's prime minister. But he's also of course causing havoc. Now the lead suspect, only the agency's sexy shrink Kate (Pike) and his sidekick Tucker (Kaluuya) still have faith in him. And as the murderous plot unfurls at a mountain-top Swiss hideaway, English makes a daring attempt to save the world and clear his name.

Continue reading: Johnny English Reborn Review

Especially when it shows as much audacious skill as this British thriller does.

In the Cold War paranoia of 1973, there's a Russian mole in British intelligence. And the top boss Control (Hurt) has narrowed it down to four top colleagues (Firth, Jones, Hinds and Dencik). He asks faithful George Smiley (Oldman) to root out the spy, so he and Peter (Cumberbatch) begin a complex investigation that involves a discredited agent (Hardy) and a murdered operative (Strong). But the truth only seems to get more elusive the further they descend into the rabbit hole.

Continue reading: Tinker Tailor Soldier Spy Review

During the Blitz in London, posh children Cyril and Celia (Vlahos and Taylor-Ritson) are sent to stay with their aunt, Mrs Green (Gyllenhaal), on her farm. While she awaits news of her soldier husband, she struggles to manage her three rambunctious kids (Butterfield, Woods and Steer), pay her bills, fend off her financially desperate brother-in-law (Ifans) and keep the dotty local shopkeeper (Smith) from doing something dangerous. The person she needs is clearly Nanny McPhee (Thompson), who arrives with several stern-but-magical tricks up her sleeve.

Continue reading: Nanny McPhee & The Big Bang Review

The filmmakers have returned, and corrected many of their mistakes. Hot Fuzz is not only hilariously funny, but every intelligent detail makes sense this time around, and the action is that much more engaging for what takes place because of it.

Continue reading: Hot Fuzz Review

But our hero had a job to do, and he never shied away from danger. He swallowed his fear, hopped into his silver, gas-fueled chariot, and sped off through the rain and inky darkness to the multiplex, that house of horrors where Cedric the Entertainer and John Travolta lurked. The critic pushed open the heavy doors and made his fateful way to face off against Nanny McPhee.

Continue reading: Nanny McPhee Review

But a little oddness is forgivable: Directing a movie is a strange place for Richard Curtis, who's written umpteen Brit-friendly movies and TV shows over the years but hasn't directed one, until now.

Continue reading: Love Actually Review

Continue reading: Plunkett & Macleane Review

After an opening scene in which 13-year-old Tracy (Evan Rachel Wood) and her friend Evie (Nikki Reed, the writer) suck gas from a can of compressed air, laugh hysterically, and slap each other senseless, Thirteen flashes back to four months earlier, in order that we can get an idea of how Tracy got this way. Tracy's family situation is nothing spectacular, what with a distant father who only occasionally pays child support and a flaky mom (Holly Hunter) who scrapes by as a hairdresser and keeps letting Brady, her former cokehead boyfriend (Jeremy Sisto), sleep over. Her life seems pretty dull and irritating, so when Tracy ditches her nerdy friends to suck up to Evie, the lead Heather in the school's hottest clique, it makes an adolescent kind of sense. But when that friendship quickly morphs into an unending stream of shoplifting and drinking, Tracy also starts lashing out at her mother and pretty much everyone else around her, except Evie, who has essentially moved herself into Tracy's bedroom.

Continue reading: Thirteen Review