Never heard of Catherine Harding, the woman expecting Jude Law's child? Well here are five facts to enlighten you!
Jude Law is expecting his fifth child.
Read More: Jude Law To Become Father For Fifth Time.
The 41 year-old Brit put on over 30 pounds, and perfected the role of an ex-convict safe-cracker, whose own greed nearly ruins his second chance at a life.
Jude Law is considered one of Hollywood's hottest heartthrobs, with his chiselled cheekbones and English charm, but now the 41 year-old actor looks nearly unrecognizable as a hot-headed, alcoholic, ex-convict safecracker in the new gritty British crime drama 'Dom Hemingway.'
Jude Law and Richard E. Grant in 'Dom Hemingway'
The flick, which hit cinemas in the UK in November of last year (2013), is destined for the US theatres on Wednesday (April 2nd) and only time can tell if cinemagoers from across the pond will take to Law's aggressively emphasised cockney accent, while playing the selfish and corrupt titular character.
Actress says it's just something she does with her friends.
Sienna Miller has testified in the phone hacking trial brought against NOTW's former editor Rebekah Brooks and others. Appearing via videolink this afternoon, the actress said that it was "likely" that she had left a voicemail message to fellow actor Daniel Craig that ended with "I love you" but this that this phrase was not used as an "important declaration of love."
Sienna Miller Has Said That It's "Likely" She Left An "I Love You" Message For Daniel Craig.
Miller was called to be questioned on the matter after her ex-boyfriend and actor Jude Law told the court that he had had no knowledge that any of his close relatives had sold stories to the tabloid newspaper based on the rumour of Miller and Craig's affair. Mr Law was challenged on his relationship with the paper and whether he had ever tried to directly influence stories.
The reviews have been unanimously positive for Law in Henry V.
Jude Law is famously rather inconsistent on the big screen – his performances have both delighted and infuriated people, from Enemy at The Gates, to Contagion and Dom Hemingway. But he seems to have found his home on the West End, even if his receding hairline lends itself to the part of the English king. His performance as Henry V at the Noel Coward theatre has endeared fans, while the critics have lavished praise upon the 40-year-old actor.
Jude Law has impressed everyone with his Henry V performance
"This is one of the richest and most detailed performances of Henry V that I have ever seen," said The Telegraph's Charles Spencer in his five-star review, and he wasn’t the only critic enamoured with the Lewisham-born actor’s turn in the iconic Shakespeare play.
Continue reading: Jude Law Nails Henry V, According To The Critics
What was looking like an outside Oscar contender is now showing it's true, mediocre colours
When the early reviews of Dom Hemingway were released, things were looking pretty rosy for Jude Law n co. The critics were praising his performance as the larger-that-life criminal, and we had every reason to believe that Hemingway would hark back to the Lock Stock/Snatch/Layer Cake days.
Hey, It's Jude Law's bum!
In the beginning, Rotten Tomatoes had ol’ Hemingway at something like 80% - a respectable aggregate for any film, let alone one with Mr. Inconsistent, Jude Law in a starring role. But after a week of review-filing, the truth has come out: Dom Hemingway is average at best.
Continue reading: Oh Right, Turns Out Don Hemingway Isn't As Good As We Thought
We round up the films you should and should not be seeing.
It’s a big weekend for the UK box office, kicking off tomorrow (Fri Nov 15), when Jude Law’s Don Hemingway, Forest Whitaker’s The Butler, Joseph Gordon Levitt’s Don Jon and Michael Fassbender’s The Counsellor all coming out.
Jude Law, Forest Whitaker, Joseph Gordon Levit and Michael Fassbender are all hoping to dominate the box office this weekend
Streep is rumoured for the all-girl Expendabelles, while Radcliffe is set to play Seb Coe in an Olympic biopic and Star Wars VIII may be delayed. But fans are buzzing about the new X-men movie, and other new trailers promise a lot of laughs...
News from the Star Wars universe had fans nervous, as screenwriter Michael Arndt left his Episode VII draft to be rewritten by director Jj Abrams and Star Wars veteran Lawrence Kasdan, who wrote 1980's The Empire Strikes Back. Arndt hinted that the film's release might be delayed until 2016 as a result. Read the full story here.
The biggest rumour this week was that Meryl Streep may join the cast of The Expendabelles, the female spin-off from Sylvester Stallone's Expendables franchise. Cameron Diaz and Milla Jovovich are also up for roles in the adventure thriller. But this would be Streep's first action movie since The River Wild, 20 years ago. See who else is rumoured to join the cast here!
Actors court Oscar attention, Chris Hemsworth hits the streets for Rush and Thor 2, and we get glimpses of new films with Daniel Radcliffe, Jude Law and Shailene Woodley...
Awards season is cranking up a notch as some attention-grabbing performances land in cinemas. Hugh Jackman and Jake Gyllenhaal are getting praise for their gritty work in the unnerving thriller Prisoners, now showing in both America and Britain. And Cate Blanchett is radiant in Woody Allen's Blue Jasmine, which finally opens in the UK this week. Click here to read the Prisoners movie review or here for Woody Allen's Blue Jasmine review.
Fans of less high-brow entertainment may enjoy Justin Timberlake and Ben Affleck in the online gaming thriller Runner Runner, which has just opened in the US and UK. You can read the Runner Runner movie review or go here for the Runner Runner trailer.
In an Emmy Award heavy week for news, AMC's much lauded Breaking Bad finally took the honor for Best Drama, while best actor recipient Jeff Daniels dished on the Dumb & Dumber sequel and Fox snapped up a Batman prequel!
About Time: It was Breaking Bad's evening at the 65th Primetime Emmy Awards in Los Angeles on Sunday (September 22, 2013). The ABC cable series - about a chemistry teacher who turns to a life of crime after being diagnosed with cancer - won the top drama prize at the ceremony. Check out the other winners here.
Like A Rolling Stone: Miley Cyrus continues her campaign to shock or offend everyone on the planet this month with a topless appearance on the cover of Rolling Stone magazine. In the accompanying interview she talks twerking, Kanye West and that VMA's performance. Read it here!
Jude Law excels in Dom Hemingway, from Sexy Beast producer Peter Webster.
Jude Law. He's a bankable movie star. He's also a well-respected movie star, with two Academy Award nominations and a BAFTA. The Talented Mr Ripley, Cold Mountain, Road to Perdition and Sherlock Holmes form his finest moments, though all could be eclipsed by Dom Hemingway - a new dark comedy-cum-gangster flick from Peter Watson, the producer behind Sexy Beast, perhaps the last classic of its genre.
Jude Law [L] as Dom Hemingway and the superb Richard E. Grant [R] as Dickie
Law plays a washed up lothario safecracker who refuses to leave behind his life of crime after getting released from prison. He tries to gain revenge on his former boss (the Oscar nominee Demian Bichir) and teams up with his former partner (Richard E. Grant) to do it. He's also trying to reconnect with his daughter, played by Game of Thrones' Emilia Clarke, which appears to make for an interesting and comic subplot.
Continue reading: 'Dom Hemingway' Could Be Jude Law's Tour-de-Force [Trailer + Pictures]
Steven Soderbergh’s Side Effects didn’t fair quite as well as hoped on its opening weekend on the US Box office charts, opening with $2.8 million takings on a weather-hit chart to languish behind critically derided Identity Thief, which took $11.2 million.
However, with the US done and dusted, the attentions of Soderbergh move towards Europe, with the film currently playing at the Berlin Film Festival ahead of large scale European release – including the UK on March 8 – from February 22 onwards. So far it’s received cautious critical appraisal from European critics, with The Independent cryptically offering “if audiences stop trying to unravel the very tangled plot and don’t mind have the carpet pulled from under their feet again and again, they should find plenty here to relish.” That suggests another Soderbergh brain-twister, and indeed it seems to be the case, given that the film is about the Rooney Mara-playing Emily Taylor, who takes a prescribed experimental drug, causing all manner of mental twists and turns. Jude Law plays Jonathan, her psychiatrist whose life is gradually falling apart, whilst Catherine Zeta-Jones and Channing Tatum also star.
The Telegraph were far more impressed than The Independent after coming away from Berlin.“When all’s said and done, it’ll go down as minor Soderbergh – clever sleight-of-hand, really – but it reminds you of so many Soderberghy virtues as to be an oddly compendious pleasure.” It’s said that this might be Soderbergh’s last film, it could well be that he’ll be going out on a high yet.
Steven Soderbergh’s Side Effects stars Channing Tatum and Rooney Mara and is another fine example of Soderbergh’s masterful storytelling. Fans of Soderbergh will do well to relish this one as it may be his last. The director has said that he’s tired of making films now and may well make Side Effects his last effort. The movies has garnered a slew of great reviews and could well out to be the most respected role that Channing Tatum has been attached to, for quite some time.
Side Effects is a thriller, telling the tale of a suicidal wife, a husband just out of jail, an under-pressure psychiatrist and the troubles with personality-suppressing drugs. Performances from Catherine Zeta Jones and Jude Law supplement those of the central characters. As is typical with Soderbergh’s movies (Traffic, A Scanner Darkly), the plot is many-faceted and eventually, the dramatic potential of the movie explodes. Kenneth Turan, writing for Los Angeles Times explains “It would ruin the fun to detail exactly what kind of hell, but rest assured this top-notch cast has great fun working out all the fiendish ramifications of this potboiler plot. If this does prove to be Soderbergh's final film — and I wouldn't hold my breath — he picked a heck of a one to go out on.
The movie has racked up a highly respectable score of 82% on Rotten Tomatoes – usually a decent indicator of how a film will fare. Side Effects is in US movie theaters this weekend.
Steven Soderberg's psychological thriller Side Effects - his final movie before retiring from movie directing - is winning high praise from critics. The movie - boasting an all-star cast including Jude Law, Channing Tatum, Rooney Mara and Catherine Zeta-Jones - follows a successful New York couple whose world unravels when a new drug prescribed by Emily's psychiatrist has unexpected side effects. Ok, so it might sound a little bit too much like Soderbergh's 2011 thriller Contagion, but give it chance.
The general consensus amongst critics is that Side Effects is a little silly in places, though great fun, with dashes of genius. A.O Scott of the New York Times said, "While the plot may be predictable (and more than a little preposterous) in retrospect, Mr. Soderbergh handles it brilliantly, serving notice once again that he is a crackerjack genre technician." Roger Ebert paid homage to the director, writing in the Chicago Sun-Times, "Soderbergh came, he saw, he conquered, and now he's moving on." Peter Travers of Rolling Stone continued the high praise, writing, "Side Effects is a hell of a thriller, twisty, terrific and packed with surprises you don't see coming," while other critics praised Soderbergh's slick filmmaking and storytelling techniques. All-in-all, it's pretty good news for the director on his final outing.
The film's screenwriter Scott Z. Burns spoke to the Huffington Post of Soderbergh's decision to leave Hollywood behind and concentrate on his painting. "It's a little bit heartbreaking, for all sorts of selfish reasons.If he doesn't come back, it'll be because the other things are so rewarding for him that he doesn't need to come back," he said.
Emilia Clarke, who plays Daenerys Targaryen in HBO’s Game of Thrones, is set to star in a new adaptation of Breakfast at Tiffany's, which will be shown at the Shubert theater in New York City in February 2013. The world premiere will be directed by Sean Mathias, reports USNews.com
"The goal of this version is to return to the original setting of the novella, which is the New York of the Second World War, as well as to resume its tone — still stylish and romantic, yes, but rougher-edged and more candid than people generally remember," Pulitzer Prize-finalist and Tony Award-winning playwright Richard Greenberg said in a statement. The new stage adaption of Truman Capote’s classic 1958 novella will star Emilia Clarke as the eccentric party girl Golightly, a role Audrey Hepburn played in the 1961 movie. A 1966 adaption famously didn’t quite work out; there were a handful of previews but never it officially opened at the Majestic Theatre. The producers of this show will be hoping it actually makes it to the curtain this time. Alan U. Schwartz of The Truman Capote Literary Trust, said in a statement published on Broadwayworld.com , "I am delighted New York audiences will be the first to see this new adaptation of Breakfast at Tiffany's. That (the) story continues to inspire artists and capture imaginations all these years later speaks to the timeless quality of Mr. Capote's unforgettable prose. Mr. Greenberg has beautifully translated everything that is glorious about this story and its characters to the stage."
Clarke is currently filming season 3 of Game of Thrones; the fantasy drama that has won many fans in its first two outings. She will also soon begin filming the UK feature Dom Hemingway opposite Jude Law and Richard E. Grant.
Sadie Frost has been cautioned for common assault, against her boyfriend James Gooding. The British actress, 47, was reportedly involved in a “bust-up” with Gooding after having dinner with him on Sunday (October 7, 2012), according to The Sun. A spokesperson for the police confirmed “A woman, aged 47, was arrested on suspicion of common assault. The man did not need hospital treatment.” James is 10 years Sadie’s junior and they have been dating since the summer; though it doesn’t seem that all is going to plan if Sadie is resorting to violence against him?
Both Sadie and James have previous form when it comes to high profile relationships. Sadie was once married to the Spandau Ballet star Gary Kemp and has a son, Finlay, from her relationship with him. She was also married to the actor Jude Law for six years and has three children with him, Rafferty, Iris and Rudy. James, on the other hand once dated Kylie Minogue, for three years. When they split, he sold his story to The Sun, publicly revealing that he had cheated on her with the model Sophie Dahl.
The actual details of James and Sadie’s spat have not been confirmed, though it is thought that Sadie visited the police station on Sunday, where she received a caution for common assault. She was spotted returning home later on Sunday evening. According to the Daily Mail, Sadie’s pal Kate Moss has already taken a dislike to James and “banned him from attending a holiday with them on their yacht in Mallorca and the south of France.”
Rise of the Guardians is a spectacularly vibrant CGI motion picture that tells the story of four powerful guardians. Bunny is a cool Australian protector of nature who places Easter eggs around children's gardens for them to find; the Sandman is the dream guardian - he doesn't ever speak but it extremely wise; North is the Christmas guardian and a fierce tattooed warrior; and the Tooth Fairy is an elegant, half-human, half-hummingbird tooth collector - she collects childhood memories and returns them only when they are needed most. All the guardians must unite when the evil boogeymen known as Pitch threatens to take over the world spreading fear in the hearts and imaginations of children.
Continue: Rise Of The Guardians Trailer
Hugo is a twelve year old boy who lives in Paris and loves mysteries. One day, in 1930, his father presents him with a wind up figure. His father tells him it's a music box that a magician probably built. The only thing missing is the key used to wind up the music box. The keyhole is in the shape of a heart. Hugo and his father want to find the heart shaped key - whose whereabouts is a mystery - so they can make their music box work.
Continue: Hugo Trailer
In 1892, the Crown Prince of Austria is found dead; his death is ruled as suicide, according to Scotland Yard detective Inspector Lestrade. But Sherlock Holmes knows that this isn't true: all the evidence suggests that the Crown Prince was murdered, by one Professor Moriarty, whose genius is matched only by Holmes'.
When Beth Emhoff returns home after visiting an opening ceremony for a new factory, she complains of jet lag and her husband, Thomas Emhoff, thinks nothing of it. He becomes concerned when she falls ill, even more so when she has a seizure in front of him and has to be rushed to hospital. It comes as a shock to Thomas when she dies; her cause of death: a highly contagious and rapidly mutating bird flu virus that spreads via human contact. The virus is spreading so fast there is no vaccine or cure for it.
Continue: Contagion Trailer
We talk to Jude Law and Forest Whitaker about their latest film Repo Men.
Jude Law (Sherlock Holmes, A.I: Artificial Intelligence) and Academy Award® winner Forest Whitaker (The Last King of Scotland, Ghost Dog) star in the all-out action, adrenalin fuelled fest, REPO MEN - available to buy on Blu-ray and DVD from 23rd August.
In the near-future, people can enhance their bodies, replacing any damaged organ with state-of-the-art artificial replacements from The Union, headed by Frank (Liev Schreiber). There's one catch; it's expensive and if you can't keep up with the payments, your body parts will be repossessed by the REPO MEN. with painful and bloody results.
Q: Tell me how did you both get involved in this?
JL: I was involved early on. It's the usual story - I was sent the script. I'd never read anything as original in my life - it made me laugh and I like the themes that seemed very relevant yet set in this amazing world. You know, a lot of people say 'it's a futuristic film.' I think in a way it's more about an alternative, parallel universe and there are certain things about it that are more advanced in terms of socially and with technology. To me it's more a fable about where we are already in regards to health care, vanity, indulging one's body and being able to replace everything if you want to on credit; plus the idea these guys are able to come and repossess your car or house and in this particular world they can come and repossess you.
FW: For me there's a dark humour to it that I enjoyed when I first read the script. There's humour in this odd universe and it doesn't feel like it's too far in the future. That allowed us to look at all these little issues that are going on in this crazy and mad world. It was also appealing to get a chance to work with Jude because I like his work.
Q: Did you see it as a buddy movie in a funny kind of way?
JL: At its heart it's really a film about friendship and about former military men. It's about men who are taken into the military, trained up, encouraged to kill and then sort of spat out. And then what do they do with themselves? Where do they go? They can't enter into normal society as such, so they find a role that uses those skills and if you like, excuses those skills.
FW: It's also about a change in a friendship. As far as Jake is concerned he would like to stay like this forever but Remy starts to grow and move away and that's a frightening thing. It's about what happens to my world when it changes and I'm left by myself.
Q: There are several themes in the film - the way society lives on credit, what happens to military men when they leave the service and of course, health care which are all very topical. Did you feel that there is a message in the film?
JL: I didn't personally go in saying 'This is relevant' I liked the themes and I saw that they were cleverly interwoven into the story. Honestly, I look at a script in a slightly more polarised way. I liked its heart, its humour and I liked the fact that it was a film about friendship. Then as we made the film all of these relevant themes grew and none more so than health care, so yes, they are all relevant.
Q: Clearly they are both very physical roles. How did you prepare?
FW: We trained hard and we had a lot of fun with it. That's also how Jude and I got to know each other through training and working out the fight sequences.
JL: It's tiring but you know, in all honesty the whole job then becomes about staying in shape, in the right mindset and taking precautions because you don't want to get injured and hold the film up. So it's a challenge. But it's a fun challenge.
Q: The film has some graphic scenes, especially when they are repossessing organs. It looks very realistic but did you get squeamish at all when you were doing that stuff?
FW: You know, we didn't get squeamish.You get into the right mindset.
JL: Another important part of this film is making the gorier and more violent elements based in a reality. And it's important that you believe these guys go about it in a very matter of fact manner. A few people have said that it's a very violent film - quite shockingly so - and I personally am very glad that they said that because I think we have seen too many films with action and violence where it washes over you. I think that's quite questionable. I think in a film like this where you do go 'whooa! That's graphic...' is a good thing because I think it means you care about the story and we've not been desensitised to blood, guts and gore.
FW: That's part of the message, the personalised violence. Because at first we are going through it all and taking body parts but then you think 'will it happen to you?' And you have been laughing at the black humour, but now it could happen to this guy, Remy, that you care about, and they are going to come to take his heart.
Repo Men Is Out On Blu-Ray And DVD On 23rd August
Remy (Law) is a tough guy working with his childhood pal Jake (Whitaker) for The Union, a company that mercilessly repossesses artificial organs when people fail to make the payments. While their heartless boss (Schreiber) gleefully encourages their violent excesses, Remy's wife (van Houten) wants him to change to a desk job for the sake of their young son (Canterbury). Then there's an accident, and Remy becomes a client as well. So when he falls behind on his payments, he goes on the run with another renegade client (Braga).
Continue reading: Repo Men Review
Raucous, rough energy infuses this film from start to finish, carrying us along even when the slightly over-egged script starts to feel somewhat slender. And it's the terrific chemistry between Downey and Law that makes the film worth seeing.
In Victorian London, private investigator Sherlock Holmes (Downey) is about to lose his partner John Watson (Law), who's moving out to marry his fiancee (Reilly). But the case they've just finished, involving a series of secret-society murders carried out by Lord Blackwood (Strong), just won't end.
Now Holmes' ex Irene (McAdams) is on the scene as well, and things are getting increasingly freaky with more murders and a conspiracy that could lead to a takeover of the whole government. But Holmes' fierce powers of observation are on the case.
The producers blast new life into fusty cinematic stalwarts with their canny choice of director and stars. In many ways this feels more faithful to Arthur Conan Doyle's stories than the dry, cerebral films we're used to. Downey perfectly combines the character's edgy physicality, brainy powers of deduction and sardonic wit. And he and Law are like an hilarious bickering married couple that has lived together just a little too long.
No one else in the cast quite registers. McAdams and Reilly at least play strong-minded women, while Strong glowers satanically from the shadows and Marsan (as the chief inspector) tuts amusingly. The script is mostly smoke and mirrors, weaving in all manner of Holmes' lore, from the original story details to playful references to previous film incarnations (although Holmes never says "elementary", and he never wears a deerstalker).
And if the script isn't nearly as smart as it thinks it is, at least it contains a few nifty twists, including one of the more enjoyable resolutions in recent blockbuster memory. But what we're here for are the fireworks between Downey and Law, a couple of feisty-sexy women and Ritchie-isms like nasty slo-mo fight sequences, witty editing and suggestive lighting. He also offers plenty of refreshingly abrasive vigour to go with the cool effects and a zingy Hans Zimmer score. Bring on the next case.
Travelling showman Parnassus (Plummer) performs on the backstreets of London with his lively troupe: his elfin daughter Valentina (Cole), the eager Anton (Garfield) and the tiny Percy (Troyer). One night they encounter an amnesiac, Tony (Ledger), who joins the gang and suggests modernising the show to attract a better audience. What Tony doesn't know is that Parnassus has made a pact with the devilish Nick (Waits), buying immortality in exchange for Valentina's soul on her 16th birthday, which is coming soon. And Tony has some secrets as well.
Continue reading: The Imaginarium Of Doctor Parnassus Review
An odd road movie of sorts that spends most of its time hanging around in diners, bars, and casinos (and precious little of it on the road), My Blueberry Nights will be noted in many quarters for it being the feature film-acting debut of jazz chanteuse Norah Jones. To put it briefly: No actress is she. Playing a lovelorn young woman named Elizabeth, she first shows up in a Brooklyn diner run by Jeremy, a charming Manchester immigrant played with the expected lighthearted dash by Jude Law. In the middle of a breakup, Elizabeth moons about the café, eating the excellent pie (best in the city!) and chatting with Jeremy, winning his heart even as hers is breaking over somebody else. Then Elizabeth ups and skips out, landing next in Memphis, where she waitresses at a café and a bar, telling everyone she's working two jobs to save up for a car.
Continue reading: My Blueberry Nights Review
When an honest-to-goodness scallywag named Milo Tindle (Jude Law), an Italian hairdresser with designs on acting, comes to Wyke's estate announcing his plans to marry Wyke's estranged wife, the author seems pleased to have an opponent than enraged by the open deceit. And that in a nutshell is how this cat-and-mouse whirligig operates: two men more excited about the idea of a nemesis than their money or their beautiful mistress respectively.
Continue reading: Sleuth (2007) Review
A string of robberies has plagued the ghetto of King's Cross in London. The thievery seems to be centered on an architecture firm that (no surprise) is trying to clean up and reconstruct the famed slum into something more suitable for London's middle-class. Headed by pretty boy Will (Jude Law) and scruffy Sandy (Martin Freeman), the company has an internal conflict on whether it was a member of the cleaning staff (that Sandy is sweet on) or outside burglars that committed the crimes. While attempting his own makeshift stakeout, Will spots the young robber and jumps out of his posh SUV to chase him. It leads him to the home of Amira (the luminous Juliette Binoche), a survivor of the horrors of Bosnia who yearns to return to Sarajevo with her son Miro (Rafi Gavron), the thief in question.
Continue reading: Breaking And Entering Review
Granted, the writer-director has been staffing a cache of headstrong and heartfelt female characters since she penned Private Benjamin in 1980. But it's the back-to-back-to-back musings of What Women Want, Something's Gotta Give, and her current affair The Holiday that elevate her to the summit of palatable sap.
Continue reading: The Holiday Review
"What you don't know won't hurt you," Jack Burden narrates in the opening scene, as he contemplatively stares at the ceiling. "They call it idealism, in a book I read."
Idealism was the force that shaped the 20th century, and post-WWII Louisiana was not immune from its allure. But idealism rarely survives its first bad winter, and it's then that revolutionaries must question when the ends no longer justify the means.
This doubt pervades Steven Zaillian's well-played but often tedious adaptation of Robert Penn Warren's All the King's Men, a Pulitzer-winning novel that had already seen screen time three years after its publication in 1946. Based on the life of Gov. Huey Long, one of America's most colorful populists and egomaniacs, Zaillian's version follows a people's revolt through the eyes of a man romanced by a cause that compels him to bring down everything that was ever important to him.
Continue reading: All The King's Men (2006) Review
The story is straight outta modern/near-future pop culture: Using a "bioport," you can jack your body and mind into an immersive game world--a world served up by a handheld bio-engineered creature called a "game pod" that is essentially a blood-pulsing Nintendo. There are no computers in the film: just the mutated organisms that are Cronenberg's trademark. And oh does he put them to good use.
Continue reading: Existenz Review
Five years have passed since Russell's crowning achievement so far, the Gulf War comedy-drama Three Kings, and the ensemble cast for his new film suggests he's spent a lot of that time collecting even more talent to act out his socio-comedic semi-political statements. Jason Schwartzman leads as Albert, a young environmental activist suffering a professional and personal meltdown, as his "coalition" is invaded by smarmy account executive Brad Stand (Jude Law) from the Wal-Mart-like chain store Huckabees (Albert wants to save a local marsh; Stand has his eye on good PR for his company). Albert hires the Jaffees, a pair of "existential detectives" (Lily Tomlin and Dustin Hoffman) to help solve the "case" of his messy life. Half private investigator and half new-age therapist, Tomlin commences the investigation by asking, "Have you ever transcended space and time?"
Continue reading: I Heart Huckabees Review
Everything goes well for awhile, and just as Vincent is about to realize his dream of going up as part of a space mission, the web starts to untangle. Here's where the problems of Gattaca start: you see, as a mystery, it really isn't much of one. The investigation into the murder of the mission director who may have known Vincent's secret is never very focused, and Alan Arkin's Columbo-type flatfoot seems to uncannily know where to go at every turn. By the time the investigation is over, the whole thing has felt like a put-on to waste an hour of screen time.
Continue reading: Gattaca Review
As its title would imply, The Aviator focuses Hughes through the lens of the airplane, his greatest passion in the world. Hughes is known for many things -- business, movies, his women, hypochondria, political scandal (the lattermost is barely touched in this film) -- but it's his love of and scientific advances with aircraft that have had the most lasting effects on society.
Continue reading: The Aviator Review
Ray (Ray Winstone, Nil By Mouth and The War Zone) is the boss of the south London mob. Jude (Jude Law, The Talented Mr. Ripley and eXistenZ) is his obedient nephew, and Jonny (Jonny Lee Miller, Afterglow and Trainspotting) is Jude's buddy who wants a piece of the action. Once Jude gets Jonny invited to take part in the proceedings, he gets a little big for his britches, causing trouble with the north London blokes.
Continue reading: Love, Honour And Obey Review
Minghella tells Mountain in two parts that fail to complement each other. In one, wounded Civil War soldier Inman (Jude Law) reaches his breaking point on Virginia's blood-soaked battlefields and decides he can't spend another day without his true love, Ada (Nicole Kidman). So he puts down his rifle and begins the long walk back to Cold Mountain, N.C. Meanwhile, back home, Ada struggles to maintain her father's house after the man passes away in a disgustingly symbolic rainstorm. She accepts help from the town tomboy (Renée Zellweger) and learns a thing or two about patience, hope, and independence in the face of danger.
Continue reading: Cold Mountain Review
Drawing from pulp, noir, and classic comics for his inspiration, director Kerry Conran - in his film debut - creates an entire new universe for us to soak up, based right here on earth. Ostensibly set in an alternate version of the late 1930s/early 1940s (and notably pre-WWII), the film is filled with the technological promises of many a World's Fair. Planes can turn into submarines. Entire cities can float in the sky. Robots 100 feet tall can parade through the streets. And everyone wears a hat. (As an aside, Conran really wants to disorient you with the setting; look closely at the newspaper in the beginning and you'll see it's clearly dated sometime in the 2000s.)
Continue reading: Sky Captain And The World Of Tomorrow Review
How much is too much when it comes to Law? Before the female readers answer, consider this: The handsome Brit has his well-manicured hands in three current projects and will release three more films between now and year's end. Needless to say, your tolerance for Law's antics will determine how much you'll enjoy Alfie. Director Charles Shyer's mixed bag of tricks includes a continuous conversation through the imaginary fourth wall and a camera lens that's terrified to let Law wander too far out of frame.
Continue reading: Alfie Review
If you happen to be one of a handful who has seen Noon, The Talented Mr. Ripley is retreading old ground. It's actually different. In fact, it's very different. So much so that with the exception of a few brief scenes and the overall theme, these two films could be based on different source material. What's really astonishing is that both are excellent films.
Continue reading: The Talented Mr. Ripley Review
First, and foremost, because of its screenplay. Director Jean-Jacques Annaud (Seven Years in Tibet, The Bear) and partner Alain Godard take a horrific true tale and sap it of its energy, irony, and tension. It starts off impressively enough: Russian soliders are immediately gunned down as they arrive in Stalingrad -- if not by the enemy, then by their own officers, who kill the boys when they retreat in terror. Vassily Zaitsev (Jude Law) becomes an instant hero when he plays dead, and in sniper fashion, shoots a number of unsuspecting Nazis.
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The setup holds promise: Four characters in dreary London couple and de-couple, falling in and out of relationships over a four year span. The story is told piecemeal, as it focuses on brief events in the couples' lives, separated by months or years. It begins as American stripper Alice (Natalie Portman) meets British obituary writer Dan (Jude Law) by happenstance. A year later, Dan encounters photographer Anna (Julia Roberts), whom he immediately begins to lust after. Later, Dan plays an internet prank on dermatologist Larry (Clive Owen), which unexpectedly sends him into the arms of Anna. They marry, and Anna promptly starts an affair with Dan. Dan confesses to Alice, she becomes a stripper again. Anna confesses to Larry, and she leaves him, sending Dan to Alice for the first time. And round and round we go until everyone's had a shot at everyone else.
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Jude (Jude Law) is dead. His final words have been left via videotape, which is rolled at his funeral. What's on the tape? Why, Jude has somehow recorded his friends in the worst of situations: peeing, stealing things from each other, banging hookers, cross-dressing, and worse. The funeral guests then stammer and backpedal and make excuses for their actions.
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A.I. Artificial Intelligence is, too my deep dismay, neither breezy nor particularly fun. The level of anticipation of the film, of course, would be impossible to effectively sate, but A.I. just doesn't cut it. It doesn't even come close.
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From the very first words of its opening voice-over, inwhich a detectable trace of Aussie inflection invades Nicole Kidman's affectedSouthern accent, there's something amiss with "Cold Mountain,"a two-and-a-half-hour Civil War epic built around a lackluster love story,written and directed by an Englishman, starring half a dozen British actorsand shot in Romania.
Sweeping in scope, the picture's earnest intentions, periodatmosphere and cinematic beauty are above reproach as it portrays brutal,bloody, brother-against-brother battlefields and a North Carolina home-fronthamlet where prim, city-bred newcomer Ada Monroe (Nicole Kidman) waitsfor the return of her soldier sweetheart while struggling to survive onher dead father's farm.
And yet, the emotional investment in the characters issomething less than sweeping. The passionless decorum of Ada's first-reelcourtship by the adoring but reticent Inman (Jude Law), the declarationof war which cuts short their time together, and the questionable castingof Kidman -- who at 36 is too old to be credible as a bashful unmarriedbelle in 1864 Dixie -- result in a lack of validity and vitality that isn'tremedied until the invigorating second-act arrival of Renee Zellweger.
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While "The Talented Mr. Ripley" may not quitequalify as a masterpiece of suspense, it certainly is the most skilled,engrossing homage to Alfred Hitchcock in ages.
Directed by Oscar winner Anthony Minghella ("The English Patient") with many nods to themaster of subtle, upscale thrillers, this picture boasts gorgeous, Italian seaside locations; layers of romantic Machiavellian intrigue; honest-to-goodnesssurprises that unfold before your eyes; a goose-pimply, Bernard Herrman-inspiredscore (by "Patient" composer Gabriel Yared); and a glamorous,talented cast that could give Hitchcock's favorite players a run for their money.
Jude Law ("eXistenZ,""Gattaca")plays Dickie Greenleaf, a handsome, trust fund playboy, living large onfather's dime in an idyllic coastal village.
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Jim Carrey makes a four-course meal of the Tim-Burtonesque surreal scenery in "Lemony Snicket's A Series of Unfortunate Events," completely overshadowing the story that is supposed to be about three crafty young orphans stuck in a cycle of lethal luck with a string of eccentric guardians.
As the inheritance-coveting Count Olaf, who is first to mind them (and virtually enslave them) after their parents die in a mysterious mansion fire, Carrey camps and vamps, huffs and puffs, cackles and clowns, sucking up all the air in the room and doing everything short of screaming "look at me, look at me!" Made up as a storybook villain, with a ski-jump nose, a theatrically receding hairline and a wardrobe that seems to mix Edwardian-inspired hand-me-downs from Elton John and Lenny Kravitz, his plan is to get rich by having the children fall victim to some terrible "accident" -- as when he leaves them locked in a car parked on the tracks at a train crossing in the countryside.
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Eschewing every pitfall of the biopic genre and delving deeply into the essence of both Howard Hughes' genius and his slow burn into madness, Martin Scorsese's "The Aviator" is a film of grand scope and masterfully intimate nuance, portraying a wild young mustang of a man who lived a fast life on an epic scale.
Presenting Hughes' view of the world as one in which nothing is impossible and the most momentous, groundbreaking decisions come instantly and instinctively ("What would controlling interest in TWA cost me?"), the film's crux is not the psychosis the man is best known for today, but his gift for sparing no expense to pursue novel visions no one else could see.
"We gotta reshoot 'Hell's Angels' for sound," Hughes decides on a whim in an early scene, after having already spent four years and millions of his own dollars perfecting his first foray into filmmaking -- a World War I epic featuring dozens of biplanes in an ambitious, jaw-dropping dogfight scene, parts of which Hughes shoots from a plane he flies into the fray himself.
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Abandon the deep-seeded sexual-social metaphors and waterdown the ick factor, and DavidCronenberg's "eXistenZ" could be aSci-Fi Channel movie.
Something of a cautionary tale about the future of virtualreality, featuring seamless multiple-layer story-within-story scenarios,Cronenberg's foundation here is the kind of what-is-reality? plot linethat has also been the basis of dozens of "Outer Limits" episodesand several recent feature films ("Dark City," "TheMatrix").
But because "eXistenZ" has been born of the mindof North America's most intelligent, off-the-wall auteur, there's so muchmore going on here, including themes of terrorism, experimental sexualityand humanity merging with technology (and vice versa).
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Let's dispel right now any claims of "Road to Perdition" being an extraordinary, Oscar-worthy film, as its advertising campaign touts.
This redemption fable set against a 1930s gangland backdrop may be vividly realized by director Sam Mendes ("American Beauty") and reasonably well acted by a talented cast. But while the picture's mood is inspired by the independent spirit of 1970s crime dramas, it's been given a send-'em-home-smiling, corporate Hollywood scrubbing clean. It has simplistically clear-cut (if somewhat cloaked) morals, it follows a rigidly predictable story arc, and it does not feature the departure performance by Tom Hanks that you may have been hearing about.
Sure Hanks plays an Irish mafia enforcer with a tommy gun and a taste for revenge. But he's a good and troubled soul, trying to save his 12-year-old son from the kind of life he's led. That makes Michael Sullivan very much a Tom Hanks kind of character. He may be sullied, but ultimately he's modest and heroic.
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No Steven Spielberg movie without dinosaurs or lost arks is complete until some part of it is slathered in schmaltz, and no Spielberg finale has ever been as thick with it as "A.I. Artificial Intelligence."
Of course, I can't go into detail without spoiling said finale, but just imagine something so soft-focused, saccharine and teary-eyed that E.T. himself would go into sugar shock -- then multiply that by 10 and you'll get the general idea.
As with most Spielberg films, the irony is that up until the Gatorade cooler of sappy sentimentality is dumped over the audience's collective head, "A.I." is an admirable cinematic feat -- a mesmerizing mix of cautionary futuristic fairy tale, prudently measured intentional corniness, and neon-colored three ring circus.
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An imaginative spectacular of retro-futuristic adventure and mind-boggling special effects, "Sky Captain and the World of Tomorrow" so perfectly captures the silly sci-fi wonder of the 1930s serials which inspired it that watching this matinee marvel doesn't arouse a modern reaction of "wow!" or "cool!" -- it garners a genuine, awe-struck "golly!"
The film is cinematically breathtaking, with sepia-toned semi-color photography, swooping Orson-Wellesian dutch angles, top-secret floating air fortresses and pre-War propellered fighter planes battling giant robots in the skyscraper canyons of Depression-era Manhattan. But what's all the more amazing is that, except for the actors and a few props, nothing on the screen -- not the city sidewalks, not the interiors of cars the actors drive, not even the carpets in the lush, film-noir-shaded interior sets -- is real.
Beginning in college, first-time writer-director Kerry Conran spent 10 years on his Macintosh computer creating a six-minute sample of the opening sequence, in which a dirigible docks with the top of the Empire State building just as the riveted-steel six-story robots attack. When Hollywood producer Jon Avnet saw this clip, he raised $70 million and gave Conran free rein to hire himself a titular hero, played by a swashbuckling Jude Law, to come to the rescue and complete the director's groundbreaking dream -- a live-action movie set in an entirely CGI world.
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A sexually charged drama of cross-pollinating infidelity from director Mike Nichols -- whose best work has always tapped into such raw and sensitive areas of the human psyche -- "Closer" derives all its fascination from the nitty-gritty, down-and-dirty character nuances brought to life with discomforting veracity by its foursome of fine actors.
Julia Roberts (as Anna, an aloof but respected photographer), Clive Owen (as Larry, a smarmy doctor), Jude Law (as Dan, an obituary writer and failed novelist) and Natalie Portman (as Alice, a punkette-lite stripper who blows with the wind) are all strangers as the film opens in modern-day London. But as the story leaps forward to pivotal episodes over several years, a series of dates, marriages, illicit liaisons, break-ups and jealous traps shape their boomeranging romantic lives.
The cunning direction of Nichols ("The Graduate," "Carnal Knowledge," "Who's Afraid of Virginia Woolf") viscerally plugs into the emotional voltage of these edgy, passionate, dishonest, desperate, sometimes sweet but often brutally frank relationships in almost every scene. But the film begins deceptively like a romantic comedy as Dan charms the alluringly unfettered Alice on her first day in London, coming to her aid when she's hit by a taxi. "Please remember our traffic tends to come from the right," he glints with all this English panache after realizing her injuries aren't life-threatening.
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The first half-hour of "Enemy at the Gates" is a cinematically stunning, hyper-realistic battlefield nightmare that transports the viewer right into the heart of the Nazis' yearlong siege of Stalingrad during World War II.
"Autumn, 1942," deplores the period-style voiceover as a shadow creeps across an illustrative map in an updated homage to old-timey war pictures. "Europe lies crushed under the Nazi jackboot..."
German planes dive-bomb troop transports in an incredible attack sequence. Sweeping shots the color of mud and blood take in the scale of the besieged city's cold, yet smoldering ruins while Red Army officers recite threatening propaganda to masses of soldiers who would rather flee.
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Date of birth
29th December, 1972
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