Excitement builds as the trailer for the Stephen Hawking biopic is released.
Excitement for the forthcoming British biopic, The Theory of Everything, based on the life of cosmologist and theoretical physicist Stephen Hawking has been propelled forward twice this week: firstly with a still of the two main characters, Hawking and his wife Jane, and now with a full trailer.
The first still released from the Stephen Hawking forthcoming biopic, The Theory of Everything
Eddie Redmayne and Felicity Jones assume the roles of the two main characters and will take audiences on a journey through the early stages of Hawking’s studies and the difficulties the couple face when he is diagnosed with motor neurone disease at the age of 21.
Liesel Meminger is a 9-year-old girl who is forced to be separated from her family for her own safety. She goes to live with another German couple, Rosa and Hans Hubermann, who treat her as if she were their own. However, settling in to a new home is less than easy and she struggles desperately from disturbed sleep. In a bid to comfort her, Hans decides to stay by her bedside every night until she falls asleep. He discovers that she is in possession of a book, 'The Gravediggers Handbook', which it turns out was stolen and Liesel is unable to read it. Hans decides to help her further by teaching her to read, an ability that is enhanced further by the arrival of a Jewish runaway named Max, who the Hubermann's agree to hide from the vigilant Nazi officers.
'The Book Thief' is based on the 2006 World War II novel of the same name by Markus Zusak and has been adapted to screen by writer Michael Petroni ('The Chronicles of Narnia: The Voyage of the Dawn Treader', 'The Rite') and Primetime Emmy winning director Brian Percival ('The Ruby in the Smoke', 'The Old Curiosity Shop', 'A Boy Called Dad'). It is set for release in the UK on January 31st 2014.
Anna Karenina is the young wife of senior statesman Alexei Karenin. Theirs was more of a marriage of convenience rather than love and soon Anna's eyes begin to wander elsewhere as her desire for romance becomes ever more intense. She meets Count Vronsky, a handsome cavalry officer with whom she enters into a passionate adulterous affair. When people find out about their involvement, Anna's honour is crushed in the eyes of the Russian noble men and women and she is forced to make a choice; to leave her loveless marriage and family and lose all honour and dignity, or end her affair with her possessive lover and be potentially forgiven.
Continue: Anna Karenina Trailer
In early 1900s Devon, teenager Albert (Irvine) lives on a farm with his impulsive-drunk father Ted (Mullan) and his tough-minded mum Rose (Watson).
When Ted overpays for the wrong horse to work the fields, Albert adopts the horse, names him Joey and teaches him the ropes. But when war breaks out in Europe, Ted sells Joey to a cavalry captain (Hiddleston). At war, Joey changes hands between British and German officers, a young soldier (Kross) and a French farmer (Arestrup). Meanwhile, Albert joins the army, heading into the trenches to search for Joey.
Continue reading: War Horse Review
As a child, Michael and his father Charles have had a tense relationship. Charles would lash out at Michael for breaking the rules; once even attempting to hit him with a baseball bat when he intervened in a fight between Charles and his wife Lisa. Another time, Charles was made to walk home in the rain after claiming to have lost his glasses.
Continue: Fireflies In The Garden Trailer
In rural England during the First World War, a horse named Joey befriends a young boy called Albert. One day Joey is sold to the cavalry and sent to the trenches in France, seeing firsthand the horrors of the Great War, yet touching the hearts of everyone he meets, including a French farmer, a German soldier and the British army. Although too young to enlist, 16 year old Albert joins the army and heads to France to find his friend.
Continue: War Horse Trailer
Oranges And Sunshine tells the story of Oranges And Sunshine Margaret Humphreys, a woman who works as a post-adoption social worker in the North of England. Maraget receives a letter from an Australian citizen informing her that as a child she was taken from the UK over to the country she now calls home but wishes to trace her past.
Continue: Oranges And Sunshine Trailer
Chris Noonan's Miss Potter continues a rather long line of films that attempt to diagnose the creative process of a writer and the critical world that surrounds the writer's inherent social (emotional) ineptitude. There are moments where Miss Potter seems to be on the right track in feeling out the emotional trajectory of its main character, but it often chooses the route of greater cuteness over the challenges of trying to study the life of a writer.
Beatrix Potter (Renée Zellweger) came from a well-off family and was well past her marriage date when three brothers agreed to publish her book, expecting nothing more than a minor profit. In case the name doesn't ring a bell, Miss Potter was the brains behind the beloved Peter Rabbit and several other indelible creatures of delightful fantasy. When the elder statesmen of the publishing firm deem the project unworthy of their time, they send their young brother (Ewan McGregor), to handle the book and its flighty author. As you may guess, the two fall head-over-heels, much to the chagrin of Beatrix's parents (Bill Patterson and Barbara Flynn) and to the glee of his sister (Emily Watson, the film's most evident charm factory).
Noonan, best known for the now classic Babe, treats his subject with the same well-dressed adorability that Potter gave her creatures, most notably Peter. A more easygoing version of Marc Forster's Finding Neverland, Miss Potter spends more time striving to deal with the relationship status of its heroine than delving into the quixotic charm of her writing process. The better parts of the film are the flourishes of animated hallucinogenics that Noonan puts in as a reminder of where these creations came from: Beatrix's parlor of emotional eccentricities.
The problem is that, when push comes to shove, we've seen Potter's story before, and Miss Potter is severely lacking in trying to differentiate its source material from any other classically-tinted story of love and writing. Acting-wise, there couldn't be a sweeter bunch of actors to add to the candy-coated shell the film inhabits. But the film invariably goes for impenetrable cuteness, even when a rather obvious tragedy occurs. In fact, all the drama that arises seems to be treated with fumbling, patronizing dullness to give more ample weight to what is a rather wanting character study.
Rereading the Peter Rabbit books, you have to marvel at the simplicity and class that the books had in telling a story with a solid moral. What Miss Potter doesn't have is the creative veil that Potter herself gave these wonderful stories. The film could have been so detailed and surreal, yet it relies on whimsy like the animated whirl of Beatrix's parents stepping into a cartoon pumpkin led by four monstrous rabbits. It is missing that childlike love for nature and animals that Beatrix must have had, and in turn, forgets what it's like to have an imagination.
Not Harry's mom.
A wonderfully ambitious, old-school ensemble piece, very much in the can-do spirit of the community to which it pays homage, "Cradle Will Rock" is a politically-undertoned dramedy about theater, censorship, ambition, apprehension, oppression, Orson Welles and the Great Depression.
Written and directed by Tim Robbins -- never one to shy away from cause-fueled entertainment -- this passionate labor of love celebrates and fictionalizes a legendary moment in American theater, when the government shut down the performance of a musical produced by the Works Progress Administration -- and the actors, at the risk of losing their jobs during the bleakest economic season in U.S. history, staged it anyway in a show of inspiring solidarity.
The play was entitled "The Cradle Will Rock" and its story of a greedy industrialist taken down by the organized working man made a lot of federal bureaucrats see red -- as in communism.
Continue reading: Cradle Will Rock Review
The worst theatrically released sci-fi flick since "Battlefield Earth," "Equilibrium" is so blatantly derivative as to be insulting, so absurdly hackneyed it's hard to believe it's sincere, so full of scenery-chomping it's a wonder the actors don't weigh 300 lbs. by the closing credits -- and as a result it's such a laugh riot that it may well be the funniest movie of 2002.
The plot -- brazenly pillaged from "Fahrenheit 451," "1984" and "Brave New World" -- concerns a high-ranking government "Cleric" named John Preston (chisel-featured Christian Bale), a ruthless and deadly law enforcer in a "Metropolis"-styled dystopian future where emotions (and by extension, music, art, poetry, etc.) have been outlawed.
The populace takes twice-daily doses of a stupefacient called Prozium, but when passionless Preston misses a couple injections, has a confusing day of emerging feelings, then finds himself staring into the big brown eyes of a cute little puppy he's supposed to kill during a raid on a "sense offender" hideout (insert shots of famous paintings being torched with a flame-thrower here), he...just...can't...do it.
Continue reading: Equilibrium Review
Date of birth
14th January, 1967
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