“What happens when a man stands up and says ‘enough is enough’?” So goes the question raised by Martin Luther King, Jr. (David Oyelowo) when President Lyndon B. Johnson (Tom Wilkinson) declines to help him in battling the race-related violence in Alabama. In retaliation, King organises a peaceful protest; he has African Americans march into Selma, Alabama, in an attempt to gain rights to vote. What follows, is a truly horrifying attack from the police on the peaceful protest which was televised and seen by millions, forcing the President’s hand, as he is forced to watch innocent people suffer.
Continue: Selma Trailer
Tim Roth, Gerard Depardieu and Sam Neill star in 'United Nations' - a bizarre vanity project funded by FIFA.
FIFA, world football's governing body is no stranger to controversy and ridicule, but even by Sepp Blatter's standards, this is ridiculous. You may not be familiar with United Passions, a vanity project by the organisation to play up its hapless leader. It cost £19 million to make and has taken just £125,000 at the box office.
Tim Roth plays Sepp Blatter in the bizarre, mainly FIFA funded movie, 'United Nations'
Bizarrely, the movie boasts a stellar cast including French actor Gerard Depardieu, Sam Neill and the hugely accomplished Tim Roth, who plays Blatter. The movie was shown at the Zurich Film Festival on Sunday, which only 120 people turning up at the 500 capacity venue.
Continue reading: FIFA Movie 'United Passions' Bombs At The Box-Office
While the tone is all wrong, this fantastical version of a momentous year in the life of Grace Kelly is still entertaining, and not just unintentionally. Lavishly designed and heavily fictionalised, the film is anchored by a solid movie-star performance from Nicole Kidman that may miss Kelly's persona but captures an intriguing inner life.
It's set in 1961, five years after Grace (Kidman) left her Oscar-winning career to marry Monaco's Prince Rainier (Tim Roth). Now with two kids, she is still struggling to define her role as a foreign-born princess while considering a return to Hollywood. Meanwhile, France is ominously threatening Monaco with embargoes and more if Rainier doesn't start taxing his population and paying the money to France. Taking advice from her priest friend Tucker (Frank Langella), Grace decides to devote herself to her husband to help solve the crisis. This will require training with an etiquette guru (Derek Jacobi) as well as fending off the in-laws (Geraldine Somerville and Nicholas Farrell). And it may mean that she'll never return to the movies.
The script by producer Arash Amel presents each of Grace's decisions in the most simplistic melodramatic light, as director Olivier Dahan cuts to yet another extreme close-up of Kidman's weeping eyes. The corny approach undermines any chance at real drama, as the filmmakers keep trying to crank up suspense (someone is leaking secrets!) or emotion (the people need a champion!) without building up any meaningful substance. This makes most of the plotting feel rather laughably silly, centred around a painfully dull series of political negotiations.
Continue reading: Grace Of Monaco Review
After the live read-through conducted in Hollywood, we now get an idea of which actors will play which characters in The Hateful Eight.
Quentin Tarantino recently hosted a live read through of the screenplay for his latest film The Hateful Eight, which by many accounts heralds in a return to the earlier work in the oeuvre of the claustrophobic Reservoir Dogs rather than the grand-scale theatrics of such recent work as Django Unchained.
The filmmaker has been elusive about whether The Hateful Eight would ever get made.
The read through itself came as a response to the actions of alternative news website Gawker, who published a link to an online copy of Tarantino’s screenplay for the film. Suitably enraged, the pop-culture infatuated auteur not only sued the website but also threatened to postpone the film indefinitely. Thankfully, Tarantino’s rational irritation has subsided, and his official read through also saw the first reveal of the film’s impressive cast in the hope of offsetting a host of rumours and hear-say surrounding the film.
Continue reading: Quentin Tarantino's The Hateful Eight: Who's Playing Who?
Grace Kelly is one of the most famous and most beloved Hollywood actresses in the world having won an Academy Award and two Golden Globes among others, and having starred in some of the most exciting films of the fifties. In 1955, her life changes dramatically when she catches the eye of the charming Prince Rainier III of Monaco who is on the lookout for the perfect wife. After three days of meeting, wedding plans begin and the high profile of such an event forces Grace to give up acting. Their marriage is about to be seriously tested, however, as Grace is offered a new screen role and she is itching to get back in front of the cameras. Unfortunately for her, nobody is in agreement with her continuing in film as a bad role could mar her royal reputation.
'Grace Of Monaco' is the dramatic onscreen biography of actress-turned-princess Grace Kelly, who was well-known for appearing in several of Alfred Hitchcock's films. It has been directed by the BAFTA nominated Olivier Dahan ('La Vie en Rose', 'Ghost River', 'Crimson Rivers 2') and written by Arash Amel ('The Expatriate'). The film is set to be released in the UK on June 6th 2014.
The director takes legal action after his scrapped script is leaked in full.
If Quentin Tarantino was angry when his latest movie script, Hateful Eight, was passed around in the film industry of Hollywood, you can bet he's totally furious now that website Gawker has leaked the whole thing to anyone online.
Quentin Tarantinno Is Taking Legal Action After Gawker Leaked His Full Script.
Describing the site's move as "predatory journalism," the director is suing Gawker Media after it made a download link to the 146 page script publically available in an article entitled "Here Is the Leaked Quentin Tarantino Hateful Eight Script."
Continue reading: Quentin Tarantino Suing Gawker Over Shelved 'Hateful Eight' Script Leak
The angry director drops his new movie project after the script leaked.
Quentin Tarantino has chosen to cancel his latest movie after the script leaked out and gained him some unwanted attention at such an early stage in the new western. The director gave the script, which was apparently still in its early stages, to a small circle of actors who he felt he could trust. However, the script fell into the wrong hands and his longtime agent Mike Simpson began getting phone calls from agents looking to pitch their clients for roles in the embryonic film.
Quentin Tarantino Shelves A Movie After The Script Was Leaked.
"I'm very, very depressed," Tarantino said, via Deadline. "I finished a script, a first draft, and I didn't mean to shoot it until next winter, a year from now. I gave it to six people, and apparently it's gotten out today."
When news gets round about a gold discovery in the Klondike region of the Yukon, Canada in 1897, it becomes one of the last great gold rushes in history. Bill Haskell and Byron Epstein are two hopeful travellers with an ambition of wealth who travel up to Dawson City (often dubbed 'The Paris of the North') to receive their fortune. However, digging up a life of luxury becomes less straightforward as they are forced to face bitter sub-zero temperatures, gold-digging temptresses and men who won't think twice about killing for profit. Making an easy fortune is one thing; surviving long enough to use it is another.
Continue: Klondike Trailer
Blackly comical writing and direction add a playful slant to what could have been a typically over-serious British crime thriller. And there's also a coming-of-age element to the plot that holds our interest. It's all relatively simplistic, and never really goes anywhere, but the offbeat approach and vividly well-played characters make it worth a look.
Rising-star Brit Jack O'Connell (Skins) plays 19-year-old Adam, a goof-off who thinks it's hilarious when he wrecks his stepdad Peter's (Mullan) pricey car. But Peter is a mobster, and his patience is wearing thin. Without telling Adam's mother (Wareing), he gives Adam a job to help pay for the damage. He'll be a driver for Roy (Roth), who turns out to be a hitman on a nasty mission. This opens Adam up to a world he has never known, and as the stakes begin to rise he has to grow up very quickly. Then things get even more intense when he and Roy encounter a backpacker (Riley) who sends them on a crazed cat-and-mouse chase.
Mixing comedy with suspense isn't easy to pull off, but writer Wrathall and director Viveiros manage it by keeping the humour pitch black and playing everything dead straight. O'Connell portrays Adam as a hapless buffoon who has no idea how to behave in any given situation. But he's deeply likeable, so we root for him in the face of Roy's stony silence. Roth can play this kind of thug in his sleep, but stirs in some wry exasperation and even a low-lying emotional resonance as things develop. And the chemistry between them never feels remotely safe.
Continue reading: The Liability Review
Adam is just 19-years-old but, after managing to prang his mother's mobster boyfriend's car, is coerced into performing a driving job for jaded hitman Roy who, apart from being visibly annoyed at having to mentor a kid who knows less about organised crime than the average person, would like nothing better than the chance to finally retire from his life of killing. They drive to Northumberland where the unlikely duo dispose of their target deep in a woods. However, despite their presumed isolation, they are spotted by a beautiful young girl who they understand they must also kill to save their own skins. She manages to make an escape though, with some extremely important evidence and the assassins are forced to chase her down. Along the way, they find out her identity and connections that place Adam's stepfather involved in some debauched dealings.
Continue: The Liability - Clip
While this strikingly well-made film is a great calling card for rising-star filmmaker Norris, it's also so relentlessly dark and unsettling that it's difficult to see the point of it all. This is such a bleak coming-of-age tale that it almost obscures any hope at all, focussing a series of horrific incidents into a confined space that gives the actors and filmmaker a change to shine, but leaves the audience exhausted.
It's set in a North London cul-de-sac, where the pre-teen Skunk (Laurence) lives with her big brother Jed (Milner), her single dad (Roth) and her nanny Kasia (Marjanovic). But her happy life is thrown into chaos when violence erupts: hotheaded widower Bob (Kinnear) storms across the street and punches simple-minded Rick (Emms), seemingly for no reason, triggering a series of events that Skunk struggles to understand. And Bob's three daughters seem to be just as violent. One (Bryant) is mercilessly bullying Skunk at school, while another (Daveney) is seducing Jed.
The way so many story elements circle around Skunk makes the film feel almost like a stage play. Everyone is so interconnected that we wonder if much of this exists only in her mind. For example, Kasia has just started a relationship with Skunk's schoolteacher (Murphy), who has been accused of abusing one of Bob's daughters. And there are even more issues that put Skunk in both emotional and physical peril, including a new boyfriend (Sergeant) who might have to move away and the fact that she has Type 1 diabetes. And Skunk's world seems to be limited to her street and a junkyard across the field.
Continue reading: Broken Review
Richard Gere delivers such a charming, layered performance that he overcomes a contrived plot that piles too many financial and personal crises on the central character. But Gere is magnetic, and the film's themes resonate at a time of economic difficulty, most notably in the idea that all major world events revolve around money.
Gere plays 60-year-old financial mogul Robert, who lives the high life with a private jet, glamorous philanthropist wife Ellen (Sarandon) and sexy French art-dealer mistress Julie (Casta). He seduces the press with his intelligent wit, and has managed to conceal the fact that he's in severe money trouble. Everything hinges on selling his company, but the buyers are dragging their feet. Then he is involved in a fatal car crash that could undo everything. He turns to an estranged friend (Parker) for help, but a tenacious police detective (Roth) is beginning to piece it all together.
Having Gere in the central role makes all the difference here, because he is able to add the subtext and moral ambiguity that's lacking in the script and direction. Otherwise, it's shot like a too-obvious TV movie with close-up camerawork, a bland Cliff Martinez score and constant moralising about family values. By contrast, Gere is a shady character who is up to all kinds of unethical things and yet holds our sympathies because we can see that he's not all bad. Even so, the script puts him through the wringer, with a never-ending stream of personal and professional problems.
Continue reading: Arbitrage Review
Robert Miller is billionaire hedge fund businessman who at first glance seems to have the perfect life; successful, plenty of money, a supportive wife and a daughter/ business partner willing to take on the company when he retires. However, something much darker is going on underneath as he is struggling to cover up many years of fraudulent activities while trying to sell away his business to a bank. Not only this, but he has also embarked on an illicit affair with the young and beautiful Julie Cote who he attempts to whisk away with him for a while. As fate would have it, Robert finds himself drifting off to sleep in the car as they drive out of town and subsequently fails to prevent a crash that instantly kills Julie. As he attempts to cover his tracks by setting fire to the vehicle, his whole life is on the line with suspicious police officers, a mistrustful wife and a daughter with an unfortunate eye for detail threatening to collapse the empire he has worked so hard for.
This gripping thriller drama premiered in the US in September 2012 and serves as the full-length feature directorial debut of Nicholas Jarecki ('The Informers' screenwriter) who was also responsible for writing the fantastic screenplay.
Starring: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker, Stuart Margolin, Chris Eigeman, Graydon Carter, Bruce Altman, Larry Pine, Curtiss Cook, Reg E. Cathey, Felix Solis, Monica Raymund, Gabrielle Lazure, Shawn Elliott, Maria Bartiromo, David Faber, Josh Pais, Alyssa Sutherland, Paula Devicq, Zack Robidas & Betsy Aidem.
Continue: Arbitrage Trailer
Among the group is Susie Carter (Sophie Okonedo), who quickly reunites with her husband Ian (Chiwetel Ejiofor) but is devastated to learn their four-year-old daughter slipped out of her father's arms and has disappeared. Meanwhile, Kim Peabody (Gina McKee) has lost her husband but finds her teenage son horribly injured.
Continue reading: Tsunami: The Aftermath Review
Prelude: A noisy 1980s London auction for van Gogh's Sunflowers dissolves to a 1880s vagabond-ish Vincent (Tim Roth) and brother Theo (Paul Rhys). Multi-million-pound bids of a distant future echo as Vincent declares he's becoming a painter.
Continue reading: Vincent & Theo Review
Joshua, a long-time Little Odessa expatriate, is called back to the neighborhood to perform a hit on a big shot resident. When he arrives, he encounters his worshipful brother Reuben (Edward Furlong), former lover Alla (Moira Kelly), hateful father Arkady (Maximilian Schell), and dying mother Irina (Vanessa Redgrave). Together, the cast creates a highly dysfunctional family the likes of which you've probably never seen before.
Continue reading: Little Odessa Review
Now, after Michael Moore's Fahrenheit 9/11, Robert Greenwald's Uncovered: The War on Iraq, France's The World According to Bush, the upcoming Bush's Brain, and many more, filmmaker John Sayles adds his satiric shovelful with Silver City, a (fictional) feature film which explores the ramifications of a political system that lends itself to corrupt and unseemly influences.
Continue reading: Silver City Review
Deceiver may not be the latest in this trend of trying to trick us, but it is, like most of them, incredibly easy to predict. You see, when you've watched enough movies, you become immune to their tricks. You see through them, know the killer ten seconds in from their first facial expressions.
Continue reading: Deceiver Review
Torpid, trite and not the least bit scary -- just unrelen=tinglyunpleasant -- the first 45 minutes of the movie only came to life in twoscenes involving the messy divorce of miserable single mom Jennifer Connelly(proving Oscars don't bring talented actresses good roles). She subsequentlymoves into a drab, creepy cinderblock slum with her sad-eyed daughter (ArielGade), even though it's made very clear that there's nothing keeping herfrom finding a nicer place in the suburbs.
Soon the kid has an "imaginary friend" she won'ttalk about, their ceiling is dripping gooey black liquid from an abandoned(and eerily flooded) apartment upstairs, and the building's greasy manager(John C. Reilly) and bug-eyed, hollow-cheeked building superintendent (PetePostlethwaite) both seem to be hiding something sinister.
Director Walter Salles (the Brazilian behind "TheMotorcycle Diaries," making his inauspicious Hollywood debut) dragsout these routine, oppressively glum establishing scenes to a mind-numbingdegree. (If this apartment building is spooky enough to justify its ownominous soundtrack theme from the moment mom and daughter arrive, how comeConnelly isn't astute enough to realize something's amiss, even if shecan't hear the music?)
Continue reading: Dark Water Review
Without the faintest hint of director Tim Burton's uniquely uncanny style, "Planet of the Apes" version 2.0 feels like nothing more than a generic (albeit overblown) sci-fi summer movie -- and a forgettably mediocre one at that.
A passionless, elementary endeavor of wow effects and a yawn plot (which has been reinvented from the 1968 original), the picture opens circa 2029 with astronaut Mark Wahlberg working on a space station, training chimps to pilot one-man pods into electrical storms encountered in deep space.
After losing contact with one chimp in a rather ominous anomaly, Wahlberg establishes his maverick personality (which soon fades into a vanilla version of your standard action hero) by swiping a pod against orders to go rescue him. Once inside the storm, our hero is sucked into a wormhole that turns his helm dead and spits him out to crash land on a faraway world in the distant future where -- as if you didn't know -- a brutal, medieval society of evolved simians enslaves primitive humans as labor and pets.
Continue reading: Planet Of The Apes Review
Date of birth
14th May, 1961
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While this strikingly well-made film is a great calling card for rising-star filmmaker Norris, it's...