14 items from 2011
Award-winning romantic epic The Outlaw (Lope) will be released on DVD on 17th October, spanning the life, loves and works of Lope De Vega, one of the key figures in Spanish Baroque literature, second only to Cervantes. This beautiful film will enthrall fans of Cyrano De Bergerac and Shakespeare in Love. We have 3 copies of the DVD to give away.
16th Century Spain. Gifted young playwright Lope de Vega returns to Madrid from the war filled with ambition, eager to live, to write, to make his dreams a reality. Penniless, he is forced to work as a humble copyist. Lope falls for Elena, his boss’s ravishing daughter. Her well-connected father, who runs the most successful theatre troupe in the city, would never approve of the liaison, so the affair is kept secret. But Elena has another secret: she’s already married. When Lope finds out, he asks her to »
- Matt Holmes
Plot: Juan (Alberto Ammann) - an expectant young father-to-be, just got a job as a prison guard in one of Spain.s most dangerous supermax facilities. Before starting work, he decides to take a guided tour of the facility, but he.s wounded by a diversion created by the prisoners to spark a riot. Left in an empty cell by his colleagues, who are forced to flee, Juan ends up caught in the middle of a full scale riot. Thinking fast, Juan ditches anything that could expose him as a guard, and »
- Chris Bumbray
Cell 211 (18)
Sometimes all you need is a great set-up: a prison guard, first day on the job, gets trapped in a cell just as a riot breaks out, and must therefore pose as an inmate to survive. It's better not to know where this tough Spanish thriller goes from there, but rest assured you're in very good hands. There's tightrope tension and breakneck pace, but wider questions of honour and justice unfold, too – everything you could ask for, in fact.
Having sat through the deathly dullness of Part 1, here's our reward: a rousing finale that strikes all the right notes, ties up 10 years' worth of loose ends, plunges you into 3D battle, and perhaps even wrings the odd tear – all without inducing effects fatigue. »
- Steve Rose
Cell 211 ****
There’s a depressing tendency in Hollywood to remake successful foreign language films (The Girl With The Dragon Tattoo, Let The Right One In). It’s therefore no surprise that an English version of Cell 211 is under construction even as we speak (with Paul Haggis at the helm no less). One thing the execs have got right though is that it’s a film certainly worthy of attention as the Spanish language original is a taut, tense and gripping thriller.
A young prison guard being given the tour on his first day of work gets trapped in a cell after a riot overwhelms the block. Realising that if he’s fingered as one of the guards, he’d be as good as dead, he quickly removes any identifiers and poses as a new inmate. »
- Jez Sands
Melodramatic but exciting prison movie from Spain, with the charismatic Luis Tosar
Here is a big, brash, violent, and even slightly outrageous high-concept prison movie from Spain, well plotted with some neat narrative switchbacks, and pitched with gusto at a commercial market – rather than the loftier stratum at which Jacques Audiard was aiming with his A Prophet. It looks ripe for an English-language remake, and has already been sold to Hollywood. Alberto Ammann is Juan, a fresh-faced young guy who turns up for his new job as a prison guard and finds himself right in the middle of a terrifying situation: a riot kicks off just as he is undergoing his informal induction process. Soon Juan finds himself having to take desperate measures to survive and confronting the prison's toughest inmate, the brutish Malamadre, played by Luis Tosar. This man controls life on the inside, but finds that the riot »
- Peter Bradshaw
Opening in the UK this Friday, the mutiple-Goya-award-winning Spanish feature Cell 211 is not your typical prison riot film. It makes Cool-Hand Luke look like Driving Miss Daisy, and works not only as a gritty action film, but social realism as well. Director Daniel Monzón co-wrote the script with Jorge Guerricaechevarría (frequent collaborator with Álex de la Iglesia) as an adaptation from the novel by Francisco Pérez Gandul. It tells the story of Juan Oliver, an ordinary man caught up in not only an extraordinary situation, but a deadly one, and it is a vice that never gives its audience a moment to think, like its main character. Juan (Alberto Ammann) is starting work as a prison guard; in an effort to impress his new »
Rating: 3.5 out of 5 stars
From its wincingly grisly opening image of a prison inmate slitting his wrists, Cell 211 is a savagely unforgiving prison drama. Though we’ve seen this sort of story time and again in everything from The Shawshank Redemption to Prison Break, this Spanish thriller – the winner of 8 Goya awards in its native country – earns through its raw brutality and unapologetic melodrama more favourable comparisons to HBO’s hit drama Oz.
We can sense the air of resignation early on in Cell 211, as newbie prison officer Juan Oliver (Alberto Ammann) is toured around his place of work by a few world-weary colleagues. How much can officers really contribute to correcting these people, or will their authority simply reinforce the unsavoury behaviour? It is a question, an ever current one, which the film asks in its opening minutes, and it echoes throughout, right up to the grim final frames. »
- Shaun Munro
Cell 211, Spanish director Daniel Monzon’s contribution to the prison sub-genre, roars out of the blocks like a lean action film, but ultimately bogs down under the weight of its ambitions and numerous plot twists. A multiple award-winner in its homeland, the film features a strong ensemble cast who breathe life into stock characters, and it’s their performances which are the main reason to keep watching.
Within minutes of beginning his tour of the prison where he is to begin working as a guard the following day, Juan Oliver (Alberto Ammann) is struck on the head by falling debris: it’s not an accident. The experienced guards who are escorting him place him in an empty cell rather than carrying him to the infirmary, a decision which is to have fateful consequences when an inmate riot immediately erupts and they are forced to flee for their safety, leaving Juan to fend for himself. »
- Ian Gilchrist
Goya-award winning thriller Cell 211 is heading to these shores next month with plenty of buzz behind it and a four-star Empire review. Its new trailer gives a taste of what to expect. Directed by Spaniard Daniel Monzón, it's a prison movie with a twist. Prison officer Juan (Alberto Ammann), arriving for his first day at work, gets knocked out by some rogue masonry and wakes to find himself in cell 211 with a bump on his head and a full-scale riot going on outside. His fellow screws have scarpered, leaving him to fend for himself. Obviously, being a prison officer and all, he'd be first against the wall if the prisoners - especially ringleader and lifer, Malamadre (Luis Tosar) - find out. Cue Con Air-style subterfuge and plenty of heartracing moments as Juan's wife waits for news. brightcove.createExperiences(); Hollywood execs have spotted the remake potential with typical alacrity »
I have no idea how it smells, but I have a hankering to run out and buy some Coco Mademoiselle perfume after watching Keira Knightley’s new Chanel ad. The steamy, three-minute-twenty-second short film was directed by Atonement director Joe Wright and even if it doesn’t help sell the fragrance, it seems like a pretty decent audition reel for the two to team up in a future James Bond movie. In other words, look out, Old Spice Guy!
The clip opens with the 25-year-old actress asleep, nakedly swaddled in what I imagine are 20,000-threadcount sheets to the sounds of »
- Chris Nashawaty
We’ve fallen head over heels in love with Keira Knightley‘s new short film for Chanel’s Coco Mademoiselle perfume. It’s been directed by Keira’s director of our favorite Pride and Prejudice, Joe Wright. We’re also very grateful because this film has introduced us to a certain actor-Greek God hybrid called Alberto Ammann. Joss Stone‘s totally surprised us as well. She’s not in the film, but she sang the ‘soundtrack’—a cover of James Brown’s It’s A Man’s, Man’s, Man’s World—and she nailed it. Watch Keira zipping around Paris, giving us breathtaking shots of sights like Place Vendome and the Place de la Concorde. She’s wearing a beige motorcycle jumpsuit designed by Karl Lagerfeld, which she takes off later to seduce Alberto. Hot! Hot! Hot! »
- Ambika Muttoo
We’ve fallen head over heels in love with Keira Knightley‘s new short film for Chanel’s Coco Mademoiselle perfume. It’s been directed by Keira’s director of our favorite Pride and Prejudice, Joe Wright. We’re also very grateful because this film has introduced us to a certain actor-Greek God hybrid called Alberto Ammann. Joss Stone‘s totally surprised [...] »
- Ambika Muttoo
Director Joe Wright (Pride and Prejudice, Atonement) and Keira Knightley have teamed once again, this time not for a major feature film, but for a commercial for "Coco Mademoiselle" to the tune of Joss Stone singing James Brown's 1966 hit "It's a Man's Man's Man's World". The short runs three minutes and 20 seconds and also features Alberto Ammann.
Knightley who sports a beige catsuit and rides a Ducati 750 Sport in the short was quoted in a teaser for the commercial saying, "I knew it was something about a motorbike and they said something about a catsuit... It was completely unexpected. It is the Chanel superwoman I think."
Check it out below.
Wright and Knightley, however, are also looking to »
- Brad Brevet
"35 Shots of Rum". Two couples live across the hall in the same Paris apartment building. Neither couple is "together." Gabrielle and Noe have the vibes of roommates, but the way Lionel and Josephine love one another, it's a small shock when she calls him "papa." Lionel (Alex Descas) is a train engineer. Jo (Mati Diop) works in a music store. Gabrielle (Nicole Dogue) drives her own taxi. Noe (Gregoire Colin) claims only his much-loved cat is preventing him from moving to Brazil.
The four people are in and out of both apartments so readily, we sense they're a virtual family. One night they head out together in Gabrielle's taxi for a concert. The taxi breaks down, it rains, they shelter in a Jamaican cafe, there's good music on the juke box, they dance with one another. During the dancing and kidding around, it becomes clear to them, and to us, »
- Roger Ebert
14 items from 2011
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners