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Barring the movie going to cable (these things happen) of failing to get distribution (these things happen, too) will Glenn Close finally be back in the Oscar race next year at this time? She was last nominated for 1988's Dangerous Liaisons over twenty years ago. Since that Oscar regular heyday (5 nominations all within the 1980s) she's gone on to win 3 Emmys, 1 SAG and 2 Golden Globes for television roles.
The film is directed by Rodrigo García (pictured left with Close) who specializes in the actresses, most famously in television or in films like Mother & Child, Nine Lives and Things You Can Tell Just By Looking At Her. We hope he finds new inner fire as a writer/director this time. The talent with actors »
- NATHANIEL R
This month in soap: Hollyoaks adjusts to the demise of Steph; after Phil, now it's Carol who's turning to drugs in EastEnders; and Corrie characters should watch out for runaway trams
In Hollyoaks, Steph is dead – martyring herself in a fire. Let's face it, she had to go. She was positively ancient – 24 (age having the same meaning in Hollyoaks as dog years), and after 10 years her evil creator, Professor Phil Redmond (Cbe), finally decreed that she (like us) had suffered enough.
The loved ones she left behind have taken it badly, spending their days drinking, fighting and shagging each other senseless. So no change there, then. During her time in this everyday Cheshire enclave, inhabited entirely by people with an age and Iq of nearly 20, Steph lived a rich, not to say happy, life.
She was a bully and wannabe Wag, before miraculously transforming herself into the show's tragic heroine, »
- Jim Shelley
Nov 25, 2010
One of the more obscure graphic novels to join the film adaptation fray this year is the English comedy Tamara Drewe. Originating in 2005 in the weekly pages of The Guardian newspaper in the U.K and primarily based on the classic British novel Far From the Madding Crowd by Thomas Hardy, the author's epic romantic tapestry has been retooled as a country manner comedy in the vein of Cold Comfort Farm by the journeyman director Stephen Frears (Dangerous Liaisons, High Fidelity, The Queen) in a rare ill-fit for a filmmaker usually adept at drawing ...Read more at MovieRetriever.com »
See Photo - click here Having seen the list of IrishCentral.com’s Irish hunks over 50 I thought I should put together a similar list to show that the ladies are just a scrumptious when it comes to the post 50 age category. In fact, so much so that you’ll be surprised that some of these ladies even qualify for our list. Michelle Pfeiffer Pfeiffer first garnered mainstream attention in 1983 with her appearance in “Scarface” . She rose to prominence during the late 1980s and early 1990s, giving a series of critically-acclaimed performances in the films “Dangerous Liaisons”, “The Fabulous Baker Boys”, “Frankie and Johnny” and The Age of Innocence” as well as appearing as Catwoman in “Batman Returns”. Pfeiffer appeared on the cover of People's first "50 Most Beautiful People in the World" issue in 1990, and again in 1999, having made the list a record six times during the decade. Susan Sarandon »
Annette Bening takes on roles that are unlikely to endear her to the public. Maybe audiences think she does not need love
Probably the first time you noticed Annette Bening was her saucily provocative Myra Langtry in Stephen Frears's The Grifters. How could anyone miss her? There is a moment when, stark naked, she saunters across the screen with a knowing and comical look on her face. No, she's not a good girl in The Grifters, but she seems happy with that fate. It is a film noir in which humour turns poisonous, and Myra is going to end badly. But first she has fun.
This is hard to believe, but Bening was 32 at the time. She looks 22, even if the knowledge she lends to Myra comes from more complicated experiences. I might add her Mme de Merteuil in Milos Forman's Valmont the year before, but the chances »
- David Thomson
Danny Boyle (“127 Hours”) is 0 for 0
Shirley MacLaine (“Terms of Endearment,” 1983) for best actress Won Debra Winger (“Terms of Endearment,” 1983) for best actress Jack Nicholson (“Terms of Endearment,” 1983) for best supporting actor Won John Lithgow (“Terms of Endearment,” 1983) for best supporting actor William Hurt (“Broadcast News,” 1987) for best actor Holly Hunter (“Broadcast News,” 1987) for best actress Albert Brooks (“Broadcast News,” 1987) for best supporting actor Jack Nicholson (“As Good As It Gets,” 1997) for best actor Won Helen Hunt (“As Good As It Gets,” 1997) for best actress Won Greg Kinnear (“As Good As It Gets,” 1997) for best supporting actor »
- Scott Feinberg
Gemma Arterton in Tamara Drewe Stephen Frears is one of the premiere (and prolific!) directors of world cinema. Comfortably filming in both his homeland (the U.K.) and here in the States, Frears has a long list of hits, indies and studio pictures alike. While he suggests that he has 'gotten into a mess' when attempting studio pictures, such films as Dangerous Liaisons, High Fidelity and The Queen certainly prove otherwise. The director sat down with us recently, speaking candidly about his eclectic career, his reliance on others for helping make his films a success, and his latest movie - Tamara Drewe is a screwball comedy with dark overtones. Adapted from the popular British graphic novel - itself loosely adapted from Thomas Hardy's 1874 novel Far From The Madding Crowd - the story concerns Tamara, who comes back to her hometown to sell the family house after her mother dies. »
It took Stephen Frears more than four decades of directing for TV, stage and screen before he finally got an opportunity quite like Tamara Drewe, his adaptation of author/illustrator Posy Simmonds's celebrated graphic novel about love, lust, lies and gossip in the English countryside. It's hardly new thematic terrain for Frears, whose deft touch with sordid secrets and those who keep them has served him exceedingly well from Dangerous Liaisons to The Grifters to Dirty Pretty Things and last year's underrated Chéri. But those sources didn't have beloved illustrated sources providing guidelines and clues -- not to mention challenges. »
Do artists discover a personal style and develop their themes gradually or are these to be found in embryonic form in their earliest works? There's no easy answer to this dual question. Take, for example, Ken Russell's Amelia and the Angel (1957), Ridley Scott's Boy and Bicycle (1965), Stephen Frears's The Burning (1967), Gurinder Chadha's I'm British But… (1989) and Shane Meadows's Where's the Money, Ronnie? (1995). All were made on shoestring budgets and each lasts less than half an hour.
First, presented with the directors' names and the credits concealed, would you be able to match up film and film-maker? I think most moviegoers could, which suggests there is something in these first movies that we would now recognise as characteristic. Second, »
- Philip French
Hey, folks. Michael C. here from Serious Film with another overlooked contribution to film greatness. This time out let's look at a favorite of mine going back to my teenage years: the fight choreography of Rob Roy (1995).
William Hobbs is the Marlon Brando of movie sword fighting. He is the guy who blasted away years of mannered and artificial fight choreography and brought it down to Earth. A fencing advisor with credits ranging from The Duelists and Dangerous Liaisons all the way back to Olivier's Othello, one would be hard pressed to find a memorable sword fight from the last fifty years which Hobbs did not have a hand in creating. Out of that lifetime of memorable scenes his masterpiece is undoubtedly the climactic duel from Michael Caton-Jones' Rob Roy. It is a scene that doesn't just sit atop the list of great movie sword fights, but deserves prominent »
- Michael C.
Stephen Frears began his distinguished career working at George Devine's Royal Court, a theatre company devoted to new writing on contemporary themes. He then entered the cinema as an assistant to the leading directors of the British new wave, Lindsay Anderson and Karel Reisz, both dedicated to challenging the complacent, middle-class values they thought were stifling our cinema.
Following the Royal Court's original ethos, Frears always appears to have seen himself as the servant of the scripts he's undertaken, finding an appropriate style for the work in hand. Unlike his overly fastidious cinematic mentors, he's been prepared to undertake as wide a range of subjects and genres as the great studio professionals of Hollywood's golden age, men like Michael Curtiz and Henry Hathaway. But in films as superficially different as My Beautiful Laundrette, »
- Philip French
I know a lot of people have a sort of love/hate relationship with Stephen Frears, but wherever you may rank such films as – Dangerous Liaisons, The Grifters, High Fidelity, The Snapper, Dirty Pretty Things, and many more, you’ve got to admit that at the very least the subject matter is going to be interesting. This holds true of the upcoming Tamara Drewe, based on Posy Simmonds’ graphic novel.
With the currently much discussed Gemma Arterton (Clash of the Titans, Prince of Persia: The Sands of Time) playing the titular role, the sex-infused, sleepy-town comedy brings to mind earlier Frears efforts as well as a plethora of U.K. small-town plays that hit their stride a decade or so ago – Waking Ned Devine and similar.
Obviously just the sort of thing that will get overlooked, I want to make sure to give you the opportunity to make a note. »
- Marc Eastman
Bradley Cooper tried to dispense wisdom in a speech at Georgetown, his alma mater, last week. But mostly, the students just wanted articles of his clothing. The actor, 35, a 1997 Georgetown grad, described his euphoria upon visiting the college as a high-school student. "I swear to God, Socrates was teaching in the corner, and there were tons of Frisbees and Golden Retrievers. All the women were from California," he said. "And then I got rejected." After a year at Villanova, Cooper managed to transfer to his dream school, where he was an English major in the honors program. And soon he »
- Tim Nudd
This Friday, September 10, sees the release of Gemma Arterton's new film Tamara Drewe.
Gemma stars as a young journalist who returns to the Dorset village of her childhood as a smouldering, twenty-something femme fatale - with a glamorous job and a new nose - after leaving as an awkward teenager.
"I was really flattered that he wanted me to play Tamara and he was quite adamant about it actually," Arterton tells us.
"He hadn't seen me in anything before he cast me, which I found kind of weird. »
- David Bentley
Stephen Frears is an amused connoisseur. I can't dispute his estimate that the less money he's had at risk on a venture, the better it ends up
Inasmuch as he will be 70 next year, and is a national treasure, I suspect some honours list will notice Stephen Frears soon. Of course, it is possible in his humble, muttering self-effacement that he wouldn't hear of such a distinction (I think there's a republican in there). On the other hand, he did make The Queen (with writer Peter Morgan and pretender Helen Mirren), the most sophisticated public relations boost Hrh has had in 20 years, and all the more affectionate because it was wry and a bit of a tease.
By now, it is taken for granted that Frears – whom I count as a friend – gets away with nearly anything he cares to try, and as he grows older, he is less conventional and obvious. »
- David Thomson
Although "Scott Pilgrim Vs. The World" didn't set the box office on fire with its unique blend of action and romance, another comic inspired film with a more traditional romance story may have better luck.
Sony Classics has released the trailer for Stephen Frears' live-action adaptation of Posy Simmond's "Tamara Drewe." Frears' involvement with the project was announced almost a year ago. Prior to signing on to the film, Frears had established a strong reputation based on his previous movies including "The Grifters," "Hero," "Dangerous Liaisons," "High Fidelity" and "The Queen."
"Tamara Drewe" stars Gemma Arterton as a young journalist who returns to her home town in the English countryside and reinvents herself as a femme fatale. Arterton is perhaps best known for her role as Strawberry Fields in the most recent James Bond film, "Quantum of Solace." Earlier this year, she also starred in the "Clash of the Titans" remake, »
- Blair Marnell
From My Beautiful Laundrette to The Queen and his latest, the much-praised Tamara Drewe, the director boasts a reputation for impatience as well as one of the most diverse outputs of any British film-maker. Famously interview-shy, he talks here of his dislike of agents, the glory days of the BBC, and why he is no auteur
Not liking to be interviewed probably starts with the reluctance to submit yourself to an alien, unpredictable critical gaze, but in Stephen Frears's case it has flowered into a bizarre art form. He'll answer questions in fits and starts, gnomically, in obscure one-liners or by means of silences punctuated by cigarette puffs or plaintive grunts. Always courteous and welcoming, he would just rather you didn't ask questions. "Have you got enough?" he asks at the end of a session, in the full knowledge that you haven't. So you arrange to meet him again »
- Nick Fraser
DreamWorks writes to chancellor and joins high-profile actors and directors to have spoken out against council's closure
The government's decision to axe the UK Film Council attracted further controversy today when it emerged that DreamWorks Studios, the Hollywood studio founded by Steven Spielberg, had written to the chancellor to "express its concern" over the move.
A letter signed by an executive at DreamWorks, Steven Molen, who is in charge of location decisions for the studio, was sent to George Osborne last week, adding to the high-profile list of figures who have spoken out against ending the council's funding. Among the films made by DreamWorks on location in Britain are Sweeney Todd and War Horse.
It is the second letter of concern Osborne has received from Hollywood in a week: the first, from the Oscar-winning actor and director Clint Eastwood, spoke of his "great concern" over the scrapping.
Eastwood praised the »
- Paul Lewis
Christopher Plummer and Ewan McGregor in Beginners It's hard to believe in less than a month I'll be making my trip to cover the Toronto International Film Festival (Tiff) for the first time. For some reason it seemed like the lead time I had for Cannes was much longer, but I guess when you're busy time simply flies. Today I have two more previews from films showing at the festival and they look to be a couple of films we may want to keep our eyes on.
First off, the pic above is one of three images I've added to the site for the Toronto International Film Festival entry Beginners starring Christopher Plummer, Ewan McGregor, Goran Visnjic and Melanie Laurent.
The story centers on the relationship between Oliver (McGregor) and his 71-year-old father (Plummer) who's just come out of the closet on top of telling him he has terminal cancer. »
- Brad Brevet
The abolition of the Film Council has provoked another round of laments for UK cinema. But across the Channel there is a golden age for serious movies – and a cohesive industry with lessons for Britain's Hollywood-obsessed producers
When I walked out of the cinema the other evening after watching a very great actress at the top of her form – Kristin Scott Thomas in Leaving (Partir) – I realised that subtitles were now the norm for me. Of the 10 films I have paid to see over the last year, eight were French.
I'm aware of big releases like Inception and the accompanying ballyhoo over Tom Cruise's latest empty sensation, but it's a while since I have bought a ticket to see an American film. I'm hooked on the French, in awe of their style and the effortless class of their filmmaking.
Cinema is one of the ways a nation entertains itself, »
- Henry Porter
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