HEAD IN THE CLOUDS is a sweeping romantic drama set in 1930's England, Paris, and Spain. Gilda Bessé shares her Paris apartment with an Irish schoolteacher, Guy Malyon, and Mia, a refugee ... See full summary »
This Civil War saga addresses romance, friendship, and the ravages of war--both in the field and on the home front. Captures the horrors of war for both those fighting it, and for those left behind. This is a tale of hope, longing, redemption, second chances, and faith. Written by
When Inman is walking by the lake, you can see his tracks from previous takes. See more »
Dear Mr. Inman, I began by counting the days, then the months. I don't count on anything anymore except the hope that you will return, and the silent fear that in the years since we saw each other, this war, this awful war, will have changed us both beyond all reckoning.
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Anthony, Anthony, Anthony! What are you doing? I sincerely hope that plenty of studio meddling played a major role in this pig's ear of a movie. Having been swept away with The English Patient and thrilled with The Talented Mr. Ripley, despite even fashionably low expectations I was hoping for nothing short of a mediocre piece of cinema.
Hollywood must have been like a ghost town when the cast and crew of Cold Mountain were beavering away in Romania, but despite the combined cast value of more than the Iraqi oil reserves, a far richer experience could be had by watching ten year old repeats of Candid Camera. The star factor was perhaps too high, so where the aim was to give us a thousand moments, like diamonds in a bag', to quote one of the many fingers-in-back-of mouth cringeworthy fragments of dialogue, the stars imploded giving us a white dwarf [=small dim star of enormous density near the end of its life made largely of carbon - probably from said diamonds].
The premise was reasonable enough - young man is forced into the American Civil War and yearns to get back to his sweetheart, facing all manner of perils along the way. However, films of this period have been made before, in which the characters generate intense emotional heat and have the power to move the audience. All Cold Mountain can give us is empty glances and togged up poses from a celebrity magazine and frankly, Nicole and Jude, I don't give a damn.
The supposed attraction between them is quite literally based on she mincing around with a drinks tray and a few exchanges of excruciating dialogue in the worst attempt at an American accent imaginable. It doesn't make for good viewing. Perhaps it makes good reading but I don't care that it is a literary adaptation, for a film is a film and a book is a book. We are given no insight in to the characters who rely purely on their appearance, not their hollow personalities.
Thank goodness for Renée Zellweger, who gives a gutsy and warm performance as a farm girl who becomes Nicole's helper and antithesis. If only she'd been more help in the acting stakes. Renée, and a distinctive (given the number of them we have seen this year) battle sequence apart, each frame of the rest of the movie is sublimely dull and insufferable. Yet it drags on and on until we are treated to a song by...wait for it...Sting. Oh sweet G-d in heaven get me out of here now was the sentiment that sprang to mind.
You have been warned. But 13 BAFTA nominations? Something must be in the water
no, sorry - the director is head of the British Film Institute. And who
says Britain ain't like Hollywood? Cast and crew are capable of much better things, thus making this by far the biggest disappointment of the year. Wrap up warm.
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