Set in 1930s Shanghai, where a blind American diplomat develops a curious relationship with a young Russian refugee who works odd -- and sometimes illicit -- jobs to support members of her dead husband's aristocratic family.
In the opulent St. Petersburg of the Empire period, Eugene Onegin is a jaded but dashing aristocrat - a man often lacking in empathy, who suffers from restlessness, melancholy and, finally,... See full summary »
In mid-1800's England, Oscar is a young Anglican priest, a misfit and an outcast, but with the soul of an angel. As a boy, even though from a strict Pentecostal family, he felt God told him... See full summary »
In this 2003 remake of the classic 1952 French film, Fanfan la Tulipe is a swashbuckling lover who is tricked into joining the army of King Louis XV by Adeline La Franchise, who tells Fanfan that by doing so, he will eventually marry one of the king's daughters.
On a rainy London night in 1946, novelist Maurice Bendrix has a chance meeting with Henry Miles, husband of his ex-mistress Sarah, who abruptly ended their affair two years before. ... See full summary »
Every family has its secrets and tries to hold them hidden within domestic walls. However, those of the family of Marcus Aylesbury are in order to become public because of the family's long date friend Trent, a journalist faithful to his ideals who, put under pressure by his editor, is looking for a "sexy-scoop"... Written by
It's entirely likely that you may have been tempted to watch this film by the extraordinary line-up of acting talent. Well Ralph Fiennes is excellent as a very Anglican, contained gay art historian matching Ian Holm's suffer-no-fools High Court Judge. I was also impressed by Ben Chaplin's two-faced tabloid journo. The quality slips however with the central couple, Kristin Scott Thomas ideally cast as a sad, self-absorbed mother - but not acting too far beyond that - and Damian Lewis as her equally distracted husband, a sort of posh version of Egg from This Life. The heart of the ensemble is supposed to beat with Rhys Ifans, who I cannot bear unless he's playing some sort of monster (Hannibal Rising, Not Only But Always) opposite a neurotic and excessive Penelope Cruz.
The film they have to inhabit though is rather pale. It's dynamic is the culture, bureaucratic firewalls and general failures of the Blair administration. Go and see Notes On A Scandal instead for this subject matter. Here we have a lack of tension, be it dramatic or simply zippy dialogue to help us through. Presumably the title Chromophobia refers to the fear of a diverse cultural palette that is instigated by the litigiously minded administration targeted. It's a pity that the story is told with such a tourniquet as well. It also has the least well thought out soundtrack I've heard in a long time. 4/10
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