An accountant is introduced to a mysterious sex club known as The List by his lawyer friend. But in this new world, he soon becomes the prime suspect in a woman's disappearance and a multi-million dollar heist.
In 1904, in Dublin, James Joyce chats up Nora Barnacle, a hotel maid recently come from Galway. She enchants him with her frank, direct and uninhibited manner, and before long, he's ... See full summary »
Young Dutch landscape architect Meneer Chrome comes to a remote English estate where Thomas Smithers lives with his wife, Juliana. Smithers is determined to leave as his legacy a fabulous ... See full summary »
When her brother Bobby returns from World War II mentally damaged, Anna has to deal with her parents who don't aknowledge her brother's existence, who is now brought to a mental hospital. ... See full summary »
Sex and love. Some seek it, some need it, some spurn it and some pay for it, but we're all involved in it. Set on one afternoon on Hampstead Heath, London, the film investigates the minutiae of seven couples. What makes us tick?
Two female kidnappers find themselves dragged further and further into a complex mystery, fuelled by paranoia. Everything starts to spiral out of control, as one of them suspects there is something wrong in paradise.
Melinda Y. Cohen,
Grief, guilt, and betrayal. In North London, a young mother dotes on her four-year-old son and lives in a modest flat with her husband, a cop in the bomb squad. The Arsenal football team is their religion. On May Day, a major terrorist attack brings tragedy while she is in the arms of a rich reporter who lives over the road. She wishes she were dead. In grief and guilt, she pursues revenge, faces betrayal, experiences delusions, and may be suicidal. Two men seek her affection: the reporter and a colleague of her husband's who imagines caravan camping with her on a beach. In London, the city of the Great Fire and of Hitler's bombardment, is there any way back to life for her? Written by
The last feature film of Nicholas Courtney. See more »
When Ewan MacGregor's character is checking the attendees list for the May Day game the game shows as Chelsea v Arsenal indicating that Chelsea were the home team, however the explosion was said to be in North London, presumably at Arsenal's Emirates Stadium, and the Chelsea ground is in West London. See more »
5, 4, 3, 2, 1, Go...
Mummy you blinked, I won.
Yes you did. Now in you get. Tomorrow we're going to the sea-side.
[narration - boy running on the beach]
So, if I'm going to show you my life, better start here. My boy, in Camber Sands. Why this and why now? I'll come back to that.
A force of nature was what the midwife called him when he came howling into this world four years ago. And he hasn't stopped since.
Me and him spend a lot of time ...
[...] See more »
This cod mockney melodrama from the director of Bridget Jones Diary fails at every level. It's clearly a film involving working class characters made by middle class people with both characters and plot lacking any authenticity and credibility whatsoever. In fact, the basic premise of Bridget Jones is transposed to this disastrous attempt at making a serious drama. Instead of writing a diary she writes letters to Osama Bin Laden. Instead of getting caught in a love triangle between Colin Firth and Hugh Grant she gets caught in a love triangle with two equally wet englishmen, uncomfortably played by Ewan MacGregor and Matthew Macfadayen, and all this, after her poor husband and son have been blown to bits in an unconvincing attack on Arsenal football stadium whilst she was shagging the local taloid newspaper reporter! The mawkish sentimentality that ensues is unbearable. In a preposterous celebration of London's blitz spirit, the faces of the victims are printed on the side of WWII air balloons which float above the city in every shot. And Michelle Williams, who miraculously found her sons toy rabbit in the ruins of the football stadium, clutches it to her chest in almost every scene. I find it hard to believe that this ill conceived script ever made it past treatment stage, particularly when so many established UK film companies like CH4 were involved in its development and finance. I find it equally hard to believe that the film was selected to screen at prestigious festivals like Sundance.This film is a worrying indictment of the failings of a the British film industry.
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