Screenrights Reviews

Sherlock (2010–2017)

TV at its best.

[10/10 · 28 August 2018]

Brilliant scriptwriting, perfect casting, great acting and amazing street cinematography throughout every episode in each of the four series. The lighting, POV, everything, is incredible. So good I bought it twice.

The Intern (I) (2015)

As I said two years ago, 'I loved it.'

[10/10 · 20 June 2018]

Did I really write 'Robert De Nero'? I did and I apologise, Mr. De Niro.

Lost in London (I) (2017)

All credit to the cameraman.

[4/10 · 20 June 2018]

A lost opportunity to make a great family film / commercial success. The dialogue is crass, demeaning and vulgar. PG in the UK; uncategorized in the US. Perhaps I'll strap a GoPro to my head, go for a walk et voila !

The Intern (I) (2015)

I loved it.

[10/10 · 25 April 2016]

I read the first dozen or so reviews and most were negative; wrongly so in my opinion. I wonder if the writers of those negative reviews failed to understand the purpose of the film and wrote subjective, rather than objective, critiques from a clichéd masculine and born of youth inexperienced standpoint. I enjoyed the film immensely as indeed I enjoyed the screenplay. I suspect that some reviewers failed to realise that the entire film is intended to be seen from the point of view of a seventy year old man with a lifetime of experience that those younger reviewers completely fail to comprehend, let alone understand. Watch it and enjoy it and push negativity out of your life. Robert De Nero and Anne Hathaway are consummate in their performances.

Don Juan, or If Don Juan Were a Woman (1973)

A great film.

[10/10 · 14 October 2012]

Some reviewers seem not to notice the golden irony that BB, who was ready to quit acting without needing a swansong, chose a vehicle, the value of which she could not fail to comprehend, in which men commit suicide after making love to BB. She is natural and resigned to the penultimate finale of her career. Maurice Ronet acquits himself perfectly as the torn antihero. He is the perfect foil to her underplayed and subtle excesses. This film didn't need any association with Don Juan to work more than adequately on several levels. Not only does it excel in irony but also in theatrical sarcasm with the 'God created woman' embroiled in a hellish inferno in a finale of post-modern design, her nemesis entombed in what might be an analogy for shifting sands. I feel that, in life, she was always lost, this belief reinforced when we exchanged pleasantries in Cannes in 1969.