All those things. I kind of took it as a challenge to figure out a way to do them in a fresh way. We used a lot of digital effects to remove the reflections of the camera and crew so we could put the camera in impossible places, and we used a lot of one-way mirrors and some really crazy, fun stuff. We tried to push it. Shortly before he arrived in London, the internet hit meltdown over rumours that the director was being lined up to take charge of C-list superhero sequel Wolverine 2. The outcry was instant and passionate — Aronofsky was selling out, betraying his legacy, letting down his fans.
Never trust the internet, man. Still, he was always unapologetic about his attraction to the genre. I think it could be a lot of fun to check it out and have the support of the studio as opposed to fighting and fighting and fighting, and spending 14 months trying to make money, and just go out and make a film. Aronofsky was linked with both Batman and Watchmen before Chris Nolan and Zack Snyder were given charge of the respective movies. Looking back at the last time we met, it was clearly something that was on his mind even then.
His audience, he reckons, are holding him to an impossible standard. And for me, taking on a big Hollywood studio film would be a big challenge, to try and deliver something like that which could work. Adrenaline flooding his veins, he digs deep and rises precariously to his feet, loosening the razor wire choking his coronary artery long enough to ascend the top rope, salute the enraptured crowd, and steady himself to deliver one last Ram Jam.
Roll credits. Cue awards. Acting legacies are built on moments like this. To become The Ram, Rourke committed to a strict six-month bodybuilding and cardio training regime that would culminate in 33 pounds of extra muscle. Aside from looking the part, however, Rourke was required to do all of his own stunts, meaning that before stepping foot into the ring he had to learn the ropes. A lot of respect comes with that. Rourke ruptured a disc in his back, suffered a severe neck injury and continual anterior cruciate ligament trauma prior to and during filming.
In fact, when we practiced the moves for the matches and Darren would leave the training area, Mickey would try things that he saw us wrestlers perform on television. Things that, at that time, would have made Darren flip. Despite having studied ballet as a child, Portman admits that relearning each step at years-old proved to be a far greater challenge than she had anticipated. I knew it would be a challenge, but I never expected just how physically tough it turned out to be.
For 10 months before filming, Portman lived and breathed ballet. Millepied relished working with two devoted actors in Portman and Mila Kunis, although he confesses that preparing two non-ballerinas for their respective roles was no mean feat. So my role was to really refine their movements and to use the choreography to bring out exactly what was needed. We set the bar very high but we were able to pull it off.
As such, for the director, authenticity was paramount. This organic, studious approach is a fundamental component of modern cine-realism, but cinema has a rich history of calling on professionals to lend their expertise in order to sculpt actors. His company, Warriors, Inc. Stanley Kubrick famously promoted R Lee Ermey to the. There are similar examples of scene-stealing technical advisors becoming regular fixtures in mainstream genre features, but it is the assured input of behind-the-scenes specialists that has become increasingly vital to filmmakers and their production teams.
A glance at the early awards season contenders in confirms this. Having honed his ear for accents as a voice teacher at the Central School of Speech and Drama, Swain spent three years working as resident voice and dialect coach at the Royal Shakespeare Company, where he worked on over 30 productions before moving into film six years ago. Getting this right meant meticulous preparation and. Before we could really start to think about the specifics of his accent we had to think about his stammer and how it manifested itself physically within the mouth, and the issues that brought with it.
And then we started thinking about the fact that inside the mouth the tongue was very tight, because the style of speech of the time was very specific, with shorter vowel sounds and heavy, crisp consonants. But more than this, it shows just how valuable experts like Swain are in helping an actor complete their onscreen transformation.
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But it is important to note that this is not about improvisation, ad libbing, or channelling the philosophies of Stanislavski and Strasberg. This is lifelikeness realised through new skills and real world know-how — a progressive acting mindset that emphasises the pursuit of truth through action and technical dexterity.
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As this emotionally fragile, sexually frustrated perfectionist struggles to reconcile the two halves of the lead role she has worked so hard to secure — the virginal White Swan on the one hand; the violent and malicious Black Swan on the other — she begins seeing in her own reflection a dark half that she never knew existed, and which before long will act of its own accord. All of which sets the stage for one of the most intense psychological breakdowns in film history; one lent an unsettling authenticity by a superb performance from Portman, herself a Harvard psychology graduate.
Ballet offers little of the grounding in conventional character that actors find in theatre: dancers instead spend months inhabiting identities that are more like ideas, personas that are closer to the masks of Greek tragedy. They live with the constant danger of becoming disconnected from reality through the motifs of the dance. Yet despite the computergenerated conviction of such moments, the notion that the mirror might not always obey the master is one that filmmakers have been playing with for almost a century.
Such continuity implies something profoundly affecting in the idea of a mirror image that acts of its own accord, and suggests that no amount of slapstick can completely hide the degree to which it resonates with us on a deeper level. As such, many filmmakers who utilise the idea do so with the aim of unsettling rather than amusing audiences.
As the film progresses, the mirrors reflect images that begin to take on a life of their own, eventually following Ben home and. In one gruesome scene, his wife watches in horror from the bath as her mirror image reaches up and rips off its own jaw. Such moments owe their disquieting nature to a subversion of a notion, as old as mirrors themselves, that reflections cannot lie. As far back as 6,BC, when the first primitive mirrors were being fashioned from polished obsidian in Anatolia, they were reverently believed to reflect part of the human soul.
That registers unconsciously, even if few people realise it. A Swiss contemporary of Sigmund Freud, Jung was a renegade psychologist who fused the fundamentals of his discipline with a personal fascination in everything from astrology and alchemy to Eastern philosophy and dream interpretation. Not that the shadow is inherently wrong or evil. Just as the White Swan of the ballet is undone by the malicious scheming of the Black Swan, so Nina can only watch in despair as the shadow self detaches from her conscious identity, steps out of the mirror and begins one final, destructive flourish on stage before the curtain comes down and the halls echo with horrified silence.
No amount of remakes or reinterpretations seems able to erode the horror at the heart of the original Invasion, which plays with the idea that our friends and family members can be taken over by alien forces while still looking and sounding like their original selves. The film has long outgrown its associations with Cold War fears of Russian communism, for which the invasion was an extended metaphor, and today stands as a master class in psychological tension.
Bibi Andersson plays an idealistic nurse caring for an actress who has fallen mute after an unexplained existential revelation. As the two women grow closer, the borders between their personalities begin to break down and their pasts, presents and futures interweave. The number of meanings attached to the film over the years is as many as the characters in it are few, but it offers a profound insight into personas as masks for hiding metaphysical fears and insecurities which, once exposed, have the power to overwhelm us.
The former pursues a singing career after a chance encounter in Krakow; the latter falls for a puppeteer who is fascinated by her implied double life. A large mirror falls and smashes during a birthday dinner organised by a young doctor, Gina Lena Headey ; the moment is nervously laughed off, but the following day Gina sees a woman who looks just like her driving the exact double of her own car. A dead bird has more power to me than a dead mammal. We are used to seeing mammals sleeping, the position assumed often being indistinguishable from death. A flightless bird is like a toothless tiger; it is a picture of vulnerability.
My instincts fall in the former category. For something so small and quiet to stop me dead in my tracks makes me find it worth hanging onto. A flock of abstracted birds was first installed on a billboard at the Truman Brewery, London, in late August. In September, the birds reappeared in New York flocking towards the billboard on the side of the Espeis Gallery in Williamsburg - the project inheriting the migrational nature of its content. My passion lies more in exploring and depicting their textures, shape, colour and costumes. With so many varieties and many more unexplored, I am provided with an endless stream of inspiring images to dissect and enjoy.
The process may feel reminiscent of an abstract painting, a colour study or even an experiment in printmaking. These easily overlooked tiny extinctions foreshadow future impacts on human health and welfare. They also raise larger moral and theological questions.
How significant is the fall of a sparrow? I also like to play with the myth of Icarus and the idea of a dead or decaying bird as a flying creature brought down. For me they evoke a fall from grace, as well as from the sky. I am interested in the symbolism of all sorts of creatures and how that shapes our perception of them. Birds are steeped in symbolism, the fact that they fly gives them access to both earthly and heavenly worlds.
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They have become symbols of the human soul. Owls were often thought of as messengers from the gods, and guardians of the underworld. There was something very gentle and peaceful about her. These West Coast vixens with the blond bleach and sun-kissed skin. They all want to be stars. And by definition, specialness is rare.
The daughter of Russian parents who moved to LA when she was nine-years-old, Kunis hardly had the usual upbringing. Swapping post-Soviet Russia for working-class America, she was pitched.
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But what could have been a lost year became a transformative one when she signed up to after-school acting classes at the Beverly Hills Studios. Commercials soon followed, and by the time she was 14 Kunis had talked her way into a role in a sitcom pilot despite being four years under the age limit. What was your life like during that period? Were there sacrifices that you had to make? I never did it as a career at nine.
So for me it was a hobby. But I ended up between nine and 15 doing, I think, 30 commercials. I was protected. I had an amazing family. I never thought anything of it, ever, ever, ever. I was just having fun. There must have been a point at which you put off the hobby and got serious though? I was years-old when I changed, so it took a long time for me not to think of it as a hobby.
What changed? I decided to make it a career. How do you get through five years of a popular TV show, when your life must have changed dramatically, and not see it as a career? I was 14 — I had a lot more important things to learn, for instance puberty. This was literally a hobby. My parents never put weight on it, my family never made me feel any more special than just being a daughter would.
It never made an impact. So what clicked when you were 20? I went to Fairfax High School, I went to college. And this was going to end when my contract ended, then I was going to go off and do whatever else. Then around years-old I realised that this is all I know how to do. So when I made the decision that I was going to do this for my career, everything had to shift. I had to think of it as a career so I had to make smarter choices; I had to separate myself from the industry. I think you always think that as an actor. You never want to do the same thing for a long time.
I think the reason why anybody goes into this industry is because they want to do different things. So even though I was lucky to be on a show for eight years, to do the same show gets really hard. You just get a little repetitive with it. When I decided to make acting a career, I decided to move my way out of this genre and see what I can do.
And if I failed then I failed, but at least I failed knowing that I tried. How do you make that transition? But the sad thing is that someone else has to believe in you. It all depends on the person hiring. Is there any way you can prepare yourself for the experience? The only thing I can say to prepare yourself is not to have your happiness be based on the industry. The only way you can actually succeed is if your happiness is not based on your career. Is it about a cheque dropping through the front door? Well, I was raised poor.
Money to me never mattered. I would go to school, I would go to work, I came home, I had to make my bed, I had to do the laundry, I had to do whatever my chores were for the day and then I got to go and play with my friends. Nothing changed for me. If I needed money, I asked my parents for money. This is great! Did you feel the weight of responsibility of it?
A film about dual identity, race and family secrets.
Because I think money is the root of all evil. Easy for you to say. Absolutely, but I was poor and I thought the same. From when I was born to the age of seven, my family was fine, we were pretty well off. When I moved to America, we were poor, like, really, really, really poor. It made no difference to me. Even fewer can claim to be one of the finest in the business. Anyway, my thengirlfriend introduced me to Eric Watson, who was producing Pi, and was talking to just about everybody and anybody who could contribute something towards the film because they had absolutely no money.
So Darren being Darren, he got everybody around this boombox to listen to it and luckily for me they loved it. In truth, Pi liberated me. Then after the success at Sundance [where Aronofsky received a Directing Award, and the film was nominated for the Grand Jury Prize], I got a couple of calls to work for other films and although nothing really came together, it made me start believing in what Darren had told me. It moved her down the hallways and outside with the lightning, but it also had this sense of dread. It was like the film had suddenly come to life. I just recorded all these different rhythms — it was essentially beats playing strings.
In fact, the only conversations we have about any sort of dilemma are always about time. After Requiem for a Dream, it took Aronofsky six years to move ahead with his next project, the ambitious sci-fi epic The Fountain. It was like a very intensive boot camp. There were endless nights looking at my computer and walking home at midnight, all to get up at 7am and do it the next day, which is sometimes what it takes. Glancing through the carriage, she seems to see a mirror image.
But what she glimpses is a new competitor whose arrival will have consequences that Nina could never begin to guess. Two World Wars, planes hitting the Twin Towers, the financial meltdown of , the invention of the internet; each was an unanticipated event that reordered the fundamental structures of our society. And yet each was explained in hindsight as if it was destined to happen.
Each was a black swan. No one had ever seen such a thing and therefore none could conceivably exist. Until, in , Willem de Vlamingh stumbled upon a river of black swans in Western Australia, turning centuries of thinking on its head. Second, it carries an extreme impact. We like reassurance. We like to feel that we are in control, and so we invent ways to kneecap chance before it runs amok.
We manipulate knowledge, relying on what we can explain and understand - the white swans of our life - to anticipate the events of the future. If things run smoothly, our confidence grows. We become fooled by randomness. We now know that the death of Franz Ferdinand precipitated the Western Front, that Versailles and the Weimar constitution gave rise to Hitler.
We have dwelt on these events like ex-lovers, rendering them into digestible narratives of accepted understanding. And from this silence, black swans fly. Take the financial crisis. We could plan while bearing in mind such limitations. It just takes guts. After all, absence of awareness of cognitive error is nothing new. If anything, most economists agree that we are now more aware than ever of our failures as reasoning machines.
Read, watch then head t o w w w. Take Christian Bale in The Fighter. He plays Dickie, a rake-thin former boxer-turned-crack addict, and current wildcard trainer of baby brother and welterweight hopeful Mickey Ward Mark Wahlberg. Instead, as Dickie repeatedly promises greatness for Mickey but delivers only cataclysm including some shockingly mismatched fights, and a brutal beating at the hands of some police heavies , what we get is a mesmerising display of bird-like twitches, bodily jerks and bug-eyed stares, often overlaid with thick Bostonian. And this, surely, is the rub. For when acting becomes nothing short of transformative fireworks — and it does so very rarely think De Niro in Raging Bull, or Day-Lewis in There Will Be Blood — it can be distracting.
Or the worst. Thankfully, however, the hammer never falls on either side. Russell throws so much at the screen that there is little time to make your mind up. Instead, what you get is a formulaic boxing movie with some primitive gender-based stereotypes skinny babes in black underwear are good; plain fat girls in sweaters are bad , that is made utterly compelling by a single turn from one of the most committed actors in the business. Kevin Maher.
It is the joy of discovery, of electric excitement when the early stirrings of genius are first revealed.
Mobsters were being shot in crowded restaurants and popular nightclubs while the police sat back and did nothing. I wanted to do something that felt big, as rich as a novel, and yet still worked within the vaguely familiar bounds of genre. I had no. But my aspiration at the beginning was just to make sure that it felt big and rich and packed full of detail. In effect, Animal Kingdom is a riposte to the peculiar celebration of criminality that was beginning to take hold in Melbourne.
The wife of one of the most prominent of these gangland figures very nearly ended up on Dancing with the Stars in Australia, which boggles my mind, how that level of celebrity can be attained via the most insalubrious channels. In creating those characters — the riveting and terrifying Cody family — was there a danger that he could get too close, and ultimately be seduced by the outlaw lifestyle he had set out to expose?
But I was always wary of drifting into a territory that might be trying to make them cool. I wanted to make a crime film about a particular family of criminals who were, for possibly obvious sociocultural reasons, really quite damaged individuals who carried within them a frightening potential for violence. It was important for me that I not be making a Guy Ritchie film or a Quentin Tarantino film for that menace to be truly palpable. His business partner, Baz Joel Edgerton , wants out, recognising that their days of old-school banditry are over.
Ensconced in a den of savage criminals, J succumbs to the Cody lifestyle but soon finds himself at the centre of a cold-blooded revenge plot between the family and the police. Animal Kingdom is a film in which the threat of brutality is everpresent, lurking ominously, constantly threatening to explode. The director has confessed to a desire to make a sprawling, multi-layered drama with manifold locations and characters, some of which are not introduced until half-way through, and in superbly realising this, acclaim goes to the terrific ensemble cast. Jacki Weaver particularly excels as the domineering matriarch, achieving one of the most.
A moustached Pearce is characteristically excellent as Leckie the one male character in the film to be shown stepping aside from his job and enjoying a loving and stable family life , offering J a glimpse of a safer and calmer world. With Animal Kingdom, he arguably surpasses both. Jason Wood. A debut feature from a little-known formershorts director, but one that won the Grand Jur y Prize at Sundance. Waters is an equally — if not more — inspirational working-class figure, in that she actually put in the hard graft, went to law school, graduated and won the case with a little help from her friends.
It makes the film feel anti-dramatic as it plods along to an obvious denouement. Why was Kenny such a police magnet in the first place? Perhaps Goldwyn felt that such a detail would muddy the triumphant tale he was hell-bent on telling. Martyn Conterio. Parka-wearing Sajid Aqib Khan is now years-old, dealing with racist bullies, the injustice of puberty, and still not conforming to the Punjabi ways his father expects.
But it is George who, returning to the family he left behind, is forced to reap what he sowed 30 years before and is made to feel like a foreigner in his own country. At a time when discussions about political correctness were particularly rife, East Is East provided comic relief. While it branches out geographically, West Is West fails to go the distance for an audience who have aged twice as much in its absence. It also. At least the family dynamic works — with 45 years and a continent of experience between them, Sajid and George have a believable tension and touching chemistry that provokes questions about whether ethnic identity can be passed down through generations of immigrants.
This is where the film feels lacking — not in the identity crisis of its characters, but in its own lethargic maturation. Zara Miller. Over minutes, Ferguson fixes an accusatory eye on the institutions, academics and federal representatives whose actions precipitated a global economic meltdown in The corruption he unearths is heartbreaking. Ferguson masterfully guides the viewer through the history of modern finance and the factors that contributed to the economic downturn. From the Great Depression to deregulation in the Reagan era, via the passing of the Commodity Futures Modernisation Act by the Clinton administration and further deregulation during the Bush era, the house of cards is built.
As well as exclusive footage of global leaders, chief execs of investment. Shelley Jones. Umut, a taxi driver, struggles with a domineering boss and a wife desperate to escape the confines of their tiny apartment. Seventeen-year-old Fikret tries to sell bunches of roses amongst the slow-moving traffic we never see him succeed. Mild-mannered cop Murat manages the traffic, spending his evenings on internet chat rooms trying to meet a woman.
Suffering under differing extremes of poverty and urban isolation, they search for freedom, happiness or self-determination. None of them are likely to find what they need. Dialogue stems largely from improvisation, while camerawork is handheld and unobtrusive. This realist aesthetic is so uniform that it does, occasionally, feel stunting. Stringent realism is all well and good, but when it leads to blanket objectivity you begin to wonder about its usefulness as a defining aesthetic — an aesthetic, in this case, that defines the content.
But such quibbles are minimal. The hulking bridge is presented in a positively Miltonian manner — a dreadful rumbling, glinting morass, burdened with a constant crawling stream of honking, fumespewing vehicles. For such a rigorously realist film these compositions are quite stunning. Are we beginning to see a Turkish new wave, rolling along the waters of the Bosphorus? Chris Neilan. From Japan to North Africa via Mexico, California and now Barcelona, his films are invested in the meaning and condition of our twentyfirst-century lives. It is a grand undertaking, this social archaeology, and it is one that exists on the very edge of sententiousness and self-importance.
Javier Bardem plays Uxbal, a small-time grifter connected to illegal Chinese labour. But he is also a spiritualist who communes with the dead, a skill that throws his own fate into sharp relief when Uxbal is diagnosed with cancer. Fearful of what the future may hold for his children without him, Uxbal attempts to put his affairs in order, only for tragedy and disaster to intrude.
This is feel-bad cinema at its most intense and. Do we believe that this is the reality of life for people like Uxbal — a debilitating struggle in which misery is piled on top of anguish? Certainly, it feels hard to credit the sheer weight of misfortune that collapses on his shoulders. Or is it mere arrogance to question the cycle of economic oppression from the safe side of a cinema screen?
Biutiful is bruising, provocative and uncompromising. The director may retain his faith in people — in our capacity for redemption — but his audience, like Uxbal, will have to search hard to find it. Matt Bochenski. Since then, doors have been thrown open for the director, but his response to all this fuss has been characteristically humble. Is Boyle at all daunted by the challenge of overseeing the opening ceremony of one of the most important fixtures in British cultural history? Not a chance. They had a very breast-thumping reason to do it, whereas I think ours will really utilise the intimacy of the stadium — which is the same seating capacity as Beijing, but half the size.
So it will be a bit more about the people in the stadium rather than the sheer spectacle on TV. I think if we tried to match them it would end up looking like a half-arsed Halifax advert. No one wants to see that. After five days of dwindling water and repeated failures to escape, he recorded his last goodbyes on a camcorder and resigned himself to death. First things first: yes, the amputation is shown in full-frame close-up, as are the two auto-arm-breakings that precede it. But is there anything going on with Hours beyond its grisly USP?
In short, yes. Then the rock drops. As initial panic moves inexorably to delirium and Ralston starts to realise he might not make it, Boyle reaches deep into his bag of cinematic tricks, employing everything from time-lapse photography to hallucinations of Scooby Doo as he ratchets up the tension. As hope dwindles, he seizes avidly on a few award-friendly set pieces; in particular a scene where he interviews himself on his camcorder, castigating himself for neglecting his family.
Andrew Lowry. Morning Glory shares its name with the Katharine Hepburn film from There, Hepburn played a talented actress struggling to be recognised for anything more than her looks. Eighty years later, it seems that little has changed. Bottom line? It should have offered more. At times, Morning Glory musters the courage to say something interesting, both about women in work — the fixed roles and silent assumptions — and about the failings of the modern media — the crippling budgets, the dumbing down, the ceaseless dichotomy between information and entertainment.
But it retires from both, sliding inexorably into cloying sentiment. Each character, once established, never breaks the mould of predictability, while Becky, who begins the film with such idealism, is never granted the chance of self-realisation. Reticent to the point of hidebound, the movie reeks of compromise. Even as a vehicle for an extraordinary actress, it fails to use McAdams for more than her looks. An early montage sees Becky. Perhaps Zarchi now exec-producing should have cast his daughter in the lead — that might have stirred up some extra infamy.
Although Monroe succeeds in making them suitably unpleasant and non-titillating,. But McAdams deserves to be recognised for so much more. Tom Seymour. Besides, what does he want, a fucking biscuit? End of indignation. Matt Glasby. Yet often the most successful are those that embody the spirit that made the original stand out, while establishing a sense of identity and purpose that is entirely their own.
Sadly, the task has ultimately proven too big for him. Wearing the scar and scowl made famous by Richard Attenborough, Sam Riley looks and acts the part as Pinkie Brown, the young sociopath hell-bent on shanking his way to the top of the crime pile following the death of his mentor at the hands of a rival gang. After exacting his own brand of eye-for-an-eye justice, Pinkie finds himself in deep barney with both the law and resident cigarchewing mob king Mr Colleoni — played with.
To keep the former off his tail, Pinkie woos the girl whose testimony would bring about his undoing. But while doe-eyed waitress Rose Andrea Riseborough might be meek and impressionable at first, her growing clinginess and unconditional devotion soon put both their lives at risk. Joffe has applied his own signature to this Scarface-lite tale by bringing the setting forward from the lates to ; the year that the last hanging took place in the decade of the great British gangster.
And it is here, crucially, that the mods and rockers first inspired moral panic on the streets and shoreline of South East England. All of this amounts to one damning prosecution against the director. Adam Woodward. Romanek worked alongside David Fincher, Spike Jonze and Michel Gondry — the next generation of filmmakers who crossed over from second spots and three-minute promos into the fertile feature ground of Hollywood.
His debut feature, One Hour Photo, was the least aggressive, most classical work of all his peers. That film was released in , but as his friends flourished, Romanek stalled. An abortive experience with The Wolfman effectively put the director out of action for the rest of the decade.
But if his latest film is anything to go by, that absence from the big screen has only sharpened his skills. Never Let Me Go, an adaptation of the novel by Kazuo Ishiguro, is both a hugely successful translation and a profound piece of cinema in its own right. Romanek has returned in triumph.
Those are the things you look for that give something the potential to have any lasting value. The story of three children who mature into adulthood with the terrible knowledge that they will be farmed for their organs, is a heartbreaking tale of love and friendship that touches on our most basic fear: mortality. Once again, Romanek took his inspiration from Japan, eschewing an emblematic approach to the period in favour of a more romantic, pictorial aesthetic. We tried to wabi-sabi the movie because the film is about the preciousness of time.
I wanted to see the effect of time in almost everything that was in front of the camera. Like most lowbudget films, once the cameras started rolling, Never Let Me Go became a balancing act between orchestration and spontaneity. Garfield suggested that his character, Tommy, should stick his head out of the window, even though it was late in the day and not easily arranged. When I started to see how she was playing it, it emboldened me to go further in my Japanese influences. She works in an almost mystical way. She embodies yugen, I think.
Based on the novel by Kazuo Ishiguro, it has been adapted for the screen by The Beach author Alex Garland with a sympathetic feel for tone and texture. And it marks a triumphant return to directing for Mark Romanek, after eight years in the wilderness. England in the s, a society stuck beneath grey skies somewhere between the old world and the new.
Hailsham is the acceptable face of barbarity: a grotesque parody of childhood, education and care. After they leave Hailsham, they will get a brief taste of life on the threshold of death. And they will come to understand in their own ways what it means to be. The passions that ignite between the three friends are a heartbreaking contrast to the repressive monotony of the country at large. Above all else, Never Let Me Go is a story of tragic waste. It is also a showcase for a new generation of English actors, led by Carey Mulligan, who proves once again that she is a performer of great restraint and subtlety.
Instead, Kathy, Ruth and Tommy find solace in forgiveness. And what could be more human than that? Provocative in its lack of provocation, Never Let Me Go is a thoughtful, subtle and profound piece of cinema. Rabbit Hole explores this process intimately and openly through the eyes of a suburban American couple whose blissful equilibrium has been shattered by the death of their young son. Ever since the car accident that took four-year-old Danny from them several months ago, Becca Nicole Kidman and Howie Aaron Eckhart Corbett have been prisoners in their own white-picket ideal.
Domestic routine has become a cancer. The family home is now a living scrapbook, with fridge paintings and idle toys serving as bitter souvenirs of the anguish that is rapidly consuming them. So far, so bleak. Far from it, in fact. With internal tensions rising, both husband and wife are forced to find comfort independently or risk their marriage imploding.
That these scenes work so well within such a context is testament to Kidman and Eckhart, who are equally compelling together and apart. Peter Weir epitomises the tasteful end of the mainstream. A group of prisoners bust out of a Gulag in and make their escape from northern Siberia across the Gobi desert, over the Himalayas into India. On foot. In a true story. Well, true-ish. No matter — Rawicz was let off the hook by the suggestion that his book was a compendium of stories from various refugees. Cinema is much more literal than prose.
Writing about real life makes allowances for all the abruptness and contingency of real life; capturing that in The Way Back means characters show up, get interesting and promptly wander out of the narrative, never to be heard from again. Any resonance beyond the here-and-now. Rather, he follows the first ripples of tragedy as they engulf the Corbetts like a tidal wave, before calming and clearing away the debris so that they might begin to rebuild and grow again.
All of which is a pity, because when The Way Back works, it really works. In these few exultant moments, The Way Back threatens to soar in a way that makes its muddled and disjointed narrative all the more frustrating. Set in s Glasgow, the film revolves around highly intelligent schoolboy John McGill Conor McCarron , and his slow integration into the wild street gangs that inhabit the estates around his home.
This attack, which sucker punches the audience early on, sets the precedent for much of the remaining two hours, and initiates the beginning of a tour de force of pure, concentrated tension. The film itself could easily be likened to a two-hour mugging, with clever positioning of random acts of extreme violence throughout the narrative insinuating into the audience a nagging sense of anxiety.
While Mullan allows the story to flow, he sharply switches the tone and pace of scenes, constantly placing the viewer. And when it comes to language, Neds is brave enough to stick to its naturalistic guns — employing a local Glaswegian vernacular that renders large portions of the dialogue only semi-comprehensible when it was screened at the Toronto Film Festival it came complete with subtitles. Rather than jerking us out of the environment, this commitment to authenticity simply makes the experience all the more immersive.
Nonetheless, this is an accomplished piece of storytelling. Brave, bold and true to the Scottish. In Seducing the Enemy by Noelle Adams, heroine Marietta Edwards has lived a sheltered life, due to being injured in a tragic accident as a child. Finally recovered, she wants to indulge in pleasures that are entirely new to her, so she begins by seducing a sexy, mysterious stranger. Only after their one-night stand does she learn their families have been A wife he needs. The woman he desires. Cy Hathaway needs a wife, fast, to win custody of his son, Jonty. He returns home to discover the childhood sweetheart he once left behind has become a vibrant, beautiful woman.
Even though wanting to sweep her off her feet wasn't part of the plan… For Ellie, Cy's sudden reappearance awakens a flood of memories—and Stefanie Stefanopoulos has been tasked with entertaining—i. Jamison Matthews has lusted after Ryder Montgomery since she was a preteen. But now that Ryder and her brother's band, Shaken Dirty, has made it huge, she's just one of many pining for the brooding lead singer.
Too bad Ryder still sees her as a little sister. Not that it matters. Her brother would never allow it, and the last thing Jamison wants is to be Compelled by her uncle to marry a man who has a predilection for violence, Tess Stanhope resorts to a ploy from her favorite novels to fund an escape—highway robbery.
But her attempt is botched by a maddening, handsome rogue named Aiden. Lady Wilhelmina Stanhope is ruined and everyone knows it. Back in Town for the first season since her downfall, Willa plans to remain firmly on the shelf, assuming only fortune hunters will want her now. Instead she focuses on her unique tea blends, secretly supporting a coffee house which employs poor women and children. Four very spirited vignettes of holidays past. Not even the cute brunette who links him to the baby in her arms can crack his icy heart.
Getting snowed in never felt so good as boundaries are crossed, opposites attract, and friends discovering more promise a Christmas no one will ever forget. Wade Crowson, a brutish and brooding playboy and veteran vivisectionist for the Parts Department, runs into more than he bargained for in new partner, Lucid Montgomery, a quirky beauty with a bizarre secret and a string of psychiatric diagnoses she tries hard to keep hidden. Loving Luce will stamp a demonic target on her back and thrust Wade into a At eighteen, Melissa seduced her best friend Julia's brother only to run away shortly after.
Ten years and a near death experience later, Lissa is ready for a husband and family. But a cry for help from Julia puts that dream on hold. Yeah, Detective Britton Townsend is hot and has stunning blue eyes, but that foul mouth he saves only for her?
What a waste of good looks. And no way does Val want that Marshal, Zack McCade, takes pride in protecting the good folks of Greenville—especially the beautiful Dr. Suzanne Martindale. And what was with this guy? Entangled Publishing is an independent publisher of romantic fiction, in both the adult and young adult markets. Since its first release in July , Entangled has published more than 1, titles. Currently, Entangled has 13 imprints, and releases approximately titles per month ranging from romantic comedies, erotic romance, paranormal romance, to historical romance. Sign In.
Remember Me on This Computer. Need help signing in? Not a Member? Join For Free! We Help Books Succeed. International www. Contact Get Help About Blog. How It Works. Add to Favorites Add to Favorites. Based in United States. Previously on NetGalley Total. Title Details. Pub Date 05 Nov This title was previously available on NetGalley and is now archived. Then his father was charged with the abuse and murder of four young boys and normal became a nightmare. The only things that keep him sane are his little sis; his best friend and dream girl, Summer; In the Blood Sara Hantz.
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