Tag: anthony hopkins

ONE LIFE – Review

Anthony Hopkins as Nicholas Winton in ONE LIFE. Courtesy of Bleecker Street

The moving ONE LIFE throws a spotlight on a British man, Nicholas Winton, who has been called the “British Schindler,” saved far more than one life in the early days of WWII. Anthony Hopkins plays the older Nicholas Winton, who in 1938 had organized a kindertransport, an effort to get hundreds of children, mostly Jewish, out of Prague ahead of the Nazis, but whose heroic efforts were not widely known or recognized until 1988, when he appeared on a popular British TV talk show.

The children and their families had fled to Prague after Hitler seized the Sudetenland, a German-speaking area in the north of the then Czechoslovakia, in 1938, the beginning of Hitler’s plan for conquest. In the infamous appeasement of Hitler, European countries, including Britain, had agreed to Hitler’s demands and ceded the Sudetenland to Germany, with a false promise of peace. ONE LIFE tells the remarkable story of Winton’s heroic efforts to rescue these refugee children but it also depicts the late-in-life recognition for his seemingly-impossible effort that saved hundreds of children.

The idea that the rescue was impossible was the first obstacle Nicholas Winton faced in saving those children. Johnny Flynn plays the younger Nicky Winton who we meet in flashback sequences, along with Helena Bonham Carter, who plays Nicky’s feisty, determined mother Babette (nicknamed Babi), who was among the many people who helped save those young lives. The cast also includes Jonathan Pryce, as the older version of one of Nicky’s friends who helped with the rescue, and Lena Olin as the older Nicky’s wife Grete.

Based on the book “If It’s Not Impossible…: The Life of Sir Nicholas Winton” by Nicholas Winton’s daughter, Barbara Winton, ONE LIFE is an emotional film, an uplifting survivors story, with dramatic scenes in both the pre-war rescue portion and the later 1988 portion, when the world – and in some cases the now-grown rescued children – finally learned what the modest Winton done in 1938. In 1988, the modest, reserved retired banker Nicholas Winton was an unlikely guest on the pop-culture British TV show “That’s Life!” and the world finally learned of his remarkable deeds. The historic drama is directed by BAFTA-nominated James Hawes.

Of course, Winton was not the only person who made the rescue possible but he was the last one left alive in 1988 when the heroic deeds finally came to light. And it was Winton who put in motion the rescue that others told him was impossible, although significant roles were played by Trevor Chadwick (Alex Sharp) and Doreen Warriner (Romola Garai) of the British Committee for Refugees in Czechoslovakia, who helped to rescue hundreds of predominantly Jewish children before Nazi occupation closed the borders.

ONE LIFE opens with retired banker Nicholas Winton (Hopkins) living a quiet, comfortable life in rural England. As they await the birth of their first grandchild, his wife Grete (Lena Olin) encourages Nicky to finally clear out all the clutter and old files in his overstuffed home office, to make a little more room in the house. The contents of one worn, old briefcase is something she knows will be hard for husband Nicky to part with – perhaps to a library or research center.

We learn that the briefcase has a “scrapbook” that is a record of what Winton did during WWII, when he decides to tackle the long-delayed task while his wife is on an out-of-town trip. Nicky thinks the scrapbook is important and should be preserved but he doesn’t want it stashed away in a library. Instead, he wants it to be somewhere people can access it and learn from it, especially charitable groups facing other near-impossible tasks.

In flashbacks to 1938, we meet young Nicky Winton (Flynn), a low-level accountant with a London investment banking firm, who has a strong commitment to doing good works, as his mother Babi Winton (Bonham Carter) raised him to do. Nicky has taken time off work to travel to Prague to help with refugees who fled there when the Nazis took over the Sudetenland, despite the rising danger of Nazi invasion.. As soon as he arrives, Doreen Warriner (Garai) and Trevor Chadwick (Sharp) put Nicky to work organizing the files of their organization, the British Committee for Refugees in Czechoslovakia, with Nicky cracking that he’s “good at desk.”

A visit to the squalid, crowded neighborhood where the refugees are living changes everything for Nicky, when he meets some children suffering there. Moved, he wants to do something to help. When he asks Warriner how the children will survive the coming winter, she grimly replies “They won’t.”

Although Warriner tells Nicky that saving them is practically impossible, Nicky is determined to try to get them out of the country. “If something is not impossible, then there must be a way to do it,” Winton says.

The first problem they encounter is getting lists of refugee children. There are several organizations helping the refugees and they fear of lists of the children will fall into Nazi hands and so they won’t share them. Frustrated, Nicky eventually meets with the leader of one group, Rabbi Hertz (Samuel Finzi). The rabbi is wary of trusting Winton, who was raised in the Church of England, but when Winton reveals that he had Jewish grandparents on both sides, the rabbi decides to trust Winton. That opens the door for others to also cooperate.

With things underway Prague, Nicky calls on his resourceful mother Babi back in London to help with getting permits and finding foster families for the children.

The film moves back and forth in time between wartime 1938 and the film’s present in 1988, when what Winton did during the war finally comes to light. Both portions are moving and have emotional moments, but the ending of the 1988 portion makes the film particularly uplifting.

Anthony Hopkins is splendid as the modest, kindly Nicholas Winton, who assumes that the documents he has preserved are important but does not see himself or what he did that way. The scrapbook records in detail the people and actions of the kindertransport, and even photos, but Nicky thinks it is mostly of interest to other charitable organizations. Always quick to credit the efforts of others, Nicky doesn’t see what he did as heroic but instead is wracked with remorse about the children he couldn’t save when the Nazis suddenly shut down the border.

Hopkins does a lovely job portraying Winton’s quiet determination and appealing modesty, as well as his sweet fondness for children. The rest of the cast is also excellent, including Johnny Flynn as young Nicky. Helen Bonham Carter is particularly delightful as Nicky’s strong-willed, sharp-tongued mother Babi, and her performance adds a needed bit of humor. The scenes with Hopkins as the very serious Winton appearing on the light-weight, pop culture talk show “That’s Life” also offer a touch of comic relief, although it leads to a three-hankie but perfect ending.

The photography is lovely, and the attention to period details in both time periods makes immersion in the story easy. The colors are warm but muted, and the scenes in the refugee settlement with the ragged children, some with pleading eyes and others with irrepressible childish energy, are Dickensian, touching and heartbreaking.

ONE LIFE is a polished, moving period drama featuring a fine cast, highlighting an inspiring story that should be better known, about a man who deserves recognition for saving hundreds of children, simply because he refused to believe it was impossible.

ONE LIFE opens Friday, Mar. 15, in theaters.

RATING: 3.5 out of 4 stars

FREUD’S LAST SESSION – Review

(L-R) Matthew Goode as C.S. Lewis and Anthony Hopkins as Sigmund Freud, in ‘Freud’s Last Session.’ Photo credit: Sabrina Lantos. Courtesy of Sony Pictures Classics

Sigmund Freud (Anthony Hopkins) and C.S. Lewis (Matthew Goode) debate their opposing views on religion verses reason on the verge of World War II, in FREUD’S LAST SESSION.

FREUD’S LAST SESSION is based on the stage play of the same name, in which the now-elderly famous Dr. Sigmund Freud, the father of psychoanalysis, invites the much younger professor C. S. Lewis, a rising Oxford don who will write the Narnia book series, into his home in London, to which the Jewish doctor fled ahead of Hitler’s invading troops from his native Vienna. On the brink of Britain’s entry into WW II, these two intellectual giants meet for the first time and discuss a range of philosophical topics, including the existence of God and meaning of life.

Their views could not be more different. C. S. Lewis, a scholar who was once an atheist and now a devote Christian, and Sigmund Freud, a Jewish doctor who had became an atheist, engage in a fascinating, frank intellectual discussion that sometimes becomes fiery. Yet when they periodically a break from their intellectual sparring, they are cordial and an unexpected friendship forms over the course of the visit.

There is no evidence the two famous men ever actually met, so the debate is fictional, but it is a still a pure delight, and with a refreshing example of how to disagree – vigorously – without making it personal. The play mixes brilliant dialog and debate, sharp smart humor and a remarkable warmth, providing a wonderful, intriguing discussion that offers a model of how to disagree without descending into schoolyard taunts and insults.

At least that is what happens in the play. The film, however, is another matter, despite a screenplay co-written by the play’s author Mark St. Germain along with director Matthew Brown.

For some reason, playwright Mark St. Germain was not satisfied with making a film out of his excellent play. It isn’t that the playwright now favors one view over the other, but that he dilutes that intriguing philosophical debate altogether, by instead having the characters spend more time digging into the other’s personal lives, uncovering flaws and scandals. The intellectual debate now shares time with personal sniping, and some subplots unrelated to the two characters’ discussion.

The stage play’s clear narrative arc and its fine two-actor debate are transformed into a film that periodically veers off into a separate exploration of Freud’s relationship with his daughter and protege, Anna Freud, and her personal life, and C.S. Lewis’ memories of trauma in WWI and personal relationship secrets. Combining these two largely unrelated themes – personal versus philosophical – turns this enjoyable, satisfying play into a messy, melodramatic, much-less satisfying movie.

The film is particularly harsh towards Freud, giving us a rather unsavory look at Freud’s personal life. At the same time, Anthony Hopkin’s Freud is especially aggressive in delving into Lewis’ traumatic WWI experiences and his own secrets, including a possible sexual attraction to the mother of deceased friend killed in the war.

The focus of the two-character play is further diluted by expanding the cast, bringing in characters only discussed in the play and more. Liv Lisa Fries plays Anna Freud, the famous doctor’s daughter and caretaker who was a renowned psychoanalyst in her own right, and her secret relationship with another woman, Dorothy Burlingham (Jodi Balfour), a psychoanalyst who became the founder of child psychology. The film also adds Jeremy Northam playing Freud’s old friend and colleague Ernest Jones, while Orla Brady plays Lewis’ companion Janie Moore, the mother of Lewis’ fallen friend.

Instead of two great minds engaged in an interesting debate on the existence of God and other matters, we get the two famous men scoring points by digging into each other’s personal lives in search of scandal. Instead of an example of how to disagree without being disagreeable. we get a gossipy tit-for-tat drama that occasional returns to the philosophical debate at the center of the play.

Anthony Hopkins and Matthew Goode are talented actors and well cast as Freud and Lewis. They turn in strong performances but are weighed down by the unfocused script. The supporting cast is good as well, and the film has beautiful photography, with fine period details and settings. Director and co-writer Matthew Brown works to open up the play so it doesn’t feel too stagy. But there is no overcoming this script, which is a major departure from the excellent play on which it is based. The play is smart, with witty humor and warmth. The film just feels leaden and mean, for the most part.

There is a subplot about Freud’s devoted daughter Anna, under her father’s thumb, and her personal struggles over her feelings for Dorothy, something of which her famous father does not approve. Anthony Hopkins is a great actor but there is a bit of Archie Bunker in this bossy, rigid version of Freud, bullying his daughter and not always so nice to his guest, Prof. Lewis. Matthew Goode’s Lewis is respectful towards to the famous older man, as he is in the play, but Lewis still stands his ground in the philosophical arguments – when the film manages to fit them in between all the daddy-daughter drama – and he is a bit more overwhelmed when the good doctor delves into Lewis’ secret feelings about his traumatic WWI experiences and the complicated personal life that followed the war.

Given that this film is based on such an interesting and refreshing play, this messy melodrama movie adaptation is a major disappointment. Those who didn’t see the play, of course, will not know the missed potential but still it is hard to see anyone finding this confusing and gossipy drama very appealing, and when it spends so much time on Freud and his daughter, might even wonder why C.S. Lewis is there at all. Despite all that, the last part of the film reverts to the play, with an unexpected friendship developing between the two men. In the play, it is easy to see why but in the film, it is puzzling why Lewis would feel such warmth towards Freud, who is mostly unpleasant towards him, and why Freud would return that warmth and also put his trust in this young man he had known only a few hours.

While Anthony Hopkins and Matthew Goode deliver good performances, there is no overcoming this messy script, no matter how fine the acting, period details, photography or production values. Given the delightful original play and this excellent cast, this film could have been so much more, making it a major disappointment and a true shame.

FREUD’S LAST SESSION opens Friday, Jan. 19, in theaters.

RATING: 2 out of 4 stars

ARMAGEDDON TIME – Review

(L to R) Michael Banks Repeta as “Paul Graff” and Anthony Hopkins as “Grandpa Aaron Rabinowitz” in director James Gray’s ARMAGEDDON TIME, a Focus Features release. Courtesy of Anne Joyce / Focus Features

Well, it’s been over two years now. I’m talking about the near-global pandemic “time-out”. So, do you recall what you did to pass the hours? Was “recall” part of it, as in revisiting old memories and childhood experiences? It appears that many “creatives”, including lots of filmmakers, took a “sentimental journey”. Of course, that’s not rare as many movie makers have opened up about their past, from Fellini to Scorsese (sure it’s the story of Henry Hill, but there’s a lot of young martin in GOODFELLAS). And now, with a few years put into making them, the nostalgic film “floodgates” are opening up. In the next few weeks, we’ll delve into the recollections of Sam Mendes and Steven Spielberg. This weekend another artist gives us his “take” on the “coming of age” saga. Ah, but things aren’t bathed in a “rosy haze” in this work. Which explains its title, ARMAGEDDON TIME.

The time in question is the Fall of 1980. Aspiring comic book artist Paul Graff (Banks Repeta) shares his artistic gifts with his eight grade classmates via a cartoon of their teacher Mr. Turkeltaub (that name just begs for a human/ poultry hybrid sketch). Of course, Paul is busted but luckily another student, Johnny (Jaylin Webb) defends him. Being the only black student there, due to recent “busing” rulings, Johnny “butts up” against the school faculty. But he and Paul forge a strong friendship, leading to lots of after-school adventures and mischief. Johnny’s ailing and addled grandma (his sole parent) lives far across town, so Paul lets him stay in the clubhouse shed behind his Queens, NY home. It’s the site of many Graff family dinners, prepared by mother Esther (Anne Hathway), who’s involved in the PTA, and hosted by electrician papa Irving (Jeremy Strong). Oh, Paul’s older brother who attends a swanky private school, Ted (Ryan Sell) is there. But the most revered guest is Esther’s father, beloved grandpa Aaron (Anthony Hopkins). He and Paul bond over their shared love of art and model rockets. And yet the lad continues to get into trouble both at school and at home, which is on edge due to the upcoming elections (“That movie actor will have his finger on the button”). When the antics of Paul and Johnny get more serious, the Graffs decide that public school is not working for their youngest. Can Paul fit in with the “swells” at that stuffy elitist place? And what will happen to his friendship with the “unsupervised” Johnny?


Despite the “heavy hitters” in the cast (at least two Oscar winners), the focus of the story is Repeta as the impulsive Paul. The young actor seems relaxed and very natural in the role. Oh, and very real as he can turn from endearing and sweet to annoying and cruel “on a dime”. Sure, he’s the “center” but he’s not truly the hero. Much of that also applies to Webb as Johnny who projects an aura of tough apathy, which deflects any further disappointments and frustrations. He has big dreams that would take him far from the “mean streets”, but he knows that the odds are against him, along with almost everyone in the inner city. Supporting Paul on the homefront is Hathaway as the nurturing Esther who wants to be a progressive, but fears for her lil’ guy as he pushes against her protective embrace. The most complex parent may be Strong as Irving who must temper his affection for “his guys” with the need to be the “final word”. Strong convey a nerdy warmth as he sings a song (aided by banging a pan) to wake his lads, then becomes a terrifying “rage monster’ while dealing with Paul’s latest escapade. He truly scares the boy, but we can see in Strong’s eyes that he’s also unnerved by his out-of-control anger. Then in the final act, Irving insists on staying in the car with the boys during a memorial service, though not for their benefit as he suppresses a sob. But Repeta truly shines in his scenes with Hopkins as the ultimate grandpop’, full of patience and grumbly good humor, eager to be Paul’s sidekick in mischief. Though he seems an unlikely choice to play a Jewish family patriarch, Hopkins commands the screen as he regales his precious children with old songs or rivets them with his horror stories of survival and escape. Plus you just might feel your heart melt as Paul addresses him as “my good man”.Oh, and another big talent provides a most compelling cameo as a real figure from the era (with a big connection to the present).

All of this flows from the mind and memories of writer/director James Gray, who has fashioned an engaging “memory piece” that expertly invokes an era with almost no sentimentality. Yes, these years are full of wonder, but they’re also infused with anxiety. that mood is best seen as the adults discuss the presidential elections which may surprise younger filmgoers. Reagan may seem like an affable uncle in archival footage, and too soft now for his old political party, but for many at that time he was seen as the fellow who could bring about…the movie’s title. But the tale’s real tragedy may be the “arc” of Johnny, who will not get the second and third “chances” afforded to Paul. He’s the sacrifice to make the “system work”. The pace of the piece is problematic as it seems to lurch from one “dire incident” to the next with little coherence. Perhaps some more interaction between the parents would give a better understanding of the family. Or at least it would explain their inconsistent disciplinary strategies, especially when Paul really goes “over the line” and rebels at the first big family meal. Kudos to the production team for re-creating the hairstyles and fashions of the era (being a middle-class family, they wouldn’t be sporting the big “disco duds”). It’s worth seeing for the superb cast, but a wobbly script that just seems to abruptly stop drains the drama out of ARMAGEDDON TIME.

3 Out of 4

ARMAGEDDON TIME opens in select theatres on Friday, November 4. 2022

See The New Trailer For James Gray’s ARMAGEDDON TIME Starring Anthony Hopkins, Anne Hathaway And Jeremy Strong

Here’s your first look at the trailer for ARMAGEDDON TIME.

From acclaimed filmmaker James Gray, ARMAGEDDON TIME is a deeply personal story on the strength of family, the complexity of friendship and the generational pursuit of the American Dream. The film features an all-star cast including Anne Hathaway, Jeremy Strong, Banks Repeta, Jaylin Webb, Tovah Feldshuh, Ryan Sell, and Anthony Hopkins.

Focus Features will release ARMAGEDDON TIME in select theaters on Friday, October 28th nationwide on Friday, November 11th.

https://www.focusfeatures.com/armageddon-time

(L to R) Michael Banks Repeta as “Paul Graff” and Anthony Hopkins as “Grandpa Aaron Rabinowitz” in director James Gray’s ARMAGEDDON TIME, a Focus Features release. Courtesy of Anne Joyce / Focus Features

The film premiered at the Cannes Film Festival in May. Read the review HERE.

ARMAGEDDON TIME received its North American gala at the Telluride Film Festival on September 2nd. Deadline has the exclusive interview with the Gray who revealed the real-life tragic circumstances of a key character in his autobiographical film. “The filmmaker stated that the fate of his friend is connected to a system that had no overriding interest in understanding a student with some learning difference, or a grandmother who he lived with, who had Alzheimer’s. The kid needed help.”

(L to R) Jaylin Webb stars as Johnny Crocker and Michael Banks Repeta stars as Paul Graff in director James Gray’s ARMAGEDDON TIME, a Focus Features release. Courtesy of Focus Features

Check Out the Trailer For ZERO CONTACT Starring Anthony Hopkins – Available in Theaters, On Digital and On Demand May 27th

ZERO CONTACT stars Chris Brochu (“The Vampire Diaries”), Aleks Paunovic (“Snowpiercer”) and Academy Award winner Sir Anthony Hopkins (The Silence of the Lambs). The film marks the directorial debut of Rick Dugdale, who also co-wrote the screenplay with Cam Cannon (Deadlock).

Here’s the trailer:

Starring Academy Award winner Anthony Hopkins (The Silence of the Lambs), this high-tech thriller chillingly reimagines our isolated, virtual world. Hopkins plays Finley Hart, the eccentric genius behind a global data-mining program. Upon his death, five remote agents — including Finley’s son — are contacted by a mysterious A.I. entity to reactivate the initiative, which may enable time travel. As sinister events occur at each of the agents’ homes, they must decide whether entering their passwords will save the world…or destroy it.

Anthony Hopkins Won His Second Best Actor Oscar for THE FATHER – Available to Own on Blu-ray May 18th

NOMINATED FOR SIX ACADEMY AWARDS – WINNER OF ACTOR IN A LEADING ROLE (ANTHONY HOPKINS) 
AND WRITING (ADAPTED SCREENPLAY) – Available on Digital today and to Own on Blu-ray May 18th

A man (Anthony Hopkins) refuses all assistance from his daughter (Olivia Colman) as he ages. As he tries to make sense of his changing circumstances, he begins to doubt his loved ones, his own mind and even the fabric of his reality.

BLU-RAY, DVD AND DIGITAL BONUS MATERIALS

  • Deleted Scenes 
  • Homecoming: Making THE FATHER 
  • Perception Check: Portrait of THE FATHER 

CAST AND CREW
Directed By: Florian Zeller
Screenplay By: Christopher Hampton and Florian Zeller
Based on the Play “The Father” By: Florian Zeller
Producers: Christophe Spadone, Simon Friend, David Parfitt, Jean-Louis Livi, Philippe Carcassonne
Executive Producers: Héloïse Spadone, Alessandro Mauceri, Lauren Dark, Ollie Madden, Daniel Battsek, Tim Haslam, Hugo Grumbar, Paul Grindey
Cast: Anthony Hopkins, Olivia Colman, Mark Gatiss, Imogen Poots, Rufus Sewell, Olivia Williams

THE VIRTUOSO – Review

So, here’s another example of a film that sports a somewhat misleading, or maybe a tad confusing title. The word in question is one usually attached to musicians like concert pianists or classical violinists. But no, this concerns another profession entirely. Although…they do share quite a bit in common. There’s the study, solitary dedication, practice, and planning. A huge part of the latter is timing, namely hitting the beats, and releasing those notes at the exact, precise moment for the proper impact. Now this film’s holder of this title doesn’t deal with notes. More often than not, it’s bullets. He’s a highly-paid hitman, one that strikes from the shadows, liquidating swiftly than disappearing into the ether. leaving no trace of his presence. His services are so lauded and coveted that he’s only known as THE VIRTUOSO.


The film opens at the conclusion of the latest “hire’ of the “services” of Mr. V (Anson Mount). In order to appreciate his talents, he provides a narration taking us through the job’s completion. Soon he’s out of the city and back in the wilderness, living by himself in a spartan wood cabinet deep in the woods and well off the grid. His only contacts are a big stray dog lumbering onto his front porch for food and a “burner” cell phone report to V’s agent/supervisor AKA “The Mentor” (Anthony Hopkins) confirming the end of his “gig”. The only way to contact the Virtuoso is by mail sent to a non-government “postal box”. After a few days, a letter arrives. The mentor explains that it’s a “rush job”, only 48 hours, which concerns V. but the fee more than makes up for the haste. But things go sideways and horrific collateral damage occurs. When a shaken V doesn’t answer his phone, Mr. M tracks him to his father’s grave. After relating a story about his time with V’s father in Vietnam, Mentor advises him to push thru the pain and “answer your damn phone”. And soon the next job comes. The envelope contains the cryptic message (maybe a name)”White Rivers” and the map coordinates that lead to Rosie’s Diner outside a cold tiny town in the mountains of the US northeast. In the eatery, V strikes up a conversation with a friendly waitress Dixie (Abbie Cornish) as he tries to figure out his “target’ . Is it the chatty couple at a table? The burly Loner at the counter (Eddie Marsan), who appears to be “packing”? Or it might even be the stoic Deputy (David Morse), who seems to be at every corner of the town? As the snow begins to drift down, the Virtuoso keeps track of all the patrons as he continues to ponder the mystery of the Mentor’s message.

The title role coulld be considered a feature film lead breakout for Mount, mostly known for supporting movie roles and a few TV leads (right now he’s “killing it” as Captain Pike, an early commander of the starship Enterprise on “Star Trek: Discovery”, streaming on Paramount Plus, which I’m told is a mountain of entertainment. The V isn’t a talkative chap, so Mount (aside from his narration) has to relay his state of mind via body language and his dark brooding eyes. And Mount shows us the painful socially awkward qualities of the hitman as he’ll pause during a mission to practice facial expressions in the car’s rearview mirror. He still draws us in, making us wonder about what’s going on in his head. Hopefully, this film will open the gates to more complex roles for him. Cornish makes Dixie a more accessible, friendlier person, though, with her piercing eyes, she remains more than a little enigmatic, as her off-the-cuff cynicism makes her an odd fit for this tiny town. As for newly awarded two-time Oscar-winner Hopkins, well, he’s the standard “man behind the desk”. Most of his time, aside from a rambling clunky ‘Nam monologue at a gravesite, he’s in his Mahogany-toned office, sitting in the dark or by fireplace light. It feels like a quick”grab the check” for a couple of days’ work to inject some star power gig that many veteran actors indulge. It appears that they cut in unimportant bits of business of him: cleaning his weapons, staring at his platoon of cell phones, and so on in order to make it seem that he has a bigger role in the film. And with his new accolades, I’m sure he’ll be featured more prominently in the marketing, but this will never make Tony’s tribute reels. Also, the same roles assigned to two of our best character actors, Marsan and Morse, are little more than beefed-up cameos with little to aid the mystery plot, other than fueling V’s heightened confusion.

Director Nick Stagliano crafts a fairly rote modern action “B” picture (thinking it’ll be a late-night premium cable TV staple very soon) from James C. Wolf’s meandering script. We’ve seen stories of working-class killers before (the two versions of THE MECHANIC spring to mind), but there’s little in the way of film style or offbeat dialogue to set this one apart. There’s a sluggish “spinning their wheels” feel to all the non-action sequences, which aren’t as engaging as needed. It’s especially the case with the endless bits at the diner, as V makes two tedious visits. It all leads up to a USUAL SUSPECTS-inspired flashback explanation which muddies up the mystery element even more and still confuses. The continuity gaffes (Dixie’s concerned up the big snowfall, but just moments later V is cruising on pristine clean streets) add to the general incoherence. Despite the “shouldn’t they know better” cast, THE VIRTUOSO is pretty much the opposite of that title. It’s more a novice, barely hitting his notes and missing the (action) beats.

1.5 Out of 4

THE VIRTUOSO opens in select theatres on Friday, April 30, 2021.

Check Out the Trailer For THE VIRTUOSO Starring Starring Anson Mount, Abbie Cornish and Anthony Hopkins

THE VIRTUOSO Starring Starring Anson Mount, Abbie Cornish and Anthony Hopkins will be released Digital/VOD/Limited Theatrical April 30. Here’s the trailer:

Danger, deception, and murder descend upon a sleepy country town when a professional assassin (Anson Mount) accepts a new assignment from his enigmatic mentor and boss (Oscar® winner Anthony Hopkins). Given only where and when along with a cryptic clue, the methodical hit man must identify his mysterious mark from among several possible targets, including a local sheriff (David Morse). Meanwhile, a chance encounter with an alluring woman (Abbie Cornish) at the town’s rustic diner threatens to derail his mission in this noir-style cloak-and-dagger thriller.

THE VIRTUOSO stars Anson Mount, Abbie Cornish, Eddie Marsan, Richard Brake, with David Morse and Anthony Hopkins

THE FATHER – Review

With Spring and its school semester breaks looming, the studios are flooding our few operating theatres and streaming apps with lots of frothy fares, from kids’ animated fantasies to “brand-name” comedy sequels and prequels. But we’re not quite done with more somber serious offerings, as the biggest movie award is still several weeks away. That’s an apt description for this stark family drama, whose major themes are so familiar to so many today. But as the pandemic shuffles along, a huge invisible fence has been placed between loved ones in crisis. This dilemma concerns the loss of an elder, not from a swift reaper’s strike, or even a slow shutdown of physical functions. Rather it’s an achingly slow mental dissolve into darkness. And in this new work, that cruel fate is reserved for the family patriarch, THE FATHER.

The title character in question is Anthony (Anthony Hopkins), a retired literary man in his early 80s who seems quite content in an opulent apartment overlooking a quiet English village. He’s preparing a nice spot of tea after a grocery run when a noise has him reaching for a kitchen blade. Ah, but it’s only his middle-aged daughter Anne (Olivia Coleman), who has dropped in for a visit and will probably try to get him to sell his beloved comfy “flat”. But she has somewhat of a bombshell, as she informs him of her intent to move to France with her boyfriend. As Anne putters about in another room, he goes into his den and discovers a mysterious man (Mark Gatiss) reading the paper. Upon questioning him (and bluffing away his responses), “Tony” is informed that the “reader” is Anne’s hubby, who is the actual owner of the place. Anthony’s at a loss at to the cause of his confusion, until the private conversation between Anne and her husband reveals that “father” is battling dementia and is losing grip on reality, unable to recall his own circumstances, as the past morphs into the present. One afternoon Anne brings in a twenty-something woman named Laura (Imogen Poots) for a casual interview (to be her dad’s live-in caregiver). Laura is at first charmed by Anthony’s antics (he does a lil’ “soft shoe”) until he begins a vicious verbal assault. As Laura hurriedly exits, Anne nearly gives in to despair as another unfamiliar (to father) face appears, the pragmatic Paul (Rufus Sewell). Eventually, Anne dissolves into a woman (Olivia Williams) whose brusk demeanor adds to Anthony’s near-constant state of agitated panic. Will his waking nightmare ever end, or is this Anthony’s “new normal”?

In a film career now entering its seventh decade, Hopkins continues to astound and surprise, particularly in this, perhaps his most vulnerable and human character. His Anthony (interesting that the role takes his own first name) is proudly independent, keen on “getting things done”, though he realizes the need to get a bit of support from his family. But his anger often gets the best of him as his frustration boils into a fury, lashing out at those who care. He thinks he can escape his constant fog by the sheer force of his will, but his intellect fails him. In the heartbreaking final act, Anthony finally slides into childhood regression and fear. And even when his patriarch crosses the line, or gives in to selfish taunts (“Why would you go to France? They don’t even speak English there.”) Hopkins elicits compassion and his superb work captivates us. He has a most gifted scene partner in another Oscar-winner. Colman as Anne has a delicate balancing act, trying not to debase Anthony while gently steering him back into reality. And though she loses her patience, her affection for him is clear. This makes her conflicted feelings so agonizing. She wants to be there for him, but still wants to lead her own life. This is driven home by the two very different aspects of her “mate”: the affable Gatiss and the forceful and determined Sewell. A bright light of hope is illuminated by the radiant Poots as Laura. She makes us feel as though her nurturing spirit restores the glow to Anthony, who then ruthlessly snuffs out her “flame” by his bombastic insults. As his last act ‘angel”, Williams mixes the right amount of gentle compassion and clinical supervision for Anthony’s final “holiday”.

Filmmaker Florian Zeller directs this adaptation of his celebrated stage play (with screenplay assist from Christopher Hampton) with a gentle guiding hand. He never “sledgehammers” the tale’s tragic elements, but avoids “softsoaping” the emotional conflicts. He’s unafraid to show Anthony’s verbal nastiness, as his pride runs roughshod over those that help, especially Anne. And without showy camera tricks or effects, Zeller conveys that disorientation, as we, along with Anthony, have the “rug pulled out from under us” as recognized faces reveal a new identity or agenda. He’s a proud lion who is finally faced with the idea of being in a cage made by his mind. No matter how he claws and roars, these bars don’t budge. Sure, we can almost feel its stage origins, as the brunt of the action happens in the apartment living room and kitchen, but Zeller never makes the film claustrophobic. The story glides and soars on the wings of the gifted ensemble. This is indeed one tough trek, one that many of us will be part of someday if not now, but thanks to that cast and a sensitive script, THE FATHER is an emotional journey worth taking.

3 Out of 4

THE FATHER opens in select theatres everywhere on Friday March 12, 2021

Anthony Hopkins is THE FATHER Opens in St. Louis Friday Exclusively at The Hi-Pointe

The Hi-Pointe Theater, at 1005 McCausland Ave in St. Louis, is the best place to see movies. Anthony Hopkins and Olivia Colman in THE FATHER opens this Friday March 12th at The Hi-Pointe. The Hi-Pointe’s site can be found HERE

Anthony (Academy Award Winner, Anthony Hopkins) is 80, mischievous, living defiantly alone and rejecting the caretakers that his daughter, Anne (Academy Award and Golden Globe Winner, Olivia Colman), encouragingly introduces. Yet help is also becoming a necessity for Anne; she can’t make daily visits anymore and Anthony’s grip on reality is unraveling. As we experience the ebb and flow of his memory, how much of his own identity and past can Anthony cling to? How does Anne cope as she grieves the loss of her father, while he still lives and breathes before her? THE FATHER warmly embraces real life, through loving reflection upon the vibrant human condition; heart-breaking and uncompromisingly poignant — a movie that nestles in the truth of our own lives.