The following review was originally posted on June 15, 2017. THE JOURNEY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.
The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.
Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.
For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.
Each summer, while the multiplexes are filled with the big spectacles and epic blockbusters, the little gems that grip us with their humor, their tragedy and their humanity, manage to find their ways into the cinemas. This year it’s THE JOURNEY, the gripping account of how two men from opposite sides of the political spectrum came together to change the course of history.
In 2006, amidst the ongoing, decades-long conflict in Northern Ireland, representatives from the two warring factions meet for negotiations. In one corner is Ian Paisley (Timothy Spall), the deeply conservative British loyalist; in the other is Martin McGuinness (Colm Meaney), a former Irish Republican Army leader who has devoted his life to the cause of Irish reunification. Opposites in every way, the two men at first seem to have little chance of ever finding common ground. But over the course of an impromptu, detour-filled car ride through the Scottish countryside, each begins to see the other less as an enemy, and more as an individual—a breakthrough that promises to at last bring peace to the troubled region.
Driven by two virtuoso central performances, THE JOURNEY is a more-relevant-than-ever reminder of how simple humanity can overcome political division. Freddie Highmore, Toby Stephens, Catherine McCormack and John Hurt co-star. (Review)
I recently spoke with the director of THE JOURNEY, award winning director Nick Hamm. Born in Belfast, Northern Ireland, Hamm directed cult-classic THE HOLE (2001), starring Thora Birch and Keira Knightley, in her feature film debut. He also helmed Lionsgate’s thriller GODSEND (2004), starring Robert DeNiro, Rebecca Romijn and Greg Kinnear.
Hamm later produced and directed the 80’s U2-centric comedy, KILLING BONO (2011) for Paramount Pictures and Northern Ireland Screen, starring Ben Barnes, Robert Sheehan and Pete Postelwaite.
During our discussion about his latest movie, the British director and I talked about the film’s mixture of tension and humor, the human story and the message of THE JOURNEY.
We Are Movie Geeks: THE JOURNEY is a good story that should be told – the type that audiences don’t see anymore. It opened in 2016 in Toronto and then Venice, and finally had its premiere at the Belfast Film Festival in May 2017. What was the crowd’s reaction and how was it received?
Nick Hamm: That was a really extraordinary event. I’ve seen it now with thousands of people watching the movie and if you’re going to see a movie like this, you really need to take it back to Northern Ireland to see what they make of it. In the end, that’s where the authenticity of the film is. It is important to us. The event was attended by nearly a thousand people and political leaders from both sides of the community came so we had politicians from Sinn Féin and politicians from the Democratic Unionist Party (DUP). It was a very emotional and momentous event because in many respects it reminded people of something that they had achieved and had risked losing.
We Are Movie Geeks: It is such an interesting script by writer Colin Bateman, one that is funny, sad, and dramatic. Tell me about lead actors Timothy Spall (Paisley) and Colm Meaney (McGuinness – who died recently in March) and the casting. Their characters became known as ”the Chuckle Brothers”. Both actors were very impressive to watch.
Nick Hamm: What underscores everything is the fact that Colin’s script is so good and when that happens, you attract really good actors. Both Tim and Colm were fantastic partners on the film. Tim had to transform himself – he’s playing a six foot five, Northern Irish politician when in reality he’s a five foot nine London actor. We did some prosthetics on his chin and a little aging on his hair, along with the false teeth. The hair and makeup was done by Polly McKay. Tim became the character of Paisley which was fascinating to watch and he’s one of those actors that totally transforms himself.
Colm is one of Ireland’s best actors. What was important was to find somebody who could give McGuinness sympathy. This is a man whose background is well documented. What do you do? You start by making him human, you give him a life and a backstory. When you put someone like Colm Meany in that role, Colm transforms himself for that. He understands the culture from where that character comes, he understands the basis of that character’s ideology and he understands how that character ticks. If you have that and you are a good actor – which he is, then you have a good combination. It was great to watch him.
We Are Movie Geeks: I was very pleased to see the late John Hurt in the film in what was one of his final roles.
Nick Hamm: We all knew that John was very sick while he was doing the film. When we offered him the movie, he wanted to work until the end and play the part. It was real tribute to have him involved as a part of the film.
We Are Movie Geeks: Irish writer Seamus Heaney, although not a political animal was an artist like yourself. He was affected by “The Troubles” when his cousin Colum was killed as a result of the war – Heaney moved from Northern Ireland to Southern Ireland after that. Has it affected you in any way and was this a partial reason why you made the film?
Nick Hamm: It hasn’t affected me personally but I knew people who were. Growing up I was in school in Northern Ireland and I knew people who had real problems. I could see it with my own eyes, the difficulties back then, and it was an intense situation. The vast portion of the people in Northern Ireland went on about their daily life unaffected by it. The real heroes were the people who got on with their daily lives in that situation.
THE JOURNEY for me shows how a unique political friendship was achieved at the personal cost of both men. Both men were vilified by their respective communities, but it was one of the most unique political friendships that I had ever witnessed. For two people who were so antagonistic towards each other, who ultimately came to respect each other, and became friends with each other, is why I made the movie and to tell their story.
We Are Movie Geeks: Despite technically being set in Scotland, and on a plane, THE JOURNEY was filmed in Northern Ireland. There’s no green screen and it was filmed on the road with your director of photography Greg Gardiner. What was the approach when you took it out of the plane and into the car?
Nick Hamm: This device protected the claustrophobia that the film so demanded while allowing a political version of a road movie to take place. We decided to not be frightened by the tyranny of the car but rather embrace it and enjoy the conceit. Greg and I had discussed and ultimately rejected the idea of green-screen or back-projection very early. We filmed on the road, creating a ‘mobile studio’; our own little cinematic microcosm
We Are Movie Geeks: There is one scene in particular, where McGuiness and Paisley let down their defenses somewhat, set inside a church and then out in the cemetery, that has real depth.
Nick Hamm: I think in the cemetery scene when Colm breaks down, everyone expects Paisley to be sympathetic and wrap his arms around him, but he rebuffs him and shows him no pity or sympathy. Every scene was like a boxing match with each character winning a round.
We Are Movie Geeks: I appreciated the sound editing and especially the score from Stephen Warbeck who first became known for the music for “Prime Suspect” and won an Academy Award for his score for Shakespeare in Love. It is a really nice score.
Nick Hamm: It was something quite new for him and he really had a go at it.
We Are Movie Geeks: Did you speak to the families and to some of the individuals involved? And what was their reaction?
Nick Hamm: I met McGuiness before he died. The whole film came together very quickly from the start.. From the script to the financing, it was out in about two and a half years. It’s been a very quick process and very rare for an independent film. I did sit with McGuiness before we started filming about his friendship with Paisley and it was fascinating to hear him speak how important the relationship was and how important it was that they maintained contact up to its logical conclusion. I did talk to Paisley’s family and to his son. We wanted to reassure them we were not riding roughshod over the history. But at the same time it was important to be creatively independent. We did not share the screenplay with them at any stage. In the end both families really loved the movie.
Plus Sinn Féin and the DUP (Democratic Unionist Party) really liked the film, which is almost unheard of, both parties liking the same thing never mind the same movie. The most important thing for us was that the story was balanced.
We Are Movie Geeks: Brexit is seemingly in the news all the time now. As a result, checkpoints could be set up again to control borders. The timing of the film and its release couldn’t be more relevant. Will it cause a major headache between Northern Ireland and Ireland? Will it hinder Ireland’s reunification?
Nick Hamm: The question needs to be asked and it’s a dreadful situation. The idea that there will be a border back in Ireland again, I don’t think anybody wants that. I know for a fact that the DUP doesn’t want that and it would be suicide for both the economy and the welfare of the people to start putting border checks back up. That border in Ireland runs through people’s fields and farms. It was never designed to be a hard border, which it was during “The Troubles”. It would be an unmitigated tragedy to go back to that.
We Are Movie Geeks: Speaking of Indie Films, what are your thoughts on how people see films? Many are leaving the cinemas in favor of watching a film at home or on the computers with the advent of Netflix and HULU, etc.
Nick Hamm: I like that at the beginning of a movie’s life that it has a public screening. I think the ways a film is distributed these days is really fascinating. I don’t distinguish between how and where a movie is watched. It’s changing so quickly, in five years-time it’ll change all again. Even the act of going to a movie theater is going to change. As long as they keep putting out these huge blockbuster films, in the cinemas is the best way to watch them. However some films work better on a smaller screen. I think screen size some people can get very worked up about.
We Are Movie Geeks: What’s your next project?
Nick Hamm: We are going to do the DeLorean story, DRIVEN. It’s through the eyes of the guy who gave him up to the FBI. We’re hoping to shoot in September in Puerto Rico. The script is from THE JOURNEY’s Colin Bateman. Jason Sudeikis, Lee Pace and Timothy Olyphant are in the picture.
Synopsis:
DRIVEN is the turbo-charged story about the FBI sting operation to entrap maverick car designer John DeLorean.
Sudeikis stars as Jim Hoffman, a con artist-turned-informer for the FBI in the war on drugs. Olyphant plays his handler, determined to snare the world-famous but enigmatic DeLorean (Pace) — desperate for cash to finance his dream of designing the ultimate car of the future — in a drug deal that would become the most lurid celebrity scandal of the 1980s.
Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.
The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.
Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.
For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.
Yesterday, at the San Diego Comic-Con panel for the hit A&E show ‘Bates Motel,’ it was announce that hit musician Rihanna will be joining the cast as Marion Crane for the fifth and final season.
“We wanted to thrust the iconic role into a contemporary spotlight and redefine it in a meaningful and exciting new way. We also heard Rihanna was a fan of the show, and we were huge fans of hers, so it was the perfect collision of creativity and fate,” said executive producers Carlton Cuse and Kerry Ehrin.
Additional announcements included: Vera Farmiga to executive produce and return in her Emmy-nominated role as “Norma” after her epic death in the final episodes of season four. Max Thieriot will make his directorial debut and Nestor Carbonell will direct for a third time. Finally, Freddie Highmore will write his second episode alongside executive producers Kerry Ehrin and Carlton Cuse. “Bates Motel” will begin production this fall in Vancouver and will return for an exciting final season in 2017 on A&E.
This contemporary prequel to the genre-defining film Psycho gives viewers an intimate portrayal of how Norman Bates’ psyche unravels through his teenage years. “Bates Motel” gives fans access to the dark, twisted backstory of Norman Bates and how deeply intricate his relationship with his mother, Norma, truly is.
In the 54th feature film from Walt Disney Animation Studios, here’s the first teaser for BIG HERO 6. It’s super cute too.
Inspired by the Marvel comics of the same name and featuring comic-book style action, BIG HERO 6 is directed by Don Hall (WINNIE THE POOH) and Chris Williams (BOLT), and produced by Roy Conli (TANGLED, TARZAN, HERCULES).
The voice cast includes Josh Hutcherson, Freddie Highmore, Maya Rudolph and Samuel L. Jackson.
(Yahoo Movies)
BIG HERO 6 is a heartfelt comedy adventure about robotics prodigy Hiro Hamada, who learns to harness his genius – thanks to his brilliant brother Tadashi and their like-minded friends: adrenaline junkie Go Go Tamago, clean freak Wasabi No-Ginger, chemistry whiz Honey Lemon and fanboy Fred.
When a devastating turn of events catapults them into the midst of a dangerous plot unfolding in the streets of San Fransokyo, Hiro turns to his closest companion—a cutting-edge robot named Baymax – and transforms the group into a band of high-tech heroes determined to solve the mystery.
Content announced today that Academy Award nominee Imelda Staunton (MALEFICENT, VERA DRAKE), Freddie Highmore (BATES MOTEL, CHARLIE AND THE CHOCOLATE FACTORY), Miranda Hart (MIRANDA, CALL THE MIDWIFE), and Toby Jones (CAPTAIN AMERICA: THE WINTER SOLDIER, THE HUNGER GAMES) have joined the voice cast of Kim Burdon’s Oscar Wilde’s THE CANTERVILLE GHOST featuring two-time Golden Globe winner Hugh Laurie (HOUSE MD) and Golden Globe nominee Stephen Fry (THE HOBBIT PARTS 2 and 3, SHERLOCK HOLMES: GAME OF SHADOWS).
Giles New and Keiron Self are adapting the classic Oscar Wilde story. The animated film is produced by Robert Chandler and Gina Carter. Content will be handling worldwide sales starting at the Cannes market this month.
Currently in pre-production, the animated comedy follows the story of Sir Simon de Canterville who has been haunting his ancestral home in rural England, Canterville Chase, for over three hundred years. He has successfully scared off every previous tenant with ease and aplomb, up until the Otis family from America moves in.
Stephen Fry, who stars as the famous ghost, remarked “I’m excited as a little child to be playing in Oscar Wilde’s hilarious and touching ghost-story/romance/comedy – especially as it will mean working again with Hugh Laurie after all these years. The standard and style of the animation will be astounding and the voice talent unmatched in what I am certain will be, the cliché is unavoidable, an unmissable experience for all the family.”
Content’s Jamie Carmichael said, “Take one bone rattling CANTERVILLE GHOST, add a dollop of Fry, a slice of Laurie and the result is pure, perfect, hilarious magic. Robert, Gina and Kim have created an extraordinarily wonderful world and Content is thrilled to be a part of it.”
Producers Robert Chandler and Gina Carter commented, “The Canterville Ghost has been made as a live-action feature over the years with such actors as Sir John Gielgud, Charles Laughton and David Niven playing the famous ghost, but it has never been made as an animated movie. The animation allows us to emphasize the comedy and the epic qualities of Sir Simon’s journey. The hauntings will be magnificently visual; the humor laugh-out-loud; the love story at its centre deeply moving.”
At the Marché in Cannes, Content will also be handling worldwide rights to Academy Award Winner Mike van Diem’s THE SURPRISE, Academy Award® Nominated Amy Berg’s Janis Joplin documentary JANIS: LITTLE GIRL BLUE, and Alistair Legrand’s intense horror THE DIABOLICAL starring Ali Larter.
Imelda Staunton, Freddie Highmore and Toby Jones are represented by Artist Rights Group (A.R.G), Miranda Hart is represented by Troika.
Based on the book by Nigel Slater about his life, TOAST is the story of Nigel (Oscar Kennedy, Freddie Highmore), a young boy with a passion for food. Unfortunately, his mother and father are poor cooks. As his mothers chronic asthma gets worse, so does Nigel’s relationship with his father (Ken Stott). That only deepens when his mother passes and his father starts a relationship with Mrs. Potter (Helena Bonham Carter), a housewife with a dodgy marriage. As their relationship deepens, Nigel turns to food even more. He spends his time in home economics learning to cook, and even takes a job at a local pub. The only problem is that Mrs. Potter, who has now become his step mother, is not going down without a fight, and will not give up her kitchen so easily.
What a fantastic story! There is quite a lot of sentiment in this film. For example, the character of Nigel points out, in the beginning, that toast is the one thing that his mother can cook, and describes biting into a piece and feeling love. The search for love in food is a central theme. Nigel not only loves food, but seeks the love of his father through food, only to be rejected time and time again. Mrs. Potter certainly does not help, pushing Nigel aside so that she may shine in the kitchen. You might want to grab a snack to eat while watching this, because this film has so many delicious looking meals you are bound to get hungry!
The film takes place over the span of several years, so the character of Nigel is played by Oscar Kennedy, and later by Freddie Highmore. Both actors are wonderful in their roles. Kennedy has an intensity about his portrayal of Nigel, while Highmore has a wide eyed fascination as he goes through a period of self discovery. The two actors really mesh well together. Kennedy seems to outshine Highmore just a bit, though Highmore’s portion has much more to do with “coming of age” part. He has to deal with ridicule for taking home economics rather than wood shop, and facing his sexuality. When he finally takes charge of his own life, it’s a very empowering moment, for both Nigel, and the audience.
Helena Bonham Carter can do no wrong, in my eyes. She was absolutely fantastic as Mrs. Potter. It is very clear from their first interaction, that the two disliked each other from the start. Since this story was written by Nigel Slater himself, you can see just how manipulative the character of Mrs. Potter is suppose to be. Her relationship with her husband is not fully explained, but the viewer is led to believe that she is cheating on her husband, and eventually leaves him for Nigel’s father. This is not necessarily a union of love, though. It seems as if Mrs. Potter is “trading up”. Her strategy to win over Nigel’s father, and stay in his good graces seems to be cooking and cleaning, so when Nigel shows promise in the kitchen, Mrs. Potter sees that as a threat. Bonham Carter played the character well. Although her character was not likeable, she was still watchable, being careful not to isolate the audience, which had to be difficult. I mean, Potter showed up as a cleaning lady soon after Nigel’s mother died, and pushed her way into their lives, not giving them a chance to grieve, or to build their relationship. The writing does a good job of showing a couple of vulnerable moments with her character, so she is not too evil. It states at the end that Nigel never saw Mrs. Potter again. I find myself wondering what happened to her, and if she ever realized the effect she had on Nigel?
The film itself has a nostalgic warmth to it. The delicious food, the warm colors, the beautiful countryside… they all combine for an inviting feel, inviting the viewer into Nigel’s memories. It seems that most people have strong memories when it comes to food in their lives, whether it be family dinners, or going to a carnival and having a corn dog for the first time. Food brings people together. That is why this film works so well.
TWO EXCITING FILMS ARE COMING TO LANDMARK THEATERS IN LOS ANGELES FOR LIMITED ENGAGEMENTS (Other Cities To Follow)
TOAST
British charming comedy from chef Nigel Slater’s memoir, stars Freddie Highmore. Helena Bonham Carter
Opens October 7, 2011 at Nuart in Los Angeles
W2 Media presents TOAST, opening on October 7, 2011, at Landmark’s Nuart Theatre in Los Angeles for a one-week engagement.
TOAST is the ultimate nostalgia trip through everything edible in 1960’s Britain. Based on the hilarious and touching memoir of food writer Nigel Slater’s childhood, and set to the songs of Dusty Springfield, it’s a delicious love letter to the tastes and smells that turned a young boy into a lifelong foodie. Nigel’s mother (Victoria Hamilton) appears to have been the world’s worst cook, boiling unopened cans of food to a soggy pulp and nervously refusing young Nigel’s (Oscar Kennedy) suggestions that she try an occasional fresh veg. After many a ruined dinner they fall back on that old reliable, toast—the one dish she has mastered. But Nigel loves her dearly, and is devastated by her early death, leaving him and his lonely dad (Ken Stott) to look after each other. When new cleaner Mrs. Potter (Helena Bonham Carter) arrives, her curves, charms and fabulous lemon meringue pies quickly bewitch Nigel’s father, and, much to his son’s horror, the three move to the country to live together. The one silver lining is Domestic Science class at Nigel’s new school, where Nigel (now played by Freddie Highmore) can finally shine. Soon he and Mrs. P. have embarked on a highly competitive cooking duel, vying for Dad’s affections. Directed by S.J. Clarkson.
TOAST opens Friday, October 7, 2011 at Landmark’s Nuart Theatre, showing through Thursday, October 13 for an exclusive one-week engagement. Showtimes: Fri – Mon at 12:30, 2:50, 5:10, 7:30 & 9:50; Tues– Thurs at 5:10, 7:30 & 9:50. Landmark’s Nuart Theatre is at 11272 Santa Monica Boulevard, just west of the 405 Freeway, in West Los Angeles. Program information: 310-281-8223; www.landmarktheatres.com
THE MILL & THE CROSS
Artistic dramatization of Bruegel painting by Polish filmmaker Lech Majewski
Starring Rutger Hauer, Michael York and Charlotte Rampling
Plays Sep 30-Oct 6, 2011 at Nuart, Los Angeles
Kino International presents THE MILL AND THE CROSS, opening September 30, 2011, at Landmark’s Nuart Theatre in Los Angeles for a one-week engagement.
Pieter Bruegel’s epic masterpiece “The Way To Calvary” depicts the story of Christ’s Passion set in Flanders under brutal Spanish occupation in the year 1564, the year Bruegel created his painting. From among the more than 500 figures that fill Bruegel’s remarkable canvas, THE MILL & THE CROSS focuses on a dozen characters whose life stories unfold and intertwine in a panoramic landscape populated by villagers and red-caped horsemen. Among them are Bruegel himself (Rutger Hauer), his friend and art collector Nicholas Jonghelinck (Michael York) and the Virgin Mary (Charlotte Rampling). One of today’s most adventurous and inspired artists and filmmakers, Lech Majewski (screenwriter of Basquiat), invites the viewer to live inside the aesthetic universe of the painting as we watch it being created. Majewski worked for three years to complete the film, pioneering a new method to “enter” a painting and watch the characters come to life that leads to magical results. LikeRussian Ark, the film is an unforgettable synthesis of art and life. It’s also a feast of stunning visual effects, a provocative allegory and a cinematic tour de force on religious freedom and human rights.
THE MILL AND THE CROSS opens Friday, September 30, 2011 at Landmark’s Nuart Theatre, showing through Thursday, October 6 for an exclusive one-week engagement. Showtimes: Fri-Sun at 12:30, 2:50, 5:10, 7:30 & 9:50; Mon- Thu at 5:10, 7:30 & 9:50. Landmark’s Nuart Theatre is at 11272 Santa Monica Boulevard, just west of the 405 Freeway, in West Los Angeles. Program information: 310-281-8223 ; www.landmarktheatres.com
Okay, we’ve got yet another quirky loner guy smitten with a beautiful popular gal. Nope we’re not still with the SUBMARINE gang in Wales. We’re back in the good ole’ USA in modern times and exploring the lives of some NYC kids at an exclusive private high school. THE ART OF GETTING BY, the first feature from writer-director Gavin Weisen focuses on the fatalistic, downbeat slacker George and his fascination with the beautiful Sally during their senior high school year.
When we first meet George ( Freddie Highmore ), he ‘s drawing and doodling during a non-art class. He frustrates his principal and teachers because he ignores homework assignments and never completes projects. One day he retreats to the school’s rooftop where he spies Sally smoking. Suddenly a school administrator charges through the roof access door. George distracts her and is written up while Sally hides. Later Sally thanks him for taking the rap for her. Visiting Sally’s apartment that she shares with her recently divorced, on the prowl mother Charlotte ( Elizabeth Reaser ) proves to be quite a contrast to the tense atmosphere at the home George shares with his mother ( Rita Wilson ) and his up-tight stepfather ( Sam Robards ). On career day at the school George is pressed into escorting a professional artist, Dustin ( Michael Angariano ) who becomes attracted to Sally. As graduation day approaches, George’s sloth finally catches up to him. If he doesn’t complete his homework from the past year, he will not graduate. Can he finally buckle down while dealing with his feelings for Sally and his stepdad’s mysterious financial situation?
THE ART OF GETTING BY has some great NYC location work and a very appealing cast, but it just seems to be spinning it’s wheels like George’s character. Highmore does his best ( excellent accent ) but you just feel the need to shake up George and get him to finish something, to put some effort into his work and social life. Roberts continues to be a like-able screen presence, but she seems to be repeating her dream-girl role from IT’S KIND OF A FUNNY STORY. The adults don’t seem to have a lot to do, although Wilson is always a delight, and it was a nice surprise to see Alicia Siverstone as one of George’s exasperated teachers. Speaking of teachers, the scenes with George’s art teacher have a bit of spark, but this territory was better explored in ART SCHOOL CONFIDENTIAL. At the end we’re supposed to root for George and Sally to get together despite the lack of any real chemistry between them. Weisen show some promise with this first film. Hopefully his next effort will be an improvement.
You crazy kids are so lucky! Why? Because WAMG is bringing you yet another contest! We are giving away passes to an advanced screening of THE ART OF GETTING BY starring Emma Roberts and Freddie Highmore.
The screening for THE ART OF GETTING BY will be THURSDAY, JUNE 16th at RONNIE’S 20 CINE, 7pm.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. FILL OUT YOUR NAME AND E-MAIL ADDRESS BELOW. REAL FIRST NAME REQUIRED.
3.What is your favorite FREDDIE HIGHMORE or EMMA ROBERTS movie and why?
WINNERS WILL BE CHOSEN THROUGH A RANDOM DRAWING OF QUALIFYING CONTESTANTS. NO PURCHASE NECESSARY. PASSES WILL NOT BE SUBSTITUTED OR EXCHANGED.
ANYONE CAUGHT REPRINTING TICKETS FOR DISTRIBUTION WILL BE BANNED FROM OUR CONTESTS! DUPLICATE TICKETS WILL NOT BE ACCEPTED!
SYNOPSIS:
THE ART OF GETTING BY stars Freddie Highmore (Finding Neverland, Charlie and the Chocolate Factory) as George, a lonely and fatalistic teen who’s made it all the way to his senior year without ever having done a real day of work, who is befriended by Sally (Emma Roberts – Scream 4), a beautiful and complicated girl who recognizes in him a kindred spirit.
