Tag: London

THE AERONAUTS – Review

“Up, up, and awaaay in my beautiful balloon” sang the Fifth Dimension in the swingin’ 1960s, making this bouncy pop tune their signature song. Drifting high above the clouds then seemed to be the epitome of a lazy, romantic dream date (still does). But a hundred years before, it was quite a different kind of excursion. Many risked their lives dangling from a rickety wicker basket thousands of feet above the ground. That’s the era of the new historical adventure film hitting theatres this weekend. And why were they risking it all? Escape from a hostile regime? Delivering intel to hasten a military victory? No, it’s something we truly take for granted today: predicting the weather. As we leave our homes we switch on the TV forecast or glance at our phone app to know how thick a coat or jacket we should wear or if we should dig around for that umbrella in the back of the closet. But to attain that knowledge it took a certain blend of scientist and daredevil. Some may have derided them as “balloonatics” but they were closer to the nautical explorers of ancient times. Perhaps akin to Jason’s Argonauts, but not astronauts, these brave souls were called THE AERONAUTS.

This true tale begins in London circa 1862 at the public launch of a massive balloon, the backers hoping it will set new records, going higher than any has before. Making sure all the recording devices and various gadgets are in place is James Glasisher (Eddie Redmayne) who refers to himself as a meteorologist, a weather-predicting scientist. He’s aided by friend and fellow scholar John Trew (Himesh Patel), but he’s not part of the aeronaut duo on this trip. They’re waiting for veteran balloon pilot Amelia Wren (Felicity Jones). She arrives with seconds to spare, dressed more like a circus equestrian as she “plays the crowd” with flamboyant gestures and assorted “hoopla”. As she finishes her “act”, ropes are cut, weights are dropped, and the balloon takes flight. As it quickly rises above the clouds (including some dark ones of concern), the duo reflects on the events that brought them together. James recalls the resistance to the research mission from the Royal Society (lots of hoots and laughter), but he forged ahead, raising the funds, but was in need of a seasoned balloon expert. His best bet is Amelia, but she has been in retirement after a flight ended in tragedy. Her sister Antonia (Phoebe Fox) prods her to be more social, finally bringing her to a formal dance. That’s where she meets James. After several “stops and starts”, she commits to this flight to gather atmospheric information. But all is not smooth sailing or soaring, as they reach never before attained heights (ten thousand more than the records). The team must deal with rapidly dropping temperatures and reduced oxygen, as the afternoon’s journey becomes a deadly, battering physical struggle to stay alive.

In their first pairing since THE THEORY OF EVERYTHING (can’t be five years already), these two talented stars still share vibrant chemistry though the dynamic is quite different. Redmayne still projects a keen intelligence and an unquenchable thirst for knowledge, much as in that previous Oscar-winning role, while conveying James’ frustrations (at those deriding “stuffed shirts”) and his anxiety. We get the feeling he’s hoping his enthusiasm and curiosity squashes his anxiety (he’s never been up, way way up, before). And while his Hawking desired romance, Glaisher really desires respect, not only from the scientific community, but from his flight partner, Jones, as Wren, is definitely the more dynamic of the two, but she too is plagued by inner doubts along with that last flight that haunts her every move. Her pre-liftoff twirls and gymnastics may be her way of “flipping off” the grim reaper. And though she has little interest in all the measuring gadgets, Wren does become the “voice of reason” as Glaisher opts to go further and farther. As they breach the sky, Jones is an impressive action star as she is flung about and bruised more than Pearl White in a dozen chapters of THE PERILS OF PAULINE. But even as she seems to do the impossible, Jones conveys Wren’s humanity through her wide expressive eyes. Back on the ground, Patel offers great support as James’ level-headed, often snarky sidekick. Fox is a likable “nudge” as Wren’s sister who finds her pleas to “get out” backfire (she doesn’t want her flying again). And acting icon Tom Courtney turns in a heartbreaking performance as the Glaisher patriarch, whose pride in his son is nearly destroyed by rapidly advancing senility.

This is also a change of pace for the talented director (and co-writer of the script with Jack Thorne), Tom Harper. Earlier this year he delighted movie-goers with the modern musical drama WILD ROSE, now he returns with this swashbuckling slice of history. The balloon themed thrills hold up well against such high-flying classics like MYSTERIOUS ISLAND, FIVE WEEKS IN A BALLOON, and AROUND THE WORLD IN 80 DAYS, not to mention recent foreign films like BALLOON and HAWAII but energized with state of the art effects. We feel like we’re cutting through the clouds alongside the duo, enjoying the tranquil skyscape (butterflies suddenly surround them). But the same can be said when things take a deadly turn. When a storm strikes it looks as though a vengeful titan has reached through space to throttle the balloon and its fragile basket (luckily there are lots of dangling ropes). And it’s not long before an arctic god blows his cold wind their way, and our teeth start to chatter along with the brave pilots. The flashbacks help ease some of the tension (the film is about as long as the actual flight) while giving us an insight into the motivations of the two leads. And these interludes showcase the brilliant period costumes and sets. For fans of “steampunk” stories, this tale of real heroes is pure heaven, which is awfully close to the desired destination of THE AERONAUTS.

3.5 Out of 4

THE AERONAUTS opens everywhere and screen exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas and the Hi-Pointe Backlot

LAST CHRISTMAS – Review

We all may know someone who’s more than a little “Noel-nutty” (hey, it might be that person with the holly in their hair staring back at you from the mirror). They’re the folks in a frenzy as retailors pack up the pumpkins and bring out the wreaths. And they probably overload on nogg as they “zone out” on all those winter holiday flicks that clog a couple of the basic cable TV channels. Ah, but what’s this at the multiplex, barely a week into November? Did one of those offerings slither out of its cage over at Hallmark? Perhaps, except this has a rather interesting list of talents. It’s got a story and script co-written by Oscar-winner Emma Thompson (who acts in it, too), and it’s directed by one of the current kings of raunchy comedies (this time minus his muse Melissa McCarthy), Paul Feig. What kind of tinsel and fluff stocking stuffer have these two diverse talents created? Well, it’s one that takes its title (and much of its score) from the late George Michaels’ yule pop anthem, LAST CHRISTMAS.

As the story starts, ’tis the season alright, but in 1998 Yugoslavia. In a church service, an adorable young girl sings like an angel while her older sister and parents, father Ivan (Boris Isakovis) and mother Petra (Thompson) adoringly gaze from the pews. Nearly 20 years later that “angel” is now an elf. Well, that’s how she dresses at her job as a clerk at a year-round Christmas decoration shop in bustling London called “Yuletide”. When not evading her often surly boss “Santa” (Michelle Yeoh), who behaves more like “Scrooge”, Kate (Emilia Clarke) is rushing to theatre auditions and testing the generosity of her pals by asking to crash on their couches. Yes, she’s homeless but by choice, as she doesn’t want to return to the family home and endure the “finger-pointing” of her Mum (her ringtone on Kate’s phone is the 80’s pop tune “Drives Me Crazy”). But often she takes a break from “sofa surfing” to share the beds of guys she meets in bars (this elf is a drinker and a “player”). One day, as the holidays draw nearer, a stranger to the store brings some calm to the chaotic Kate. Lanky, handsome Tom (Henry Golding) is a nighttime delivery bicyclist, who wants nothing more from her than some company during his long walks through the largely unexplored areas of the city. Imploring her to always “Look up”, Tom takes Kate to a quaint hidden park before parting ways at the church where he volunteers to help the “real” homeless. She’s charmed, but perplexed when he doesn’t give her his number saying his phone stays in the cupboard. When Tom seems to disappear for days, Kate becomes obsessed with tracking down this “man of mystery”. Along the way she gets involved with the church and allows her own family back into her life (they drifted after her illness ended a year ago). Kate feels a special connection to Tom, so it becomes her goal to spend this Christmas with this man who’s unlike any other one-night-stand or suitor.

This modern fable is carried by a terrific cast that expertly balances its comedic and dramatic elements (with a splash of romance on top). Clarke’s bright smile lights up the screen along with the most expressive eyebrows since a certain Mr. Marx. Her Kate starts off as cynical and a tad grouchy, but we see her tough exterior begin to erode as the light returns to her often bloodshot eyes. Plus she’s got a very pleasant singing voice (um, musical, hint, hint). And it helps that she’s has a comfortable, playful chemistry with Golding as the enigmatic Tom. He’s more relaxed on screen than in his two break-out flicks last year, CRAZY RICH ASIANS and A SIMPLE FAVOR, even engaging in a sprightly dance around Clarke reminding us of a young Tommy Tune or the master, Dick Van Dyke. Their supporting team is led by the zany Thompson, playing against her usual sophisticated roles as the sometimes overbearing Eastern European mama (with that thick accent I kept wondering when she’d join Lon Chaney, Jr. in the gypsy caravan). She’s a true delight, but the biggest comic surprise is the glamorous Ms. Yeoh as the tough shop owner, using the phrase “Get to work!” like a sharp sword. But then she gets to lighten up thanks to an obviously smitten uptight Nordic silver fox she dubs “Boy” played with endearing reserve by Peter Mygind. The rest of the cast is filled with wonderful British comic actors including a great pair of policewomen played by Laura Evelyn and Ingrid Oliver, not “good cop/bad cop”, but rather “friendly cop/brusque cop”.

Once again Feig demonstrates his talent for making engaging farces, but this time he tackles tougher topics like death and bigotry along with a budding romance and how people can change their ways. Much of the credit has to go to the writing talents of Thompson collaborating here with Bryony Kimmings (on the screenplay) and her hubby Greg Wise (on the story). The duo (Feig and Thompson) succeed in making a most unique holiday flick, one that’s not hinted at in the film’s marketing (the TV spots and posters). It’s not a “marshmallow world”, but a gritty tough place (some Brexit digs pack a punch). Yes, London looks charming in December, but the sparkling streets don’t hide the hungry and homeless (my biggest complaint is the often whimsical street folk, who are much too cute and eccentric). This plot’s eggnog is spiked with some strong medicine, with so many twists on the road to the 25th. Really, it’s a “spoiler” M. Night minefield. But the ending’s full of heart (in many ways), pushed along by the iconic George Michael medleys, making Clarke and company’s gift under the tree a most engaging LAST CHRISTMAS.

3 Out of 4

YARDIE – Review

Ami Ameen as D, in Idris Elba’s directorial debut, the Jamaican-British crime thriller YARDIE. Photo courtesy of Rialto Pictures

Actor Idris Elba makes his directing debut with YARDIE, a tale about a young Jamaican, haunted by his DJ brother’s murder, who makes his way to London in the employ of a Kingston-based gang boss.

“Yardie” is slang for Jamaican gang members, a term the pops up on the streets of the London’s Hackney neighborhood, home to large Jamaican immigrant community. It is where D (Ami Ameen) finds himself after his boss King Fox (Sheldon Shepherd) sends him to London to deliver a package of drugs to Rico (Stephen Graham), a fuzzy-haired, white Jamaican under-boss.

But the story really starts years earlier in Jamaica, where 10-year-old Dennis (Antwayne Eccleston), who goes by the nickname D., lives just outside Kingston with his older brother, a street DJ known as Jerry Dread (Everaldo Creary). When D witnesses the murder of his beloved brother, while Jerry is trying to bring peace between two warring Kingston gangs, the trauma of that loss haunts him. He grows up under the care of gang leader King Fox yet D remains obsessed with getting revenge on his brother’s killer, another young boy named Clancy.

In London, where the majority of the story takes place, things quickly go wrong between D and Rico, and the young Jamaican finds himself loose in London’s Hackney neighborhood. He decides to seek out his childhood sweetheart Yvonne (Shantol Jackson), who moved there to raise their young daughter and give her a better life.

Dividing the story between the two places reflects many immigrant experiences, of coming to a strange land for an new chance in life, something with which the London-raised Elba could identify. YARDIE follows a familiar plot about vengeance and immigrant dreams but its major strength lies in the distinctive flavor of Jamaican culture that fills it. Based on a 1980s bestseller by Victor Headley, the story is set in the overlapping worlds of Jamaican drug syndicates and its music industry. While D works for a drug lord, his heart is really with the music.

One of YARDIE’s delights is its score, filled with Jamaican music, none of which is by Bob Marley, although there is one by his grandson Skip Marley. The film immerses the audience in Jamaican culture, and director Elba makes the most of that, adding interesting locations and clever camera angles to charm the audience. The “good boy drawn to the dark side” story is a serviceable crowd-pleaser but it is built around a “mystery” we figure out long before the protagonist. A stronger script would have been nice but it gives Elba enough to get his directorial start on, and it’s positive message about Jamaican immigrants overcoming is pleasing enough, if only mildly entertaining.

The acting is good but not particularly remarkable. The only recognizable face is Graham, who appeared in supporting roles in several Guy Ritchie films, usually as a comic criminal. He’s a criminal in this one too but much less comic.

Idris Elba does some interesting things with his camera and the backdrop of life in Jamaican and on poor London streets are evocative and immersive. A stronger story could have made better use of the atmosphere of authenticity Elba creates, but it is only fitfully engaging as a thriller. Likewise, the cast, even the attractive leads, are not able to add enough emotional depth and subtext to make up for what is missing in the script.

However, the story is a crowd-pleaser, even if it is predictable, and will leave audiences with a nice little taste of Jamaican culture.

YARDIE opens Friday, March 15, at Landmark’s Tivoli Theater.

RATING: 3 1/2 out of 5 stars

SHERLOCK GNOMES – Review

 

So Easter’s just around the corner, and most kids are already enjoying that great Spring-time break from school. So where are the “all ages” movies at the multiplex? Those fightin’ giant robots may be a bit too violent for the wee ones (the same could be said of a trip to Wakanda). And that “Time Wrinkle” is a quite a “snoozefest”(if it’s still playing “first run”). Peter Rabbit and Paddington may have hopped and scampered away, on the road to VOD and DVD. Before the Incredibles return, how about a sequel to a modest kid flick from seven years ago? Wish granted as the lovebirds from 2011’s GNOMEO AND JULIET are back, and they’re not alone. Another famous literary property (in the public domain, too) joins the talking ceramics fun. As he states several times in the film, he’s the world’s greatest detective AND the protector of gnomes everywhere. He’s non other than super-sleuth SHERLOCK GNOMES. Oh, his side-kick Dr. Watson’s lends a hand, along with a grappling hook cane.

 

As the film starts, a trio of tiny gnomes (called goons) are debating what new story to tell. As they rest on a big volume of A.C. Doyle’s’ masterworks, it’s decided that they’ll tell a tale of Sherlock Gnomes (voice of Johnny Depp). Actually they begin near the end of an adventure as Gnomes and Watson (Chiwetel Ejiofor) rescue of group of gnomes about to be smashed by a criminal mastermind, that tasty pie marketing mascot, Moriarty (Jamie Demetriou). The heroes triumph and the villain is smashed by his own trap. All’s well…for now. Meanwhile Gnomeo (James McAvoy), Juliet (Emily Blunt) and all their ceramic pals are getting a new home. Their human owners have moved from the country into a cozy London house complete with a much smaller garden. With the new surroundings, the groups leaders, Lady Blueberry (Maggie Smith) and Lord Redbrick), decide to retire and hand over their duties to Gnomeo and Juliet. Unfortunately the new job keeps the lovers apart. To rekindle the romance Gnomeo decides to procure a special flower from a nearby shop. Just before he’s caught, Juliet arrives in the nick of time to rescue him. When they return home, all their friends are gone…as Sherlock and Watson arrive. They’re investigating a string of gnome disappearances from London gardens (the locales form a massive “M” on the city map). Could Moriarty still be on the loose? The two duos team up to find clues that will hopefully lead them to their missing friends. But can they locate them before the criminal kingpin smashes them to bits?

 

 

As far as animated flicks for the kiddies go, this trifle lands just about in the middle, nowhere near the glorious heights of COCO or PADDINGTON 2 but more bearable than the migraine inducing ANGRY BIRDS or HOODWINKED! The voice cast does their best to give the story an energetic boost, though the countless supporting gnomes began to sound a bit alike. Depp does a serviceable take on the master sleuth, only dropping into a touch of Jack Sparrow sporadically while Ejiofor is almost unrecognizable as his put-upon aide. Full disclosure: I’ve never seen the former film in this series, but I recall that one of its big selling points was the use of Elton John’s song catalog (he’s also one of the producers). The same is true this time around, with one song becoming a sexy show-stopper from a sultry Mary J. Blige as a doll (literally) from Sherlock’s’ past (I was reminded of Rihanna’s big number from last Summer’s sci-fi flop VALERIAN AND THE CITY OF A THOUSAND PLANETS). Unfortunately the background score is annoyingly intrusive in the film’s first act, trying way too hard to establish a “whimsical” vibe (really, it’s okay to just listen to the dialogue and sound effects). Fortunately the movie calms  as the mystery unfolds and the manic gnome slapstick is toned down. Their character design is good, but I was impressed with the looks of Moriarty (a distant cousin of THE SHAPE OF WATER’s diner mascot crossed with an unhinged menace from John K’s “Ren and Stimpy” TV cast) and his two creepy, dimwitted gargoyle henchmen. The CGI rendered London backdrops are well done as are two detours, one to an oriental emporium (ninja cats) and a toy shop with a hulking teddy bear bouncer. One very pleasant surprise was the use of “old school” 2D drawn animation to show the inner workings inside Sherlock’s head (the end credits call it his “mind palace”). In one sequence his Baker Street digs become an M.C. Escher maze of curling staircases, all rendered in a “pen and ink” style that recalls master animator Richard Williams (happy belated 85th to the genius behind WHO FRAMED ROGER RABBIT and the Pink Panther feature titles). At least the flick’s 90 minute running time doesn’t give it a chance to drag (with previews, well…). It may amuse the youngest of viewers , but if you want to introduce them to Doyle’s detective, THE GREAT MOUSE DETECTIVE is a summit that’s well beyond the grasp of SHERLOCK GNOMES. That comparison is  truly elementary.

 

3 Out of 5

 

DENIAL (2016) – Review

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With the arrival of Fall and Winter comes a return to more serious subject matter at movie theatres, and another look at events occurring during World War II. However, this new release really addresses the legacy of those events, a look back at history and those who document it. And the film is, in many ways, a courtroom thriller set in the British legal system, where the powdered wigs aren’t the only thing different from the US legal proceedings. However, the person on trial there is from the states, a professor suddenly burdened with presenting proof of one of the past century’s greatest tragedies, all at the beginning of this relatively new century. Yes, this WW II-themed docudrama take place less than twenty years ago, 50 years after the end of the war, when this woman accused must defend her belief that her accuser is in DENIAL.

The woman in question is Deborah Lipstadt (Rachel Weisz), a professor of Jewish history at Atlanta’s Emory University. When we meet her in the mid 1990’s, she is preparing to conduct a lecture about the Holocaust to a packed auditorium of students. Unknown to her, several men near the back entrance are setting up a video camera. They are led by British author and self-described historian David Irving (Timothy Spall). When Lipstadt concludes her lecture and takes questions from the audience, Irving identifies himself and confronts her about Lipstadt’s recent book in which he is profiled, “Denying the Holocaust”. He challenges her to a debate. When she dismisses him, Irving begins handing out pamphlets and fliers to the stunned students. Later, in 1996, Lipstadt is shocked to receive legal papers. Irving is suing her and her publisher, Penguin Books, in an English court for libel, saying his professional reputation as been damaged by being labeled a Holocaust denier. She begins to try to navigate the unfamiliar legal system, on in which she must prove her innocence (here that burden of proof is on the accuser). Traveling to London, Lipstadt engages a legal team led by Anthony Julius (Andrew Scott), with barrister Richard Rampton (Tom Wilkinson) to represent the defense in court. Over the next months Lipstadt raises the needed research funds which enable them to get a tour conducted by architect/ historian Professor Robert Jan van der Pelt of the camps at Auschwitz. As the trial date nears, they learn that Irving will be representing himself. The team begins a legal strategy, arguing to have the case decided by a lone judge, Sir Charles Gray (Alex Jennings). But, much to Lipstadt’s dismay, she is advised not to testify and not call several camp survivors as witnesses. Far more is at stake than monetary damages, the door may be opened for a large-scale re-writing of history.

 

 


As the audience surrogate (for the non-Brits), Weisz delivers a strong, but humanizing performance. Lipstadt is most definitely the hero of the tale, and she shows us her courage and determination, but also the trepidation. That steadfast stance of stone often returns to clay, but she never backs down. Weisz conveys her heartbreak and frustration over not testifying and having to turn away passionate survivors. It’s a nuanced performance worthy of an Oscar nom, as are her main three male co-stars (it’s a shame that Supporting Actor is limited to five). A film’s got to have a strong villain, and Spall is absolutely spellbinding as the man facing Weisz in court. He scowls from the sidelines in the opening lecture ambush, then strikes from afar, a spider wrapping Weisz in his web. Yes Spall shows him as a bully, but he lets us peer behind the curtain at a man whose ego seems to be boundless (look at all those journals). The money flow from the loss of his publishing ties wounds him, but Spall portrays, with his “I’m really a nice, lil’ guy” manner”, wants desperately to be respected as an academic, someone to be studied and celebrated. His courtroom adversary is the always remarkable Wilkinson as a true legal “pitbull”, but still retaining a child’s curiosity. It’s a true balancing act, as Rampton tries to keep focused on the trial, as the horrors of history tears at his psyche. Lipstadt is often aggravated by his lack of emotion at the camp site, but Wilkinson shows us a man who must keep his anguish buried. Much like the talented Andrew Scott, a superb Moriarty on TV’s “Sherlock”, he must hide his feelings, but it’s beneath a dour expression. Julius never wants his team to settle in and become over-confident. He knows their cause is noble, but he never assumes that the courts will be swayed easily, an attitude he tries to instill in Lipstadt. Kudos to Jennings who make the judge a mysterious, inscrutable figure, a stance that makes his late in the trial observation the legal version of a live grenade.

 

Director Mick Jackson returns from “TV town” with an assured sense of pace and storytelling style. During the camp tour he uses some stylized visuals and editing (flashes of suffering and writhing ghosts), but shoots the courtroom as a modern-day battle arena with barristers as gladiators, reminding us of Hitchcock’s WITNESS FOR THE PROSECUTION. The camera smoothly glides from actor to actor, knowing just when to lock down for impact, particularly for the verbal showdown between Irving and Rampton. It’s a sequence that crackles with energy, thanks in large part to the riveting screenplay by David Hare. There may not be enough scenes of the legal team formulating a plan, and too many of Lipstadt pacing in her posh hotel suite, but the final act and denouncement help balance the story, one so very recent. Thanks to the incredible cast, DENIAL is a compelling, riveting look at history and its various interpreters.
4 Out of 5

DENIAL opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

 

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BRIDGET JONES’S BABY – Review

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It’s cinema sequel time once more, film fans. Generally follow-ups pop up with great frequency during the Summer months, but this flick bends the release rules on many levels. For one thing, a dozen years have passed by since the last installment. Not quite the 20 years between Independence Days, but still rather lengthy. Two more things: it’s based on a book series that focuses on a female protagonist. No, it’s not from a YA (young adult) series, so get THE HUNGER GAMES and TWILIGHT, out of your heads, since this characters has several years on Bella and Katniss. Plus, this is not an action epic set in a dystopian future, rather the present day (although some elements do venture into fantasy). So in 2001 we delved into her diary, three years later she took us to the edge of reason, and now we get to meet BRIDGET JONES’S BABY.

 
As we catch up with Ms. Jones (Renee Zellweger), she’s all “by herself”, listening to the similarly titled pop standard, in her London flat celebrating her 43rd birthday. While blowing on the candle on her cupcake, she brings us up to speed on her life. She’s the stage manager/co-producer of a popular TV news show and best “mates” with the anchorwoman Miranda (Sarah Solemani). A few days ago Bridget attended a memorial service and ran into her ex-beau, famous barrister Marc Darcy (Colin Firth), who was there with his wife Camilla. Double bummer! But things are about to perk up. Since she couldn’t be with her on the big “B day”, Miranda is going to treat Bridget to a weekend at a big music festival where they will be “glamping” (glamorous camping in an already set-up rental tent). Oh, and there will be lots of drinking. So much so that Bridget wanders into the wrong tent. Or maybe the “rightest” tent since it is occupied by a hunky American named Jack (Patrick Dempsey), who she had met earlier in the day as she navigated the muddy grounds of the fair site. Things get chummy and …hours later a hung over Bridget scurries off to find Miranda, while Jack was out getting coffee. Back at work, Bridget must deal with her new bosses, a pack of millennials with no patience for “hard news”. And her “Mum” (Gemma Jones) is running for public office, testing the patience of Dad (Jim Broadbent) back in her home village. When Bridget agrees to be the godmother to Jude’s (Shirley Henderson) new baby, she’s surprised to see that the godfather is Marc, who is at the baptism without the wife. He explains that they have separated, the drinks flow, and….same deal. It’s an uneventful few weeks (Marc is back in the courts with a high-profile case) when she notices her clothes getting more than a tad tighter. Quick trip to chemist for a kit, and Bridget learns she is pregnant. Is the “baby daddy” old flame Marc Darcy or is it the holiday mystery man (Bridget and her “squad” discover that he’s Jack Quant, multi-millionaire creator of a popular dating website, so…that’s a plus!)? How can she tell them, and what will happen if she does? What’s a gal to do??!!

After a long hiatus from film, Zellweger re-affirms her star status by displaying her precise comic timing and a “go for it” spirit in the story’s many slapstick sequences. She delivers an energetic performance, while also never setting aside Bridget’s maturity and her fears (watch her as she hears the phrase “geriatric pregnancy”). This doesn’t inhibit the silly side of the role, with bits of funny business that would make Lucille Ball proud. Unfortunately her suitors don’t get nearly the chance to “cut loose”. Firth, for much of his screen time, is “one note” as Darcy who is written as a stodgy ole’ “fussbudget”, cringing at many of the wild antics of the cast. Happily, Darcy does get to fire off a rare withering retort filled with sarcasm, and you can see the joy in Firth’s eye in these too brief scenes. Then he’ll make a charming declaration of love, and any thoughts about Darcy having a “stick up his…” evaporate. The new guy at this party, Dempsey, is there mostly to provide conflict and melt the ladies’ hearts with his 1000 watt smile and five-o’clock shadow. Oh, and he gets to poke wholes in the uptight, overblown Darcy after Jack’s character does a complete 360 from his awkward live TV interview, after hearing of possible fatherhood. Dempsey also brings lots of energy, but this role won’t have his fans forgetting his “Dr. McDreamy” TV persona. Solemani really sells the role of a respected newswoman by day and party animal by night (or weekend). Gemma Jones and Jim Broadbent do their best to make their “B” story interesting, while Shirley Henderson, Sally Phillips, and Celia Imrie clock in for cameos that unite them from the previous films. The best supporting work is from co-screenwriter Emma Thompson as Bridget’s snarky OBGYN whose deadpan delivery is pure comic perfection. She only pops in for a few brief scenes, but Thompson scores huge laughs every time she appears.

Full disclosure here: I have not seen the previous Jones flicks. I contemplated about streaming them prior to this new entry, but I thought it best to go in cold, since BABY should be able to stand (or crawl) on its own (I don’t think you should have to read the book, before seeing the movie adaptation either). I realize that I’m not really in the demographic the marketing folks are aiming at. This flick is a frothy fantasy for women of (ahem) a certain age. And yes I know the multiplexes are jam-packed with flicks tailored for guys (Bond, Bourne, the Fast &the Furious , etc…). Nonetheless, this stale bit of fluff sorely tested my powers of endurance. As I’ve stated many times before, comedies should not be marathons. One hundred minutes tops. At over two hours, this film veers into Judd Apatow territory. And like most comedies of any length it hits that one hour lull at full force. What could it lose? How about the completely unnecessary “Mum’s campaign” subplot? Hey, Bridget is a wild free spirit and her mother’s a 1950’s prude! Then again, that’s one of many clichés that pass for wit. Caucasian lip sincs to hip hop…check! Little girl drops the F-bomb…in church! One of many gratuitous bombs…but hysterical…check! Leading lady dives into the mud…check! And the old “do everything or say everything I say” bit…double check! The basic plot of “daddy decision” was used way back in 1967’s Sandra Dee farce DOCTOR, YOU’VE GOT TO BE KIDDING!, along with many TV sitcoms. The talented cast just can’t work miracles with this tepid script and lackluster direction. The studio might have been thinking this could be another franchise, but hopefully the trilogy mercifully concludes with BRIDGET JONES’S BABY. Whew, somebody change that diaper!
1.5 out of 5

 

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Watch the TRON: LEGACY London Premiere LIVE

As Disney brings you the 3D movie event of the year with director Jospeh Kosinski’s long awaited return to the grid, TRON: LEGACY fans worldwide will be able to experience the Tron: Legacy London premiere as it unfolds LIVE from the blue carpet today, December 5th, at 12:30pm ET / 9:30am PT.

Hosted by UK radio DJ Edith Bowman the live premiere stream begins at 5.20pm (GMT) with exclusive access all areas footage, including interviews with Tron: Legacy’s all-star cast as they walk the TRON-ified blue carpet; from the legendary Jeff Bridges (returning as Kevin Flynn), Olivia Wilde (Quorra) to the film’s director Joseph Kosinski and the film’s producer Sean Bailey.

In addition to seeing the Hollywood stars from the movie viewers will also be treated to an exclusive preview of the TRON: Legacy soundtrack which was scored by Grammy® Award-winning electronic music duo Daft Punk. The soundtrack is the duo’s first studio recorded album in 5 years and is released December 6.

Other guests attending include Jonathan Ross, Professor Green, N-Dubz, Tinchy Stryder, La Roux, McFly, Toby Kebbell, Alison Goldfrapp, The Script, Ellie Goulding, Klaxons, Pete Tong, Roisin Murphy, Ozwald Boateng, Gary and Danielle Lineker

TRON: LEGACY is a 3D high-tech adventure set in a digital world that’s unlike anything ever captured on the big screen. Sam Flynn (GARRETT HEDLUND), a rebellious 27-year-old, is haunted by the mysterious disappearance of his father Kevin Flynn (Oscar®- and Golden Globe®-winner JEFF BRIDGES), a man once known as the world’s leading video-game developer. When Sam investigates a strange signal sent from the old Flynn’s Arcade—a signal that could only come from his father—he finds himself pulled into a digital world where Kevin has been trapped for 20 years. With the help of the fearless warrior Quorra (OLIVIA WILDE), father and son embark on a life-or-death journey across a visually-stunning cyber universe—a universe created by Kevin himself that has become far more advanced with never-before-imagined vehicles, weapons, landscapes and a ruthless villain who will stop at nothing to prevent their escape.

TRON: LEGACY is directed by Joseph Kosinski, from a screenplay written by Eddy Kitsis & Adam Horowitz, based on characters created by Steven Lisberger and Bonnie MacBird. Presented in Disney Digital 3D and scored by Grammy Award® winning electronic music duo Daft Punk, TRON: Legacy hits theaters on December 17, 2010.

Visit the official website at: http://Disney.com/TRON. Like TRON: LEGACY on Facebook at: www.Facebook.com/TRON or on Twitter here.

The film is rated PG with a running time of 126 mins