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the devil wears prada

Review: Hope Springs, Total Recall and How Far Is Heaven

By Cinema, Reviews

Hope Springs posterIn Hope Springs, Meryl Streep proves once again that not only can she play any woman, she can also play every­wo­man. She’s Kay, an unful­filled Nebraska house­wife, mar­ried for 31 years to account­ant Tommy Lee Jones and resigned to sleep­ing in sep­ar­ate bed­rooms and cook­ing him his eggs every morn­ing while he reads the paper. Except, she’s not resigned, she’s become determ­ined. Determined to prove that mar­riage doesn’t just fizzle out after the kids leave home, that the past doesn’t have to equal the future.

So, she signs them both up for “intens­ive couples coun­selling” with friendly ther­ap­ist Steve Carell, in pic­tur­esque sea­side Maine. Jones is gruffly res­ist­ant, of course, and it’s his dead­pan sar­casm that prompts nost of the early com­edy (their fum­bling attempts to spice up their life provides the rest). As a com­edy, Hope Springs is extremely gentle – much more gentle than the trail­er would have you believe – but that gen­tle­ness suits the del­ic­ate sub­ject and the script (by Vanessa Taylor) actu­ally bur­rows in pretty deeply to a sub­ject that, I’m sure, is pretty close to home for lots of viewers.

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Review: Up, The Soloist, The Young Victoria, Paris 36, Casablanca, The Camera on the Shore and the Vanguard 30th Anniversary

By Cinema, Reviews

The Young Victoria posterThe theme for the week seems to be romance and some of the finest love stor­ies of recent (or in fact any) year have just made their way to our screens. Firstly, The Young Victoria where Emily Blunt (Sunshine Cleaning, The Devil Wears Prada) deservedly takes centre stage for the first time as the eponym­ous roy­al. Even review­ers are entitled to a little pre­ju­dice, and I wasn’t expect­ing much from this going in, but I left the cinema full of admir­a­tion for an intel­li­gent script, perfectly-pitched dir­ec­tion and con­sist­ently able per­form­ances from expec­ted and unex­pec­ted quarters.

Blunt’s Victoria is a head­strong teen­ager, frus­trated by the com­pet­ing polit­ic­al interests that push and pull her. Only Prince Albert of Saxe-Coburg and Gotha (whose suit was instig­ated by yet more euro-intrigue) seems to see the real Victoria and offers the new Queen sup­port and inde­pend­ence. The rela­tion­ship between Blunt’s Victoria and Rupert Friend’s ini­tially nervous but ulti­mately self-assured Albert is charm­ing, nat­ur­al and mov­ing and the back­ground of polit­ic­al intrigue and mach­in­a­tions provide neces­sary (but not over­whelm­ing) con­text. The Young Victoria is a film that, and I hope this makes sense, is per­fectly balanced.

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Review: Duplicity, Adoration, The Spirit of the Marathon, The Merchant of Venice and Confessions of a Shopaholic

By Cinema, Reviews

Duplicity posterYou’ll often find me rail­ing against the Hollywood machine in these pages – the life­less and cyn­ic­al, the focus-grouped and beta-tested, the band­wag­on jump­ing and the shark jump­ing – so it makes a pleas­ant change to loudly praise a film whose strengths are a pure expres­sion of old-fashioned Hollywood virtues.

Duplicity is a star-driven caper movie, fea­tur­ing ter­rif­ic easy-going per­form­ances by Julia Roberts and Clive Owen – play­ing two former spies now in the cor­por­ate secur­ity busi­ness. They team up to play their two cli­ents off against each oth­er for a secret for­mula that will change the world, and dis­cov­er that big busi­ness plays for keeps.

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Review: Black Book, The Kingdom, The Nanny Diaries and Half Nelson

By Cinema, Conflict of Interest, Reviews

Black Book posterPaul Verhoeven is one of those dir­ect­ors that has no hand-brake, regard­less of the sub­ject mat­ter. For ice-pick wield­ing mur­der­ers (Basic Instinct) or giant ali­en bugs (Starship Troopers) this damn-the-torpedos atti­tude is per­fect; when we’re talk­ing about Dutch jews being betrayed by cor­rupt mem­bers of the res­ist­ance in WWII – not so much.

Black Book is Verhoeven’s first film in sev­en years, and his first film back home in Holland since Flesh + Blood back in 1985. Carice van Houten plays Rachel Stein, a nightclub sing­er before the war, now on the run from the Nazis. When her fam­ily is murdered on the brink of escape she dyes her hair blonde and joins the res­ist­ance, going under­cov­er and then fall­ing in love with the good German played by Sebastian Koch from The Lives of Others (you know he’s going to be a good German because he col­lects stamps and does­n’t have a scar on his cheek).

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