MOVIE PREVIEW: ‘The Three Musketeers 3D’

three musketeers 03 x650

By Ray Bennett

LONDON – When Milla Jovovich’s husband said that he wanted to make a new film version of “The Three Musketeers”, she said, “Really? No. Really?” The actress says: “But then I thought if anyone is going to reboot ‘Three Musketeers’, it’s going to be Paul, so I just wanted to be a part of it.”

It helps that her husband is Paul W.S. Anderson who has directed the star in the “Resident Evil” franchise, the most recent of which, “Resident Evil: Afterlife” grossed $296 million around the world.

That film was shot in 3D and afterwards Anderson said every movie he made would be in that format. Thus the new “Three Musketeers” – released by eOne this month in theatres and in February on Blu-day Disc – is in 3D and uses the same Cameron/Pace system used for “Avatar”

jovovich x325Anderson says he takes a holistic approach to 3D filmmaking and so everything about a movie has to be 3D: “We start by writing a 3D script that has action set-pieces in it and descriptions of places that think about the dept that 3D likes and loves. Then we design sets that emphasise the 3D. I choose locations that work well in 3D. We chose to shoot fight scenes in the rain because rain looks great in 3D.”

Ray Stevenson (“Rome”, “Thor”), who plays Porthos in the film, says that filming fight sequences in 3D is very liberating: “The 3D cameras can almost see around you so everything has to be on point and on target. We had phenomenal training before we started to shoot and it had to be of such a high standard because of the 3D, and when we came to filming we were a lot freer.”

That was good because there are a lot of fights in the picture, big ones with scores if not hundreds of people who use not only daggers and swords but futuristic weapons inspired by 17th century exhibits and illustrations in German museums.

They were German because the film’s interiors were shot at Studio Babelsburg in Bavaria. Anderson says, “They have very big stages and we needed the big stages for the sets we built. The movie was 70% on location and 30% stage. Obviously, we needed a lot of historic locations, which were fantastic but once you start blowing things up, as we do in the movie, we had to do all of that on the stage. We had to build really big so that the stage portion matched visually the locations.”

It was great fun, too, for the rest of the cast, which includes Matthew Macfadyen (“Spooks”, “Pride And Prejudice”) as Athos, Luke Evans (“Tamara Drew”, “Clash Of The Titans”) as Aramis, Logan Lerman (“3:10 To Yuma”), Christoph Waltz (“Inglourious Basterds”) as Cardinal Richelieu, and Orlando Bloom (“Lord Of The Rings”) as the Duke of Buckingham.

Anderson says he set out to make a family popcorn movie because it was the first film he’s made since he’s had a family. He says: “There’s no blood in it, no nudity, no bad language. It depends on how sensitive your kids are. There is a certain intensity in the action scenes but if your kids are up for that, I would say definitely go for it.”

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This story appeared in Cue Entertainment.

 

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Jonathan Pryce to play ‘King Lear’ at the Almeida

Jonathan Pryce

By Ray Bennett

Great news from London’s Almeida Theatre: Jonathan Pryce will perform “King Lear” there in a production directed by Michael Attenborough that will run Aug. 31 to Nov. 3.

Also next year, the Almeida will have Federico Garcia Lorca’s “The House of Bernarda Alba” relocated to rural Iran in a production directed by Bijan Sheibani (Jan. 19-March 10). Shohreh Aghdashlo (“The House of Sand and Fog”) will make her British stage debut.

Michael Attenborough, who is the Almeida’s artistic director, also will direct a new English version of Eduardo de Filippo’s “Filumena” by Tanya Ronder with Olivier Award winning Samantha Spiro (“Merrily We Roll Along” at the Donmar, 2000). Yonder’s adaptation of “Vernon God Little” ran at the Young Vic.

Here’s more about productions at the Almeida

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Delon and Schneider sizzle in restored ‘La Piscine’

Romy Schneider and Alain Delon in Jacques Deray’s sensual ‘La Piscine’

By Ray Bennett

When you see Alain Delon and Romy Schneider in the 1969 film “La Piscine” you have a much better idea of what it must have been like to be young and beautiful in St. Tropez in the 1960s.

It’s often said that screen couples sizzle, but rarely do they sizzle like Delon and Schneider. The film has been restored by SND Films and starts today at BFI Southbank and in cinemas in key cities, released by Park Circus.

Directed by Jacques Deray with cinematography by Jean-Jacques Tarbés and music by Michel Legrand, it’s a love triangle set in a Mediterranean villa with a tempting swimming pool.

Jean-Paul (Delon) and Marianne (Schneider) are playful lovers whose idyll by the Med is interrupted by the visit of one of her ex-lovers, the boisterous and noisy Harry (Maurice Ronet), who brings his waiflike young daughter Penelope (Jane Birkin) to stay.

The tension grows in a very sly fashion as temptation and jealousy begin to surface, and as the threat of violence increases you can’t take your eyes off the movie’s golden stars.

Here’s more from Park Circus

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THEATRE REVIEW: Mike Leigh’s ‘Grief’ at the National

Lesley Manville, Ruby Bentall and Sam Kelly in Mike Leigh’s ‘Grief’ at the National Theatre

By Ray Bennett

LONDON (The Hollywood Reporter) – Mike Leigh’s new play “Grief” is the complete opposite of his film “Happy-Go Lucky” with a family rendered almost cataleptic by personal loss and the gloom of post-World War II England.

Given its World Premiere on the Cottesloe Stage of the National Theatre on Sept. 21, the drama boasts all of the filmmaker and playwright’s skill in the delineation of character and his ability to draw extraordinary performances from his cast of Leigh regulars.

Lesley Manville plays Dorothy, a middle-aged woman whose RAF officer husband was killed in the war and whose absence is a constant and unbearable weight. She shares her colorless but tidy home with her sullen and resentful 15-year-old daughter Victoria (Ruby Bentall) and doleful and disappointed single older brother Edwin (Sam Kelly).

It is 1958, and while Victoria, in her proper school uniform, burns like a slow fuse, her mother conforms to the remembered rules of strict lower-middle class English manners. Her daily routine is to struggle through each day as she mismanages her housekeeper, gazes at the photo of her late husband on the mantelpiece, and prepares dinner for Victoria and Edwin.

Oblivious to her daughter’s loss of a father as an infant, Dorothy imagines she can keep “my little girl” even as the teenager begins to respond to the way society has changed beyond their cloistered home. It’s the time of the Sputnik, the Everly Brothers and the birth of computers. Most evenings, as Victoria smolders in her bedroom, Dorothy and Edwin are wont to break briefly into a song such as “Goodnight, Sweetheart” or “Smile” in sweet and harmonious but deeply mournful tones. Then they indulge in a glass of sherry: “Chin, chin.”

The days are broken up occasionally by a visit from Dorothy’s old friends Gertrude (Marion Bailey) and Muriel (Wendy Nottingham), who prattle on about their better-off lives and reminisce about the trio’s younger days as telephonists. A talkative doctor named Hugh (David Horovitch) also pops in to share a drop of whisky and perhaps a game of cards with Edwin. These intruders make no dent in the stultified routine of Dorothy and Edwin, although Victoria makes plain her disdain for all of them.

In typical Leigh fashion, each character is defined cleverly by the words they are given. Dorothy is quick to apologise if she forgets and wears her kitchen apron in the living room, “So sorry,” and she chides her daughter when she smokes a cigarette or drinks “that ghastly Coca-Cola.” Manville captures her despair with precise movements, small hesitations and frequent stillness when she stares hopelessly into the abyss. Kelly, too, has the ability to freeze as if caught in horrified recognition of the complete emptiness of his life.

Bentall makes the unsmiling daughter a potential time bomb while Bailey, Nottingham and Horovitch bring small amounts of merriment and laughter into the fray with expert timing and inflection.

Composer Gary Yershon’s elegiac score for violin, bass and vibraphone adds fluidly to the claustrophobic set designed by Alison Chitty while lighting designer Paul Pyant conveys the monotony of the daily drawing of curtains and switching on and off of lights.

It’s an engrossing and moving production as Leigh maintains the depressing tone with great discipline but underscores everyone’s insufferable politeness with a tension that ratchets up to an explosive finale.

Venue: National Theatre, London, runs through Jan. 28; Cast: Lesley Manville, Sam Kelly, Ruby Bentall, David Horovitch, Marion Bailey, Wendy Nottingham, Dorothy Duffy; Playwright, director: Mike Leigh; Set designer: Alison Chitty; Lighting designer: Paul Pyant; Sound designer: John Leonard; Music: Gary Yershon; 2 hours with no interval.

This review appears in The Hollywood Reporter and here’s more about Grief

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Coppola’s ‘Conversation’ set for Blu-ray in UK

StudioCanal said it will release Francis Ford Coppola’s 1974 drama “The Conversation” starring Gene Hackman on Blu-ray Disc for the first time in the UK on Oct. 31.

The film won the Palme d’Or at the Festival de Cannes and two BAFTA Awards for its outstanding editing and sound. It stars Hackman as a surveillance expert fanatical about his own privacy who stumbles upon what he becomes convinced is a murder plot. The cast includes John Cazale, Robert Duvall, Teri Garr, Frederic Forrest and Harrison Ford. Continue reading

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TIFF FILM REVIEW: Roland Emmerich’s ‘Anonymous’

Vanessa Redgrave as Queen Elizabeth 1 and Rhys Ifans as Edward de Vere in ‘Anonymous’

By Ray Bennett

TORONTO – It’s curious that the lives of many creative men, e.g. Steve Jobs and Mark Zuckerberg, are so uninteresting, and in the case of William Shakespeare there is also a distinct lack of information. So you cannot blame Roland Emmerich for his choice to focus on the far richer and more interesting life of Edward de Vere, Earl of Oxford, in “Anonymous”, which Sony will release in the UK on Oct. 28.

The result is a thoroughly enjoyable “what if” movie and while the question of who wrote all those wonderful plays is central to the story and is exploited with sly wit, it’s really about the politics of the court of Elizabeth I.

Fans of C. J. Sansom’s Shardlake novels and Hilary Mantel’s “Wolf Hall” will relish the film’s depiction of the ferocious internecine chicanery of powerful figures that plot to decide who will succeed Elizabeth on the English throne.

Rafe Spall plays William Shakespeare as an opportunistic buffoon

It’s a sumptuous epic, with genuinely pleasing CGI images of 17th century London, and while the notion that someone other than the Bard of Avon wrote the best plays ever written adds to the film’s enjoyment, it’s the intrigue that enthrals.

Lovers of Shakespeare will delight in the many hints at who inspired notable characters in the plays attributed to him. The playwright is regarded generally as a P.R. man for the Tudors, and Emmerich posits that so too was De Vere. Historical facts and the dates of events are blurred to the service of the entertaining plot but like a Shakespeare play, the broad truth appears to be sound.

John Orloff’s screenplay covers the period at the end of the queen’s life with flashbacks to an earlier time. There are lovers and plotters, and questions of parentage, loyalty and betrayal are woven cleverly.

Director Roland Emmerich employs CGI to great effect to depict 17th century London

Vanessa Redgrave is energetic and powerful as the ageing monarch while her daughter Joely Richardson makes the younger queen both beautiful and cunning. Rhys Ifans gives his best performance yet as De Vere, an elegant and intense intellectual denied the opportunity to make public his brilliance, and Jamie Campbell Bower (Arthur in TV’s “Camelot”) makes the young Oxford full of life and bursting with ideas.

Sebastian Armestro is an earnest and likeable Ben Johnson while Rafe Spall is required to play Will as a bombastic, drunken and conniving opportunist. David Thewlis and Edward Hogg play the villainous Cecils, father and son, with great panache; Trystan Gravelle is appropriately oily as a Christopher Marlowe viewed as deeply flawed, and Sam Reid and Xavier Samuel are handsome and dashing as the Earls Essex and Southampton, whose plotting comes to a bad end.

Sebastian Krawinkel’s production design delivers a pleasing eyeful, Anna J. Foerster’s cinematography is suitably epic and so is the score by Thomas Wander and Harald Kloser.

The film is a departure from Emmerich’s sober-sided disaster pictures and he displays a flare for comedy as well as suspense and intense drama. It’s a lot of fun.

Venue: Toronto International Film Festival; Cast: Rhys Ifans, Vanessa Redgrave, Joely Richardson, David Thewlis, Xavier Samuel, Sebastian Armesto, Rafe Spall; Director: Roland Emmerich; Screenwriter: John Orloff; Producers: Roland Emmerich, Larry Franco, Robert Léger; Director of photography: Anna J. Foerster; Production designer: Sebastian Krawinkel; Music: Thomas Wander, Harald Kloser; Editor: Peter R. Adam; Costume designer: Lisy Christi; Executive producers: Volker Engel, Marc Weigert, John Orloff. Production: Anonymous Pictures Ltd; Distributor: Sony Pictures Releasing; UK rating 12, 130 minutes.

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TIFF FILM REVIEW: Paddy Considine’s ‘Tyrannosaur’

Peter Mullan in Paddy Considine’s ‘Tyrannosaur” set for UK release by StudioCanal on Oct. 7

By Ray Bennett

TORONTO – Joseph is the kind of man you wish never to encounter in a pub. Played with savage intelligence by Peter Mullan in Paddy Considine’s gripping if hard to watch drama “Tyrannosaur”, Joe’s default setting is not Travis Bickle’s “You talkin’ to me?” but the far more combustible, “You looking at me?”

One off glance is enough to spark an eruption of violent anger expressed with fist, beer glass, pool cue, or whatever is to hand. What makes him even more dangerous is that he actually feels better if he comes off worse. That is, until the remorse sets in and his excoriating self-hatred takes over.

Actor turned writer/director Paddy Considine and producer Diarmid Scrimshaw made a short film six years ago titled “Dog Altogether”, which aimed to show that a man seen kicking his dog to death could still win an audience’s sympathy. The character was Joe, played by Mullan, and the piece landed a Bafta Film Award as best short film.

Now, the feature film based on the same premise achieves a similar result although it takes a while before Joe’s redeeming qualities begin to emerge. Out of work but with enough to manage, Joe lives a bitter childless life after the death of his wife, whose character is summed up by Joe’s cruel use of the film’s title to describe her.

After his dog’s demise and following a spontaneous assault on some young pool players in a pub, Joe staggers into a charity shop and hides in shame behind the hanging clothes. The shop assistant, a diffident woman named Hannah (Olivia Colman) is fearful but emboldened by her proclaimed faith, she offers her help.

Joe rips into her verbally and leaves, but as the film goes on he returns and they begin a relationship based on despair and an inability to communicate. Matters become heated when Hannah reveals that her husband James (Eddie Marsan) is deeply conflicted between born-again Christianity and his own furious lust, which results in extreme jealousy and a tendency to beat his wife.

Mullan gets under the skin of a belligerent individual who is almost impossible to like and shows the suppressed humanity within. Colman, best known for comedy in shows such as “Green Wing” and “Rev”, plays Hannah as a gentle and mistreated soul who finds in Joe the inspiration to discover some nerve. In his few scenes Marsan sketches vividly the ugliness of the husband’s nature.

Considine handles the three leads with great understanding and it’s only when he ventures into group scenes, especially a tiresome singalong wake for another temperamental drunk, that his grip appears to be less certain. It’s a fine directorial debut, however, and it suggests that he will continue the tradition of gritty British filmmaking established by the likes of Ken Loach and Mike Leigh.

Reviewed at the Toronto International Film Festival, the film goes on general release in the UK from StudioCanal on Oct. 7. Cast: Peter Mullan, Olivia Colman, Eddie Marsan, Ned Dennehy, Sally Carman, Samuel Bottomley, Paul Popplewell, Sian Breckin; Director, screenwriter: Paddy Considine; Producer: Diarmid Scrimshaw; Director of photography: Erik Alexander Wilson; Production designer: Simon Rogers; Music: Chris Baldwin, Dan Baker; Editor: Pia Di Ciaula; Costume designer: Lance Milligan; Executive producers: Peter Carlton, Mark Herbert, Katherine Butler, Hugo Heppell, Suzanne Alizart, Will Clarke; Production: Warp X, Inflammable Films for Film4, U.K. Film Council, in association with Screen Yorkshire, EM Media, Optimum Releasing; Sales: Protagonist Pictures, London; UK rating 18, runs 93 minutes

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TIFF FILM REVIEW: Michael Fassbender in ‘Shame’

Michael Fassbender and Carey Mulligan in Steve McQueen’s ‘Shame’

By Ray Bennett

TORONTO – If Turner Award-winning artist turned film director Steve McQueen focussed less on Michael Fassbender’s naked willy and more on character and plot then his second feature “Shame” might be much more interesting.

The title is misleading since Fassbender’s character, Brandon, displays a shameless indifference to work and family on top of his relentless appetite for joyless sexual encounters in the filmmaker’s attempt to explore sex addiction in New York.

Brandon has a cushy office job that is never explained although his married but horny boss David (James Badge Dale) does not seem bothered by his lack of endeavour nor the fact that Brandon’s desk computer is jammed with pornography.

McQueen and co-writer Abi Morgan show Brandon as a man whose every waking moment is spent in search of sex whether it’s alone, in one-night stands, with prostitutes, or via the internet. Clearly, the man is incapable of sexual satisfaction but the film makes no attempt to find out why.

There is one insightful scene on a subway train when Brandon and a beautiful young woman flirt intriguingly and the woman wisely takes pleasure only in the moment.

As he did in McQueen’s first film, “Hunger”, Fassbender performs beyond the call of duty in many scenes in which he is naked and panting, often with vigorous but uninvolved women.

The one time Brandon has what would be called a normal liaison with a well-adjusted woman (Nicole Beharie), it does not go well. That he would then seek release in the backroom of a sleazy gay bar suggests that it’s really the squalor and filth that he enjoys but there’s no way to tell.

Carey Mulligan also gives of herself as Brandon’s addled and needy sister Sissy and her scenes evoke sympathy more for the actress than the character. She’s a would-be singer whose performance of “New York, New York’ is dire and while McQueen seeks to shock, it’s odd that he would obey the absurd movie convention in which a cabaret performer does one number and then joins a table in the audience.

Although it was shot there, New York has no real presence in the film and several street scenes in which Brandon is presumably conflicted simply go nowhere. Only in Fassbender’s raffish features are there signs of the anguish that the film apparently seeks to explore. Despite the film’s flaws, the actor shows once again that he will become a major movie actor.

Reviewed at 2011 Toronto International Film Festival; Opens UK: Jan. 13, Momentum Pictures; Cast: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie; Director: Steve McQueen; Screenwriters: Steve McQueen, Abi Morgan; Producers: Iain Canning, Emile Sherman; Executive producers: Tessa Ross, Tim Haslam, Peter Hampden; Director of photography: Sean Bobbitt; Production designer: Judy Becker; Music: Harry Escott; Costume designer: David C. Robinson; Editor: Joe Walker; Production: See-Saw Films, Film 4, UK Film Council, Lipsync Productions, Hanway Films; UK rating 18; 99 minutes.

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TIFF FILM REVIEW: Michael Hazanavicius’s ‘The Artist’

Jean Dujardin and Bérénice Bejo in Michael Hazanavicius’ black-and-white marvel ‘The Artist’

By Ray Bennett

TORONTO – The word irresistible is bandied around a lot in reviews but it is the only way to describe Michael Hazanavicius’s marvellous black-and-white silent movie “The Artist”.

A treat for film lovers, it is set in Hollywood in the 1920s and tells of a headliner whose star is fading and a newcomer who is about to hit the heights as silent pictures give way to talkies.

Filmed in the boxy Academy ratio, the film was shot in colour and then adapted to sumptuous black-and-white with all the atmosphere of the time and the over-the-top screen acting that went with it. It is silent, but there some surprising and very funny tricks with sound.

Jean Dujardin, who starred in the director’s French spy spoofs, “OSS 117”, plays George Valentin, a gallant swashbuckler reminiscent of Douglas Fairbanks, whose derring-do is matched by his resourceful and equally talented Jack Russell terrier Uggie.

The film opens with a screening of Valentin’s latest smash hit and the handsome and debonair ham is shown as he takes in the applause of his adoring audience.

As the cameras flash outside the cinema, however, a jaunty young woman named Peppy Miller, played by Hazanavicius’ wife Bérénice Bejo, contrives to trip over the star and the fotogs egg the two on to share a kiss.

Headlines in the trades ask who is the mystery girl as Peppy lands a job as an extra in the same studio where Valentin works, and there’s a joyous scene in which, separated by a backdrop, they share dancing that leads to a meeting.

Enchanted, Valentin persuades his reluctant producer Al Zimmerman (John Goodman) to give her a job and another captivating sequence shows the pair doing retakes of a simple scene that they both fluff as they realise they have fallen in love.

It’s romantic and silly and utterly beguiling. But Zimmerman decides to make only talkies from then on and Valentin elects to try to buck the trend without success. The film follows his downward spiral as Peppy’s career takes off and there will be tears and much laughter before the exhilarating climax.

Guillaume Schiffman’s cinematography is filled with ravishing black-and-white images that evoke not only the days of silent films but also the way movies will develop into the ’40s with homages to Orson Welles pictures and more.

French composer Luduvic Bource provides a vast range of musical styles to capture the comedy, drama and pathos, and the director adds many cues from top composers from Hollywood’s golden age that only add to the fun. Buffs might object to the use of one of Bernard Herrmann’s themes from “Vertigo” in a crucial scene, but it works beautifully.

Goodman is perfectly pugnacious as the no-nonsense producer and James Cromwell evokes the character actors of the time with his droll performance as a loyal chauffeur. Familiar faces such as Penelope Ann Miller, Ed Lauter, Missy Pyle and Ed Lauter also contribute vivid moments.

The comic timing and lovely dancing that Dujardin and Bejo display will endear them to audiences who cherish movie entertainment of the highest order. There is a sly moment at the end when the French director reminds us how important Europeans were to the development of Hollywood.

There will be adoring audiences, and there will be awards.

Venue: Toronto International Film Festival; UK release: Dec. 30, Entertainment; Cast: Jean Dujardin, Berenice Bejo, John Goodman, James Cromwell, Penelope Ann Miller, Missi Pyle, Malcolm McDowell, Ed Lauter; Director, screenwriter: Michel Hazanavicius; Producer: Thomas Langmann; Director of photography: Guillaume Schiffman; Production designer: Laurence Bennett; Music: Ludovic Bource; Editors: Anne-Sophie Bion, Michel Hazanavicius; Costume designer: Mark Bridges; Executive producers: Daniel Delume, Antoine De Cazotte, Richard Middleton; Production: Thomas Langmann presents a La Petite Reine, Studio 37, La Classe Americaine, JD Prod, France3 Cinema, Jouror Production-uFilms co-production; UK rating 12A, runs 100 minutes.

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TIFF FILM REVIEW: ‘The Forgiveness of Blood’

Tristan Halilaj plays a teenager caught up in a violent family feud in 'The Forgiveness of Blood'

Joshua Marston’s “The Forgiveness of Blood” offers the Hatfields and the McCoys Albanian style taken seriously with a good deal of suspense. It screens tonight and Sunday at the Toronto International Film Festival, and at the BFI London Film Festival on Oct. 13.

By Ray Bennett

California-born filmmaker Joshua Marston, whose award-winning 2004 picture “Maria Full of Grace” dealt with Columbian drug dealing, turns his attention to the conflict between ancient traditions and modern life in Albania in “The Forgiveness of Blood.” Continue reading

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