Tuesday, May 3, 2016

Dame Judi Dench plays Benedict Cumberbatch's mother Cecily Duchess of York in new still from BBC's King Richard III period drama Hollow Crown

PUBLISHED: 16:07 EST, 2 May 2016 | UPDATED: 17:15 EST, 2 May 2016

Dame Judi Dench plays Benedict Cumberbatch's mother, Cecily Duchess of York in the BBC Two's King Richard III period drama Hollow Crown: The Wars Of The Roses, which is set to air on May 7.

The 81-year-old poses alongside Keeley Hawes, who plays Elizabeth and Phoebe Fox, who plays Anne in a new still from the BBC's collection of Shakespearean adaptations which celebrates the author 400 years following his death and his 800th birthday.

The story will follow Richard III's spiral into madness and will chart his life from when he was a child.

Judi was personally requested to take up the role by Benedict back in 2014 at the Hay Festival.

According to the Independent, she was being interviewed by TV and theatre director Richard Eyre when Benedict asked her to take the part.

Perfect for the role: Keeley cuts a regal figure as Edward IV's wife Queen Elizabeth 
Perfect for the role: Keeley cuts a regal figure as Edward IV's wife Queen Elizabeth

READ MORE HERE: http://www.dailymail.co.uk/tvshowbiz/article-3570091/Dame-Judi-Dench-cuts-stern-figure-Cecily-Duchess-York-Hollow-Crown.html

Sunday, May 1, 2016

Benedict Cumberbatch waves to fans as he films Sherlock series four in Cardiff


The hair wasn't the only thing that was wavy

Benedict Cumberbatch has been spotted filming in Cardiff for a new season of Sherlock wearing what looked to be a curly brunette wig.

The new look was revealed as the new series began filming in the Cyncoed area of the capital recently.

Cumberbatch , 39, was also pictured around the same time at a Q & A with Barack Obama in London - so fans turned detective to speculate how he has grown his signature mop of curls so quickly.

Taking to Twitter, one fan said: “Benedict is back and I think it’s a wig!”

READ MORE HERE: http://www.walesonline.co.uk/lifestyle/tv/benedict-cumberbatch-waves-fans-films-11239750

Tom Hiddleston: Movie review: 'High-Rise' fascinates with destructive decadence

April 30, 2016
1:13 PM MST



Debuting April 28 on VOD and coming to theaters on May 13, "High-Rise" opens on imagery of a scruffy Tom Hiddleston in disheveled business attire. He is meandering through bloodied, squalid conditions of looted destruction where we find him rotisserie cooking an unusual dinner on a retrofitted spit. His third-person voiceover, backed by a classical record playing in the background, speaks of eerie satisfaction and renewed confidence amid the obviously dire conditions. A jack-hammered transition card hits declaring "three months earlier." That setup begs our minds to question what has transpired to create this reality. Consider that a perfect tease and taste of what is to come in Ben Wheatley's adaptation of J.G. Ballard's dystopian 1975 novel. In the words of Bachman-Turner Overdrive, "you ain't seen nothing yet."

At this new starting point, set in the late 1970's, the Tom Hiddleston we meet is greatly different. He is Dr. Robert Liang and he has just moved into an angular and tiered cement residence building as part of a newly-constructed complex of high-rises in a nondescript suburb of London. Liang is a chilly forensic doctor and an eager social climber seeking new anonymity, a clean slate, and an investment into something unique for a living space. He resides on the 25th floor, which counts as upper middle class within of the 40-story building.

The high-rise was designed to be self-sustaining and self-sufficient with all of the necessary amenities, from groceries to recreational facilities and security, available on the premises for its discerning homeowners. The orchestrator of this well-to-do lifestyle is Anthony Royal, dubbed "The Architect" by the social circles beneath him. Played by Oscar winner Jeremy Irons, he leads this designed and desired utopia from the top in his terraced top-floor penthouse with his trophy wife (Keeley Hawes).

Lavish parties are the seen-and-be-seen events within this closed circuit of a community. Robert attempts to mingle with the myriad of white privilege residents of the building. He catches the romantic eye of Royal’s personal aide, Charlotte Melville (Sienna Miller), a woman with a curious son (Louis Suc) lives in the next floor above him. Quickly, Robert experiences the trappings of the building's readily apparent, yet unwritten, hierarchy and befriends people of different classes. Second floor tennant Richard Wilder (Luke Evans), a TV documentarian, and his depressed pregnant wife Helen (Elisabeth Moss) reek of discontent and embody the brewing struggle of the poorer residents from the lower floors.

Little inconveniences like power outages turn into arguments and tiffs. Envy overcomes decadence. Hosts become bullies and people reveal their classist flaws. Pettiness boils over to rage. Neighborly relationships devolve into isolation. Uncivilized competition decays community harmony. Schemes turn into wars were resources like food, electricity, perks like swimming pools, and the freedom of elevators become contested to the death. Primal violence takes over on every imaginable level. By the time Portishead’s haunting cover of ABBA’s “S.O.S.” shows up, you realize how much everything has changed.

Tom Hiddleston is an ideal lead for Liang. He has the charismatic range to swing from a man built for the finer things to a sullen survivor of cold calculation and resolve. His wicked smirk and smooth line delivery cloak his character’s emotions and intentions brilliantly. Hiddleston is simply intoxicating, as he so often is in both his smaller films like “Only Loves Left Alive” and Marvel blockbusters. Luke Evans provides the strongest voice and performance outside of Hiddleston as the man targeting Royal and system and asking the loud questions no one wants to answer.

Director Ben Wheatley ("Kill List," "Sightseers") has crafted a sharp film of unraveling thrill and suspense that drips with endless style. The director made a wise choice to keep Ballard’s 1970’s setting and time period, giving “High-Rise” a throwback feel and lively tone on multiple levels. Composer Clint Mansell and cinematographer Laurie Rose tinge this film with an auditory and visual palette with period-appropriate filters of soundtrack and light. If you did not know these modern actors, you could have sworn this film was made 40 years ago. The cool exterior of swinging ambiance acts as sheep’s clothing for a savage wolf underneath. This film’s time capsule surface dissolves to keenly project its stout cautionary tale towards parallels to the modern day.

"High-Rise" is a strongly constructed blend of experimental science fiction with colossal political and social commentary. The layers of symbolism, analogy, and allegory are as tall as the building itself. There is a richly disturbing and dark fascination in observing how all of this frivolity comes crashing down in unpredictable and unlimited disaster. In this writer's opinion, inspired by a more pertinent and interesting source, this is the stylish and topical film the overrated "Snowpiercer" could only hope to become with its similarly isolated microcosm of class warfare.

READ MORE HERE: http://www.examiner.com/review/movie-review-high-rise-fascinates-with-destructive-decadence

Thursday, April 28, 2016

Ten Interesting Facts about Bridget Jones’s Diary You Might Not Know (Colin Firth, Hugh Grant, Pride and Prejudice)

April 27, 2016
By John Rabon

Helen Fielding exposed the world to her thirty-something protagonist in the 1996 novel Bridget Jones’s Diary.  The popularity of the book across the population would lead to 1999’s sequel, Bridget Jones: The Edge of Reason, two films in 2001 and 2004 based on these works, another novel, Bridget Jones: Mad About the Boy in 2013, and a third film not based on that novel, Bridget Jones’s Baby in 2016.  With the film adaptations, actress Renee Zellweger has become as synonymous with the character as Bridget’s creator has.  If you want to know more about the books and films, read on.


Getting into Character

Before filming started, Renee Zellweger gained twenty-five pounds, put on a posh English accent, and started working in a real British publishing company.  Surprisingly enough, very few of her new coworkers actually recognised her.  Zellweger even kept a picture of then-boyfriend Jim Carrey on her desk, which employees who didn’t know her thought strange, but were too polite to say anything about it.

Friends in High Places

Salman Rushdie’s cameo in the first film was done as a favor to Helen Fielding.  The two have been long-time friends and she called Rushdie to ask him if he’d be willing to embarrass himself on camera. He recently jokingly tweeted that he considers it his finest work.

Actor Paradox

As the first two books were written well before the films came out, both of them actually make references to Hugh Grant and Colin Firth.  Of course, when they were cast in 2001’s Bridget Jones’s Diary, no reference to them is made in the film.  In the books, Bridget is actually a huge fan of the 1995 Pride and Prejudice mini-series and gets to interview Firth for her television job.

READ MORE HERE:http://www.anglotopia.net/british-entertainment/british-movies/ten-interesting-facts-bridget-joness-diary-might-not-know/

Wednesday, April 27, 2016

26 Things Most People Don’t Know About Michael Caine.

Laura McCallum

2/26 Michael turned down both male leads in Women in Love because he refused to do on-camera nudity.

4/26 Caine was Peter O'Toole's understudy for The Long and The Short and The Tall at the Royal Court Theatre in 1959. When O'Toole left to film Lawrence of Arabia, Caine took over the role for the remaining months.

6/26 After graduating high school Michael did two years of mandatory national service with the Queens Royal Regiment, serving in Germany and South Korea.

READ MORE HERE: http://www.knowable.com/a/26-things-most-people-dont-know-about-michael-caine?utm_content=inf_10_3136_2&tse_id=INF_6242b11af51544e2ad480079371d07e9