Bridget Jones is the old spinster we know. This time over 40, however, managed to reach perfect weight over the years. This film is a drift from Helen Fielding’s book “Mad About the Boy”, where Mark Darcy is dead and Bridget is widowed with two kids.
Here Mark Darcy is alive and kicking with second (sic!) wife with the looks of a clothes rack. And we all meet at Daniel Cleaver’s (sic!) memorial… Jokes aside – supposedly Hugh Grant wasn’t going to participate in this project. He is replaced by the one and only Dr. McDreamy (it seems, one more time Helen Fielding got to have a silver screen crush into her stories – well done M’am!).
One incredible addition here is that Emma Thompson (herself!) has been invited to collaborate on the writing team. As a result (chicken and egg problem, not sure what came first – the role, or her writing?) – we have received an amazing comic role of renowned actress as Bridget’s OB. Amazing dialogues! Great experience.
What I like about this film – we have wrinkled romance. Apparently people in their 40’s and 50’s also fall in love, and know how to laugh at themselves. Having gained so much distance over the years definitely helps. I love this new Bridget. Perhaps now more, than ever before. Great stuff!
A simple film with two characters of a long time couple whose lives get to be changed because of the woman’s scholarship in far California.
Calm and wise story proving that distance doesn’t matter – if something isn’t right, physical closeness or physical distance won’t change anything.
The story would probably end up the same way if one of the character didn’t move across the globe but say begin to work harder and be more absent in the house.
Universal truth is that sometimes we keep being with someone just for the sake of it. Because of being accustomed to them and everyday life together. And sometimes it just doesn’t work.
Funny, smart, intriguing – intense dialogues and a surprising turn of events. Something I like to see in comedy.
It’s reminded me of Woody Allen, but it’s lighter, more feminine. Just like Julie Delpy is a lighter, more feminine artist than Allen.
At first it is not obvious as to why the title character is not present at the beginning of the movie, but then gradually we find out why he is so important to the main protagonist – Violette played by Julie Delpy herself.
Very pleasant film to watch on a Saturday afternoon and like Two days in Paris – I will be getting back to this film with pleasure.
Incredible casting, best film of the year at Oscars 2007.
A smart game of different layers of who-knows-what and who-works-for-whom between police and local mafia structures in Boston.
Jack Nicholson in a characteristic role reminding his “The Witches of Eastwick” times.
Beautiful Vera Farmiga (perhaps one of the most underestimated roles in this film) – amazingly playing internal conflicts with external body language clashing with what the character is saying.
Great Mark Whalberg, very good Di Caprio, average Matt Damon (*I really want to see Matt Damon as a) baddie, b) in a shabby role), respectful Martin Sheen.
Amazing amazing casting and a grabbing story. A must.
Jennifer Lawrence, Robert De Niro, Bradley Cooper in a slightly different combination than in “Silver Linings Playbook” – this time De Niro is Lawrence’s father rather than Cooper’s. Why the switch? Just a bow to the previous film? Maybe.
Based on a true story, the film shows a struggle to make dreams come true – when you’re a woman – divorced, with children and a complicated living situation (grandma, mother, parents, who are divorced and ex-husband + plumber – all live under one roof. And Joy has a business idea.
It’s less absorbing than the above mentioned “Silver Linings Playbook”. Perhaps because there is no love theme.
Interesting story, but not the most successful presentation. There are other, more interesting films to watch this season.
One more time Daniel Craig as 007. Again, Ralph Fiennes as M.
The Blond Bond begins to show grey hair, but one surprisingly strong character turns out to be Q (Ben Whishaw again), who suddenly appears in the field rather than solely remain in the HQ.
What I liked about Spectre – it nicely circles back to the original Casino Royale, to Quantum of Solace and to Skyfall – paying tribute to Craig’s previous Bond movies. It does more than that as – one attentive viewer may note – there are subtle nods to Casablanca, and previous James Bond films.
Amazingly shot, beautifully edited, with breathtaking racing scenes and charming Bond, as ever, with devilishly blue eyes and soft heart, as ever.
Great dialogues too, full of irony, double entendres and class. Slightly more is served on a silver plate, sligthly less is left for interpretation. Good one Mr. Mendes. I sincerely hope this is not the last time for Daniel Craig as Bond.
Rarely does it happen that I see such a beautiful film. Apparently, it is easier to find such gem if we drift away – off the beaten track of European and American films. “Somersault” is an Australian feature made in 2004. As its poster boasts, it was part of the official selection of both Cannes and Toronto festivals back in 2004.
The strongest aspect of this film is coldness in watching a nice looking girl collapse and then gather together. In emotions, in feelings, in life.