The first reviews are in for George Miller’s anticipated Furiosa: A Mad Max Saga and the notices are largely positive so far.
Deadline’s Pete Hammond said Miller had “perhaps given birth to the greatest Max yet, a wheels-up, rock-and-rolling epic.” Pete was one of many to praise the cast, production design and visuals. “Shout-out to action designer Guy Norris and his team, who show the need for a stunts Oscar.” You can check out his review here.
The movie currently has an 87% rating from 45 reviews on Rotten Tomatoes. Below are a spread we’ve collated from across the globe.
Reviewing for The Guardian, Peter Bradshaw gave the movie four stars, and he was one of many to heap praise on leads Anya Taylor-Joy and Chris Hemsworth. He called Taylor-Joy an “overwhelmingly convincing action hero” who “sells this sequel.”
Related: Cannes Film Festival Photos
The Au Review in Australia...
Deadline’s Pete Hammond said Miller had “perhaps given birth to the greatest Max yet, a wheels-up, rock-and-rolling epic.” Pete was one of many to praise the cast, production design and visuals. “Shout-out to action designer Guy Norris and his team, who show the need for a stunts Oscar.” You can check out his review here.
The movie currently has an 87% rating from 45 reviews on Rotten Tomatoes. Below are a spread we’ve collated from across the globe.
Reviewing for The Guardian, Peter Bradshaw gave the movie four stars, and he was one of many to heap praise on leads Anya Taylor-Joy and Chris Hemsworth. He called Taylor-Joy an “overwhelmingly convincing action hero” who “sells this sequel.”
Related: Cannes Film Festival Photos
The Au Review in Australia...
- 5/16/2024
- by Max Goldbart and Andreas Wiseman
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSSubscribe to Notebook magazine before November 1 to receive Issue 4, which explores cinematic soundscapes in their diverse sonic forms and includes contributions from filmmakers like Pedro Costa, Garrett Bradley, and Dominga Sotomayor, pop musician Julia Holter, plus a wide range of artists, writers, and scholars. Subscribers will also receive with this issue a very special gift, a seven-inch record featuring a song by filmmaker Gus Van Sant and a field recording by sound designer Leslie Shatz.This week brought the sad, shocking news that the legendary Taiwanese director Hou Hsiao-hsien has retired from filmmaking due to illness. Hou's family confirmed in a statement that he is battling Alzheimer's, and the effects of long Covid have forced him to stop making films; they requested privacy during this time, adding that he is healthy overall, in the presence of family.
- 10/25/2023
- MUBI
As the leaves crunch underfoot and the wintry chill intensifies, you may realize: it’s time to think of a good gift for that friend of yours who’s already packed their shelves to the gills with Blu-rays and back issues of Cahiers du Cinéma. Have no fear. Covering books, home video, music, posters, and apparel, here are some gift ideas for the dearest cinephiles in your life.Books And MAGAZINESFireflies Press recently published Pier Paolo Pasolini: Writing on Burning Paper: a beautiful set of two complementary volumes to honor the filmmaker’s centenary. The smaller book includes a revised translation of his poem “Poet of the Ashes,” while the larger volume includes tributes from 20 contemporary artists and critics, including Catherine Breillat, Jia Zhangke, Luc Moullet, Angela Schanelec, and Mike Leigh.Written by Karen Han, Bong Joon Ho: Dissident Cinema is a mid-career monograph covering the Korean auteur’s features,...
- 11/29/2022
- MUBI
The reviews for Pablo Larraín’s “Spencer” are here straight from the Venice Film Festival, declaring that even if the melodramatic-bordering-on-campy film isn’t for everyone, Kristen Stewart’s “genius” take on Princess Diana just might be.
In his review for The Wrap, Jason Solomons describes “Spencer” as an “intense, giddy spectacle with Shakespearean or indeed Racinian ambitions,” before making it very clear that, ultimately, “it’s Stewart’s film.”
“She gets the doe-eyed, pitying tilt of the head and the little posh girl voice down pretty well, but this is no impression — it’s more an interpretation of a classic role, bringing layers of real human complexity to a figure who, for all the mythology that surrounds her, still looms large in the British and global conscience,” Solomons wrote.
“This Diana isn’t the likable People’s Princess or Queen of Hearts whom the public adored. We get none of that.
In his review for The Wrap, Jason Solomons describes “Spencer” as an “intense, giddy spectacle with Shakespearean or indeed Racinian ambitions,” before making it very clear that, ultimately, “it’s Stewart’s film.”
“She gets the doe-eyed, pitying tilt of the head and the little posh girl voice down pretty well, but this is no impression — it’s more an interpretation of a classic role, bringing layers of real human complexity to a figure who, for all the mythology that surrounds her, still looms large in the British and global conscience,” Solomons wrote.
“This Diana isn’t the likable People’s Princess or Queen of Hearts whom the public adored. We get none of that.
- 9/3/2021
- by Alex Noble and Rosemary Rossi
- The Wrap
Denis Villeneuve’s long-awaited adaptation of Frank Herbert’s “Dune” made its debut at the Venice Film Festival on Friday leaving some critics in awe of the massive scope and spectacle of the “Arrival” director’s work and others wondering what all the fuss is about.
“‘Dune’ reminds us what a Hollywood blockbuster can be,” The Guardian critic Xan Brooks wrote in a five-star review. “Implicitly, its message written again and again in the sand, Denis Villeneuve’s fantasy epic tells us that big-budget spectaculars don’t have to be dumb or hyperactive, that it’s possible to allow the odd quiet passage amid the explosions.”
But writing for Indiewire, critic David Ehrlich offered a strong dissent, tying in Villeneuve’s comments about seeing “Dune” on the big screen with the film itself.
“In the end, Denis Villeneuve was all too right: Your television isn’t big enough for the scope of his ‘Dune,...
“‘Dune’ reminds us what a Hollywood blockbuster can be,” The Guardian critic Xan Brooks wrote in a five-star review. “Implicitly, its message written again and again in the sand, Denis Villeneuve’s fantasy epic tells us that big-budget spectaculars don’t have to be dumb or hyperactive, that it’s possible to allow the odd quiet passage amid the explosions.”
But writing for Indiewire, critic David Ehrlich offered a strong dissent, tying in Villeneuve’s comments about seeing “Dune” on the big screen with the film itself.
“In the end, Denis Villeneuve was all too right: Your television isn’t big enough for the scope of his ‘Dune,...
- 9/3/2021
- by Christopher Rosen
- Gold Derby
“Dune” (finally) premiered Friday at the Venice Film Festival, ahead of its theatrical and HBO Max release on Oct. 22, but mixed reviews seem to signal that the sprawling sci-fi epic may not have been worth the wait, at least for general audiences.
Critics are hailing Denis Villeneuve’s ambitious adaptation of Frank Herbert’s 1965 novel as a transporting viewing experience — but with about 100 asterisks attached, mostly pertaining to the flatness of the screenplay and a lack of direction to where this mission is exactly headed.
Steve Pond’s review for The Wrap calls “Dune” both “dazzling and frustrating, often spectacular and often slow. It’s huge and loud and impressive but it can also be humorless and bleak,” adding that “it tries valiantly to address the problems of taking on Herbert’s complex epic, which requires a director to spend lots of time setting things up and explaining the world...
Critics are hailing Denis Villeneuve’s ambitious adaptation of Frank Herbert’s 1965 novel as a transporting viewing experience — but with about 100 asterisks attached, mostly pertaining to the flatness of the screenplay and a lack of direction to where this mission is exactly headed.
Steve Pond’s review for The Wrap calls “Dune” both “dazzling and frustrating, often spectacular and often slow. It’s huge and loud and impressive but it can also be humorless and bleak,” adding that “it tries valiantly to address the problems of taking on Herbert’s complex epic, which requires a director to spend lots of time setting things up and explaining the world...
- 9/3/2021
- by Alex Noble
- The Wrap
Stewart explains her admiration for Diana as Spencer premieres at Venice, while the film-makers behind Dune stress its contemporary relevance
Spencer, the biopic of Diana, Princess of Wales starring Kristen Stewart, has had a triumphant debut at the Venice film festival, garnering acclaim for Stewart’s performance and the insight it achieves into Diana’s isolation and unhappiness during her marriage to Prince Charles. On the same day Venice also saw the world premiere of sci-fi epic Dune, directed by Denis Villeneuve and starring Timothée Chalamet, which also won plaudits for its huge-scale vision and contemporary relevance.
Taking place over a single weekend at Sandringham House in 1991, Spencer chronicles a crisis in Diana’s life as she takes part in the royal family’s Christmas holiday, before her marital difficulties were revealed publicly in Andrew Morton’s 1992 book Diana: Her True Story. Her divorce from Charles was finalised in 1996. In...
Spencer, the biopic of Diana, Princess of Wales starring Kristen Stewart, has had a triumphant debut at the Venice film festival, garnering acclaim for Stewart’s performance and the insight it achieves into Diana’s isolation and unhappiness during her marriage to Prince Charles. On the same day Venice also saw the world premiere of sci-fi epic Dune, directed by Denis Villeneuve and starring Timothée Chalamet, which also won plaudits for its huge-scale vision and contemporary relevance.
Taking place over a single weekend at Sandringham House in 1991, Spencer chronicles a crisis in Diana’s life as she takes part in the royal family’s Christmas holiday, before her marital difficulties were revealed publicly in Andrew Morton’s 1992 book Diana: Her True Story. Her divorce from Charles was finalised in 1996. In...
- 9/3/2021
- by Andrew Pulver
- The Guardian - Film News
Andrey Konchalovsky has been making movies in his native Russia for more than half a century and he occasionally works in English. His 1985 film “Runaway Train” earned Oscar bids for lead Jon Voight and featured player Eric Roberts but he was not nominated. But his new Russian-language feature “Dear Comrades” could well earn him that long overdue recognition from the Academy Awards.
This intense docudrama about the 1962 massacre of a workers demonstrating in Novocherkassk was feted at the Venice Film Festival with a special jury prize. And this Neon release just made the cut for Best International Feature at the Oscars and numbers among the 15 films vying for the five nominations.
At Rotten Tomatoes, “Dearest Comrades!” earned a jaw-dropping score of 96. The critical consensus described the film as “a sharp, commanding look at a dark chapter in Soviet history made even more effective by its director’s cold fury.” Among...
This intense docudrama about the 1962 massacre of a workers demonstrating in Novocherkassk was feted at the Venice Film Festival with a special jury prize. And this Neon release just made the cut for Best International Feature at the Oscars and numbers among the 15 films vying for the five nominations.
At Rotten Tomatoes, “Dearest Comrades!” earned a jaw-dropping score of 96. The critical consensus described the film as “a sharp, commanding look at a dark chapter in Soviet history made even more effective by its director’s cold fury.” Among...
- 3/3/2021
- by Paul Sheehan
- Gold Derby
An involving Luca Guadagnino-produced look at the world of truffle hunting doubles as a sweet study of the relationship between old men and their dogs
A strange, funny, mysterious and rather beautiful film about an activity that’s recherché to say the least: truffle hunting, and it is a taste on which my palate still needs educating. This film is also a heart-wrenchingly sweet study of the pure love that exists between old men and their dogs. The directors are Michael Dweck and Gregory Kershaw, who made the 2018 award-winner The Last Race about a stock-car racing track threatened with redevelopment, and with that and The Truffle Hunters, these film-makers are developing a sympathy for arts (and artists) who may be dying out. Luca Guadagnino is the producer.
Related: I Am Greta review – slick yet shallow Thunberg documentary...
A strange, funny, mysterious and rather beautiful film about an activity that’s recherché to say the least: truffle hunting, and it is a taste on which my palate still needs educating. This film is also a heart-wrenchingly sweet study of the pure love that exists between old men and their dogs. The directors are Michael Dweck and Gregory Kershaw, who made the 2018 award-winner The Last Race about a stock-car racing track threatened with redevelopment, and with that and The Truffle Hunters, these film-makers are developing a sympathy for arts (and artists) who may be dying out. Luca Guadagnino is the producer.
Related: I Am Greta review – slick yet shallow Thunberg documentary...
- 9/16/2020
- by Peter Bradshaw
- The Guardian - Film News
Alan Parker is not one of the name auteurs you learn about in Film History 101. That’s partly because he wasn’t known for doing one thing. The working-class Londoner made his mark in the 70s with commercials and television before breaking out with period child-gangster musical “Bugsy Malone” (1976), starring Jodie Foster. He died Friday morning at age 76.
True story “Midnight Express” (1978) took viewers on a harrowing descent into Turkish prison hell (starring Brad Davis as Billy Hayes), established Oscar nominee Parker as a taut manipulator of suspense, and won Oscars for screenwriter Oliver Stone and composer Giorgio Moroder. In drama “Birdy” (1984), Matthew Modine and Nicolas Cage went on another unpredictable journey, from kids hanging in Philadelphia to soldiers fighting in Vietnam and finally, a grim hospital ward.
Always skilled at using music in his movies, from New York high-school musical “Fame” (1980) to Madonna vehicle “Evita” (1996), Parker became a stylish Hollywood director-for-hire.
True story “Midnight Express” (1978) took viewers on a harrowing descent into Turkish prison hell (starring Brad Davis as Billy Hayes), established Oscar nominee Parker as a taut manipulator of suspense, and won Oscars for screenwriter Oliver Stone and composer Giorgio Moroder. In drama “Birdy” (1984), Matthew Modine and Nicolas Cage went on another unpredictable journey, from kids hanging in Philadelphia to soldiers fighting in Vietnam and finally, a grim hospital ward.
Always skilled at using music in his movies, from New York high-school musical “Fame” (1980) to Madonna vehicle “Evita” (1996), Parker became a stylish Hollywood director-for-hire.
- 7/31/2020
- by Anne Thompson
- Indiewire
In the latest of our new series revealing the strange viewing habits brought on by self-isolation, one writer finds time to plumb the deepest depths of the 70s kids’ TV schedules
Old Parky and ancient tennis: what Xan Brooks is really watching
Nostalgia isn’t what it used to be. And neither is children’s telly. Even before the internet made viewing anything possible at any time, the explosion of cable channels such as Nickelodeon and CBeebies churned out enough comedies, cartoons and TV movies to turn any child’s eyes square.
Not so in my formative years, the late-60s to mid-1970s. We had time to burn then, especially when that nice Mr Heath was prime minister and only made us go to school three days a week. Of course, we were free to roam the streets without fear, unlike today’s forcibly school-deprived youngsters; plus, indoors, the TV was rarely on.
Old Parky and ancient tennis: what Xan Brooks is really watching
Nostalgia isn’t what it used to be. And neither is children’s telly. Even before the internet made viewing anything possible at any time, the explosion of cable channels such as Nickelodeon and CBeebies churned out enough comedies, cartoons and TV movies to turn any child’s eyes square.
Not so in my formative years, the late-60s to mid-1970s. We had time to burn then, especially when that nice Mr Heath was prime minister and only made us go to school three days a week. Of course, we were free to roam the streets without fear, unlike today’s forcibly school-deprived youngsters; plus, indoors, the TV was rarely on.
- 3/27/2020
- by Paul Simon
- The Guardian - Film News
• The Guardian - an excellent profile of Pedro Almodóvar by Xan Brooks
• /Film Daveed Diggs to play Sebastian in the live-action Little Mermaid. But Sebastian is a crab so this is probably not fully live-action but half and half style.
• Vulture - 15 essential Judy Garland performances. Solid list with some strong points made, though I think dead wrong about why Zellweger is awards worthy in Judy (as noted on the podcast I liked her performance quite a bit but what’s missing is exactly what’s cited here as the chief strength, the capturing of Judy’s once in a century kind of talent.
• /Film Daveed Diggs to play Sebastian in the live-action Little Mermaid. But Sebastian is a crab so this is probably not fully live-action but half and half style.
• Vulture - 15 essential Judy Garland performances. Solid list with some strong points made, though I think dead wrong about why Zellweger is awards worthy in Judy (as noted on the podcast I liked her performance quite a bit but what’s missing is exactly what’s cited here as the chief strength, the capturing of Judy’s once in a century kind of talent.
- 10/10/2019
- by NATHANIEL R
- FilmExperience
The Venice Film Festival seems to have found the most controversial film of the year.
The Painted Bird prompted walkouts from audience members at the festival after graphic scenes of violence, sexual assault, bestiality and mutilation, according to review by Xan Brooks for The Guardian.
Starring Harvey Keitel, Stellan Skarsgård and Udo Kier, the film follows a nameless Jewish boy (Petr Kotlar) left in the care of an elderly lady by his parents during World War II.
When the woman dies, the boy is left to wander from village to village where he inevitably ends up encountering different malevolent characters throughout the film.
The Painted Bird prompted walkouts from audience members at the festival after graphic scenes of violence, sexual assault, bestiality and mutilation, according to review by Xan Brooks for The Guardian.
Starring Harvey Keitel, Stellan Skarsgård and Udo Kier, the film follows a nameless Jewish boy (Petr Kotlar) left in the care of an elderly lady by his parents during World War II.
When the woman dies, the boy is left to wander from village to village where he inevitably ends up encountering different malevolent characters throughout the film.
- 9/4/2019
- by Alexia Fernandez
- PEOPLE.com
The chance to see indie film darling Kristen Stewart as “Breathless” actress and French New Wave icon Jean Seberg made Benedict Andrews’ “Seberg” one of the most anticipated titles premiering out of competition at Venice. Unfortunately, the biographical drama is being met with middling reviews following its festival debut. “Seberg” is shaping up to be one of Venice’s big disappointments, but it has nothing to do with Stewart’s leading role. As usual, Stewart is being met with critical raves across the board. IndieWire’s David Ehrlich called “Seberg” a “mess from start to finish” in his C- review but had nothing but praise for Stewart.
“Pivoting away from low-status, high-quality parts that contradict her outsized public persona, Stewart embraces her uncharacteristically glamorous and headstrong role — one iconic actress possessing the spirit of another,” Ehrlich writes. “The most engaging scenes in ‘Seberg’ invite her to own her power, and...
“Pivoting away from low-status, high-quality parts that contradict her outsized public persona, Stewart embraces her uncharacteristically glamorous and headstrong role — one iconic actress possessing the spirit of another,” Ehrlich writes. “The most engaging scenes in ‘Seberg’ invite her to own her power, and...
- 8/30/2019
- by Zack Sharf
- Indiewire
Let the Oscar buzz begin. The first big breakout film premiering at the Venice International Film Festival, which started on Aug. 28, has arrived and the Oscar awards season has officially commenced. Reviews are full of glowing words for filmmaker Noah Baumbach‘s 10th feature, a divorce drama with hints of humor starring Scarlett Johansson as a TV actress who wants to move to L.A. and Adam Driver as a New York-based play director who does experimental theater engage in a bitter split and custody battle.
Yes, it is personal, but as Owen Gleiberman of “Variety” points out, it also focuses on the whole industry built the dissolution of marriages: “This is the first film set inside what might be called the divorce-industrial complex. It’s about two people coming to terms with a process that, however necessary, is more wounding at times than their heartbreak.” While he compares the...
Yes, it is personal, but as Owen Gleiberman of “Variety” points out, it also focuses on the whole industry built the dissolution of marriages: “This is the first film set inside what might be called the divorce-industrial complex. It’s about two people coming to terms with a process that, however necessary, is more wounding at times than their heartbreak.” While he compares the...
- 8/29/2019
- by Susan Wloszczyna
- Gold Derby
Brad Pitt was already having a banner 2019 before the Venice Film Festival premiere of “Ad Astra” thanks to his critically-acclaimed work in Quentin Tarantino’s “Once Upon a Time in Hollywood,” but now Pitt’s comeback year has gotten even stronger. The actor is receiving rave reviews for his work in James Gray’s “Ad Astra,” which stars Pitt as an astronaut heading out on a mission through space to find his lost father. While “Ad Astra” did not launch at Venice with the kind of instant Oscar buzz that met Noah Baumbach’s “Marriage Story” earlier in the festival (Pitt’s best shot at an Oscar nom remains “Hollywood”), Pitt is being unanimously praised for his work.
IndieWire senior film critic David Ehrlich had nothing but raves for “Ad Astra” in his A review, calling Gray’s space movie an “introspective but immaculately crafted adventure epic.” Ehrlich drew a...
IndieWire senior film critic David Ehrlich had nothing but raves for “Ad Astra” in his A review, calling Gray’s space movie an “introspective but immaculately crafted adventure epic.” Ehrlich drew a...
- 8/29/2019
- by Zack Sharf
- Indiewire
If the first reviews coming out of the Venice Film Festival for Noah Baumbach’s divorce drama “Marriage Story” are to be believed, then the fall movie season has its first bonafide Oscar contender. The Netflix release premiered in competition to instant awards buzz for writer-director Baumbach and his two leading actors, Adam Driver and Scarlett Johansson. IndieWire’s chief critic Eric Kohn calls the movie an “astonishing showcase” for the performers in his A- review, writing the actors deliver “devastating performances” as a couple going through a divorce after 10 years of marriage.
Owen Gleiberman of Variety agrees, adding in his review, “At once funny, scalding, and stirring, built around two bravura performances of incredible sharpness and humanity, ‘Marriage Story’ is the work of a major film artist.”
Vanity Fair film critic Richard Lawson writes Driver and Johansson have “major awards potential,” a sentiment ScreenDaily critic Fionnuala Halligan agrees with.
Owen Gleiberman of Variety agrees, adding in his review, “At once funny, scalding, and stirring, built around two bravura performances of incredible sharpness and humanity, ‘Marriage Story’ is the work of a major film artist.”
Vanity Fair film critic Richard Lawson writes Driver and Johansson have “major awards potential,” a sentiment ScreenDaily critic Fionnuala Halligan agrees with.
- 8/29/2019
- by Zack Sharf
- Indiewire
Read any list of the best movies at the 2018 Cannes Film Festival and it’s more than likely you’ll find Gaspar Noé’s “Climax” listed among the best titles the festival and its sidebar sections had to offer this year. IndieWire raved the movie was Noé’s best film to date, and critical buzz was so strong A24 picked up the title for U.S. distribution. Ironically, “Climax” wasn’t included in this year’s official competition for the Palme d’Or, nor was it a member of Cannes’ official selection. The film premiered in the Directors’ Fortnight sidebar.
Fortunately, Noé harbors no ill will towards Cannes for leaving him out of its official selection in 2018. Quite the contrary, as the filmmaker told The Guardian that he was overjoyed to debut his latest film in Directors’ Fortnight, where it didn’t have the glaring spotlight and pressure that Cannes...
Fortunately, Noé harbors no ill will towards Cannes for leaving him out of its official selection in 2018. Quite the contrary, as the filmmaker told The Guardian that he was overjoyed to debut his latest film in Directors’ Fortnight, where it didn’t have the glaring spotlight and pressure that Cannes...
- 5/22/2018
- by Zack Sharf
- Indiewire
• The New Yorker Kathleen Turner is singing... yes, singing, at Cafe Carlyle for a week or so. Omg I'd love to cover that for y'all but that place is pricey.
• Film School Rejects the troubled history of the film adaptation of Lin-manuel Miranda's In the Heights may finally be ending with Warner Bros snatching up the rights
• Mnpp on the trailer for the art slasher flick Knife + Heart premiering at Cannes
• The Guardian thoughtful piece by Xan Brooks about provocative cinema, Cannes, and Lars von Trier in our new age of moralizing
• Playbill California readers take note. At the upcoming Hollywood Bowl production of Annie, Megan Hilty, Ana Gasteyer, and Lea Salonga star. Fun casting! And those voices!!
• Boy Culture Trinity Taylor makes over Nico Tortorella who now identifies as gender fluid, or as he says 'sort of cisgendered but not so... Cissy
• Av Club Jordan Peele producing a...
• Film School Rejects the troubled history of the film adaptation of Lin-manuel Miranda's In the Heights may finally be ending with Warner Bros snatching up the rights
• Mnpp on the trailer for the art slasher flick Knife + Heart premiering at Cannes
• The Guardian thoughtful piece by Xan Brooks about provocative cinema, Cannes, and Lars von Trier in our new age of moralizing
• Playbill California readers take note. At the upcoming Hollywood Bowl production of Annie, Megan Hilty, Ana Gasteyer, and Lea Salonga star. Fun casting! And those voices!!
• Boy Culture Trinity Taylor makes over Nico Tortorella who now identifies as gender fluid, or as he says 'sort of cisgendered but not so... Cissy
• Av Club Jordan Peele producing a...
- 5/18/2018
- by NATHANIEL R
- FilmExperience
From A Room with a View to Fight Club, Helena Bonham Carter is one of Britain's finest acting talents. As her new film Ts Spivet opens, we take a look at some of the best. What others would you add to the list?
• Helena Bonham Carter's interview with Xan Brooks – 'David Cameron is incredibly witty, incredibly bright and incredibly genuine'
Helena Bonham Carter, who we last saw winning rave reviews for her appearance in BBC Four's Burton & Taylor, is hitting screens again this week in the Jean-Pierre Jeunet-directed The Young and Prodigious Ts Spivet. Here we take a look at five of the best moments from her films to date. Add your own suggestions and thoughts in the comment thread below.
• Helena Bonham Carter's interview with Xan Brooks – 'David Cameron is incredibly witty, incredibly bright and incredibly genuine'
Helena Bonham Carter, who we last saw winning rave reviews for her appearance in BBC Four's Burton & Taylor, is hitting screens again this week in the Jean-Pierre Jeunet-directed The Young and Prodigious Ts Spivet. Here we take a look at five of the best moments from her films to date. Add your own suggestions and thoughts in the comment thread below.
- 6/13/2014
- by Hannah Jane Parkinson
- The Guardian - Film News
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