During Manson, Theo's room at the Hilton became Charles central. . online fraud protection, Return Protection, a Year End Summary and more. One of the guys got up and left everything on the table and said good-bye. .. produce the first audio-an- imatronics Abraham Lincoln until the New "Vbrk World's Fair. Shot by a jealous husband, Charley falls out a porthole and is lost at sea only to find himself returned as an attractive blond woman. Debbie Reynolds in Goodbye Charlie () Joanna Barnes in Goodbye Charlie () .. Release Date: . Amazon Affiliates. Amazon Video Watch Movies & TV Online · Prime Video. I watched in awe as Fred drove himself to the limits of his frustration and . Matthau truly embarrassed me in the movie Goodbye Charlie.
The best British films, Feature | Movies - Empire
Colin Firth, Geoffrey Rush, Helena Bonham Carter, Timothy Spall A film about a stuttering posho is not the most obvious crowdpleaser in film history, even with a wunderkind director and the most likeable star this side of Tom Hanks. And yet somehow this is gripping, suspenseful cinemaa sort of Rocky for the non-physical contender and an underdog story that would make a stone cheer.
Colin Firth plays Bertie, the s prince and future George VI afflicted with a terrible speech impediment that cripples his efforts at public speaking; Helena Bonham Carter is his endlessly supportive wife and Geoffrey Rush his eccentric speech therapist.
It's talky, it's largely set in a London basement with peeling walls and creaking floors, and it's edge-of-your-seat stuff as Bertie struggles to get a word out, and faces both the throne and the outbreak of war with less trepidation than he displays faced with a microphone or small audience.
Stirring stuff, no matter what you think of the monarchy. Henry V Directed by: Kenneth Branagh, Derek Jacobi, Brian Blessed, Emma Thompson This may not quite provide the "muse of fire" for which Shakespeare's narrator wished in telling the story of Henry V, but it comes closer than any other adaptation to illustrating the scale and scope of his wars against the French, and gives even the previously gold-standard Laurence Olivier version a run for its money in the character stakes.
Goodbye Charlie () - Overview - withoutyouitsjustnot.us
Shakespearean wunderkind Branagh stepped into Olivier's footsteps in his directorial debut, directing himself as the young King goaded into a war in France and facing overwhelming odds. These battles are bloody, muddy and ungallant, making the most of cinema's scope and locations and a far cry from the often dry adaptations that had previously been the rule.
The sheer number of luminaries in the cast is almost distracting even Christian Bale is tucked away in there somewhere but if you don't feel a stirring at the St. Crispin's Day speech, you're either dead inside or French. Part Two Directed by: So high were the expectations for this eighth instalment of the series that you would have forgiven director David Yates for locking himself in Dumbledore's office and refusing to come out until it was all over, but instead he turned out an action-packed, character-driven, sometimes brutal finale to the adventures of the boy wizard.
Finally there's the all-out magical war that the series had always sidestepped; finally there's a resolution to the Harry and Voldemort conundrum. If nothing else, you have to admire the chutzpah of a series that not only takes time out for a metaphysical jaunt in the middle of the big final battle but also does the unthinkable and lets the bad guy have his victory on the way. Naked Directed by: David Thewlis, Lesley Sharp, Katrin Cartlidge, Ewen Bremmer Naked represented a shift in Mike Leigh's work away from piercing studies of domestic mundanities into something far more edgier.
David Thewlis is Johnny, an over-educated, unemployed drifter who comes to London fleeing a sex attack in Manchester and stays with an ex-girlfriend Lesley Sharpsleeps with her flatmate Katrin Cartlidge and generally expounds his caustic worldviews to anyone who listens. Naked sees Leigh getting to grips not only with a different subculture — underground London — but also with moviemaking, Dick Pope's cinematography full of tracking shots and interesting lighting strategies that felt new in Leigh's work.
What doesn't surprise is the strength in depth of the performances: Thewlis is terrific as Johnny - bitter, articulate, deeply unpleasant, always compelling.
If you've only ever seen him in Harry Potter, rectify this now. Which is better, Snatch or Lock Stock? Snatch apologists talk a good game, but the correct answer is, of course, Guy Ritchie 's jaw-dropping debut. After all, this is a movie that brought the world 'The Stath', Vinnie Jones hammering someone's skull with a car door, and the knowledge that a big purple dildo can be used an offensive weapon.
Essentially the shaggiest of shaggy dog stories - to call the plot "complex" is to do it a disservice - it's all so slickly done, delivered with such balls-out confidence and written with such an amazing turn of phrase that somehow the convoluted to-ing-and-froing works like clockwork. So well, in fact, that over 18 years later, it remains Ritchie's finest film, a fantastic achievement from a first-time director who took a group of meticulously-cast but relatively unknown actors and spun them into solid fackin' gold.
Starred Up Directed by: Therapist-turned-screenwriter Jonathan Asser channels his own experience working to rehabilitate prisoners into a violent, bruising and most of all, realistic depiction of life on the inside. O'Connell brings a laser-beam focus and ferocity to the role of uncontrollable young offender who's had to be "starred up" to an adult prison. It's a cocky, charismatic turn that brings to mind Finney, Burton and Courtenay and in the heydays of the British new wave.
Atonement Directed by: The initial mistake, born of adolescent stupidity and self-importance, mushrooms out of control, rolls into adulthood and overshadows a number of lives.
The final revelation of its consequences is devastating, no matter how inevitable it is. Alec Guinness, Joan Greenwood, Cecil Parker, Michael Gough Alexander Mackendrick deserves to be remembered more prominently than he is among the titans of British film, given that he's responsible for classics like Whisky Galore! Alec Guinness plays the idealistic young chemist who invents a revolutionary fabric that never wears out or requires washing - only to learn that both industrialists and workers are united against his wonder-cloth, terrified that it will destroy the economy and put them all out of business.
If not as vicious as Mackendrick's great American effort, Sweet Smell Of Success, this is still a plenty cynical view of the chances for real innovation in our imperfect world, and feels as relevant today as it did 60 years ago, if not more so see Who Killed The Electric Car?
It's a comedy - more or less - but it will leave you thinking long after the credits roll. Control Directed by: All jittery energy and charisma on stage, Riley's post-punk star is a troubled soul who jerks from elation to despair off it.
We know what's coming from the first reel but experienced through the eyes of Debbie Curtis Samantha Mortonhis suicide still comes like a punch in the gut. If Joy Division's music doesn't do it for you — and Riley and co.
Frankly, if that's not enough for you, you're a big dog's cock. Casino Royale Directed by: Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench It wasn't Pierce Brosnan 's fault that the Bond franchise ran aground, but equally you could hardly blame Daniel Craig that some fanatics couldn't see him mirroring Brosnan's suave charm, Moore's wry humour or Sean Connery's ability to look deeply sexy even when wearing dad slacks and a golf visor.
The whole Craig-not-Bond farrago was a reminder that, back in the early '60s, even Connery wasn't everyone's first choice. That seemed to work out okay and so, emphatically, did this. Sure, we'd probably have sacrificed all that product-placement ahead of gadget-fiend, Q, and we kinda missed the silly kiss-off lines, but the return of Bond matched all reasonable expectations and then blasted past them. From Craig's first ppearancea Bourne-like flashback ferocious enough to pin moviegoers back in their seats, every head-punch, put-down and swimming-trunk-clad step felt like a mission statement for the reborn franchise.
You can almost hear the remote-controlled car backing hurriedly into the garage. Blow-Up Directed by: Behind all the chiffon and posing is a seriously smart premise that Brian De Palma would later borrow for his thriller Blow Out It has Hemmings' David Bailey-alike realising that he's unwittingly photographed a murderer lurking in the treeline of a deserted park.
Returning the next day, he stumbles upon the victim's body, only for it to vanish soon afterwards. Will the snapper tear himself away from the sexy romping long enough to solve the case and bring the killer to justice? Come on, this is Antonioni we're talking about. If you've seen L'Avventura, you'll know that he prefers his mysteries unsolved. Senna Directed by: Ayrton Senna, Alain Prost, Frank Williams Far from the dyed-in-the-wool petrolhead you might expect, Asif Kapadia 's knowledge of Formula 1 was fairly scant when he set to work on his mesmerising character study of Brazilian superstar Ayrton Senna.
In The Loop Directed by: Definitive proof that politics — or movies about politics, at least — can be side-clutchingly funny, In The Loop is an expletive-filled masterclass in modern political satire, saying fuckety-bye to New Labour with one last cinematic kick to the balls. Cracking out one-liners like "Christ on a bendy-bus. Don't be such a fucking faff arse" and "Good morning, my little chicks and cocks" he's definitely the star of the show, but Chris Addison, James Gandolfini and Steve Coogan steal a good scene too.
Man On Wire Directed by: It's a heist movie without any attempt at theft. And yet Man On Wire not only works brilliantly, but grips like a vice as it tells the story of daredevil Philippe Petit and his distinctly unsanctioned mission to tightrope walk and dance, and spin, and sit on a rope strung stories up between the summits of the twin towers of the WTC.
Months in the planning and hours in the execution, this combination of contemporary video and partial reconstruction gives modern viewers the chance to share in the magical and clearly impossible for all rational people, at least feats of Petit, still an endlessly energetic figure and, we must assume, something of a magician.
Hunger Directed by: His debut feature, a stark meditation on political protest, largely sidelined the actual politics behind Bobby Sands' Fassbender hunger strike to zoom in on the man himself. It's not an easy watch, by any means. Michael Fassbender's astonishing portrayal of the dying IRA man is disquieting viewing, while McQueen's Maze Prison, faeces-smeared walls, urine sloshing corridors and all, will haunt your dreams.
The 33lbs Fassbender lost for the part, a Machinist-like plunge into emaciation, translates into a performance filled with heavy-lidded determination: His 17 minute exchange with Liam Cunningham's Catholic priest offers an electric centrepiece scene captured in one unobtrusive take by McQueen's camera.
Okay, Hunger probably isn't a movie to settle down to with a pizza, but it's an essential piece of modern art from a director we'll be seeing a whole lot more from. Produced in the middle of what many consider to be the studio's peak years the post-War period from -director Charles Crichton and Oscar-nabbing screenwriter T. Clark crafted a likeably amoral crime caper centred on Alec Guinness' meek bank clerk who decides to pull off a brilliant gold robbery.
Though later scenes hint at a possibly darker direction the Eiffel Tower chase, for instance, has obvious shades of Hitchcockthis is a lighter affair than other Ealing masterpieces such as Kind Hearts And Coronets or The Ladykillers. The cast sings not literallybut the most satisfying moments both belong to Guinness; first, when he realises that he's the eponymous mob's boss, and second when he endearingly admits that he'd like to be called "Dutch".
Chariots Of Fire Directed by: Twenty-first century newcomers to Hugh Hudson's classic sports drama have to dig through a steeplejump's worth of hype, a catchphrase that looms like stormcloud screenwriter Colin Welland may always regret whooping, "The British are coming" when picking up his Oscarand a small army of top-hat wearing, ever-so-snooty characters that are hard to not laugh at on occasion.
But if you can see through all that, there is a beautiful movie beneath, dealing with devotion and identity, religion and fame. It's a piece of music so magnificent it'd make Zookeeper watchable, and we don't say that lightly. With the London Olympics year fast approaching, expect the film to return to favour in a blaze of not-on-Sunday patriotism and slightly tuneless whistling.
Secrets And Lies Directed by: The central idea is all Leigh's - in this case, an adopted, middle-class black woman Jean-Baptiste as Hortense Cumberbatch discovers her real mother is white and working class Blethyn as Cynthia Purleythrowing both their lives into an emotional maelstrom - but for the most part, the lines are the actors' own.
Leigh's unorthodox directing technique may not be Hollywood's way doing things, but when the result is as touching and hilarious as Secrets And Lies, it doesn't much matter. Sure, no golden bald men ended up in Leigh's hands, but plenty of BAFTAs did, as well as the Palme d'Or, making it comfortably the biggest critical success of his career.
The Full Monty Directed by: This one, however, manages to leaven the grimness still very much present in the constant shadow of economic meltdown with a sense of humour and quiet determination, as a gang of unemployed steel workers try to make a little money by, well, stripping completely naked for a horde of baying women.
It's a true underdog story, glued together by immensely sympathetic performances, particularly from Carlyle, Addy and Wilkinson, all of whom were launched into Hollywood after their turns here. Worth watching just for the Post Office queue dance scene, wherein each of the team quietly start shifting in time to the music as they await their dole cheques. A Hard Day's Night Directed by: It's more than a pre-MTV attempt to market a band through film.
It's an honest-to-god comedy with genuine wit and heart and also - not incidentally - some terrific tunes. A day in the life of the Fab Four at the height of Beatlemania, rushed out before their inevitable decline so thought the executives it went a long way to establishing the popular perceptions of each of the group, with Lennon as the smartass, McCartney the sensible one, Harrison quiet and Starr a clown.
Aside from the obvious comic elements, much of it was true to their lives at the time, screenwriter Alun Owen spending weeks with the band observing their reality before constructing his script. Richard Lester's sure direction and more fantastical touches completed the picture, reinventing the music biopic and inspiring everything from spy movies to The Monkees. Peeping Tom Directed by: Powell struck out on his own with this startling thriller about a serial-killing filmmaker Boehm who murders his subjects with a blade hidden in his tripod.
Audiences and critics hated it, and the controversy that surrounded its release was so acrid it practically finished Powell's career. Strangely, it wasn't entirely alone in its boundary pushing: Hitchcock's Psycho was delivering similarly psycho-sexual shocks across the Pond at the same time.
Hitch grabbed four Oscars and enough box-office loot to fill the Bates Motel; Peeping Tom played to empty cinemas. Peeping Tom's startling ideas - especially its suggestion that the audience was complicit in Boehm's brutal murders — were just too much for contemporary viewers to chew on. As Martin Scorsese, one of the film's great champions, points out: Happily, the passing of time has been a whole lot kinder, although it's still not a brilliant date movie.
Slumdog Millionaire Directed by: Whichever way you cut it, it's one big mantlepiece. Rewatching it now, it's easy to see why. Anthony Dod Mantle's gorgeous cinematography makes India its very own, and Jamal Patel and Latika Pinto deliver the sweetest romantic moments seen in cinemas this century — including that glorious dance sequence during the credits. Some critics proclaimed it "feel-good" but with the persistent darkness throughout child slavery, battery-aided interrogation, drug-dealing and violence, anyone?
Still, it remains a stunning, Capra-esque Hollywood melodrama that blew the world away, and reminded everyone what a fantastic director Danny Boyle can be — as if that were in doubt. My Name Is Joe Directed by: Peter Mullan, Louise Goodall, David McKay Another Ken Loach slice of unflinchingly-real social examination, another masterpiece that the masses probably won't have seen.
Again focusing on poverty-stricken individuals trapped in the system, My Name Is Joe follows Peter Mullan 's reformed, alcoholic nutter Joe who coaches the local football team in Glasgow's mean streets while trying to avoid the bottle and any bother. Affable, haunted and more sympathetic than Rocky, it's a stunning tour-de-force from Scot-scene regular Mullan, completely deserving of the Best Actor award it won him at Cannes.
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Bleak and tragic yet somehow hopeful, many will wish for a less downbeat finale, but such is Loach's commitment to realism. And you rarely see endings that brave in blockbuster territory. Shakespeare In Love Directed by: As biopics go, it's high on invention and low on fact, but it's also a delightfully witty literary in-joke, reimagining Shakespeare's life as, well, a Shakespearean comedy of errors.
Tom Stoppard's script doctoring left the screenplay littered with in-jokes and direct lifts from the Bard's work, while a game cast of RSC stalwarts like Judi Dench so good as Elizabeth I that her cameo landed her an Oscar and American upstarts like then-ingenue Paltrow and Ben Affleck threw themselves into the caper.
Mixing tragedy and comedy, it may not - quite - be high art, but it's immense fun. Tom Jones Directed by: Albert Finney, Susannah York, Hugh Griffith, Edith Evans The movement towards social realism in British films of the s wasn't merely confined to the present day; this Tony Richardson effort showed that it could be applied to period films too, and bawdy literary adaptations at that.
Albert Finney was at his cocky, charming best as the young rapscallion of the title, raised a bastard by a kindly nobleman but denied his true love by his low birth. Instead, he embarks on a series of love affairs, dogged by a jealous rival, until everything finally comes together at the very last minute.
It's meticulously researched and constructed, but all done with such a breezy insouciance and flair, the characters even interacting with the camera and riffing on film style that silent movie opening, for instancethat it feels both thoroughly modern even now and very '60s, winning a clutch of Academy Awards for its trouble.
Sunday Bloody Sunday Directed by: The first film to depict a non judgemental portrait of a homosexual character in a lead role, Sunday Bloody Sunday is an exquisitely explored menage a trois between Peter Finch's gay Jewish doctor, Glenda Jackson's career counselor and the sculptor Murray Head — he of One Night In Bangkok fame whom the couple both love. This isn't a film about sexuality although Finch and Head's affectionate kiss caused a stir at the time ; it's a film about the minutiae of complex relationships realised through a trio of great performances.
Also keep your eyes peeled for a year-old Daniel Day-Lewis in the minor role as a vandal. He's also helped by the fact that this is maybe the best of the books, upping the stakes more significantly than any other single instalment, introducing a welcome element of ambiguity to Hogwarts' hallowed halls with the development that an escaped prisoner may be responsible for the deaths of Harry's parents or, then again, not and that the cool new teacher may hide dangerous secrets.
The films may get progressively darker, but this one had just the right mix of shadows and light. The 39 Steps Directed by: He turned out early potboilers for Balcon's Gainsborough Pictures in the '20s before moving across London with Balcon to Lime Grove Studios, the home of this classic romp. The 39 Steps is a compendium of classic Hitchcock trademarks, from Robert Donat's 'wrong man' to a sinister MacGuffin and a Hitch cameo upset that'd make mortal enemies of the Keep Britain Tidy campaign.
Witness, too, the chemistry he sparks between his romantic leads — the feisty pairing of Donat and Carroll squabble their way across the Scottish Highlands and into each other's arms — and the ever-building paranoia as that spy ring does its nefarious work. The identity of those spies is never specified, but if they're not carrying travel editions of Mein Kampf, you can melt our faces. Steve Box, Nick Park Starring: Could they really sustain the wit and vibrancy of Wigan's delightful duo for a whole hour and a half?
Wouldn't Wallace overdose on cheese along the way? We needn't have worried. The sparkling Curse Of The Were-Rabbit positively brims with ideas and energy, dazzling movie fans with sly references to everything from Hammer horrors and The Incredible Hulk to King Kong and Top Gun, and bounds along like a hound in a hurry.
The plot, the part we foolishly thought might let it down, pitches the famously taciturn Dogwarts' alumnus and his Wensleydale-chomping owner Sallis against the dastardly Victor Quartermaine Fiennestaking mutating bunnies, prize-winning marrows and the posh-as-biscuits Lady Tottington Bonham Carter along for the ride.
In short, it's the most marvellously English animation there is. Hot Fuzz Directed by: It's initially a tad jarring to see Pegg as the straight man, but his natural chemistry with long-time real-life pal Frost remains endearing as ever.
Look Back In Anger Directed by: Burton is very near his best in Tony Richardson's melodrama as Jimmy Porter, a jazz man stuck down the kind of dead end that's filled with British New Wave rebels. When he seethes "I have no public school scruples about hitting girls" at the sly Helena Claire Bloomyou know it's no empty threat. He's Steetcar's Stanley Kowalski on three pints of bitter; the closest thing s Derby has to its own volcano. As claustrophobic and uncomfortable as the John Osborne stage play on which it's based, it was the first salvo in British cinema's class war.
Topsy Turvy Directed by: Jim Broadbent, Allan Corduner, Timothy Spall, Kevin McKidd, Shirley Henderson Here's a Mike Leigh film even for people who don't like Mike Leigh films, the director's ultra-naturalistic style softened by the period setting and enhanced by the heightened emotions of its characters.
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There's not a kitchen sink in sight as Gilbert Broadbent and Sullivan Corduner collaborate to create their Japan-inspired comic opera The Mikado, surrounded by performers who each have their own neuroses and crises and who, incidentally, do their own singing to boot.
Broadbent and Corduner are a wonderfully mismatched but mutually admiring pair: The Wicker Man Directed by: Edward Woodward, Christopher Lee, Britt Ekland, Diane Cilento The Wicker Man isn't scary in a conventional manner and, arguably, is more of a Gothic mystery than a horror movie, but you'd be hard-pushed to find a more disturbing and horrific film experience. Certainly one of the most chilling British movies ever created, there's something indefinably unsettling about Robin Hardy's strangely seductive cult chiller from the moment Edward Woodward sets foot on the remote Scottish island.
While his buttoned-up Christian copper from the mainland searches for a supposedly missing girl, this strange place hauntingly evolves from a small town of eccentric locals to a paranoid-flavoured asylum with no way out.
In the lead, Woodward has never been better except perhaps in The Equaliserwhile nobody does sinister menace quite like Christopher Lee and his burning eyes. The English Patient Directed by: A Best Picture winner, it's a perfectly judged adaptation of Michael Ondaatje's novel, filled with tenderness and longing. As the North African sun beats down on Ralph Fiennes' enigmatic Count Laszlo, hideously burnt in his crashed biplane, all other considerations strip away but one: The tickets for this original show on the 15th.
Directed by Ron Howard The Beatles: From Director Stu Maddux: I discovered old queer home movies dating back to the s in closets and attics around the world.
There were also all these recorded news stories and community productions that they left behind. I spent three years making a documentary that I hope lets you feel what I felt the first time I saw one of these movies. But a big part of the story for me are not the few movies that have been saved but all the ones being thrown out- sometimes on purpose.
In a decade, most will be destroyed or no longer playable. We will never get that feeling back. Serving to enrich the lives of the older LGBT community in Western North Carolina through educational opportunities, promoting equity of services, providing access to caregivers supports, promoting intergenerational cooperation and creating social opportunities for older LGBT individuals.
Meet the Director, Stu Maddux and enjoy a wine and cheese reception prior to the film.