Plot: When teenager Celeste (Raffey Cassidy) sings at a memorial, her career as a pop star takes off. She finds a manager (Jude Law) and a publicist (Jennifer Ehle) and rises to fame, always accompanied by her sister Eleanor (Stacy Martin) who writes her songs. 18 years later, Celeste (Natalie Portman) is still a star, but she also struggles. Especially her relationship with her sister and her daughter Albertine (Raffey Cassidy) is strained, but there are other issues as well. As she prepares for the tour of her new album, tensions rise everywhere.
Vox Lux is a well-made film with an excellent cast that appears to be saying more than it actually does. I failed to really connect with it.
Director: Ivo van Hove
Writer: Jan Peter Gerrits, translated by Simon Stephens
Based on: Luchino Visconti’s movie
Cast: Jude Law, Halina Reijn, Gijs Scholten van Aschat, Chukwudi Iwuji, Robert de Hoog, Aysha Kala
Part of: Wiener Festwochen
Seen on: 3.6.2017
Gino (Jude Law) doesn’t really have a home, instead he just moves around. When he reaches a new town, he finds employment with gas station owner Joseph (Gijs Scholten van Aschat) and decides to stick around for a bit. But work is only a small reason: the bigger motivation is Joseph’s much younger, beautiful and obviously bored wife Hanna (Halina Reijn). As Gino and Hanna fall for each other, Joseph becomes an obstacle they plan to get rid of.
Just reading the plot description, I had my doubts about this play, but I wasn’t going to pass up a chance to see Jude Law live on stage. So I went for it anyway – and all of my worst expectations came true, plus even some bad expectations I didn’t know I should be having. It was a profoundly bad production.
When King Uther (Eric Bana) is betrayed by his brother Vortigern (Jude Law), Uther barely manages to get his baby out of the danger zone. The baby grows up to be Arthur (Charlie Hunnam) who has no idea of his family background, but gets a whole lot of street smarts. And then Uther’s sword is uncovered, stuck in a stone. Since it can only be removed by Uther’s son and nobody knows where he is, Vortigern forces all men in the country to give it a try. And nobody is more surprised than Arthur when he is actually able to pull the sword out – a fact that immediately pits him against Vortigern and the powers he commands.
I expected King Arthur to be pretty bad and it was, but it was also a little better than expected. Which is not to say that it’s actually a good film or really worth seeing.
Bradley Fine (Jude Law) is a superspy as you imagine him: good-looking, suave and mostly investigating within the upper class. But he wouldn’t be half the spy he was without Susan Cooper (Melissa McCarthy), his handler: Susan might not be in the field herself, but with the help of visual and audio equipment, she sees the world through Bradley’s eyes – with multiple enhancements. And she is the best at what she does. But when Bradley ignores her advice, is killed by Rayna Boyanov (Rose Byrne). And Rayna goes on to blow the cover of every active field agent. While uncovered spy Rick Ford (Jason Statham) goes rogue, Susan herself steps up – and out into the field.
Spy does many things right, but it does enough that didn’t work for me to keep me only very mildly enthusiastic about it – despite the good stuff.
Gustave H (Ralph Fiennes) is not just a concierge, he is probably the best concierge there ever was and he has his fans. One of them is his newly acquired protégé Zero (Tony Revolori), another a frequent guest at the Grand Budapest Hotel, Madame D. (Tilda Swinton). When she is f0und dead, though, suspicion falls on Gustave and he has to try and clear his name and to claim his inheritance, all with Zero in tow.
The Grand Budapest Hotel is probably the best film Anderson made since The Life Aquatic, if not his best film so far, period. It is crazy, enjoyable, funny, aesthetic and weird and has an awe-inspiring cast. Wonderful.
Emily’s (Rooney Mara) husband Martin (Channing Tatum) was in prison for the last four years, for fraud. Now he’s finally out and Emily should be super-happy as her life is slowly falling into place again. But unfortunately she’s not. Instead she’s depressed and really not doing well. After she drives her car into a wall, she starts treatment with Dr. Banks (Jude Law) who prescribes her various medications. But every medication has its side effects.
I really enjoyed the first half of this film. Unfortunately it then gets lost in a clusterfuck of tropes and plot twists and starts to suck really badly.
Anna (Keira Knightley) has been married to Alexei Karenin (Jude Law) for quite a while. It’s a marriage of convenience, but one that works quite well. Anna gives all her love to their son and seems content. That is, until she travels to Moscow to reconcile her brother Stiva (Matthew Macfadyen) with his wife Dolly (Kelly Macdonald) on whom he cheated. In Moscow, Anna meets Alexei Vronsky (Aaron Johnson), a young count who had been courting Dolly’s sister Kitty (Alicia Vikander), more or less seriously. Anna and Vronsky feel drawn to each other immediately – so much so that Anna basically flees back to St. Petersburg. But Vronsky follows her there, kicking off events that slowly spiral Anna’s life completely out of control.
The movie started and I immediately and irrevocably fell in love with it. And it didn’t disappoint me for one moment. It is a thing of beauty that I could watch over and over again.
The Guardians – that is Santa (Alex Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher) and the Sandman – protect the children of the earth. But when a new threat shows up in Pitch (Jude Law) aka the Boogey Man, the Man in the Moon appoints a new guardian – Jack Frost (Chris Pine). Everybody is bewildered by that choice, most of all Jack himself, who is more preoccupied with finding out who he actually was before he became Jack Frost. But for the sake of the children, they start working together.
Rise of the Guardians was amazing. Beautifully animated, wonderful story and it all comes together in a way to make you cry and laugh and to leave you with a magical feeling and a smile on your face.
Starting with a whore Mirka (Lucia Siposová) and her pimp Rocco (Johannes Krisch) in Vienna, 360 moves through various stories that are all somehow connected. From Paris to London and Denver it takes a look at the various kinds of relationships, infidelities and betrayals.
360 is a bit uneven. It has a good cast and some of the stories work perfectly, while others are bland or don’t fit. In short, it just doesn’t really come together.
After the death of his father (Jude Law), Hugo (Asa Butterfield) started to live in Paris’ Central Station, winding the clocks and trying to rebuild an automaton he and his father were working on. When he tries to steal some cogs from Papa George (Ben Kingsley), he gets caught and George takes the notebook in which Hugo’s father detailed the plans for the automaton. So Hugo enlists Papa George’s ward Isabelle (Chloe Moretz) to get it back. But what is George’s connection to the automaton in the first place?
Hugo is a beautiful, engaging and very entertaining. Plus, it’s basically a love letter to George Méliès – and there’s definitely nothing wrong with that. I really enjoyed every minute of it.