Forget your traditional Disney princess! Instead of finding her Prince Charming or the perfect fitting shoe, Merida (Kelly Macdonald) fights against tradition and makes her own path in the new Disney-Pixar animated film, Brave.
Merida is the epitome of a modern-day princess, even though her story takes place centuries ago in medieval Scotland. With a courageous spirit and bow and arrow in hand, she stands up for herself when her parents, Queen Elinor (Emma Thompson) and King Fergus (Billy Connolly), want her to marry a lord — specifically, Lord MacGuffin (Kevin McKidd), Lord Macintosh (Craig Ferguson), or Lord Dingwall (Robbie Coltrane).
The adventure heats up when a frustrated Merida meets a witch who grants her ultimate wish — to change her overbearing mother’s opinion of marriage. However, her wish goes awry when her mother is transformed into a bear, and her father confuses his altered wife for the animal he has been hunting for years. The chase for her mother causes Merida to find the true meaning of bravery from within.
Hollywood.com recently sat down with Kelly Macdonald, Craig Ferguson, and Kevin McKidd to talk all things Scottish, standing up for yourself, and taking the reigns in a Pixar film.
Be sure to check out Brave in theaters this Friday, July 22, and watch our exclusive interview with the stars below:
[Photo Credit: Pixar/Disney]
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In Dream House – the new suspense thriller from Jim Sheridan (In America My Left Foot) – Daniel Craig plays Will Atenton a successful New York publisher who disavows his high-powered Manhattan lifestyle and relocates along with his wife Libby (Rachel Weisz) and two daughters (Taylor and Claire Astin Geare) to a picturesque New England hamlet. Their new home a quaint fixer-upper bears imprints of the family that lived there previously: Old tools and other belongings are strewn about the basement a secret room abutting the children’s bedroom is filled with discarded toys. Will and Libby see the items as charming artifacts signs that their house has a history a soul.
The new neighborhood is not so bucolic as it seems. The children complain of a man peering in on them from the front yard – a suspicion confirmed when Will discovers footsteps in the snow the next day. If that weren’t ominous enough Will later learns that five years earlier his new home was the site of a grisly murder spree in which the previous owner Peter Ward was alleged to have killed his wife and two daughters. Acquitted due to a lack of evidence Ward spent a brief time at a psychiatric facility before being released. Could the shadowy figure glimpsed outside the window be Ward returning to the scene of the crime preparing to kill again?
At this point Dream House pulls off a whopper of a mid-game twist that effectively re-frames the entire narrative. (I won’t spoil it for you but if you want to know what it is just watch the trailer which rather stupidly gives it away.) Until now Sheridan has worked steadily to foster the guise of a relatively conventional haunted-house tale presenting a portrait of idyllic domesticity while simultaneously building an atmosphere of looming peril. After the story drops its bombshell the film morphs into a sort of supernatural murder mystery with Craig’s character scouring for clues within his own tortured psyche. Characters and scenes that might have been dismissible as red herrings – a neighbor (Naomi Watts) appears oddly stand-offish; her ex-husband (Martin Csokas) cartoonishly gruff; the town cops inexplicably apathetic – gain sudden relevance.
It’s a clever gambit; it is also patently absurd. A talented cast helps make the twist easier to swallow but the film’s second half sheds credulity seemingly by the frame at points devolving into schlock. Which in a different film might bode well for some silly fun but Sheridan aims for a restrained tone that seems more suitable for a somber character study than a flagrantly preposterous suspense thriller. As it is Dream House is neither thrilling nor suspenseful.
In Crush we are introduced to three highly successful single women. There is Kate (Andie MacDowell) an attractive headmistress at a private school Molly (Anna Chancellor) a sexy prominent physician and finally Janine (Imelda Staunton) a single mom and police inspector. The three women are best friends who get together once a week and do what the majority of single women out there do: bitch about their non-existing love lives. They eat chocolate drink gin smoke cigarettes and compare dating disasters with a prize going to whomever has the most pathetic story. Although it seems like they are basking in their own misery the three maintain a sense of humor about their situations and have formed a really strong bond over the years. But that bond is affected when Kate embarks in an affair with a much younger man--a former student of hers Jed (played by Kenny Doughty). Molly enlists Janine's help in breaking up the affair fearing Kate is simply setting herself up for major heartbreak. Molly however seems to be acting out of jealousy rather than concern for Kate and the effects of her actions change their lives and friendship forever.
Andie MacDowell whom I found thoroughly annoying in Harrison's Flowers found a role that is completely suited for her in Kate. Although the story unfolds in rural England director John McKay (Wet and Dry) opted to have MacDowell play an American therefore retaining her Southern drawl. Dressed in linen dresses and crisp white shirts MacDowell plays the role of repressed headmistress perfectly down to her closet chain-smoking habit. Anna Chancellor (The Man Who Knew Too Little) seems a little too slick for the serious doctor role (it's hard to believe someone working as a health professional would smoke and drink that much) but she pulls it off nonetheless. Imelda Staunton (Another Life) fits into the role of police chief Janine like a glove. She may be the least glamorous of the three but she's also the most sincere and down-to-earth traits well suited to her profession. Kenny Doughty (Titus) rounds out the cast as Kate's intriguing young lover Jed. Young scruffy and a little edgy Doughty is a perfect match for MacDowell's prim character.
Crush focuses on the relationships of three women who despite working in completely different fields and having lived unique life experiences (one has never been married one has had several divorces and another is a single mom) have formed a deep friendship that crosses different boundaries. What makes it work is the chemistry that MacDowell Chancellor and Staunton have on screen. The chemistry between MacDowell and Doughty also spices up the story. The age difference between them is dealt with in a realistic manner not over-idealized. Kate for example is concerned about what others think of her relationship and whether or not Jed will fit into her circle of friends. Although a romantic love story is at the core of this film it rarely gets schmaltzy (except for the dramatic climax) thanks to some hilarious scenes in which the women recount some of their dating disasters.
Psychiatric nurse Maggie O'Connor (Kim Basinger) raises her drug-addicted sister's baby who grows up to be a girl with "special" gifts like the ability to rock a dead bird back to life. When Cody turns 6 her mother returns to claim her. The trouble is mom is now married to Eric Stark (Rufus Sewell) leader of a Satanic cult masquerading as a self-help group. Stark wants Cody to use her powers for the "dark side " and will kill her if she refuses. Aunt Maggie enlists the aid of FBI agent John Travis (Jimmy Smits) to help her track down and save Cody.
Basinger 's passive bearing and scrubbed-down glamour seem out of place in the dingy New York settings. When Stark's snarling teenage-runaway groupies attack her they seem as angry at her smooth blond coif as anything else. Sewell does what he can with lines like "death would be a kinder fate" and "she will be ours" (this last line uttered while practically shaking his fist at the heavens). Vastly underused is Smits whose all-talk-and-no-action FBI agent wouldn't have lasted a day in "NYPD Blue's" precinct.
Although director Chuck Russell captures a rich textured look and lays on the ghoulish special effects (a river of red-eyed rats ominous whispers wraithlike demons) "Bless the Child" doesn't generate any real chill. It's not helped by the script which throws in every clich‚ possible about angels demons hellfire and brimstone. There's no avoiding comparison with "The Sixth Sense " the success of which surely must have put some heat under this project. Unfortunately it's a little too cooked.