Irish boyband Boyzone are set to return to the Childline Concert stage 16 years after they helped launched the annual British benefit. The reunited quartet will open the show at the Dublin O2 arena on 20 November (13).
The band, along with the late Stephen Gately, played at the first-ever Childline Concert in 1997 and announced the news of its comeback appearance in a statement released on Monday (04Nov13).
It read: "We can't wait to open the show at Childline later this month. It's an event that has a special place in Boyzone's heart. To be back on our home turf as we celebrate our 20th anniversary means so much to us all."
The Wanted, Shane Filan, Conor Maynard and Little Mix are also billed to perform at the benefit.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?
Cambridge-educated Tony Wilson is a young but established TV journalist in Manchester who is fed up with his silly assignments be they hang-gliding adventures or an interview with a midget who cares for elephants. When one evening he catches an unknown band called the Sex Pistols at a poorly attended show he becomes a believer in what is the new and rebellious punk movement. Taking a chance he opens a club to give new punk bands exposure becoming a major promoter of the punk movement. But hardly the exemplary capitalist he's motivated by gut feelings and passion and his belief in Manchester as the epicenter of new music. Wilson does discover several bands that go on to varying degrees of success and notoriety including Joy Division/New Order and the Happy Mondays but punk values and the lifestyle take their toll. There are the premature deaths marital breakups including Wilson's first marriage and drug lords who wield too much influence in Wilson's club. His own loosey-goosey ways with his record business and artist contracts leads to his label's demise. Through it all Wilson keeps his day job as TV personality and never lets go his allegiance to his beloved Manchester flag.
Thanks to 24 Hour Party People Steve Coogan as Tony Wilson may well become a star in Yank country. Known to TV audiences in the U.K. Wilson with a background in comedy is a brilliant and compelling presence as the film's drolly ironic and obviously learned hero. All supporting roles here are superb including Andy Serkis as doomed and messed up producer Martin Hannett Rob Brydon as Ryan Letts and Shirley Henderson as Wilson's first wife Shirley.
Michael Winterbottom who so brilliantly directed Welcome to Sarajevo but disappointed with The Claim again triumphs here. Employing an arsenal of special effects and using DV Winterbottom perfectly captures an era a rock movement a place and the authentic spirit of a hugely intelligent and appealing maverick entrepreneur whose field of vision extended well above the bottom line.
Packed with too much goodness and determined to push its platform of paranormal events A Rumor of Angels is an overwrought drama about friendship grief and the spiritual rebirth of a boy and his eccentric recluse neighbor. Twelve-year-old James Neubauer his father Nathan and his stepmother Mary are spending their summer vacation in the small seaside town where the boy's mother died years earlier in a car accident near a local bridge. Because James has been traumatized by her death he has problems connecting with his often absent father and new mother. When James wanders onto the property of eccentric elderly neighbor Maddy Bennett who lives in a decrepit shingled house overlooking the ocean she scares the boy by firing a rifle in his direction. After a showdown with the Neubauers Maddy succeeds in hiring James to rebuild and paint her fence. An unlikely friendship ensues when James becomes a kind of surrogate son to Maddy who lost her own son in the Vietnam War and the stern but caring Maddy becomes mother surrogate the boy so desperately needs. Maddy also beset by grief teaches James about the power of remembrance and imagination and the possibility of angels and communicating with those long gone. James also learns about the importance of family love friendship and spiritual awakening.
Vanessa Redgrave is terrific as usual as the eccentric recluse Maddy giving yet another powerful performance that dazzles delights and soars beyond the limitations of the character as written. Trevor Morgan is fine if not memorable as James. Catherine McCormack as the stepmother Ron Livingston as a slacker uncle and veteran actor George Coe as Maddy's oldest friend also turn in serviceable performances. Only Ray Liotta so memorable in edgier meatier roles like those in Something Wild and Goodfellas or the more recent Hannibal and Blow is out of his element as a frustrated often absent dad. In fact most of the actors are chewed up by the gorgeous evocative Nova Scotia locales that brilliantly stand in for the Maine village.
Director Peter O'Fallon's biggest obstacle in A Rumor of Angels appears to be his own screenplay which he co-wrote and adapted from the very old inspirational novel Thy Son Liveth. Most filmgoers won't get beyond the film's pile-up of hokum about communication with the dead. Also the horror and mystery elements that A Rumor of Angels plants early on dissipate into a cinematic sermon about familiar family values and faith. The messages may be poignant but the drama sending them isn't. O'Fallon relies instead on lovely cinematography scenes suggestive of paranormal reality (those lights those angels) and a soundtrack rich in classical music--all at the expense of delivering a credible story with flesh and blood characters who actually sound like they just might be real New Englanders. His direction is style over substance scenery over psychological truths.