British actress Carey Mulligan is to take on Julie Christie's iconic tole of Bathsheba Everdene in a new movie adaptation of Thomas Hardy's novel Far From The Madding Crowd. Christie starred alongside Terence Stamp, Alan Bates and Peter Finch in director John Schlesinger's classic 1967 film, and now Mulligan will lead a cast that includes Belgian actor Matthias Schoenaerts, Tom Sturridge and Michael Sheen in the remake.
Danish filmmaker Thomas Vinterberg will direct the project, which will shoot on location across the U.K. in Dorset, Oxfordshire, Buckinghamshire and London.
British stars Sienna Miller and Tom Sturridge slide into slick trench coats for Burberry's Autumn/Winter 2013 campaign. From sweet hand holding to passionate — and super steamy — kissing, the engaged couple is too cute for words. The ad, titled "Trench Kiss," is the first time a set of real-life lovers have been on display in a Burberry campaign. And we couldn't be more grateful to watch this stunning couple in action!
Throughout the ad, Sturridge and Miller brew some real magical chemistry as they gaze into each other's eyes. After a sexy embrace, Sienna goes on her tippy toes in her cheetah shoes (that perfectly match her lover's pair) to plant a sexy smooch on her beau. Ow ow! This is one intense act of PDA that I don't mind one bit!
As "Hold Me" by Tom Odell plays innocently in the background, The Pirate Radio star and his fiancée look swagged out in leather jackets and dark shades — but their obvious affection towards one another makes the ad more fluffy than hardcore. So we kindly thank Burberry for this ad that oozes sheer adorableness.
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Is On the Road the first successful attempt to bring Jack Kerouac's beloved novel to the screen? Depends on who you ask. Fans of the Beat Generation will undoubtedly love this film directed by Walter Salles and adapted by Jose Rivera and those familiar with Kerouac's mythos might be able to play along. But if you've never heard of this group of writers and miscreants you might be eating their dust.
On the Road is occasionally beautiful and entirely too long. Its narrator Sal Paradise Kerouac's alter ego is played by Sam Riley with a sort of muted watchfulness; he's an outsider the writer narrating it all along for the ride but the script doesn't do justice to the tastes of Kerouac's writing (although we get a taste in some small voiceovers). Garrett Hedlund owns this movie from top to bottom as Dean Moriarty with his buoyant earthy sexuality and total irresponsibility. In reality Dean is the sort of user and mooch that would be a total drain of energy and resources but we see him as Sal does: alive free sensual somehow utterly honest in his protestations of love and honesty despite his constant betrayals.
Dean is absolutely the sex and love object of the movie his pansexual groove attracting and scaring Sal and in a way breaking his heart. Dean also breaks the hearts of Marylou his on-again off-again child bride played by Kristen Stewart; Camille the mother of his children played by Kirsten Dunst; and most movingly Carlo Marx the alter ego of Allen Ginsberg who is played by Tom Sturridge. Sturridge is excellent as the lovelorn poet who's alternately suicidal and joyous and his scenes with Hedlund are some of the most erotic and moving. The female characters get short shrift especially Marylou who lacks much of a personality; how much of what she does is egged on by Dean and how much is of her own volition? The ballyhoo over her nude scenes were overblown by half; although they're somewhat sexy they're overshadowed by all of the sexual tension between the leads.
Two of the most interesting characters in On the Road are Old Bull Lee and his wife Jane. Bull is the alter ego of William S. Burroughs and Jane is Joan Vollmer Burroughs's common-law wife and the mother of his children. (Vollmer a writer in her own right was accidentally killed by Burroughs.) Jane played by Amy Adams is bizarre and fascinating a wild-haired lady and drug addict and mother of Bull's children but not much more than that. One could watch an entire movie of Viggo Mortensen playing Bull a sharp-dressed heroin addict who nods off with his child in his arms and strips off his clothes to get in an orgone accumulator he built in his backyard. The movie barely makes a pit stop at their crumbling Louisiana farm and their importance in Sal's life and the Beat generation is never quite explained.
One might argue that the loopy timeline of the film mimics the unending road trip of Dean's life but it doesn't serve the final product. Incorporating more of Kerouac's writing as voice-overs or something similar would have given it more life the kind of vivacity Kerouac sought out in spades which is why he tolerated Dean's vagaries for so long. More than most movies it feels like On the Road could have gone in any direction expanding or reducing characters shortening the trips to concentrate on the characters more emphasizing the effects of their missing fathers or not and it's this wishy-washiness that undermines the movie. It feels much longer than it is. It's a loving tribute to its subjects and a movie that acts as a showcase for rising stars Hedlund and Riley but it fizzles when it should burn.
As the British Invasion stormed American airwaves in the mid-'60s its conquest of its native land took the shape of a sea-based guerrilla offensive. Broadcasting from ships anchored just outside British territorial waters a handful of so-called “pirate radio” stations defied the BBC’s strict limits on popular music by blasting the isles with around-the-clock rock 'n' roll. Writer/director Richard Curtis (Four Weddings and a Funeral Love Actually) pays tribute to that vibrant era with Pirate Radio a sentimental lighthearted ode to the renegade DJs who helped British rock find its sea legs.
Curtis introduces us to Pirate Radio’s motley ensemble through the bright eyes of Carl (Tom Sturridge) a naive schoolboy whose godfather Quentin (Bill Nighy playing perhaps the hippest sexagenarian in history) owns and operates Radio Rock Britain’s premier pirate station. Surrounded by a crew of boisterous impossibly well-dressed musical misfits — all of whom are seemingly modeled after various '60s countercultural archetypes (the mod hipster the impish lothario the uncompromising purist the dazed hippie the Jim Morrison clone etc.) — Carl’s unusual voyage of discovery commences in earnest.
Pirate Radio may strike some as reminiscent of another nostalgic paean to the wonders of rock 'n' roll Almost Famous — not least because star Philip Seymour Hoffman essentially resuscitates his Lester Bangs performance in this film. But Pirate Radio is far less ambitious than Cameron Crowe’s 2000 film not seeking so much to define an era as to use it as the backdrop for a brisk buoyant comedy. And in that regard it succeeds far more often than it fails thanks largely to the efforts of a talented cast led by Hoffman Nighy Nick Frost and Rhys Darby. There are a few bittersweet moments scattered throughout Pirate Radio but at its core the film is a comic coming-of-age story — punctuated by a lively soundtrack loaded with classics from the Who the Kinks the Rolling Stones and other seminal bands.
It should be noted that a significantly longer version of the film titled The Boat That Rocked debuted in the UK over six months ago. Narrative gaps are evident throughout Pirate Radio but director Curtis’ decision to pare nearly 20 minutes off the film’s running time for its American release looks like a wise one as the shortened length still tests the limits of one’s patience. Rock 'n' roll can be many things but it must never ever be boring.