Miss Potter is a biopic about Beatrix Potter (Renee Zellweger)—the literary phenomenon of the early 20th century who created the hugely popular Peter Rabbit books. The film examines how she rose to fame in Victorian England a time when women were only expected to marry and run a home. As the story begins Beatrix 32 is well-adjusted despite being unmarried and living with her well-to-do parents. An accomplished painter she dreams of publishing her pet animal drawings as well as the stories that go with them and in neat small-sized books perfect for children. Of course most publishers scoff but one decides to publish Beatrix’s “bunny book ” as a lark and soon sets in motion a publishing juggernaut. During the process Beatrix also falls in love with her young editor Norman Warne (Ewan McGregor) and agrees to marry him much to her mother’s chagrin (he’s a “tradesman ” after all). Basically Miss Potter ends up living the life she wants to lead bucking whatever rigid system put before her. Zellweger is playing yet another English rose but this time without the extra weight. Although not nearly as endearing and quirky as Bridget Jones Zellweger’s Beatrix is still plucky and outspoken willing to stand by her beliefs and forge ahead despite the opposition she faces. In other words Zellweger—who won her Oscar playing a similar part in Cold Mountain—could do this in her sleep. McGregor too seems comfortably fitted for the role of Norman an earnest fellow with good moral fiber a determination to succeed and love in his heart for Miss Potter. Veteran British character actors Barbara Flynn (HBO’s Elizabeth I) and Bill Paterson (Bright Young Things) effectively play Beatrix’s parents with Dad Potter being the more sympathetic and Mom Potter being the uptight battleaxe. And finally Emily Watson who does a nice turn as Norman’s spinster sister Millie. A brash intelligent woman who also speaks her mind Millie thoroughly enjoys life as an unmarried woman and quickly takes Beatrix under her wing. Director Chris Noonan waited a decade after helming the Oscar-nominated Babe before finding his follow-up project setting his sights on Miss Potter. There’s definitely some symmetry to his choice with both beautifully framed films having much of the same sweet-natured sensibilities as well as er animals. Much like Finding Neverland which showed how James Barrie came up with Peter Pan Miss Potter works best when Beatrix is standing up for her rights falling in love and drawing her adorable illustrations her “friends ” as she calls them who come to life and talk to her. Thankfully Noonan and screenwriter Richard Maltby don’t have the animated characters actually speak—only Miss Potter can hear them--but its still a clever device and definitely brings up feelings of hearth and home remembering those stories all over again. Unfortunately the film stalls a bit towards the end when the scenery shifts to England’s the Lake District where the real Beatrix Potter eventually retired to and helped preserve for future generations. Still overall Miss Potter is a charming look at one of the literary world’s more successful authors who was also a feminist and an environmentalist. Pretty amazing lady actually.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
Based on a true court
case first tried in 1953 Evelyn recounts the story of a man on a mission. Rumpled pub-crawler Desmond Doyle (Pierce Brosnan) has a streak
of bad luck when he loses his wife to another man the day after
Christmas and then loses his three
children Evelyn (Sophie Vavasseur) Maurice (Hugh McDonagh) and Dermot (Niall Beagan) to the Catholic
church and Irish courts. That he's without a wife and a regular job prompts the courts to place the tots in an
orphanage which he unsucessfully tries to steal them from. This of course was not a good move. He
gets caught and the courts see this as a strike
against him. Doyle does not give up--instead he gets his life together. But it
turns out that an obscure law that has never
been tried in the courts before requires that Doyle's estranged spouse give him
custody of the kids so he enlists several lawyers (Alan Bates
Aidan Quinn and Stephen Rea) to help him get
In the end the story ends happy ever
after but not without its up and downs. Doyle must
face the hardship of living without his children and
his children must suffer through living in a miserable
Although this story line is based in predictibility-land the actors
still come out on top. Brosnan's character with his native Irish accent anti-Bond dishevelment and
pitful story is charming. Each time he leaves the
screen he leaves you wanting more. It seems
as though this role was made for him. We are used to seeing
him in the coolly unrealistic role of James Bond and this is a refreshing change. He shows the
true acting skills that he really has as a father in
agony. Julianna Margulies
also surprises with her protrayal of Bernadette
Doyle's love interest. She is charming and feisty as
a bartender who enlists her solicitor brother's help to put the devastated father's family back together again.
He may be a double Oscar nominee but Bruce Beresford's directing here is mediocre. The director whose only decent film in recent years was 1999's Double Jeopardy makes a script that is already too obvious painfully so. Pacing is a little slow some of it is corny (ie: rays of sunshine representing faith) and some of it seems unnecessary (a love-triangle plot). The great acting and chemistry between Doyle and his kids especially daughter Evelyn is the best part about this movie.