Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
Actress Mischa Barton has sworn off men after failing to find a lasting romance.
The blonde beauty has been linked to a string of famous faces since shooting to fame on The O.C., including Cisco Adler, socialite Brandon Davis and British rocker Luke Pritchard.
Now Barton admits her string of failed relationships has put her off dating.
She tells Britain's Daily Mail, "I've given up men. Sadly, there doesn't seem to be anyone out there for me. My last three boyfriends haven't worked out, so I'm giving guys a rest for a while. I'm putting all my love, care and attention into my three dogs.
"Don't ask why, but they are a good replacement for men in terms of affection."
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
The O.C. star has endured a series of failed relationships in recent years, including a broken romance with The Kooks singer Luke Pritchard and Rooney star Taylor Locke.
Barton looked to have found happiness again when she struck up a romance with Love over the summer (10), but the relationship has now fizzled out, according to Britain's Heat magazine.
A source tells the publication, "(Love) wasn't ready to be a celebrity. He was expecting they'd get some attention, but he never imagined it would be as bad as it was.
"He values his privacy and couldn't deal with photographers following them around or the nasty comments people would make on blogs. So he finally told Mischa it would be better if they stopped dating...
"She's trying to forget about him and move on, but they might give it another go. Mischa has always had on-off relationships. But she's not reaching out to him at this stage."
The actress, who has previously dated The Kooks frontman Luke Pritchard, was spotted spending time with DJ Ali Love backstage at London's Lovebox music festival over the weekend (17-18Jul10).
And the pair has reportedly just come back from a trip to France together, according to Britain's Daily Mirror.
A source tells the publication, "Mischa was looking pretty merry in a bedraggled short flowery dress and white bow. She and Ali, real name Alexander, were all over one another backstage, and kept popping off to the loos (toilets) - presumably for a cheeky snog.
"They just returned from a break in the south of France and things are obviously going really well."
The premise to Old School sounds a bit cringe-worthy when you first hear it--visions of sexist frat house humor wild parties buxom babes and beer bongs dance through your head. OK maybe there's a little of that going on in Old School but the heart of the film is surprisingly more centered than your average balls-out comedy. A trio of twentysomething friends have found themselves at a crossroads in their lives. Mitch (Luke Wilson) a promising real estate lawyer unfortunately catches his girlfriend (Juliette Lewis) in a compromising position. Frank (Will Ferrell) a lovable doof marries the sweet Marissa (Perrey Reeves) before realizing he made a big mistake and Beanie (Vince Vaughn) the owner of a successful chain of stereo stores refuses to believe he is the only true family man of the three. When Mitch rents a house near their old alma mater Beanie sees it as a chance to recapture some of that fun-filled college exuberance and turns the house into a fraternity which accepts not just students but any guys out there who want to escape adulthood's travails. The film's antagonist comes in the form of an uptight university dean Pritchard (Jeremy Piven) who bears an old grudge against our intrepid trio and does everything he can to shut the house down. But true brotherhood prevails.
Old School works far better than it should thanks to the chemistry of the three leads. Each has his own particular brand of comedy and the combination keeps you rolling in the aisles. Providing physical comedy Ferrell's Frank a goofy college wild man tamed by matrimony is wonderfully outrageous (but someone should tell him to keep his clothes on). Ferrell also shows a dramatic flair especially when dealing with his troubled marriage. Who would have thought this Saturday Night Live alum could act? Vaughn shows his infinite skill at zingin' out quick-witted one-liners (as he does so well in Swingers). Yet his smarmy Beanie also hints that he loves his life as a stable dad more than he cares to admit. Then there's the likable straight man Mitch a character the easygoing Wilson has perfected to a tee ever since his debut in Bottle Rocket opposite wacky brother Owen. Piven who usually plays wild men in films such as PCU and Very Bad Things gets to try on a different hat as Pritchard the nerd who grew up to be the dean of the school--and it looks like he had fun.
Writer/director Todd Phillips obviously enjoyed his college years. His first studio-released film the 2000 Road Trip offered a raucous yet refreshing look at college life that didn't necessarily go for the gross-out humor at every turn (although some turns were certainly made especially given star Tom Green). With Old School Phillips has matured--a little. Thankfully the film doesn't go for the joke for the joke's sake but remains rooted in how these three men are dealing with the pressures of adult responsibilities coming up with their somewhat misguided remedy to those pressures. But it's still a comedy about aging frat boys. You know going in there's going to be a wild party or two some contemptible drunken behavior perhaps even a hazing scene where new recruits have cinder blocks tied to their nether regions. It happens. Phillips also feels the need to incorporate a clichéd romantic twist around Mitch and a girl he had a crush on in high school. A sweet gesture but not nearly as entertaining as watching three grown men slosh around in K-Y jelly in a female wrestling match.