Veteran actor/director Richard Attenborough and his wife Sheila Sim insist they still manage to keep their love alive, 72 years after they first met. The Oscar-winning moviemaker, who turns 90 on Thursday (29Aug13), has revealed the couple still holds hands every day at the specialist care home in London where they now live.
His close friend and former colleague Terence Clegg tells Britain's Daily Mail, "I saw him just on Friday, he's frail, he's very quiet now but he's lovely and he's in good hands. He's being well looked after and he just holds Sheila's hand and they're as much in love today as they were 72 years ago. I'm happy to say he's really in good form."
The besotted couple met when they were studying at London's Royal Academy of Dramatic Arts (RADA) in 1941 and wed four years later.
Skyfall is the perfect film to accompany the 50th Anniversary of the first big screen Bond movie Dr. No. The movie is a crossroads for 007; the spy is an old soul with unconventional archaic methods struggling to exist in a high-tech world with enemies who swap laser beams and nukes for Internet viruses and data infiltration. This conflict is the core of Skyfall — perfect for director Sam Mendes (American Beauty Revolutionary Road) — and the human drama gives every moment of the espionage thriller additional weight. Sure there are the grandiose set pieces we've come to expect from the series. But like the older films Mendes keeps most of the action contained the focus always on star Daniel Craig as he evades and confronts danger. He even pushes further allowing the evildoers into MI-6's home and through the magic of performance the audience into the mind of Bond.
After a botched mission sends him off the grid James Bond returns to his homebase in London to discover the MI-6 in disarray. The target of system attacks seemingly designed to screw with M (Judi Dench) MI-6 calls upon a noticeably shaken (not stirred) Bond to get back on his feet and track down the nefarious face behind the online terrorism. While politico Gareth Mallory (Ralph Fiennes) would prefer to use the magic of computers and drones to dig up the bad guy M knows even Bond at 50% is unlike any machine in the world. A few training sessions and a weapon upgrade from Q (Ben Whishaw) later Bond hits the road.
In pure Bond fashion Skyfall traverses some beautiful landscapes. From China's glowing waterside gambling epicenter Macau to the remains of a South Pacific isle to the foggy country side of Scotland. Departing from action movie aesthetics and embracing shadows atmosphere and imperfection Bond's journey feels even more tangible than the "realistic" approach of Casino Royale. The haunting locations reflect his deeply personal mission. It helps too that Bond is faced by one of his best villains yet: Javier Bardem as the charming psychopathic Raul Silva. Silva acts as another mirror for Bond albeit a version completely off the rails. Like a mix of Hannibal Lecter and Heath Ledger's Joker in The Dark Knight Silva is determined to burn his opponents in any fashion possible. Bardem plays it all with a sinister smirk — a twist on the maniacally-laughing Bond villains of yesteryear.
Skyfall's concentration is on the dramatic but continuously delivers in the action department. Mendes finds innovative new ways to stage classic Bond moments; a one-shot fist fight in the windows of skyscraper bubbles over with intensity while another in the Chinese casino tips its hat to the campier side of the franchise. And the movie goes big with an opening sequence on par with any of Bond's past outings and a foot chase through London's Tube that tests Craig's limits as a physical performer. He never misses a beat.
Impressively Skyfall is a movie pulled from this moment in history while encompassing everything that made James Bond a long-lasting character. It's one of the best Bond entries of all time a heart-pounding action flick from start to finish (with a rousing conclusion evoking everything from Terence Young to Sam Peckinpah) and one of the best movies of the year.
Much like its Greek mythological source material Wrath of the Titans is light on dramatic characterization sticking to blunt moral lessons and fantastical battles to tell its epic tale. That's perfectly acceptable for its 100 minute run time in which director Jonathan Liebesman (Battle: Los Angeles) unleashes an eclectic hoard of monsters upon his gruff demigod hero Perseus. The creature design is jagged gnarly and exaggerated not unlike a twelve-year-old's sugar high-induced crayon creations — which is perfect as Wrath is tailor made to entertain and enamor that slice of the population.
Clash of the Titans star Sam Worthington once again slips on the sandals to take on a not-quite-based-on-a-myth adventure a mission that pits Perseus against the greatest force in the universe: Kronos formally-incarcerated father of the Gods. A few years after his last adventure Perseus is grieving for his deceased wife and caring for their lone son but a visit from Zeus (Liam Neeson) alerts the warrior to a task even more urgent than his current seabass fishing gig. Irked that the whole Kraken thing didn't work out Hades (Ralph Fiennes) with the help of Zeus' disaffected son Ares (Edgar Ramirez) is preparing to unleash Kronos — and only Perseus has the required machismo to stop him. But Perseus enjoys the simple life and brushes off Zeus forcing the head deity to take matters into his own hands…just as Hades and Ares planned. The diabolical duo capture Zeus and having no one else to turn to Perseus proceeds into battle.
The actual reasoning for all the goings on in Wrath of the Titans tend to drift into the mystical realm of convolution but the ensemble and Liebesman's visual visceral directing techniques keep the messy script speeding along. As soon as one starts wondering why Perseus would ever need to hook up with battle-ready Andromeda (Rosamund Pike) or Poseiden's navigator son Agenor (Toby Kebbell) Liebesman and writers Dan Mazeu and David Johnson throw in another bombastic set piece another three-headed four-armed 10 000-fanged monstrosity on screen. Perseus' journey pits him against a fire-breathing Chimera a set of Cyclopses a shifting labyrinth (complete with Minotaur) and all the dangers that come with Hell itself. The sequences have all the suspense of an action figure sandbox brawl but on a towering IMAX screen they're geeky fun. If only the filler material was a bit more logical and interesting the final product would be the slightest bit memorable.
Liebesman reaps the best performances he possibly can from Wrath's silly formula Worthington again proves himself a charismatic underrated leading man. As the main trio of Gods Neeson Fiennes and Ramirez completely acknowledge how goofy shooting lightning bolts out of their hands must look on screen but they own it with campy fun tones. But the film's overwhelming CG spectacle suffocates the glimmer of great acting opting for slice-and-dice battle scenes over ridiculous (and fun) epic speak nonsense. If a movie has Liam Neeson as the top God it shouldn't chain him up in molten lava shackles for a majority of the time.
Wrath of the Titans is a non-offensive superhero movie treatment of classic heroes that feels more like an exercise in 3D monster modeling than filmmaking. Its 3D makeover never helps the creatures or Perseus pop turning Wrath into an even muddier affair than the single-planed alternative (although unlike Clash of the Titans you won't have 3D shaky-cam blur burned directly into your retinas). The movie reaches for that child sense of wonderment but instead cranks out a picture that may not even hold a child's attention.
Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
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.