Movie Review | 'London to Brighton' : In a Red Hood and Running From the Wolves of London
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With its jerky camerawork and gritty texture, the British film âLondon to Brightonâ tries awfully hard to pass itself off as a slab of rancid naturalism.
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I met an old friend for coffee in San Francisco yesterday afternoon, and had a few hours to kill before stopping in at the Wired reunion party. I didn't want to drive back to Berkeley because the weather was so crummy, and I was just across teh street from a movie theater and was just in time for the start of a movie that lots of people had been telling me to see. So I went. The movie -- The Diving Bell and the Butterfly, I had no idea what it was about until the movie started, then I remembered hearing a Fresh Air show about it and finding it too painful to listen to. Now here I was in the theater, not just being asked to listen to it, but being asked to live it. Through some very wonderful film-making, you feel as if what is happening to the main character is happening to you. Or more accurately, probably, you get the slightest hint of what it's like to be this person. My immediate impulse, one which I gave serious consideration to, was to pack up my things and leave. Anything would be better than spending three hours living this guy's life.  Two things happen over time: 1. You get over it. 2. They change perspective, and instead of being inside his body, you move outside it.  I think those two things are the story we all live as we mature and learn to live inside our own bodies, with their limits. You learn to step outside and see the humor in your predicament. The main character says he lives in a diving bell because it's as hard for him to communicate with other people as it would be at the bottom of the ocean inside a diving bell. The movie teaches that it's not much easier for the rest of us, even though we can manipulate symbols better. On the other hand, of course it is. The film develops a relationship between the hero and his father, between the hero and his own children, his ex-wife, his lover.  We strive for deeper understanding of ourselves and each other. But it may be ridiculously easy to find the only meaning that exists, without language, without intellect, by just being. The Diving Bell and the Butterfly should probably be the picture of the year for 2007, it's that good. But like all great art it shows you something truthful about yourself, and you may or may not want to see it.
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The destruction of New York City in action films may not be appealing to many American moviegoers, but it plays well overseas.
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London is awash right now in stage shows adapted from movies &#151; from musicals "Billy Elliot" and "Dirty Dancing" to the quirky comedy "Elling," taken from a Norwegian film.
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â28 Weeks Laterâ is brutal and almost exhaustingly terrifying. It is also bracingly smart, both in its ideas and in its techniques.
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Scarlett Johannson stars in an adaptation that is better than it has any right to be
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The film has many an interesting nugget about it.
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The familiar story of the innocent soul who travels from the country to the big, bad city receives a thorough workout in this crude attempt at a cinematic bildungsroman.
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For the last year New Line has been wrestling with its London-based production of âThe Golden Compass,â an ambitious fantasy based on the Philip Pullman novel.
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Millions of Britons have a guilty secret. They are spending their spare hours immersed in an underground world of LA gangs and gun-ridden ghettos.
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Marc Forster's adaptation of the bestselling novel is old-fashioned in the best sense
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'The Kingdom' offers up a foreign-policy lesson amid lots of gunfire. A London woman becomes deeply enmeshed in the inner workings of the Russian mafia in 'Eastern Promises.'
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Kirsten Dunst and Paul Bettany star in this likable, formulaic sports movie about an insecure British tennis pro whose career resurrects on the wings of love.
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Thirty years after a broken Jack Nicholson was escorted off a blood-soaked street with the warning "Forget it, Jake. It's Chinatown," the movie's portrayal of dark, capitalist evil corrupting sunny Los Angeles remains as vivid as ever.
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The Agile Iconoclast goes solo Column  The streets of London are busy, especially at lunchtime. Strolling along dodging the slow-moving pedestrians occasionally makes me wonder: how do these people ever get anywhere? And how do they cope with the glacial slowness of taking all day just to reach the far street corner, without their heads exploding from the anticipation?â¦
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The Golden Compass comes to the screen, cleansed of theology, but with a few jaw-dropping moments
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The dream of a free world becomes a nightmare of modern day slavery in Ken Loach's latest film, about migrant workers trying to eke out a living in Britain where they are exploited and abused.