Exclusive: Award-winning stage actor Jos Vantyler and Niahm McCormack (Everything Now) are starring in an international action drama series the explores the dark side of detective work and artificial intelligence.
The pair will star in Cold Mind, an indie production from Algarve-based Spy Manor Productions that begins principal photography in Portugal next Monday (April 15). They’ll appear alongside Portuguese actors Joana Seixas and Paulo Calatre.
The show follows a young detective from London (McCormack) who is thrown into a Portuguese murder investigation, as a spree of horrific killings take place in the sunbaked Algarve. At the same time, other timelines on another continent as the plots dips in the action, detective, tech and mystery genres.
McCormack is best known for her role in Netflix’s British comedy-drama Everything Now and The Witcher. She is represented by The Lisa Richards Agency.
The pair will star in Cold Mind, an indie production from Algarve-based Spy Manor Productions that begins principal photography in Portugal next Monday (April 15). They’ll appear alongside Portuguese actors Joana Seixas and Paulo Calatre.
The show follows a young detective from London (McCormack) who is thrown into a Portuguese murder investigation, as a spree of horrific killings take place in the sunbaked Algarve. At the same time, other timelines on another continent as the plots dips in the action, detective, tech and mystery genres.
McCormack is best known for her role in Netflix’s British comedy-drama Everything Now and The Witcher. She is represented by The Lisa Richards Agency.
- 4/10/2024
- by Jesse Whittock
- Deadline Film + TV
It’s a case of one score to rule them all, as Howard Shore’s stirring epic soundtrack for The Lord of the Rings trilogy was voted the U.K.’s favorite movie music.
Shore’s score for the Rings film, which has won three Academy Awards, three Golden Globes and four Grammys, came out ahead of some of the greatest and most recognizable soundtracks of all time, including John Williams’ music for Schindler’s List and Star Wars, which came second and third respectively.
The list of the top 100 film scores was compiled by popular U.K. radio station Classic FM, as part of their annual Movie Music Hall of Fame. More than 10,000 people voted for this year’s edition and the winner was revealed on Sunday by Jonathan Ross, the former presenter of the BBC’s Film program.
“Many thanks to all the Classic FM listeners,” Shore told...
Shore’s score for the Rings film, which has won three Academy Awards, three Golden Globes and four Grammys, came out ahead of some of the greatest and most recognizable soundtracks of all time, including John Williams’ music for Schindler’s List and Star Wars, which came second and third respectively.
The list of the top 100 film scores was compiled by popular U.K. radio station Classic FM, as part of their annual Movie Music Hall of Fame. More than 10,000 people voted for this year’s edition and the winner was revealed on Sunday by Jonathan Ross, the former presenter of the BBC’s Film program.
“Many thanks to all the Classic FM listeners,” Shore told...
- 8/29/2023
- by Abid Rahman
- The Hollywood Reporter - Movie News
An anthem written by Andrew Lloyd Webber is one of 12 new pieces of music commissioned by King Charles for his coronation.
Lloyd Webber said he was “incredibly honoured” to have been given the opportunity to compose a new number. “My anthem includes words slightly adapted from Psalm 98. I have scored it for the Westminster Abbey choir and organ, the ceremonial brass and orchestra.”
The maestro also said he hoped the anthem “reflects this joyous occasion” when the new king is crowned.
Lloyd Webber, 74, was among those who travelled to Buckingham Palace to pay respects to Queen Elizabeth II, after her death in September last year.
In a tribute posted to Twitter, he honoured the queen as “the most extraordinary ambassador” and thanked her for “all she has done”.
King Charles’s coronation is scheduled to be held on 6 May, and he has selected the musical programme for the ceremony at Westminster Abbey.
Lloyd Webber said he was “incredibly honoured” to have been given the opportunity to compose a new number. “My anthem includes words slightly adapted from Psalm 98. I have scored it for the Westminster Abbey choir and organ, the ceremonial brass and orchestra.”
The maestro also said he hoped the anthem “reflects this joyous occasion” when the new king is crowned.
Lloyd Webber, 74, was among those who travelled to Buckingham Palace to pay respects to Queen Elizabeth II, after her death in September last year.
In a tribute posted to Twitter, he honoured the queen as “the most extraordinary ambassador” and thanked her for “all she has done”.
King Charles’s coronation is scheduled to be held on 6 May, and he has selected the musical programme for the ceremony at Westminster Abbey.
- 2/19/2023
- by Helen William
- The Independent - Music
Andrew Lloyd Webber, the English composer who created the scores for blockbuster musicals such as “Cats,” “The Phantom of the Opera” and “Evita”, has written the anthem for King Charles III’s coronation, adapting a piece of church music that encourages singers to make a “joyful noise.”
The work by Webber is one of a dozen new pieces Charles commissioned for the grand occasion taking place May 6 at Westminster Abbey. It includes words adapted from Psalm 98 and is scored specifically for the abbey’s choir and organ.
“I hope my anthem reflects this joyful occasion,” Webber said in a statement distributed by Buckingham Palace.
Read More: Prince Harry & Meghan Markle Won’t Attend King Charles’ Coronation If Atmosphere Remains ‘Toxic’: Source
The program for the king’s coronation ceremony includes older music and new compositions as the palace seeks to blend traditional and modern elements that reflect the realities of modern Britain.
The work by Webber is one of a dozen new pieces Charles commissioned for the grand occasion taking place May 6 at Westminster Abbey. It includes words adapted from Psalm 98 and is scored specifically for the abbey’s choir and organ.
“I hope my anthem reflects this joyful occasion,” Webber said in a statement distributed by Buckingham Palace.
Read More: Prince Harry & Meghan Markle Won’t Attend King Charles’ Coronation If Atmosphere Remains ‘Toxic’: Source
The program for the king’s coronation ceremony includes older music and new compositions as the palace seeks to blend traditional and modern elements that reflect the realities of modern Britain.
- 2/19/2023
- by Brent Furdyk
- ET Canada
A bitter, proud Scottish widow decides to tick an important item off her bucket list before moving into a retirement home in “Edie,” an uneven dramedy from U.K. commercials helmer Simon Hunter, working from a screenplay by Elizabeth O’Halloran that has a big problem in tone and beaucoup clichéd contrivance. While there’s drama aplenty in the notion that octogenarian Edie Moore (the superb Sheila Hancock) yearns to climb Mount Suilven, in the Highlands, the filmmakers too often undermine the dignity of their appealing protagonist with crude slapstick. Hancock makes a determined heroine who deserves better than the knockabout and patronizing treatment her character suffers. The only thing that does not disappoint is the ravishing and varied landscape, even if it is shot a bit like a tourist board advertisement.
Edie has just lost her husband, who spent the last 30 years of his life in a wheelchair, unable to walk or speak,...
Edie has just lost her husband, who spent the last 30 years of his life in a wheelchair, unable to walk or speak,...
- 9/4/2019
- by Alissa Simon
- Variety Film + TV
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Diverse, awe-inspiring and memorable treasures that have sadly fallen off the radar
The noughties were a tough decade for film music fans. Not only was there the unprecedented loss of four great masters in the form of Jerry Goldsmith, Elmer Bernstein, Michael Kamen and Basil Poledouris; the nature of the industry itself began to go through some seismic changes, not all of them for the better.
With the art of film scoring becoming ever more processed, driven increasingly by ghost writers, electronic augmentation and temp tracks, prospects looked bleak. However, this shouldn’t shield the fact that there were some blindingly brilliant scores composed during this period. Here’s but a small sampling of them.
25. The Departed (Howard Shore, 2006)
When it came to the sound of his Oscar-winning crime thriller, director Martin Scorsese hit on the inspired notion of having composer Howard Shore base it around a tango,...
google+
Diverse, awe-inspiring and memorable treasures that have sadly fallen off the radar
The noughties were a tough decade for film music fans. Not only was there the unprecedented loss of four great masters in the form of Jerry Goldsmith, Elmer Bernstein, Michael Kamen and Basil Poledouris; the nature of the industry itself began to go through some seismic changes, not all of them for the better.
With the art of film scoring becoming ever more processed, driven increasingly by ghost writers, electronic augmentation and temp tracks, prospects looked bleak. However, this shouldn’t shield the fact that there were some blindingly brilliant scores composed during this period. Here’s but a small sampling of them.
25. The Departed (Howard Shore, 2006)
When it came to the sound of his Oscar-winning crime thriller, director Martin Scorsese hit on the inspired notion of having composer Howard Shore base it around a tango,...
- 3/3/2016
- by simonbrew
- Den of Geek
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The sensational, overlooked film scores from the years 1990 to 1999 that really are well worth digging out...
The movies went through tumultuous and exciting changes in the nineties. Quentin Tarantino exploded onto the scene with Reservoir Dogs, Generation X gave rise to slacker marvels like Clerks, and blockbusters like The Matrix put the awe back into special effects.
However, the 90s was also a sensational decade for film music, gifting us classics including the likes of Jurassic Park, Titanic, Total Recall, Braveheart and countless others. But the sheer quality of these soundtrack treasures shouldn’t overshadow those undervalued hidden gems that demonstrate the extraordinary range and versatility of our finest film composers, ones that may have passed you by. So here’s our selection of those incredible works: ranging from the earworming to the unsettling, the melodic to the chaotic, these are the scores that simply demand your attention.
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The sensational, overlooked film scores from the years 1990 to 1999 that really are well worth digging out...
The movies went through tumultuous and exciting changes in the nineties. Quentin Tarantino exploded onto the scene with Reservoir Dogs, Generation X gave rise to slacker marvels like Clerks, and blockbusters like The Matrix put the awe back into special effects.
However, the 90s was also a sensational decade for film music, gifting us classics including the likes of Jurassic Park, Titanic, Total Recall, Braveheart and countless others. But the sheer quality of these soundtrack treasures shouldn’t overshadow those undervalued hidden gems that demonstrate the extraordinary range and versatility of our finest film composers, ones that may have passed you by. So here’s our selection of those incredible works: ranging from the earworming to the unsettling, the melodic to the chaotic, these are the scores that simply demand your attention.
- 1/20/2016
- by simonbrew
- Den of Geek
Wolf Hall concludes its superlative series with an episode that makes historical tragedy come alive...
This review contains spoilers.
1.6 Master Of Phantoms
A TV show that can make its audience feel every shaking, terrible moment of a death so muffled by historical wadding that it’s now more playground rhyme than human drama is something to cherish. And something to miss like a brother now that it’s gone.
Wolf Hall made Anne Boleyn’s beheading so rightly, wretchedly real that we could have been watching an online video of one of its horrendous modern day counterparts. With none of Debbie Wiseman’s delicately intuitive score to accompany Anne’s journey to the scaffold, deliberately, you could barely hear her final words over the sound of wind and flapping cloth. Director Peter Kosminsky positioned the audience as an onlooker in the crowd, complicit in an execution we all knew was coming,...
This review contains spoilers.
1.6 Master Of Phantoms
A TV show that can make its audience feel every shaking, terrible moment of a death so muffled by historical wadding that it’s now more playground rhyme than human drama is something to cherish. And something to miss like a brother now that it’s gone.
Wolf Hall made Anne Boleyn’s beheading so rightly, wretchedly real that we could have been watching an online video of one of its horrendous modern day counterparts. With none of Debbie Wiseman’s delicately intuitive score to accompany Anne’s journey to the scaffold, deliberately, you could barely hear her final words over the sound of wind and flapping cloth. Director Peter Kosminsky positioned the audience as an onlooker in the crowd, complicit in an execution we all knew was coming,...
- 2/25/2015
- by louisamellor
- Den of Geek
BBC Two's Wolf Hall opens its doors to reveal a splendid, well-cast and surprisingly modern political drama…
This review contains spoilers.
1.1 Three Card Trick
Following a PR campaign so inescapable it might give pause even to the self-promoting Tudors themselves, Wolf Hall’s heavy, ornate door has finally been pushed open.
What do we find inside? Proof that the BBC was entirely justified in splashing Damien Lewis’ dishy Henry VIII and Mark Rylance’s inscrutable Thomas Cromwell over countless magazine covers. It’s tremendous stuff; a richly textured brocade compared to the flimsy, titillating chiffon of The White Queen and The Tudors.
Adapted from Hilary Mantel’s revisionist take on Cromwell’s career in the Henrician Court by playwright and screenwriter Peter Straughan (Frank, Tinker Tailor Solider Spy), Wolf Hall is historical drama at its best. It avoids cheesy dramatic irony of the “Anne Boleyn? Pfff, nothing will ever come of her!
This review contains spoilers.
1.1 Three Card Trick
Following a PR campaign so inescapable it might give pause even to the self-promoting Tudors themselves, Wolf Hall’s heavy, ornate door has finally been pushed open.
What do we find inside? Proof that the BBC was entirely justified in splashing Damien Lewis’ dishy Henry VIII and Mark Rylance’s inscrutable Thomas Cromwell over countless magazine covers. It’s tremendous stuff; a richly textured brocade compared to the flimsy, titillating chiffon of The White Queen and The Tudors.
Adapted from Hilary Mantel’s revisionist take on Cromwell’s career in the Henrician Court by playwright and screenwriter Peter Straughan (Frank, Tinker Tailor Solider Spy), Wolf Hall is historical drama at its best. It avoids cheesy dramatic irony of the “Anne Boleyn? Pfff, nothing will ever come of her!
- 1/21/2015
- by louisamellor
- Den of Geek
Score for acclaimed movie Skin puts hit songwriter in line to carry off a coveted prize
Her career in music started out in a blur of hair gel as a member of a 1980s pop band, but it could be crowned next month with the honour of becoming the first woman to win an Ivor Novello Award for a film score.
British composer Hélène Muddiman, who has written two hit singles and many theme tunes for television, is the first woman in a decade to be nominated in the prestigious category. Her original score for the acclaimed 2008 film Skin, starring Sophie Okonedo and Sam Neill, which tells of the hardships suffered by a black woman born to white parents in South Africa 50 years ago, has put her in strong contention for the most coveted of British music industry awards.
"It came as a total surprise. I saw the letter and...
Her career in music started out in a blur of hair gel as a member of a 1980s pop band, but it could be crowned next month with the honour of becoming the first woman to win an Ivor Novello Award for a film score.
British composer Hélène Muddiman, who has written two hit singles and many theme tunes for television, is the first woman in a decade to be nominated in the prestigious category. Her original score for the acclaimed 2008 film Skin, starring Sophie Okonedo and Sam Neill, which tells of the hardships suffered by a black woman born to white parents in South Africa 50 years ago, has put her in strong contention for the most coveted of British music industry awards.
"It came as a total surprise. I saw the letter and...
- 4/24/2010
- by Vanessa Thorpe
- The Guardian - Film News
Nevada (Us), Feb 5 - Oscar-winning musician A.R. Rahman has been nominated for yet another award-excellence in musical scoring for 2009 by International Film Music Critics Association (Ifmca).
He has been nominated in “best original score for a comedy film” category for “Couples Retreat”, his first venture into mainstream Hollywood, along with James Newton Howard (Duplicity), Marvin Hamlisch (The Informant!), Alexandre Desplat (Julie and Julia), and Debbie Wiseman (Lesbian Vampire Killers).
Imfca, which has members from around.
He has been nominated in “best original score for a comedy film” category for “Couples Retreat”, his first venture into mainstream Hollywood, along with James Newton Howard (Duplicity), Marvin Hamlisch (The Informant!), Alexandre Desplat (Julie and Julia), and Debbie Wiseman (Lesbian Vampire Killers).
Imfca, which has members from around.
- 2/5/2010
- by News
- RealBollywood.com
I had a choice to see one of two Fantasia films playing at the same time: A Gay American Werewolf In London or Lesbian Vampire Killers. I went with the latter because: 1) The first movie doesn’t exist, and 2) I’m a sucker for catchy titles. However, horror films, like porno flicks, with memorable monikers usually don’t live up to their names. But Lesbian Vampire Killers (which screened at Montreal’s Fantasia Film Festival this month) does—and not in all the ways you would expect. I was anticipating a bunch of girl-on-girl action with topless, bloodsucking lesbian ladies engaging in titillatingly licentious and raunchy sexual and violent acts, and while Lvk does have its share of girl-on-girl kissing and bloodletting, director Phil Claydon stays away from profligacy and pornography and instead delivers a crowd-pleasing, entertaining horror-comedy in the vein of Shaun Of The Dead.
It’s hard not...
It’s hard not...
- 7/25/2009
- by no-reply@fangoria.com (ALLAN DART)
- Fangoria
This will mark the premiere of the years most provocatively titled film: Lesbian Vampire Killers. Starring James Corden and Matthew Holden as a pair of lost hikers who encounter a strange lesbian vampire ritual, the film follows in the footsteps of Shaun of the Dead in providing a dark and quirky British look at horror films. More in focus with our interest, the film boasts an energetic and lively score by Debbie Wiseman, who follows up her popular soundtracks to Arséne Lupin and Flood with another bombastic work. This time however she had to find the right balance between horror and comedy as she explains in the following discussion...
How did this project first find you?
I first met with the director Phil Claydon about two and a half years ago when the project was still in development. He'd enjoyed listening to some of my music, particularly my score for Arsene Lupin,...
How did this project first find you?
I first met with the director Phil Claydon about two and a half years ago when the project was still in development. He'd enjoyed listening to some of my music, particularly my score for Arsene Lupin,...
- 3/27/2009
- Daily Film Music Blog
This will mark the premiere of the years most provocatively titled film: Lesbian Vampire Killers. Starring James Corden and Matthew Holden as a pair of lost hikers who encounter a strange lesbian vampire ritual, the film follows in the footsteps of Shaun of the Dead in providing a dark and quirky British look at horror films. More in focus with our interest, the film boasts an energetic and lively score by Debbie Wiseman, who follows up her popular soundtracks to Arséne Lupin and Flood with another bombastic work. This time however she had to find the right balance between horror and comedy as she explains in the following discussion...
How did this project first find you?
I first met with the director Phil Claydon about two and a half years ago when the project was still in development. He'd enjoyed listening to some of my music, particularly my score for Arsene Lupin,...
How did this project first find you?
I first met with the director Phil Claydon about two and a half years ago when the project was still in development. He'd enjoyed listening to some of my music, particularly my score for Arsene Lupin,...
- 3/15/2009
- Daily Film Music Blog
Upcoming Film Scores lists the ten most exciting, promising and anticipated film scores of 2009, according to its editor Mikael Carlsson who can't wait to hear what will come out musically of these projects:
1. Avatar (James Horner)
Director James Cameron and composer James Horner are of course best known for the multi-zillion-whatever-megahit Titanic, but they also gave us Aliens in 1986 which stands out as one of the most exciting nailbiter scores in sci-fi history. On that film, Cameron gave Horner a pretty hard time as judging from the composer interview on the special edition DVD, and basically what you hear in the film is the result of a composer writing under enormous pressure. On Avatar, the situation is the complete opposite. A luxury in film scoring today, the total time given to the scoring process on this film will probably exceed one year! Horner is currently working exclusively on this film,...
1. Avatar (James Horner)
Director James Cameron and composer James Horner are of course best known for the multi-zillion-whatever-megahit Titanic, but they also gave us Aliens in 1986 which stands out as one of the most exciting nailbiter scores in sci-fi history. On that film, Cameron gave Horner a pretty hard time as judging from the composer interview on the special edition DVD, and basically what you hear in the film is the result of a composer writing under enormous pressure. On Avatar, the situation is the complete opposite. A luxury in film scoring today, the total time given to the scoring process on this film will probably exceed one year! Horner is currently working exclusively on this film,...
- 1/3/2009
- by noreply@blogger.com (Mikael Carlsson)
- MovieScore Magazine
Screened at the Toronto International Film Festival
TORONTO -- The legendary exploits of turn-of-the-century French jewel thief and gentleman burglar Arsene Lupin get an extreme makeover with this eponymous film from director Jean-Paul Saolme. A luxurious period production turns Arsene into something of a bad-boy action hero along the lines of that grave robber Indiana Jones and hired gun James Bond. Meanwhile, a complex tale, which involves supernatural powers, a royalist plot, political turmoil and a series of last-second rescues and escapes, is no less far-fetched than those provided either of those movie heroes.
The film has its drawbacks. A series of false climaxes drags the story down in the last 40 minutes. Also, one does not easily warm up to young French star Romain Duris in the title role. Nevertheless, Arsene Lupin should receive significant exposure outside French-speaking territories. It certainly is an exotic package full of seductive gifts.
Story begins in 1882 Normandy, where Arsene's father teaches him the art of kickboxing and deception. The arrival of police to arrest dad for theft --charges he never denies -- and his almost immediate escape shatter any illusions young Arsene may harbor that his life will ever be normal.
That night Arsene's father convinces him to steal the family's heirloom necklace. When his father's battered body is discovered the following morning, Arsene's life as a thief is set, both in rebellion against the family that ostracizes him and his mother and in honor of his father's occupation.
Fifteen years later, Arsene (Duris) operates smoothly as a thief albeit a non-violent one. He is torn between a childhood sweetheart, his lovely cousin Clarisse (Eva Green), and the seductive Josephine, Countess of Cagliostgro (Helen Scott Thomas), rumored to be a centuries-old witch kept young and beautiful by her father's secret elixir.
Arsene soon uncovers a conspiracy by royalists, including Clarisse's father, against the Republic. Everyone is out to steal three crucifixes from nearly abbeys, which supposedly will lead to the royal jewels. In competition with Arsene and Josephine is a wily thief named Beaumagnon (Pascal Greggory), who claims to have been Josephine's former lover.
All the characters' motives are ambiguous and no one can be trusted, which leads to many twists, turns and startling revelations including who it was that killed Arsene's father. Who is one to root for here?
Complicating that question is Duris' decision to play Arsene with a flippant smugness that often grates. The actor doesn't seem comfortable in either the role or the elaborate period costumes.
The rest of the cast though is deliciously on target. Thomas, playing a character as treacherous as she is beautiful, maintains just the right degree of coolness beneath her sensual heat. Greggory is wonderful as a charming schemer, who plants seeds of doubt in everyone's mind. Green has effective moments as the young woman -- and only purely good character in the movie -- who knows exactly what she wants.
Stunts and production values are outstanding especially designer Francoise Dupertuis' evocation of Paris of the 1890s, where many of its well-known monuments were under construction. Debbie Wiseman's pulsating orchestral score adds to the excitement.
ARSENE LUPIN
Hugo Films/TF1 Films Production/M6 Films/Poisson Rouge Pictures/Vertigo Films/Rai Cinema
Credits:
Director: Jean-Paul Salome
Writers: Jean-Paul Salome, Laurent Vachaud
Based on the novel by: Maurice Leblanc
Producer: Stephane Marsil
Executive producer: Alain Peyrollaz
Director of photography: Pascal Ridao
Production designer: Francoise Dupertuis
Music: Debbie Wiseman
Editor: Marie-Pierre Renaud.
Cast:
Arsene Lupin: Romain Duris
Josephine: Kristen Scott Thomas
Beaumagnon: Pascal Greggory
Clarisse: Eva Green
No MPAA rating
Running time -- 133 minutes...
TORONTO -- The legendary exploits of turn-of-the-century French jewel thief and gentleman burglar Arsene Lupin get an extreme makeover with this eponymous film from director Jean-Paul Saolme. A luxurious period production turns Arsene into something of a bad-boy action hero along the lines of that grave robber Indiana Jones and hired gun James Bond. Meanwhile, a complex tale, which involves supernatural powers, a royalist plot, political turmoil and a series of last-second rescues and escapes, is no less far-fetched than those provided either of those movie heroes.
The film has its drawbacks. A series of false climaxes drags the story down in the last 40 minutes. Also, one does not easily warm up to young French star Romain Duris in the title role. Nevertheless, Arsene Lupin should receive significant exposure outside French-speaking territories. It certainly is an exotic package full of seductive gifts.
Story begins in 1882 Normandy, where Arsene's father teaches him the art of kickboxing and deception. The arrival of police to arrest dad for theft --charges he never denies -- and his almost immediate escape shatter any illusions young Arsene may harbor that his life will ever be normal.
That night Arsene's father convinces him to steal the family's heirloom necklace. When his father's battered body is discovered the following morning, Arsene's life as a thief is set, both in rebellion against the family that ostracizes him and his mother and in honor of his father's occupation.
Fifteen years later, Arsene (Duris) operates smoothly as a thief albeit a non-violent one. He is torn between a childhood sweetheart, his lovely cousin Clarisse (Eva Green), and the seductive Josephine, Countess of Cagliostgro (Helen Scott Thomas), rumored to be a centuries-old witch kept young and beautiful by her father's secret elixir.
Arsene soon uncovers a conspiracy by royalists, including Clarisse's father, against the Republic. Everyone is out to steal three crucifixes from nearly abbeys, which supposedly will lead to the royal jewels. In competition with Arsene and Josephine is a wily thief named Beaumagnon (Pascal Greggory), who claims to have been Josephine's former lover.
All the characters' motives are ambiguous and no one can be trusted, which leads to many twists, turns and startling revelations including who it was that killed Arsene's father. Who is one to root for here?
Complicating that question is Duris' decision to play Arsene with a flippant smugness that often grates. The actor doesn't seem comfortable in either the role or the elaborate period costumes.
The rest of the cast though is deliciously on target. Thomas, playing a character as treacherous as she is beautiful, maintains just the right degree of coolness beneath her sensual heat. Greggory is wonderful as a charming schemer, who plants seeds of doubt in everyone's mind. Green has effective moments as the young woman -- and only purely good character in the movie -- who knows exactly what she wants.
Stunts and production values are outstanding especially designer Francoise Dupertuis' evocation of Paris of the 1890s, where many of its well-known monuments were under construction. Debbie Wiseman's pulsating orchestral score adds to the excitement.
ARSENE LUPIN
Hugo Films/TF1 Films Production/M6 Films/Poisson Rouge Pictures/Vertigo Films/Rai Cinema
Credits:
Director: Jean-Paul Salome
Writers: Jean-Paul Salome, Laurent Vachaud
Based on the novel by: Maurice Leblanc
Producer: Stephane Marsil
Executive producer: Alain Peyrollaz
Director of photography: Pascal Ridao
Production designer: Francoise Dupertuis
Music: Debbie Wiseman
Editor: Marie-Pierre Renaud.
Cast:
Arsene Lupin: Romain Duris
Josephine: Kristen Scott Thomas
Beaumagnon: Pascal Greggory
Clarisse: Eva Green
No MPAA rating
Running time -- 133 minutes...
- 9/17/2004
- The Hollywood Reporter - Movie News
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