Steven Soderbergh alternates between films about individuals, like Erin Brockovich, and multi-character thrillers, like Contagion, which takes a Traffic-style approach to a deadly pandemic. It also represents a reunion for three actors from The Talented Mr. Ripley as Gwyneth Paltrow and Matt Damon play a suburban Minneapolis couple, while Jude Law (with unflattering dentures) plays a muckraking Bay Area blogger. When Beth (Paltrow) returns from a business trip to Hong Kong, she brings a virus with her that spreads across the world, attracting the attention of people at the Centers for Disease Control (Laurence Fishburne, Kate Winslet, and Jennifer Ehle) and the World Health Organization (Marion Cotillard). Just as virologists frantically try to track down the origins of the pathogen and to find a cure, it starts to mutate, foiling every move they make. Soderbergh, who serves as his own cinematographer, captures every development: false rumors, looting in the streets, and mass graves. Whenever he focuses on emptied-out offices and supermarkets, chillers like I Am Legend spring to mind, even if Contagion avoids most sci-fi/horror tropes, except for a stomach-churning autopsy sequence--one of his few real missteps. Mostly, he concentrates on cool heads dealing with life-and-death issues the best they can. The end result registers as more realistic than Outbreak, if less pulse pounding than Traffic, though the final sequence proves Soderbergh can find the grace notes even amidst an unbearable tragedy. --Kathleen C. Fennessy
The Young Pope Lenny Belardo (Jude Law), aka Pius XIII, is the first American Pope in history. Young and charming, his election might seem the result of a simple and effective media strategy by the College of Cardinals. But, as we know, appearances can be deceptive. Especially in the place and among the people who have chosen the great mystery of God as the guiding light of their existence. That place is the Vatican and those people are the leaders of the Catholic Church. And the most mysterious and contradictory figure of all turns out to be Pius XIII himself. Shrewd and naÃ¯ve, old-fashioned and very modern, doubtful and resolute, ironic, pedantic, hurt and ruthless. The New Pope Two-time Academy Award Â® nominees John Malkovich and Jude Law star in Academy AwardÂ® winner Paolo Sorrentino's stunning vision for the world of the modern papacy. Written and directed by internationally celebrated auteur Paolo Sorrentino, with co-writers Umberto Contarello and Stefano Bises, The New Pope marks Sorrentino s second series set in the world of the modern papacy. Pius XIII (Jude Law) is in a coma. After an unpredictable and mysterious time, the Secretary of State Voiello succeeds in the enterprise of having the charming, sophisticated and moderate English aristocrat Sir John Brannox (John Malkovich) placed on the papal throne with the name John Paul III. The new pope seems perfect, but he conceals secrets and a certain fragility. Quickly, he begins to realise that it will not be easy to replace the charismatic Pius XIII who, hanging between life and death, has become a Saint with thousands of faithful followers now idolizing him. Meanwhile, the Church is under attack from several scandals that risk irreversibly devastating the hierarchies of the Church, and the key principles of Christianity upon which they are based. As always, nothing is as it originally seems in the Vatican. Good and evil march arm in arm through this historic institution, right up until the final showdown...
Vincent (Ethan Hawke) is an outsider a natural birth or ""In-valid"" living in a world in which ""designer people""- forged in test tubes- rule society. Determined to break out of his imperfect genetic destiny and fulfil his dreams Vincent meets Jerome (Jude Law) a ""Valid"" willing to sell his prime genetic material for cash. Using Jerome's blood urine skin and hair samples Vincent is able to forge a new identity and pursue his goal of a mission to space with the Gattaca Aerospace Corporation and enjoy a blossoming romance with Irene (Uma Thurman) another ""Valid"". However a week before his flight a Gattaca mission director is brutally murdered and Vincent finds himself pursued by a relentless investigator (Alan Arkin) threatening to expose his counterfeit life and reveal him as ""In-valid"" ending his dreams forever.
History will place an asterisk next to A.I. as the film Stanley Kubrick might have directed. But let the record also show that Kubrick--after developing this project for some 15 years--wanted Steven Spielberg to helm this astonishing sci-fi rendition of Pinocchio, claiming (with good reason) that it veered closer to Spielberg's kinder, gentler sensibilities. Spielberg inherited the project (based on the Brain Aldiss short story "Supertoys Last All Summer Long") after Kubrick's death in 1999, and the result is an astounding directorial hybrid. A flawed masterpiece of sorts, in which Spielberg's gift for wondrous enchantment often clashes (and sometimes melds) with Kubrick's harsher vision of humanity, the film spans near and distant futures with the fairy-tale adventures of an artificial boy named David (Haley Joel Osment), a marvel of cybernetic progress who wants only to be a real boy, loved by his mother in that happy place called home. Echoes of Spielberg's Empire of the Sun are evident as young David, shunned by his trial parents and tossed into an unfriendly world, is joined by fellow "mecha" Gigolo Joe (played with a dancer's agility by Jude Law) in his quest for a mother-and-child reunion. Parallels to Pinocchio intensify as David reaches "the end of the world" (a Manhattan flooded by melted polar ice caps), and a far-future epilogue propels A.I. into even deeper realms of wonder, just as it pulls Spielberg back to his comfort zone of sweetness and soothing sentiment. Some may lament the diffusion of Kubrick's original vision, but this is Spielberg's A.I., a film of astonishing technical wizardry that spans the spectrum of human emotions and offers just enough Kubrick to suggest that humanity's future is anything but guaranteed. --Jeff Shannon, Amazon.com On the DVD: A perfect movie for the digital age, A.I. finds a natural home on DVD. The purity of the picture, its carefully composed colour schemes and the multifarious sound effects are accorded the pin-point sharpness they deserve with the anamorphic 1.85:1 picture and Dolby 5.1 sound, as is John Williams's thoughtful music score. On the first disc there's a short yet revealing documentary, "Creating A.I.", but the meat of the extras appears on disc two. Here there are good, well-made featurettes on acting, set design, costumes, lighting, sound design, music and various aspects of the special effects: Stan Winston's remarkable robots (including Teddy, of course) and ILM's flawless CGI work. In addition there are storyboards, photographs and trailers. Finally, Steven Spielberg provides some rather sententious closing remarks ("I think that we have to be very careful about how we as a species use our genius"), but no director's commentary. --Mark Walker
With its high-profile celebrity stars - including Jude Law (Alfie) and Ray Winstone (Sexy Beast) - improvised storyline and 'mock-doc' style this dark edgy drama was one of the most bizarre British films of the late '90s. A group of mourners gather at the wake of successful writer Jude to watch a film he'd been secretly working on for the past two years. What they see is shocking. Jude has been filming his so-called friends' most intimate and depraved behaviour: stealing from each other abusing their spouses sleeping with hookers crossing-dressing and worse. Husbands turn against wives and friends against friends as the true nature of their lives and relationships is revealed. But Jude's most disturbing revelation is yet to come...
Two very different women - Cameron Diaz and Kate Winslet - swap towns after bad bouts of man trouble.
The Young Pope Lenny Belardo (Jude Law), aka Pius XIII, is the first American Pope in history. Young and charming, his election might seem the result of a simple and effective media strategy by the College of Cardinals. But, as we know, appearances can be deceptive. Especially in the place and among the people who have chosen the great mystery of God as the guiding light of their existence. That place is the Vatican and those people are the leaders of the Catholic Church. And the most mysterious and contradictory figure of all turns out to be Pius XIII himself. Shrewd and naÃ¯ve, old-fashioned and very modern, doubtful and resolute, ironic, pedantic, hurt and ruthless. The New Pope Two-time Academy Award Â® nominees John Malkovich and Jude Law star in Academy AwardÂ® winner Paolo Sorrentino's stunning vision for the world of the modern papacy. Written and directed by internationally celebrated auteur Paolo Sorrentino, with co-writers Umberto Contarello and Stefano Bises, The New Pope marks Sorrentino's second series set in the world of the modern papacy. Pius XIII (Jude Law) is in a coma. After an unpredictable and mysterious time, the Secretary of State Voiello succeeds in the enterprise of having the charming, sophisticated and moderate English aristocrat Sir John Brannox (John Malkovich) placed on the papal throne with the name John Paul III. The new pope seems perfect, but he conceals secrets and a certain fragility. Quickly, he begins to realise that it will not be easy to replace the charismatic Pius XIII who, hanging between life and death, has become a Saint with thousands of faithful followers now idolizing him. Meanwhile, the Church is under attack from several scandals that risk irreversibly devastating the hierarchies of the Church, and the key principles of Christianity upon which they are based. As always, nothing is as it originally seems in the Vatican. Good and evil march arm in arm through this historic institution, right up until the final showdown..
The good news is, Dr. Watson does get married. The bad news is, Sherlock Holmes throws his bride off a moving train. Actually, there's even worse news than that--but all will be explained in Sherlock Holmes: A Game of Shadows, the sequel to Guy Ritchie's 2009 hit. Robert Downey Jr. and Jude Law return to their roles as Holmes and Watson, as the duo take on the world's greatest criminal mind, Professor Moriarty (Jared Harris), a man whose latest scheme has global implications. Sherlockians who prefer their consulting detective to remain in a traditional mode had best look the other way, for the sequel continues Ritchie's vision of Holmes as a hard-punching action hero hurtling through a barrage of special effects sequences. If you can go with that, A Game of Shadows actually improves on the first film: the story makes a little more sense (or possibly the whole thing moves so smoothly you don't notice the illogic), Harris is a delicious villain, and new cast members Noomi Rapace (from the Swedish Girl with the Dragon Tattoo series) and Stephen Fry (playing Sherlock's brother Mycroft, who calls his sibling "Sherlie") add appeal. It's all frivolous and superficial, but the film's playful attitude and breathless forward motion are skillfully managed--and the final note adds just the right punctuation. --Robert Horton
Director David Cronenberg's eXistenZ is a stew of corporate espionage, virtual reality gaming, and thriller elements, marinated in Cronenberg's favourite Crock-Pot juices of technology, physiology and sexual metaphor. Jennifer Jason Leigh is game designer Allegra Geller, responsible for the new state-of-the-art eXistenZ game system; along with PR newbie Ted Pikul (Jude Law), they take the beta version of the game for a test drive and are immersed in a dangerous alternate reality. The game isn't quite like PlayStation, though; it's a latexy pod made from the guts of mutant amphibians and plugs via an umbilical cord directly into the user's spinal column (through a BioPort). It powers up through the player's own nervous system and taps into the subconscious; with several players it networks their brains together. Geller and Pikul's adventures in the game reality uncover more espionage and an antigaming, proreality insurrection. The game world makes it increasingly difficult to discern between reality and the game, either through the game's perspective or the human's. More accessible than Crash, eXistenZ is a complicated sci-fi opus, often confusing, and with an ending that leaves itself wide open for a sequel. Fans of Cronenberg's work will recognize his recurring themes and will eat this up. Others will find its shallow characterisations and near-incomprehensible plot twists a little tedious. --Jerry Renshaw, Amazon.com
A story about theft, both criminal and emotional, "Breaking and Entering" follows a disparate group of Londoners and new arrivals.
Celeste is a 13-year-old music prodigy who survives a horrific school shooting in 1999. Her talent shines through during the memorial service when she sings a song that touches the hearts of the mourners. Guided by her sister and a talent manager, the young girl transforms into a rising pop star with a promising future. Eighteen years later, Celeste now finds herself on the comeback trail when a scandal, personal struggles and the pitfalls of fame threaten her career.
Julia Roberts, Jude Law, Natalie Portman and Clive Owen star in this bitingly funny and honest look at modern relaltionships.
Sherlock Holmes: Game Of Shadows (Eire Version)
Emily (Rooney Mara - The Girl with the Dragon Tattoo) and Martin (Channing Tatum - The Vow) are successful New York couple whose world unravels when a new drug prescribed by Emily's psychiatrist (Jude Law - Sherlock Holmes) intended to treat anxiety - has unexpected and dangerous side effects. From director Steve Soderbergh (Contagion Magic Mike Ocean's Eleven Twelve Thirteen) comes a riveting psychological thriller where neither the symptoms nor the cure are quite as straightforward as they seem.
Pretty boy Billy (Jude Law) is an amoral rebel without a cause. His anarchic response to a bleak London existence is to steal cars and drive them through shop windows: "crash and carry," as one fellow "shopper" terms it. But he and his tough, video-game obsessed gal-pal Jo (Sadie Frost) are no Bonnie and Clyde. Their shopping trips are merely a pretext for the adrenaline rush of destruction and the thrill of playing high-speed tag with the cops, a game that starts to wear thin on Jo. "Why don't you grow up, eh?" she finally asks. "And do what?" he helplessly replies. The feature debut of Brit stylist Paul Anderson (Event Horizon) is a sleek film of misty alleys, blue-lit underground garages, and slick city streets. It's a dystopian London of the near future through the lens of Blade Runner driven almost single-handedly by Law's reckless charm and wild energy. It's hard to tell if the film is about the nihilism of sensation-hunting lost youth or simply a sensational melodrama of aimless rebellion, but there's nonetheless something irresponsibly appealing in Billy's anti-establishment rampage. --Sean Axmaker
When five year old Danny helps deliver a family friend's baby Anna he tells his father that he will one day marry her. But it's not until he moves back to America- twenty five years later- that fate steps in and literally knocks him off his bike- and into the arms of a beautiful grown up Anna (Mol)! And while destiny might be on his side Danny (Law) discovers that time is not... because Anna is not only sure of her feelings for Danny but she's also engaged to be married to someone
A game designer on the run from assassins must play her latest virtual reality creation with a marketing trainee to determine if the game has been damaged.
Based on William Joyce's the Guardians of Childhood book series, Rise of the Guardians is a gorgeously animated film about Boogeyman Pitch Black's attempts to spread darkness and fear throughout the world and the guardians' attempts to foil him. Charged with the duty of watching over the children of the world, guardians Sandman, North, Tooth, and E. Aster Bunnymund are loved by children everywhere. When the Man in the Moon appoints Jack Frost to be the newest guardian, the other guardians doubt that Jack can be of much help against Pitch, especially considering that the children don't even believe in Jack Frost's existence. But when Pitch prevents Tooth from collecting the children's teeth, keeps E. Aster Bunnymund from hiding eggs on Easter, and turns the children's happy dreams into nightmares, the guardians realise that they're going to need all the help they can get. The children stop believing in the guardians one by one, and the question that remains is what can one fun-loving, somewhat immature boy with the power to freeze everything he touches possibly do to counteract the fear and darkness enveloping the world? The animation effects are excellent in this film--especially the images of frost and ice spreading across ponds and windowpanes. The characters are interestingly quirky, the action is constant and well paced, and the considerable voice talent includes Alec Baldwin, Chris Pine, Jude Law, Isla Fisher, and Hugh Jackman. A familiarity with the books aids deeper understanding of characters like North and Sandman, but viewers unfamiliar with the books will have no problem enjoying this film. (Ages 7 and older) --Tami Horiuchi
A suspenseful adventure thriller directed by Academy Award winner Kevin Macdonald, centring on a rogue submarine captain (Jude Law) who pulls together a misfit crew to go after a sunken treasure rumoured to be lost in the depths of the Black Sea.
Meet Iris (Kate Winslet) and Amanda (Cameron Diaz), two women who couldn't be more different one lives in a cosy English cottage, the other in a swanky Hollywood estate- but both are alike in their mutual bad luck with men. In desperate need of an escape, they meet online and impulsively switch homes. Both find the last thing either wants or expects- a new romance- and discover that a change of address really can change your life. From the Director of Something s Gotta Give and What Women Want comes two hole hours of sheer heart-warming romantic comedy.
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