Displaying items by tag: Celia Imre

THE THURSDAY MURDER CLUB 

UK, 2025, 118 minutes, Colour.

Helen Mirren, Pierce Brosnan, Ben Kingsley, Celia Imre, Naomi Acte, Daniel Mays, Jonathan Pryce, David Tennant, Henry Lloyd-Hughes, Tom Ellis, Geoff Bell, Paul Freeman, Richard E. Grant, Ruth Sheen.

Directed by Chris Columbus.

For several years now, this reviewer included, many readers have been exhilarated by the series of novels about The Thursday Murder Club. They have been written by television personality, Richard Osman, familiar from earlier seasons of the British television quiz program, Pointless, and from his own show, House of Games. In his writings, Osman is a great creator of characters, bringing them alive, especially with eccentricities, is able to develop intricate murder mysteries and their solutions, and has a witty way with words and topical references to politics, media, which can always bring a smile.

And he has created this group of foUr elderly residents of an aged care community in Kent who meet in the common room every Thursday morning to explore and try to solve cold cases. And, for the film version, American director, Chris Columbus (Home Alone, Mrs Doubtfire), brings his genial touch to a screenplay by Katy Brand and Suzanne Heathcote which has done a wonderful job of gathering all the key elements of the novel for a two-hour drama. (Within 24 hours of its appearance on Netflix, the IMDb registered a high number of bloggers, many delighted, some with various quibbles as expected, and then, for this reviewer, unexpectedly, bloggers who seemed unable to wait to share their misery of disappointment and judgements of failure in the adaptation – and one wonders why this judgemental haste. But, on with this review of enthusiasm…).

Helen Mirren has no trouble in being Elizabeth with her espionage background. Ben Kingsley perfectly embodies the gentlemanly psychotherapist. It was hard, while reading, to imagine Pierce Brosnan as old union activist, Ron, but he rises to the occasion, obviously enjoying himself in the role. In the novel, former nurse, now widow, Joyce, is often more than daffy. Celia Imre is wonderful in the role although, perhaps, she has been written a little less daffy than in the novels. But, it all works.

And, there is a wonderful supporting cast of British character actors, Jonathan Pryce standing out as Elizabeth’s husband, a good man with developing dementia. David Tennant enjoys himself as the main villain but Richard E. Grant is unexpected as a sinister florist towards the end of the film.

The film opens with an example of the Thursday Murder Club in action, a cold case in connection with a former member who is now lying in coma, her sad husband in attendance. And, while this might have served as an introduction to the club’s activities and remained as that, it actually becomes quite integral to the development of the plot and the finale.

But, there are two other deaths which have to be investigated, especially in connection with the possible sale of the aged care home by a ruthless developer.

And, then there are the two representatives of the local police, the alert at Donna (Noemi Ackie who played Whitney Houston in the film biography recently) and the rather overweight, sweets-eating, less on the ball Hudson, played engagingly by Daniel Mays. (And the laugh out loud scene in the novel where the club cram him on the couch to pressure him is happily incorporated into the film!).

So far Richard Osman has written five of these novels, and the film then provides faces and mannerisms of the stars for those who continue to read the novels, making them come alive most enjoyably.

1. The popularity of Richard Osman’s books, characters and setting, murder mysteries and solutions, witty writing? The popular audience for this kind of storytelling? And the strong cast?
2. The setting, the aged care home, rooms, meeting places? The outside sequences, atmosphere? Police stations? The village streets? The cemetery, the demonstrations in the street…? The musical score?
3. The title, popularity of murder mysteries, the Agatha Christie tradition? The miss Marple tradition? The club, the members, the meetings, Elizabeth and her espionage background, Ron and his union background, Ebrahim and his psychotherapy, Joyce and her nursing background? Penn, police background, the cold case, her illness and coma, John caring for her? Elizabeth’s visits?
4. The initial case, the woman stabbed and thrown out the window, the alleged intruder, the boyfriend, the investigation, the police believing the boyfriend, his disappearance? The photos, the meeting, moves towards solutions? Joyce responding to the photo, the blood, they’re asking her opinion? Her becoming a member of the club? The complication with the discovery of the Bones in the cemetery, the identification, confrontation with John, the murdering of the boyfriend, disposing of his bones? Admission of the truth, John killing Penn, suicide, Abraham and his eulogy at the cemetery?
5. The situation with the home, bent, his character, divorce proceedings, his wife’s affair with Jason, ownership of the property, with Tony Curran? His plans for demolition, rebuilding flats, entertainment centre? Tony Curran and his Art board, the clash? Tony Curran, at home, the confrontation, his death, the investigation?
6. Vent, his relationship with Bogdan, putting him as the boss, to dig in the cemetery during the protest, the discovery of the Bones, the meeting with Elizabeth, his Polish background, his mother, Elizabeth listening questions, her finding him at home, playing with Stephen, chess? The friendship? Stephen, his shrewdness, that Bogdan had killed Tony Curran? Elizabeth discovering the racquet about passports, hurrying back home, U of Stephen being poisoned, the police, the revelation of the truth, bogged down and is later friendship with Stephen?
7. The discovery of the third owner, Elizabeth with the documents, Joyce and her relationship with her daughter, Joanna haughty, but examining the documents, giving the information about the ownership of the property? The mysterious identity, aunt Maud and the bouquet, the initials? The bouquet for Elizabeth, warning her off, her identifying the florist, the identity of the criminal, his savage reputation, disappearing? Elizabeth and the discovery of the passport racket, Tony Curran’s involvement, the truth about bogged down? Her deal with the criminal?
8. The police station, Donna, her background in London, race, the meeting with the club, her lecture, the case, serving coffee to the male police, Elizabeth and her visit to the police, the information, the deal? Hudson, his manner, overweight, heating? Discussions with Elizabeth, the deals, wedging him on the couch, plying him with cake…? Donna and her position, driving, the interrogations, the collaboration with the club?
9. The protest, vent and his visit to the elderly, the 10 minute consultation, Father Mackie and his protest, the crowds at the cemetery gate, man-to-man his arrogance, his collapse, his death? The post-mortem, poisoned?
10. The role of each of the members in the investigation, Abraham and his analysis, his notes, calm presence? Ron, the union background, protests, two wives, relationship with Jason, Jason and his boxing in the past, doing jobs for vent, television, admired, his statue and the photo, the ice-skating? The affair? Ron and his posing as bewildered, then his suit and posing as his son’s lawyer…? Joyce, skill as a nurse, at home, the touch of the Daffy, cakes? And Elizabeth in control?
11. Elizabeth, her relationship with Stephen, his going dementia, the tablets, playing chess, yet alert?
12. The resolving of the mystery of vent’s death? Penn and John? The funeral?
13. The finale, the audience enjoying the investigation, the quiet British style, the elderly, shrewdness, each playing their part?

BRIDGET JONES: MAD ABOUT THE BOY

UK, 2025, 124 minutes, Colour.

Renée Zellweger, Chiwital Ejiofer, Leo Woodall, Hugh Grant, Colin Firth, Mila Jankowicz, Casper Knopf, Sally Phillips, Nico Parker, Sarah Solemani, Shirley Henderson, James Callis, Claire Skinner, Isla Fisher, Gemma Jones, Emma Thompson, Jim Broadbent, Neil Pearson, Celia Imre.

Directed by Michael Morris.

Bridget Jones came on the cinema scene almost a quarter of a century ago two very successful films. She was immediately popular, embodied in a British style by American actress Renée Zellweger. In 2016, she had a baby and another film. In 2024-2025, she is a widow, with two children at school, trying to manage, sad memories of her husband, played by Colin Firth and reappearing here in some pleasing ghostly presences. (Not too happy memories of previous films with real appearances of her parents, Jim Broadbent and Gemma Jones, and a number of old friends turning up, Sally Phillips, Shirley Henderson…).

Bridget Jones has been welcomed back by audiences – though, for many of us, her distinctive mannerisms, quirks of accent, tics of behaviour, can be often offputting or, at least, disconcerting.

So, what is the widow to do? Get some advice from her old friend-nemesis, Daniel, a welcome return by Hugh Grant, still the playboy attitude but soon to be threatened by age, illness, more than a touch of conscience, and a reconciliation with his absent Italian son.

She goes to Memorial dinners for her husband, gets loads of advice from her contemporaries, to be out and around, date, be on the market. She also gets her advice from her gynaecologist, Emma Thompson again, which is more grounded but not heeded until later.

What happens is that on Hampstead Heath, her children climb a tree, she tries to rescue them, and a handsome worker (Foxster, Leo Woodall) intervenes, she more than a touch smitten, he getting in contact, a whirlwind affair. Is this the answer to her longings? But is going back to work as a television producer, on a show for women and women’s issues, another answer?

By this stage, her fans will be hoping that she resolves life’s issues. But, in those who find her a bit offputting, not eliciting audience sympathy, would be tempted to give up on her.

But,   lifechanges, her toyboy puts his foot in it about age; she is still thinking of her husband; her children react, especially her son who misses his father. And she listens more attentively to her doctor’s advice.

And, there in the background is the teacher at the children’s school, Mr Willaker (a charming Chiwitel Ejiofor, despite his propensity for discipline and continually blowing his whistle, loudly).

So, gradually, some sensible moralising, some more considered choices, some sensible interactions, and Bridget Jones will have a future.

1. Popularity Bridget Jones, Renée Zellweger’s presence and performance? Mannered style? Over almost 25 years and four films?
2. The London settings, home, school, television studios? House parties, large parties, the range of songs?
3. Bridget’s situation, widow, the death of her husband, charity work and his death, Colin Firth, his presence in memories throughout the film? The two children, their ages, her bond with the children, at school? Her going out to the Memorial dinner for her husband, her awkwardness? With the of the mothers, the Society mother, getting her to join in the activities and her later doing this?
4. Memories of her dying father, his urging her to go out? Memories of her mother? The visit to the doctor, practical, urging her out?
5. At school, encountering Mr Waliker, his whistle, his manner, with the children, stern? Later talks with him, his teaching science, rational, his criticisms of Billy’s work?
6. The outings, with the children, climbing the tree, Roxster and his presence, climbing and rescuing them, Mr Waliker observing?
7. The relationship with Roxster, his age, his work, his manner, the effect on Bridget? Tentative, going out, her infatuation, the beginning of the relationship, a fling? The effect on her? On the children? Especially Billy? Memories of his father? The party, the dog, in the water, Roxster diving in, the wet shirt, the reaction of Bridget’s friends?
8. The range of friends, from the past, new friends, meetings, chatting, urging her to enjoy herself and break out?
9. Daniel, from the previous films, the Hugh Grant’s style, his babysitting and bond with the children, his own life, his illness, in the hospital, the talk with Bridget, the talk about his son? And the son arriving at the party, charming, Daniel more at peace?
10. Roxster, time of the relationship, his backing out, not communicating, later return, his mention of time travel, indicating she be younger, her retort that he should come into the future with her? The break?
11. The work of the television station, the program, the focus on women, the guests, the personalities, the producer, Bridget enjoying her work, talking about her relationship and finding herself on stage with the applause?
12. Chloe as the nanny, her being recommended by friends, her role in the house, her ideas, efficient in every way, bonding with the children, the perfect nanny? Bridget finally accepting her?
13. Bridget and her memories of her husband, going through the documents, the diary, writing the message to him, and with children and setting the balloons?
14. Mr Waliker and his class with parents, her setting up a television program, the girl with the chart, Billy and his apprehension, the discussion about fruit fly, turning the discussion to the presence of the soul, and another life after death?
15. The shift in emphasis from the atmosphere of the fling to more serious? With the children? The discussions with Mr Waliker, going on the walk with him, the rain, the discussions, issues of reason, imagination, magic? The effect on him, the change, still blowing the whistle, but in class? The importance of his talk with Billy? The cut, the return to the concert, Billy singing, I’ll do Anything, in memory of his father, to have a memory of his father, the enthusiastic response?
16. The visit to the doctor, her practical advice, common sensed, Bridget listening to it, memories of her father, discussions with her mother?
17. The change of atmosphere, the light and more permissive episodes with her friends and with Roxster? The change, the serious interactions with Mr Waliker?
18. A year later, happiness, a new beginning, Mr Waliker the piano, the friends, her mother, her future in her 50s and beyond?

MUMMIES

Spain, 2023, 88 minutes, Colour.

Joe Thomas, Eleanor Tomlinson, Hugh Bonneville, Sean Bean, Celia Imre, Santiago Winder, Shakka, Dan Starkey.

Directed by Juan Jesus Garcia Galocho.

An unexpected and entertaining animation film, especially because it comes from Spain, Spanish writers, Spanish director, Spanish technology – but with the central part of the action taking place in contemporary London.

This is a film which young audiences may well enjoy with its characters, adventures. However, it is also a tongue-in-cheek entertainment for an adult audience, especially those with some familiarity of exploration and excavations, digging up ancient Egypt, transporting souvenirs for museums in Europe. And the popular music scene.

The original version has a Spanish voice cast but for English-speaking audiences there is an excellent cast, Joe Thomas and Eleanor Tomlinson in the central roles, Sean Bean as the Pharaoh, Hugh Bonneville is a sometimes dim-witted, ambitious and villainous Lord Carnaby. And, in support, is Celia Imre as the mother.

There is ambiguity in the title of the film. There are the Egyptian mummies but Lord Carnaby’s mother is continually phoning him, criticising him, demanding he go to the theatre, a torment in his life, and villainous mummy, so to speak.

The action opens with a Ben Hur kind of chariot race introducing us to the hero, Thurt, the charioteer, triumphant, but his wheels falling off his going into depression, wanting isolation, autographing fan cards. He has a chance encounter with the Princess, harsh in her manner, told by her father that she has to marry, and the sacred bird will indicate the correct suitor. The charioteer’s precocious younger brother throws a boomerang and it bounces off various surfaces finally hitting the charioteer. He wants to live alone. The Princess doesn’t want to marry, feels imposed on.

In the meantime, we see Lord Carnaby and his dimwitted associates excavating, finding treasure, especially a ring, which the charioteer and the Princess want to recover. And, here is the inventiveness, they have to leave the Egyptian Afterlife and go into the contemporary world, the audience looking at our world through their eyes and amazement, although the younger brother adapts very very quickly to the technology and to the slaying.

The main action then takes place in London, the charity and Princess thinking that such a big metropolis must be Rome. Their adventures take place in the theatre putting on a new musical of Aida with all its costume and Egyptian sets, the Princess seeing the ring and taking over the singing, great applause, being taken up by an enthusiastic rapper, Ed (Shakka). The Princess is applauded, makes a record, goes viral, loves the fame. But they are captured by Lord Carnaby and what follows is a struggle in the Museum, a car and bus chase through London, and a final return to the Afterlife, a couple in love, happy ever after.

An unexpectedly enjoyable experience.

1. A film for children? A film for adults?
2. The title, the Egyptian mummies? And Lord Carnaby’s continual phone calls and criticisms from his mother?
3. The Spanish film, Spanish writers and director, the British version with British voice cast? Musical score? Songs? A musical of Aida?
4. The imagination of the film, ancient Egypt, the Egyptian afterlife, 21^st-century excavations, discoveries, artefacts, exhibitions? The characters from the afterlife in the 21^st-century, Egypt, London? Spotlights and their appearing as skeletal?
5. Introduction to Thurt, the amphitheatre, the chariot race, echoes of Ben Hur, victory, the chariot wheels, his retiring, loss of self-confidence, yet being a star, autographing all the cards? With his young brother, with the dog? The sudden discovery that he was to be married to the Princess?
6. The Princess, the clash with the charioteer in the street, her haughtiness, the pharaoh, her chaperone, to be married, her wanting independence, the announcement of the charioteer, the bird and its choice (and the little brother’s boomerang)? The issue of the ring?
7. Lord Carnaby, the satire on British excavators? His two dithering assistants? The excavations, the discoveries, the ring, his ambitions, transferring everything to London, his museum? The setting up of the exhibition? His relationship with his mother, her continually dominating, phoning at the wrong time, demanding he go to the theatre, the theatre performance? Her phoning him even when in the same room?
8. The adventures of the charioteer, the Princess, the little brother and the dog, venturing out into the modern world, amazed, the audience looking at 21^st-century through their eyes? The transport, going to London, thinking that it was Rome? The younger brother adapting to the 21^st-century, all the technology, all the slaying? The dog enjoying himself?
9. The tension between the charioteer and Princess, not wanting to be married, he to be a bachelor, she to be free, her ambitions? The sparring, their being forced together? The traffic and the dangers? Going to the theatre, the new musical of Aida, the sets and costumes, the stage manager pushing the men, on stage, the performance, the Princess intervening, taking over, the ring, her song, glimpsed as skeletal yet the applause?
10. The encounter with, rapper, entrepreneur, praising the Princess, saving them, giving them accommodation, the charioteer and his jealousy? Going to the shops, the credit card, the display of different costumes? Going to the studio, the Princess performing its song? Its success, going viral? Her being pleased, acknowledged, applauded?
11. Going to the museum, their being trapped by Lord Carnaby, drugged, the brother and dog to the rescue, Ed intervening, his being drugged, all the action, yet the two assistants and their dithering, at the drinks and sweets machine, the cardboard cutout of Lord Carnaby, the bewilderment, the escape, the drive through London, the brother driving the bus, the dog with the pedal, Lord Carnaby in pursuit, the manoeuvres, his finishing up on the barge on the Thames?
12. The Princess, her decision, the return to Egypt’s, the pharaoh and his welcome, her mother, the charioteer and his proposal? Happy ending – and her singing?
13. An inventive imaginative animation entertainment?