Displaying items by tag: Colin Firth

DISCLOSURE DAY

US, 2026, 145 minutes, Colour.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Elizabeth Marvel.

Directed by Stephen Spielberg.

The title, Disclosure Day, has the touch of the apocalyptic about it. And, when the focus is on alien visitors to earth, will it be a genial close encounter or will it be a continuation of the war of the worlds. Even, a variation on ET? So, a reminder that for almost 50 years, Steven Spielberg has been fascinated with the alien encounters. (And, a lot of the promotion of the film raises the issue of whether Spielberg actually believes in aliens and their visits.)

Most audiences will enjoy this film, especially the Spielberg fans over the decades, not only his encounters movies but also his action shows and the heritage of Indiana Jones. And, the screenplay here dwells a lot on mental communication which may remind audiences of Minority Report.

And, we remember the visiting alien theories, Roswell 1947, conspiracy theories… Enough ingredients here to foster all of this and the question as to whether the world is able to accept the aliens.

The two central characters, a science mathematical cyber-whizz played by Josh O’Connor and weather television personality in Kansas City played by Emily Blunt, seem to have special powers, and, her being pursued by governmental but sinister powers, led by Colin Firth, forgetting all his charming roles of the past and his proving an intense sinister presence. On the other hand, Colman Domingo, more genial, is leading forces to save those pursued and belief that there should be a disclosure day to the world.

The two leads give very strong performances, often bewildered by what has happened to them, the intensity of Colin Firth’s ability to bilocate and interrogate and threaten, continually on the move and, Spielberg reminds us that he can direct action sequences as well as anyone else. There are plenty of chases, especially cars, but there is a sequence at a railway crossing, the passing train, a car pushed into the path of the train a leap on to carriage rungs… a highlight of the film.

So, while there is a great deal of action, there is also a great deal to think about, whether we the audience believe that there are aliens, that they have visited earth, whatever their intentions, or whether this is all imagined and that there is no evidence. (There are some Catholic themes in the film, especially with a sympathetic nun, who when Genesis 1 is quoted points out that God created us to be masters on earth – no reference to space are other planets!)

The film goes for 2 ½ hours so plenty of entertainment, strong characters, strong interactions, intensity and suspense, action, and, testing our response when Disclosure Day eventually happens.

1. Steven Spielberg, close encounters, ET, War of the Worlds, telepathy and Minority Report? Almost 50 years? Conspiracies about aliens, government cover-ups, Spielberg’s own beliefs? Audience belief in aliens, encounters, government deception? The impact if the world knew about aliens? The importance of Disclosure Day?
2. The plausibility of the situation, the state of the world, the brink of World War III? The government and the Department, Wardex, Daniel, the extraterrestrial device and its power, the files and films, his intentions, expose, contact with Hugo? Daniel and his background, science and maths, cyber skills, time in jail, release, no escape and Scanlon’s over him? His escape?
3. Daniel, personality, past experience with the aliens, his skills, on the run, contact with Hugo, Noah pursuing him, Noah and his squads?
4. The character of Jane, her time in the convent, flashbacks with the nuns, and about the monsignor and their lives, her leaving, her faith, relationship with Daniel, pressing him, for him to reveal what was happening? Her returning to the convent, the nun, protective, the discussions, Catholic rituals, the book of Genesis, humans as lord of the earth, emphasis on earth rather than planets in space? Scanlon, his hold over Jane, entering into her personality, her erratic behaviour with Daniel? Her going back to the convent?
5. Margaret, television personality, the weather, relationship with Jackson? Ambitions, at the studio, the personnel, uses, director, hosts, make up…? Situation at home, her uncertainties, the effect of the past experience and her blocking it out? At home, Jackson’s reactions, late, speeding in the car, held up by the police, her knowledge of the policeman’s life, at the station, the hurry, the strange sounds in her delivery?
6. Noah Scanlon, age and experience, government, the cover up, the personalities of his staff? Tracking Daniel and wanting him back, the files? Tracking Margaret? His skills, undergoing the treatment, able to bilocate, present to Jane, the interviews with her, appearing and disappearing, the threats? His presence to Daniel? Margaret and the effect on him, the reappearance of his wife?
7. Margaret, personality, travelling with Jackson, evading him, her travels, a sense of where she should go? Jackson not believing her? The encounter with Daniel, the house, the car, the crash into the house, their fleeing, pursued, the train episode, on the rails, the leap onto the carriage?
8. Margaret and Daniel, Noah and his tracking them down, Margaret and her abilities to know people from the inside, using it, the rescue by Hugo and the whistleblower team, going back to Kansas City, the television station, a preparation for Disclosure Day?
9. Hugo and his relationship with Scanlon, the past, Hugo wanting disclosure, Scanlon wanting cover, fear of mass hysteria with the disclosure? And the work of engineering with the aliens, the films of the aliens, bodies, skeletons – showing them to Jane and her reaction? The audience sharing this? Issues of the device, its power, Casper holding it in the reaction, its being covered, the three devices?
10. Daniel and Margaret, going back into their past, Margaret and her experiences, as a child, the red birds, the influence, the transformation by the aliens, absorbing their powers?
11. The buildup to the confrontation, the buses, the trucks, the personnel, chases, pursuits, diversions? Shutting down power? The device restoring power?
12. The studio, the fights, the defeat of Scanlon’s troops, their withdrawal, Scanlon remaining to be present for the disclosure?
13. Disclosure Day, the host on the radio, the explanations, the visuals, Daniel uploading all the films? The huge bank of screens, the communication with various networks, the buildup to the whole world tapping into the information, every language, nation, the TV executives and their decisions?
14. Scandal watching, Hugo vindicated, Daniel and Margaret – and the final revelation of the alien, the appearance, head and make-up, kindly, communication – and the possibility of harmony between humans and the aliens?

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?