Displaying items by tag: Rosamund Pike

LADIES FIRST

US, 2026, 93 minutes, Colour.

Sacha Baron Cohen, Rosamund Pike, Tom Davis, Emily Mortimer, Werucha Opia, Charles Dance, Fiona Shaw, Richard E.Grant, Kathryn Hunter, Bill Paterson, Ron Cook.

Directed by Thea Sharrock.

There has been a constant popularity in films of role reversals, parents becoming children, children parents, and, sometimes, the role reversals of men and women, being transported into an alternate universe. And that is the case here – but, it is a remake of the 2018 French comedy,. I am not the Easiest of Men which was released at the time of the #Me Too emergence.

Perhaps 2026 is a bit late for Ladies First as some reviewers have suggested. However, as we watch it, the comedy of the men behaving in a female way, was to be subservient, accepting this, exasperated, finding ways to overcome it as well as the comedy of the women behaving in insensitive macho attitudes and manner, it does make its points for a wide audience.

And, this version has many advantages. Who better than Sasha Baron Cohen, memories of Borat and his other films and satires, playing the misogynistic, obnoxiously insensitive male, paying lip service to female executives and ignoring them at meetings, seeing himself as a contemporary Lothario, but remaining male throughout the story, forced to face the macho-women mirror images of his objectifying behaviour. Many tangles, many humorous moments, many satiric barbs – and his finally getting the message.

The other advantage is having Rosamund Pike as the co-star, her two previous films, Now You See Him, Now You Don’t and In the Grey, saw her cast as rather ruthless business women and she draws on this when, after being introduced as a 20 year employee at the firm, receiving a token promotion but ignored at meetings, and then transformed into the hard-hearted executive dramatising and exercising all the ambitious, unscrupulously dominating mirror of male behaviour.

And, there is a strong cast character actors in supporting roles. The usually urbane Charles Dance has become a rather simpering assistant. Kathryn Hunter, rather tiny, a cleaner in the office, always getting in the executive’s way, transforms into a hard-drinking, dominating CEO. Richard E.Grant, is a pigeon-man vagrant who understands the situation, trying to give advice to Sasha Baron Cohen.

Also a plus is the director, Thea Sharrock, who has made the sensitive, The Beautiful Game, as well as the sharp satire of Wicked Little Letters.

So, a whole lot of reversal situations, most of them very funny, but always the consciousness/conscience check that male chauvinism is being sent up as exercised by the women and that the men are experiencing as women, the continued putdowns, targeted male superiority, male exploitation and harassment.

And, for those who enjoy words and play on words, there are all kinds of funny moments and quick quips, Queens Cross instead of King’s Cross, the end of the prayer as a-woman, a variation on frequently used swear word. And, on a broadcast, Pope Beatrice IV.

Sad to say, this kind of comic role reversal, perhaps required somewhat less than in times past, is still very relevant.

IN THE GREY

UK/US, 2026, 98 minutes, Colour.

Henry Cavill, Jake Gylenhaal, Eliza Gonzalez, Carlos Bardem, Michael Vu, Fisher Stevens, Rosamund Pike, Kojo Attah, Jason Wong.

Directed by Guy Ritchie.

A thriller set in the world of high finance, in the space between the black-and-white of law and disorder, in the grey. And quotations  come to mind, “the love of money is the root of all evil” and, for players like mercenaries, playing “for love of the game”.

25 years of action shows have been written and directed by Guy Ritchie, moving initially from low crime, Lock, Stock, Two Smoking Barrels, through a range of underworlds to the world of Gentlemen criminals. And, now a worldwide, international perspective.

Though Ritchie’s world has been largely a world of men, on both sides of the law. This time, the main player is a woman, Rachel, played with glamour and aplomb by Eliza Gonzalez. And, in the corporate world, she confronts a female executive, played incisively by Rosamund Pike. But, in a man’s world, Rachel still has to be rescued!

The villain is the dictator, Salzar, his Island, his own army, yacht luxuries, his own plane, wheeling and dealing in finance with his own crooked lawyer, his murderous henchmen. But, Rachel also has her team, two buddy mercenaries she has rescued from prison and who are loyal to her, played by Henry Cavill and Jake Gylenhaal, very cool in crises, but always smart and coming to the rescue. And, a retinue team of experts in surveillance and logistics.

And, all this is necessary, because Rachel will confront the dictator, continually successfully, using the power of law. But, he will capture her and she will need to be rescued – the first part of the film elaborates setting up the plan if she needs an escape route; the second part of the film going into the actual detail of the escape.

Made for entertainment, dipping into the world beyond most people’s imagination of international finance and doubledealing, but skills in confrontations, and always at the ready, and weapons galore, an action show.

1. The root of all evil, a love of money; love of the game?
2. Guy Ritchie, his reputation, crime thrillers, action? Now international finance?
3. The credibility of the plot, real aspects, heightened aspects? Intrigue, action?
4. The situation, world finance in the 21^st-century, banks, finance companies, dictators? Ruthlessness? Use of the law, private armies, the world of luxury?
5. The role of men and women, Rachel as the lead, strong character, ingenious, planning, in action, confrontations? But still needing to be rescued! The financial world, New York, Bobby, her power, manipulation, confrontations?
6. Salazar, his being threatened, his henchmen, the murders? The repercussions for the finance company?
7. Rachel, her confrontation with Bobby, the issue of the deal, the fee, her hold over Bobby? The final confrontation, the phone ringing?
8. Horowitz, and manner, regularly visiting him, the office, interactions, Bronco present, fiddling with the statue, the microphone? Verbal gameplaying?
9. Bronco, Sid, in prison, the release, Rachel freeing them, mercenaries, their skills, her dependence on them, their dependence on her, the plans, execution, the range of staff, surveillance, Logistics?
10. The plan, Rachel and Salazar, the continual encounters, Salazar being outmanoeuvred, his yacht and luxuries, finally agreeing?
11. Rachel in the desert, the camp, the attack and killings, imprisonment, her watch, summoning the mercenaries?
12. In prison, the plans, the first part of the film and rehearsal, the attention to minute details, vehicles, across the valley, the boat? The second half of the film, everything being fulfilled?
13. Rachel, the escape, action, the helicopter pursuing, shot down, Baker and the explosion, the escape to the boat?
14. Rachel, success, Bobby defeated, her boss exposed? Ready for the next action?

NOW YOU SEE ME, NOW YOU DON’T

US, 2025, 113 minutes, Colour.

Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, Rosamund Pike, Morgan Freeman, Lizzy Caplan.

Directed by Ruben Fleischer.

Surprisingly, given the popularity of the original, this third part of the series comes 12 years after the first Now You See Me. Then there was the sequel two years later. And it has taken most nine years for this episode.

Fans will probably agree that it has been well worth the wait!

The attraction of the film is that it is about magicians and magic, sleight of hand, I deceptions, creation of illusions. And, with 21^st-century special effects, there is no lack of magical turns, creative use of special effects, a whole range of deceptions.

The original team is back again, led by Jesse Eisenberg, so often primly determined. Woody Harrelson is also back with his laid-back charm. And, Dave Franco as well as either Fisher. And Lizzy Caplan, who joined the team and the second film, also returns.  And, once again, the power behind the team, Morgan Freeman in his mid-80s.

While it is important to highlight the familiar team, the film actually opens with some very clever impersonations by a new young team, Justice Smith, Dominic Sessa, Ariana Greenblatt. They make quite an impression – but they also do impersonations of the original team, taking on the teams mantle of seeking justice, exposing criminals, taking them down. So we are treated to quite a spectacular performance, and we are deceived into thinking that it is the main team in action. But…

Jesse Eisenberg’s Atlas is not impressed and seeks out the young group. But, it emerges that some kind of overseer has sent cards to assemble everyone. They gather, and find that the villain of the piece is relic, daughter of a South African mogul, about to option a diamond. And, surprisingly, she is played by Rosamund Pike, rather relishing the role of a kind of evil femme fatale.

If this sounds intriguing, the two teams combining to confront Veronica, to steal the diamond, to pretend to destroy it, to try to trap her in her guilt, travelling around the world, from the Emirates to France, then audiences will be delighted to be intrigued.

While there are quite a number of spectacular magic episodes, we enjoy meeting the old team again but are trying to make out whether we like the new team, especially Dominic Sessa who is full of himself often able to justify his self-satisfaction with his skills. Justice Smith plays the very nice member of the group and plays a very interesting role in the final solution.

So, we know what to expect, more or less, and there is more rather than less. Already the rumour is around that there will be a fourth episode. And, in light of having two teams now, why not?

1. The popularity of the first two films? The nine year gap until this one? The plausible explanations?
2. The popularity of the cast, the characters? The appeal of magic? The portrayal of various magic tricks? Special effects and the lighting? Has part of the plot? The musical score?
3. The past history, of the Four Horsemen, their performances, their skills, the team work, interactions? The role of Thaddeus and control? The presence of Dylan Roads? The breaking up of the group? Reassembling? The addition of Lula?
4. The opening, the reassembling of the Horsemen, their personalities, on stage, the arrogance of the young man and his friends? The introduce introduction to Bosco, Charlie and June? Their jobs, behind-the-scenes, June at the bar, pickpocket? Confrontation with the young men, Merrick and his capacity for putting people to sleep, Bosco on stage, the sleep, the rest of the Horsemen and the confrontations, the money and the denunciation, the angry young man? And the Horsemen disappearing?
5. The three friends, personalities, age, their talents? The appearance of Daniel, the confrontation? The magic, their show, using lanterns and projections, their achievement? Daniel’s criticism? Charlie, agreeable, June and friendly, Bosco and his surly attitudes and behaviour?
6. Daniel and his proposition, joining with the trio, the master command, The I, planting cards for the others, their all coming together? Building on the old personalities and past stories? Daniel and his touch of arrogance, Merrick and his humour, heavily returning to the group, Jack and his genial presence? Exercising all their magic abilities?
7. The situation, Veronica Vandeberg, her story, her father, the diamonds, his wife and her suicide, the housekeeper and his relationship with her, the quizzing his fortune to Veronica? The scenes in South Africa, Veronica and her personality, dominating, her bodyguard, her entourage, the plan to option the diamond, her shady contacts? Her performance to the public?
8. The group, working together, the plan? The social, her wanting the photographs? Hiring the photographer with his arrogant manner? The magic tricks of the group, unit and her pickpocketing ability getting all kinds of passes, Charlie and his blending into the work background, Bosco impersonating the photographer? The photo shoot, and wanting to photograph the diamond with Veronica? The revelation of Charlie and the alternating of the cases, in and her manipulation, Bosco and the photographs, the presence of Daniel and his confrontation, the tricks with the opening of the glass case, the diamond, the substitute, smashing it? Confusion?
9. The personalities of the group, their working together?
10. The mystery of the cards, Charlie and the cards, the map, finding the location, the vast house, the encounter with Thaddeus? Memories of the past, his encouraging, the mystery of who had organised the action? The attack, the siege of the house, Thaddeus and his dying, his encouraging the group? The mystery of the house, revolving rooms, the confusion of the police attack? Finding Veronica’s client list? The arrest of gives one, in the police station?
11. The police station, Veronica confronting Merit, his abilities with her, telling her story, the truth about her mother, contriving her death? The father’s relationship with the mistress, her death? The arrival of Muller, her collaboration with Merit, the escape for June? Merit imprisoned, and the possibility of a bargain, the diamond for The Release of Merit?
12. The Emirates, the location for the driving exhibition, Veronica and the vehicles, the drivers? The arrival of the group, infiltration, Bosco and impersonations and driving the vehicle, Charlie and June in the background, the tasks?
13. The driving and the display? Bosco the crashes? The rounding up of the four Horsemen, trapped underground? Veronica and her superiority, the sand coming into the basement? The discussions, using their wits, the idea of water and the sand, Jack and his using the wrench, the water, heavily using her ring to break the glass, there are escape?
14. Veronica, the mysterious caller, challenge her about the diamond?
15. The escape, Veronica and the confrontation by her brother, the revelation of Charlie, the revelation of the truth, his being her brother, the role of their father, his mother and her death?
16. Veronica on stage, trapped, the revealing of the true story, the diamond?
17. Charlie revealed as Peter, his intentions, his masterminding the whole plot, his time in the US, studying magic, befriending Moscow Bosco in June, planting the cards to entice the horsemen to help him with his plan to unmask Veronica?
18. Peter, his decision, distributing his wealth to those in need? Fulfilling the aims for the Horsemen and justice?
19. The postscript, the intervention of Dylan Rhoades, the achievement – and the future?

INTER ALIA: NATIONAL THEATRE LIVE

UK, 2025, 120 minutes, Colour.

Rosamund Pike, Jamie Glover, Jasper Talbot.

Directed by Justin Martin.

The filmed version of the stage production by the National Theatre. It is an experience that can be highly recommended – staging, performance, legal and moral issues.

The play was written by Susie Miller, Australian writer and dramatist, whose previous play, PrimaFacie, was successfully produced by the National Theatre and filmed live and seen worldwide, also winner of the number of awards including blessed as to play.

Audiences will be impressed by the theatre craft, the staging, the suggestion of a variety of locations from law courts to home and to a karaoke bar, the use of lighting, rapid movement, change of scenes, change of clothes, and all the while the action moving with speed and continuity.

Audiences who have watched the career of British actress, Rosamund Pike, from early days in Pride and Prejudice, to her featured role in the thriller, Gone Girl, many film performances as well as television series, may not have anticipated her acting range as manifested here. While she performs the role of the judge in court, Jess, presiding over a case of sexual assault, her thinking aloud, many scenes where we see her at home, performing the role of wife and mother, cooking and serving, relationship with her lawyer husband who had not been promoted to a judicial position, raising issues of equality and opportunities for women. And there is her relationship with her son, teenager, noncommunicative, the gradual revelation of his behaviour at a party. And, she performs also in flashbacks with her son as a little boy. It is certainly a high peak performance, a theatre career-best performance.

There are two other members of the cast, Martin Glover as Jess’s husband, successful lawyer, the pair happily married, yet the underlying upset that he was not promoted as judge before his wife or at the same time as his wife. He creates an interesting character, professional male of the 21^st-century, dealing well with his work and competency but some tensions in his life at home, and taking for granted that his wife will cook and look after the domestic issues. Then there is the issue of dealing with their son. Jasper Talbot plays the teenage son, typical teenager in many ways, sometimes sullen at home, ups and downs in his relationship with his parents, the issue of parties and freedom, drinking and drugs, relationship with girls. And, it strongly emerges that his parents had taken him for granted, trusted him, not had the important discussions with him at crucial periods of his growing up, especially as regards sexuality, identity, respect for women.

And the issues of this play are very strong:

• the significance of a judge, the role of the judge in British jurisprudence as well as court action, the observations of the judge during the trial, internal comments about the behaviour of members of the court, the accused, witnesses, the need for impartial attitudes and behaviour. And, with a female judge, the contrast with her duties at home, her behaviour, her outings with friends in the karaoke, dealing with her son, especially as the crucial situation of rape accusation emerges.
• The issue of cases, sexual assault, rape, situations and choice, issues of consent and withdrawal of consent, the behaviour of the female, the male, party situations, drinking and drugs, men taking advantage of women, responsibility and irresponsibility, acknowledging the truth or not, the impact on them. Traditional views, legal arguments, presumption of innocence, proof of guilt, the role of witnesses, procedures.
• The role of the law, issues of morality, and not guilty verdict not indicating innocence but that guilt was not proven.
• The importance of the mother with high legal and moral standards, discovering the truth about her son, not wanting to believe, protective mother rather than judicial judgement, the increasing emotionality, challenges to integrity and authenticity, to excuse, to defend…
• The role of the father, role model, discussions with his son, absence of discussions, taking his son for granted, lack of responsibility, consequences.
• The teenager himself, age, experience, growing up in the legal household, the relationship with each parent, troubles with puberty, some happy memories of childhood and these being visualised, behaviour at school, with friends, parties, lying to his parents, covering, the reality of the party situation, his long friendship with the girl, growing up together, the party, drinking, her behaviour, his behaviour, the friends and the peer pressure, the sexual activity, her consent, lack of consent, conscious awareness, the consequences, his covering up, interactions with his parents, their trying to support him, the truth, admitting the truth or not?
• The buildup to the climax, the stances of the father and his relationship with his wife in the situation, the mother as judge, the precedents of mother and protection of a son, the moral dilemmas, the legal dilemmas?
• The impact for the audience, impressed by the theatrical experience, the intensity and strength of the dialogue and interactions, support of Jess, critique of her husband, attitudes towards the son, initially, hearing the case, hearing the truth. And the final impact of the theatrical experience, the screen experience, and the audience sympathies and the final moral judgement by the audience.

(2025 also saw the streaming of the British television series, Adolescence, also raising issues of parents, children, their moral development, gaps in their development, criminal behaviour, family support, the law, the psychology of an adolescent and treatment and support.)

SALTBURN

UK, 2023, 127 minutes, Colour.

Barry Keoghan, Jacob Elordie, Archie Madekwe, Rosamund Pike, Richard E.Grant, Carey Mulligan, Alison Oliver, Paul Rhys.

Directed by Emerald Fennell.

While Saltburn is the name of a sumptuous English country estate, its sound echoes something like a chafing irritant. Not entirely irrelevant to the themes.

Writer-director, Emerald Fennell, won a writing Oscar for her initial feature, Promising Young Woman. This was quite disturbing experience – and Emerald Fennell’s audience is now offered even more disturbing experiences.

This is the story of Oliver Cook, played with sometimes deceptive intensity by Barry Keoghan (Irish, having made an impact with Killing of a Sacred Deer, Banshees of Innisfail). He narrates, quietly taking us into his confidence, pondering his emotions and motives. He is from Preston, average family, though he has some stories about his parents and failures, scholarship to Oxford, looked down on by elite students, but in a kindly gesture, befriending the aristocratic Felix Catton (Jacob Elordie who was a very tall Elvis in Priscilla). He is spurned by Felix’s financially dependent cousin, Kylie (Archie Madekwe Gran Turismo).

In fact, Saltburn has a a very strong cast, especially at home with Rosamund Pike at her superior best as the mother and a dithering Richard E.Grant as the father. Alison Oliver is the precocious daughter and Paul Rhys the most supercilious Butler ever on screen! And there is an arresting cameo, Pamela the unwanted but tolerated guest at Saltburn, from the promising Young woman herself, Carey Mulligan.

Felix invites Oliver to Saltburn for the summer – a benign gesture, but very precarious as Oliver makes his tentative way in relating to the family.

So many commentators have made the link between Oliver to Tom Ripley, remembering Anthony Minghella’s classic The Talented Mr Ripley. And, with the country estate, there are references to Brideshead revisited. And, it is probably fair to say that this is Evelyn Waugh 21^st-century style, something of Brideshead Re-revisited, where society has made a descent into the vapid without any trace of the transcendent.

However, a useful comparison might be Pier Paolo Pasolini’s highly controversial 1968 drama, Teorema, an initially sweet Terence Stamp invited to live with the family, his manipulation of each of the characters for their destruction. (And, at this time, there were two British variations on this theme, Michael York in Something for Everyone and Peter McHenery in Joe Orton’s Entertaining Mr Sloane.)

A popular saying, sometimes cliche, is that all is fair in love and war. Oliver confides to us his feelings and his love, and his sometimes provocative sexual behaviour, but, as his stay for the summer goes on, it would seem that for him all is fair in the undermining war he has set out on.

So, certainly a provocative film, certainly an uncomfortable film to watch, sometimes funny, always serious, a satiric attack on traditional British aristocracy, more than a touch of the mordant.

Barry Keoghan certainly gives a strong and memorable performance, and, in retrospect, especially with the final unmasking and literal exposure, a very subtle performance. This will probably be talked about for a long time – and it will certainly be very interesting to see the next steps in his career.

1. The title, the estate, the echoes of the sound with salt and burning, as relevant to all of this behaviour and the families experience?
2. The title, the lettering, the gates, the mansion, sumptuous interiors, the exteriors, the grounds? The musical score?
3. Echoes of Brideshead Revisited, Evelyn Waugh for the 2020s? But a complacent aristocracy, self-focused, in decline, nothing transcendent?
4. Echoes of Patricia Highsmith, Tom Ripley, the opportunist, insinuating himself, relating to the characters, destroying them? Sociopathic? The films of the 60s like Teorema?
5. The focus on Oliver Cook, Barry Keoghan’s performance, confiding to the audience, hopes, loves, emotional puzzles? His commentary on his behaviour? His age, his story of his parents, negative images, and the comic melodrama of Felix discovering the truth, the ordinary parents and their hopes? His scholarship, the importance of being at Oxford? The chatty friend, his belly tolerating this, abandoning him for Felix’s invitation? Revelation of his opportunism?
6. The incident with the bike, helping Felix, Felix’s gratitude, invite him into the circle? (And the final revelation that he can had contrived the flat tyre and created the situation for insinuating himself?) The other friends, conversation, drinking, the situation with paying for the drinks (and the later revelation that he did have enough money but capitalised on Felix’s generosity)? However, Farleigh seeing right through him?
7. The invitation to the summer, the journey, arriving early, Duncan as the butler, fastidious, snobbish, his observing Oliver throughout the visit? The impression of the home? Felix and the introduction to his parents, his sister, and finally being present, depending on the family for his finances, his back story about his mother, America?
8. The summer holidays, relaxing, the swimming, discussions, socials, parties? Oliver and his birthday party on the lavish presentation?
9. Oliver insinuating himself, the mother, social snob, but vapid ideas, the treatment of Pamela, her behaviour at the table, her back story, the hence to get rid of her, and the story of her suicide? The father, seemingly dithering, preoccupied with his interests? But their both accepting Oliver?
10. Venetia, eating disorders, her age, her self-assertion, smoking, sexuality, the encounter with Oliver and its being observed, Farleigh and his angry reaction, Venetia and her continued flirting, the eating, a dependence on Oliver?
11. The visit to his parents, Felix insisting, the revelation of the truth, their being very ordinary, his lies, the consequences for Oliver?
12. The ambiguity of the birthday party, in the context of his lies, the birthday cake? Costumes, masks, being unmasked? And the satisfaction of the parents in hosting the party and its success?
13. The image of the labyrinth, the meeting with Felix, the challenge – and Felix’s death, the blood, and eventually seen in the final flashbacks? The encounter with Venetia, the bath, the blood, her death?
14. The funerals, whether Oliver should stay or not, the initial welcome, the father suggesting that he should go, Oliver refusing? Ousted?
15. Sometime later, the seemingly chance encounter with the mother, the cakes, the discussion, her invitation? The story of her husband, his death?
16. The mother, her illness, Oliver contriving it, removing the connections, her death?
17. His success in ingratiating himself with everyone, the consequences, dependence, his inheritance?
18. The dramatic impact of his stripping, after seeing him lying on the grave of Felix, the sexual overtones, and then his dancing, completely unmasked and exposed, throughout the house which was now his?