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Thinking about them just in terms of their visual appearnce, Saoirse Ronan probably should have played Queen Elizabeth I instead of Mary, and Margot Robbie probably should have played Not In This Movie. Perhaps it could have performed better, had it not come out the same year as both _Outlaw King_ and _The Favourite_, as its content lies somewhere between the two, but its quality pales to either. _Final rating:★★ - Definitely not for me, but I sort of get the appeal._
This movie is complete trash. Watch only if you want modern politics shoved down your throat. The movie focuses more on LGBT rights then events related to the setting the movie takes place. Poor casting choices, horrible acting from A-list actors and low budget sets. Not worth streaming. Not worth pirating. Not worthing Seeding. Not worth the popcorn.
We have a scourge upon our land. 'Tis worse than pestilence and famine. 'Tis a woman with a crown. Mary Stuart's (Saoirse Ronan) attempt to overthrow her cousin Elizabeth I (Margot Robbie), Queen of England, finds her condemned to years of imprisonment before facing execution. Directed by Josie Rourke and written by Bau Willimon and John Guy, Mary Queen of Scots is the latest in a long line of historical costumers that fudge history to suit heir own ends. From a technical standpoint it's top draw, design, costuming and lead acting performances are quality - though Mary herself ends up being more cartoonish than anything resembling a tragic historical figure. Sadly, though, the narrative goes round and round in circles and ends up in a politically correct fog. The pace is laborious, which makes the two hour run time something of a chore to get through. There's little dangles of spice, with attempts at gay acceptance and oral pleasure etc etc, and things hit an upward curve in the latter stages, there's even some smarts in the narrative where obsession with rites and rules of succession threaten to turn the pic into exciting politico/religio waters. Alas, it's a false dawn, to the point where the costume design becomming the best thing in a production speaks volumes about a badly - on the page - historical drama. 3/10
We have a scourge upon our land. 'Tis worse than pestilence and famine. 'Tis a woman with a crown. Mary Stuart's (Saoirse Ronan) attempt to overthrow her cousin Elizabeth I (Margot Robbie), Queen of England, finds her condemned to years of imprisonment before facing execution. Directed by Josie Rourke and written by Beau Willimon and John Guy, Mary Queen of Scots is the latest in a long line of historical costumers that fudge history to suit heir own ends. From a technical standpoint it's top draw, design, costuming and lead acting performances are quality - though Mary herself ends up being more cartoonish than anything resembling a tragic historical figure. Sadly, though, the narrative goes round and round in circles and ends up in a politically correct fog. The pace is laborious, which makes the two hour run time something of a chore to get through. There's little dangles of spice, with attempts at gay acceptance and oral pleasure etc etc, and things hit an upward curve in the latter stages, there's even some smarts in the narrative where obsession with rites and rules of succession threaten to turn the pic into exciting politico/religio waters. Alas, it's a false dawn, to the point where the costume design becoming the best thing in a production speaks volumes about a badly - on the page - historical drama. 3/10
Unfortunately there are just too many flaws in this depiction of the life of Mary Stuart to itemise. The writing rather clumsily imposes a 21st century slant on 16th century Scottish history and seems more bent on imposing the morals and opinions of the former on the times and scenarios of the latter. Neither principal performance is particularly engaging; and Jack Lowden and Joe Alwyn are frankly hopeless as the sexually ambiguous "Darnley" and "Leicester" respectively. The Oscar nominations for Make-up and Costume are certainly well deserved, but really do epitomise the style-over-substance emphasis of this weak adaptation of one of history's greatest rivalries.
Well, I guess the good new is that you don't have to worry at all. It is not historically accurate, and by that I mean it falls under the title of "revisionist." Normally I don't care if a film is historically accurate, I understand it is Hollywood...but I do care if it is a total re-write of history. This is a rewrite, it is so far from accurate that it is a clear attempt to change people's knoweldge of the historical figures and the era. But, the good news is that where is lacks in historical correctness it more than makes up for in political correctness. And that might be at the route of why it veers so far from depicting actual real life events. It's focus was elsewhere, it's focus was on appeasing the people that support censorship and wish nothing more than to revise history to suit their political agenda. But, the good news is that they do a great job of breaking down a tense political and religious struggle to sex.. sex... sex, which seems to be the real driving force behind man characters in the film, forsaking what would have otherwise been an interesting and story of political intrigue
In a temper, Meg, a cynical, overworked TV executive, rants about how the movies she produces lie, making you think dreams can come true, and tries to smash her favorite snow globe. Instead, it hits her on the head and knocks her out. When she comes to, she finds herself magically transported to a perfect snow-covered town like the one in her globe, married to a handsome woodworker and mother to two young children.
When successful New York marketing executive Katherine discovers her workaholic ways are taking a toll on her eight-year-old son, Zac, she decides to spend Christmas with him and her mother, Lilly in her home town on the bayou. When Caleb tries to rekindle a childhood romance and convince her to move back home, Katherine is torn between the bright lights of the big city and the quiet, gentler rhythms of her Southern roots. Only a Christmas miracle orchestrated by Papa Noel can steer her heart to her true home.
Two men-a gay, HIV-positive artist and an adopted garbage collector-struggle in the face of stigma and loss to find meaning in work, love, and family.
Trapped in the misery of an oppressive marriage, a middle-aged woman finds refuge in a fantasy world of vindictive violence. Soon, reality and fantasy start to blur.
After having narrowly escaped an attempt on his life at the hands of a psychopath, detective inspector Takakura quits active service in the police force and takes up a position as a university lecturer in criminal psychology. But his desire to get to the bottom of criminals’ motives remains, and he does not hesitate long when former colleague Nogami asks him to reopen an old case.
Screenwriter Leo is searching for the wolf in the south of France. During a scouting excursion he is seduced by Marie, a free-spirited and dynamic shepherdess. Nine months later she gives birth to their child. Suffering from post-natal depression and with no faith in Leo, who comes and goes without warning, Marie abandons both of them. Leo finds himself alone, with a baby to care for.
Nora Ryan, a poor Irish girl, living in New York decides to change her life by working as a personal maid for the wealthy, Gary family.
For Pastor Judith Ehrmann, her job as an emergency counselor is more than just part of her job: giving people assistance is a vocation for them. But when a classmate of her son dies in a car accident, that's unusual. Judith begins to doubt: herself, her job - but also her family. For all at once everything seems to indicate that her own husband and son were involved in the accident and now want to cover this up. The emotionally intense drama of award-winning director Aelrun Goette raises fundamental themes without giving easy answers.