The film's slow burn is gripping but, as it builds to a climax, the plot becomes overwrought.
Forced out of their apartment, Emad and Rana move into a new flat. An incident linked to the previous tenant will dramatically change the young couple’s life.
Blunt and McGregor do what they can but they, like their characters, are swimming upstream in a river of syrup to a soundtrack that came from the drawer marked Now That's What I Call Celtic.
When an idealistic sheikh persuades a fisheries expert to try and introduce salmon to the Yemen, the expert soon finds himself himself out of his depth, but love blossoms along the way.
The posturing and overly theatrical nature of the delivery is going to make or break the experience for many.
A scientist blames the head of a large company for an ecological disaster in South America. But when a volcano begins to show signs of erupting, they must unite to avoid a disaster.
In a twisting tale of poorly thought-out schemes, emotive appeals and double crosses, the focus is primarily on the bumbling comedy, but we are never allowed to forget where the boys come from.
A group of schoolboys plots to steal a statue in order to make some much-needed cash.
Where we should be caught up in the emotion of a man staring death in the face, we are, instead, marvelling at the sudden clunky switch from Seventies crime thriller posturings to run-of-the-mill prison melodrama.
Somewhere in this trauma of a stage adaptation are some valid points about Fifties US conservatism.
Film adaptation of a stage play about a pair who have a one-night stand, despite being married to other people, and who make a pact to meet on the same night each year.
By the close, the revenge motif has become completely decentred, giving way to a quirky study of lost souls.
A man obsessed with avenging his late wife, mown down by a hit-and-run driver, threatens to kill the guilty driver... but will he find his inner samurai to act on the threat?
Saraband, in true Bergman tradition, wrestles with human relationships, using a slow pace, pointed dialogue, and heavy symbolism to explore the psychological states of the characters.
Ingmar Bergman returns to Scenes From A Marriage 30 years on.
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