Film line-up for Winter 2019
Jan. 17th – THE BOOKSHOP
Jan. 24th – TEA WITH THE DAMES
Jan. 31st – BEAUTIFUL BOY
Feb. 7th – THE HAPPY PRINCE
Feb. 14th – BORDER
Feb. 21st – A PRIVATE WAR
All films start at 7pm at the Paramount Theatre, Victoria street.
See below for more info and film trailers. Tickets
UK | Spain | Germany
Directed by Isabel Coixet
The Thursday Film Series is partnering with the TNRD Library to bring some books to the lobby of the Paramount Theatre.
Representatives of the library will bring a variety of books that have a “bookshop” theme, classic literature, and books that relate to the Suffolk area. Our patrons will be able to check out the books if they so choose, or request items through the library representative. In theme with the film, we wanted to bring a “bookshop” to the theatre. Come early and peruse some book options to borrow from the library.
It is 1959 and against plenty of odds, Florence Green is about to realize a dream: to open a bookshop in the sleepy seaside town of Hardborough in Suffolk. She does not, however count on the opposition she will face, especially from the narrow-minded locals who tow the line to the town’s local socialite and doyenne who uses connections to enhance her status and power. But Florence’s focused attempts to bring literature and ‘good books’ to the community will not be undone. With the support of a fellow book lover whose disillusionment over the mindset of the locals has led him to lead a reclusive existence, Florence will need to find all her courage to keep her dreams afloat and to protect not only her principles, but her heart as well.
Lovers of books and admirers of determination will embrace this enchanting film.”
–Louise Keller, Urban Cinephile
Emily Mortimer and Bill Nighy form a tender connection in The Bookshop.
–Jeannette Catsoulis, The New York Times
This subdued period adaptation starring the wonderful Mortimer celebrates the magic of books and bookstores.
–Sandie Angulo Chen, Common Sense Media
TEA WITH THE DAMES
Directed by Roger Michell
Rated PG: coarse language; violence
Maggie Smith, Judi Dench, Joan Plowright, and Eileen Atkins reminisce and reflect on decades of incredible memories and performances on screen and stage. Sharing their many sides, now compelling, now funny, now sensitive now comedic now irreverent, these four ladies position some truly excellent archival footage with context and dialogue, outlining experiences and performances that gave a new generation of actors four women to look up to. Join the dames as they perform one more time for us, in their greatest roles yet: themselves.
Director Roger Mitchell brings his audience to the table with some of the world’s most revered actors as we eavesdrop on every priceless nugget shared by his subjects… His knowledge regarding each actor’s comfort level serves him well in this picture, illuminating the humanity of these larger-than-life icons.
– Matt Fagerholm, Rogerebert.com
This is cinematic magic for the discerning…. Fabulous archive footage exposes each of the women at different stages of their careers.
– Louise Keller, Urban Cinephile
This is a terrific documentary on a number of levels. It is not only a moving walk down memory lane but also a delightful depiction of friendship. The women are, even in their latter years, true thespians and their repartee is joyous. All of them have been the recipients of multiple awards and you get the impression that they are not finished with their careers yet…
– Ian and Sheila Taylor, A Film Life
Directed by Felix Van Groeningen
Rated 14A: drug use
Nicolas Sheff seems to be the teenager every parent dreams of: his grades are excellent, he is an athlete, he is into acting, He is an artist and he is the editor of the school paper. When Nicolas falls prey to the power of addiction, the meth he can’t give up threatens to destroy him. In desperation, his father does whatever he can to save Nicolas and bring his family back from the brink of chaos.
Carell offers a sympathetic and at times moving portrait of a father desperate to understand what has happened to his son yet unable to cope with it up close. Chalamet’s nuanced portrayal covers all the bases: delerium, despair, depression, determination, desperation.
– James Berardinelli, Reel Views
Chalamet manifests Nic’s futile desperation in a performance that is nothing less than heartbreaking – Oscar material, in fact; and he’s equalled by Carell, whose exposition of paternal anxiety is just as overwhelming and convincing.
– Ian and Sheila Taylor, A Film Life
At the heart of this film is its terrific cast. Timothée Chalamet delivers a tremendous performance, disappearing into the role of Nic and capturing every ounce of his internal pain.
– Kevin Jones, Cinecentric
THE HAPPY PRINCE
UK | Belgium | Italy | Germany
Directed by Rupert Everett
In English, and in Italian and French with English subtitles
Rated PG: nudity; coarse language; violence; drug use
Disgraced and living through his own exile angst riddled reality in Naples and Paris, Oscar Wilde has just been released from prison after a conviction for “gross indecency”. Left to contemplate what got him there, Wilde careens through his days grasping and scrabbling for agency and acceptance. This is the untold story of the last days of Oscar Wilde, a character carved out of real life who observes his own failure with ironic distance and regards the difficulties that beset his life with detachment and even humour.
The Happy Prince proves that a film can be both bleak and warm-spirited, as befits its mighty subject.
New York Magazine (Vulture) – David Edelstein https://www.vulture.com/2018/01/the-happy-prince-review.html
Much like Wilde himself, this film has balls and speaks the revered, yet flawed artist’s truth. Rupert Everett looks at home in this role and breathes new life into Wilde. The Happy Prince proves that Rupert Everett was born to tell the tumultuous story of a kindred spirit. Oscar Wilde would be proud.
Film Threat – Tiffany Tchobanian http://filmthreat.com/reviews/the-happy-prince/
The Happy Prince, which took a reported 10 years to get in front of the cameras, is Everett’s passion project — and it shows. It’s a film of decided care and forethought.
Los Angeles Times – Gary Goldstein https://www.latimes.com/entertainment/movies/la-et-mn-happy-prince-review-20181009-story.html
This film is a deeply felt, tremendously acted tribute to courage.
The Guardian – Peter Bradshaw. https://www.theguardian.com/film/2018/jan/22/the-happy-prince-film-review-rupert-everett-oscar-wilde
Sweden | Denmark
Directed by Ali Abbasi
In Swedish with English subtitles
Fantasy, Romance, Thriller
Rated 14A: sexually suggestive scene; violence
Tina is a customs officer who has an uncanny sense: she can literally sniff out the guilt on anyone who has something to hide. When a suspicious man named Vore walks into her life, she finds herself in unchartered territory. Her abilities challenged for the first time, Tina becomes attracted to this strange new influence in her life as she tries to understand the new special bond they share. It is a process of inquiry that will lead her to discover his true identity as she comes face to face with the truth about herself.
Unique, unforgettable and cathartic, Border is an oddball, but poignant cult classic in the making. Abbasi’s sincerity wisely avoids caricature and mocking his marginalized characters and in doing so he crafts a surprisingly humanist and artful story of love for the diminished and dismissed outsiders of the world.
The Playlist – Jordan Ruimy https://theplaylist.net/border-trolls-cannes-review-20180528/
Border is a piece of modern gothic, a far out midnight movie which delivers on the WTF-ery while maintaining a surprisingly big and generous heart.
CineVue – John Bleasdale https://cine-vue.com/2018/05/cannes-2018-border-review.html
It’s not quite horror, crime, or comedy — it really just is “fantastic,” in every sense of the word.
Uproxx – Vince Mancini https://uproxx.com/movies/border-review-fantastic-fest/
A PRIVATE WAR
Directed by Matthew Heineman
Biography, Drama, War
Rated 14A: violence; coarse language
In a world where journalism is under attack, the real-life Marie Colvin, played by Rosamund Pike in a Golden Globe nominated performance, was one of the most celebrated war correspondents of our time. In the film, Colvin is an utterly fearless and rebellious spirit, driven to the frontlines of conflicts across the globe to give voice to the voiceless, while constantly testing the limits between bravery and bravado. Colvin sacrifices loving relationships, and over time, her personal life starts to unravel as the trauma she’s witnessed takes its toll. Yet, her mission to show the true cost of war leads her — along with renowned war photographer Paul Conroy (Jamie Dornan) — to embark on the most dangerous assignment of their lives.
“The dramatic, personal story of Colvin herself is absorbingly told here, largely because of Pike’s dynamic performance, showing us a woman who was courageous enough to risk her life for a story on a daily basis but remained vulnerable enough to make the stories viscerally compelling.”
Neil Minow, RogerEbert.com
“a moving and important portrait of the legendary Times of London foreign correspondent and her brilliant career, of which the last dozen years detailed in A Private Warwere but the extraordinary capper. “
“Pike delivers the performance of her career, her Colvin a messy mass of contradictions the layers of which the actor unpeels for us with a sharp sensitivity.”
MaryAnn Johanson, flick filosopher