| |
Maurice |
> 1987 >
Merchant-Ivory |
| |
Ebert
Says |
*** |
captures
its period ... meticulously |
| |
Mr. Showbiz Says |
87 |
Sensitively acted,
quality filmmaking. |
| |
White Mischief |
> 1988 >
Michael Radford |
| |
Ebert Says |
*** |
Elegant,
almost luxurious retelling |
| |
Mr. Showbiz Says |
46 |
a dreary tale of
civilized British decadence |
| |
Lair
of the White Worm
|
> 1988 > Ken Russell
|
| |
I Says: |
|
So bad it practically
works. |
| |
Ebert Says: |
** |
It
has a lair, it has a worm, the worm is white. |
| |
Mr. Showbiz Says: |
72 |
surreal, perverse,
and masterful |
| |
Impromptu |
> 1991 > James Lapine |
| |
Ebert Says: |
*** |
Disorganized,
confusing but amusing biopic. |
| |
Mr. Showbiz Says: |
73 |
Charming comedy-drama
about the 19th-century romance between George Sand and Frederic
Chopin (Grant). |
| |
Bitter Moon |
> 1994 >
Roman Polanski |
| |
Ebert Says: |
*** |
Wretched
excess — but directed without compromise or apology |
| |
4 Weddings & a Funeral |
> 1994 >
Mike Newell |
| |
I Says: |
|
Incomparable!
See W.H. Auden's poem, Funeral
Blues:
Stop all the clocks, cut off the telephone... |
| |
Ebert Says: |
***1/2 |
delightful
and sly |
| |
Mr. Showbiz Says: |
86 |
funnier than you
would think ... goes down easy, like a spoonful of sugar |
| |
Sirens |
> 1994 >
John Duigan |
| |
I Says: |
|
Oddly tedious. |
| |
Ebert Says: |
***1/2 |
good-hearted,
whimsical |
| |
Mr. Showbiz Says: |
49 |
pleasant no-brainer
... nudity does little to enliven the film's sluggish pace. |
| |
Sense & Sensibility |
> 1995
> Ang Lee |
| |
Ebert Says: |
**1/2 |
not
told as tightly or as well as "Persuasion" |
| |
Mr. Showbiz Says: |
94 |
sterling ensemble
... power ... passion. |
| |
"Went Up a Hill"
Etc. |
> 1995 > Christopher
Monger |
| |
I Says: |
|
On the twee side.
|
| |
Ebert Says: |
*** |
Every
character is crazy as a bedbug. |
| |
Mr. Showbiz Says: |
81 |
a sweet little bit
of folklore |
| |
9 Months |
> 1996 > Chris
Columbus |
| |
I Says: |
|
Cost is no object
when it comes to insulting your intelligence. |
| |
Ebert Says: |
** |
The
charm doesn't happen ... little human dimension. |
| |
Mr. Showbiz Says: |
71 |
Deep in the heart
of this movie, there is a caged maturity rattling to get out. |
| |
An
Awfully Big Adventure |
> 1995 >
Mike Newell |
| |
Ebert Says: |
** |
soggy
British drama ... shows that [Hugh] has range. |
| |
Mr. Showbiz Says: |
85 |
one of the most
satisfying films of the summer; screenplay is the film's real star
|
 |
| |
Extreme Measures
|
>
1996 > Michael Apted |
| |
I Says: |
|
Ick. |
| |
Ebert Says: |
***
|
more
thought-provoking than thrillers usually are |
| |
Mr. Showbiz Says: |
31 |
Perfect example
of the problem with vanity projects ... hard to care much who prevails
|
| |
Mickey
Blue Eyes
|
>
1999 > Kelley Makin |
| |
I Says: |
|
Uh, Hugh?
But visit the site to
hear Hugh scold you in a sexy way. Plus: lotsa tchotchkes. Like
screensavers. |
| |
Ebert Says: |
***
|
Plays
like an afterthought. |
| |
Mr. Showbiz Says: |
59 |
Grant's a delight
... [but] the movie has easy fun with subliterate gags. |
| |
Notting
Hill
|
|
> 1999 > Roger
Michell |
| |
I Says: |
|
What you've
waited for — Hugh's best work since Four Weddings. Surprisingly
engaging, until it tanks into Sentimental Creek (the slump starts
precisely at Julia's cringeworthy "girl and a boy" speech). The
Roommate and the classic anecdote exchange aren't to be missed.
|
| |
Ebert Says: |
***
|
moments
of truth in the middle that bring the audience to a hushed silence
|
| |
Mr. Showbiz Says: |
82 |
smart, sometimes
pissingly funny ... also oddly unmoving and predictable in spots
|
Hugh
John Mungo Grant