‘I said goodbye to Heath Ledger at this urinal’: a stroll round Terry Gilliam’s pivotal places

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The studio where he crashed the Life of Brian spaceship, the stage where he put on a Faust that caused fights, the pub where he last spoke to Heath Ledger … the ex-Python takes a hilarious and evocative stroll down memory lane Down an alley in Covent Garden, on a building that was once a banana warehouse, there is a blue plaque. “Monty Python, Film Maker, Lived Here, 1976-1987,” reads the inscription. It’s easy to miss: the plaque is not at eye level as they normally are, but up on the first floor, almost as if the blue plaque committee lost confidence in their uncharacteristic joke. Or perhaps John Cleese put it up. Terry Gilliam arrives. I like his jacket. It looks like it’s been stitched together from bits of blankets. “Me too,” he says. “I got it 30 years ago in a secondhand store in New York.” We’re going to wander around London, revisiting places that have played significant parts in his career, as he approaches his 85th birthday. Continue reading... from Film | The Guardian...
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Eileen review – Anne Hathaway transfixes in off-kilter thriller

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Sundance film festival: the Oscar winner gives a pitch-perfect turn in an adaptation of Ottessa Moshfegh’s hit novel that doesn’t push its weirdness far enough

There’s a fantastically well-measured performance from Anne Hathaway in the strange, if not quite strange enough, thriller Eileen, an adaptation of Ottessa Moshfegh’s Booker prize-shortlisted novel. She’s an actor who doesn’t always find her sweet spot, admirably trying to show extensive range for a star of her high wattage, yet often not proving to be the right match for her material, big swings frustratingly filed away as big misses.

Hathaway has an outsized energy that can jar with roles that require a performer who can more convincingly, quietly disappear, and so in Eileen, where her character Rebecca is exploding into the drab world of 1960s Massachusetts as a glamorous, and potentially dangerous, bombshell, it’s a match-up that feels like kismet. Her arrival is a ground-shifter for bored 24-year-old Eileen (Thomasin McKenzie) whose life consists of caring for her cruel alcoholic father (a horribly believable Shea Wigham, a sterling character actor long overdue for more attention), controlling her sexual desire and working a thankless job as a secretary at a juvenile facility. When Rebecca joins the staff as a psychologist, Eileen, like the men surrounding her, is unable to stop staring, a sudden flash of colour in an otherwise muted world.

Eileen premiered at the Sundance film festival and is seeking distribution

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