Hugh Grant says fourth Bridget Jones film will be ‘funny but very sad’

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Actor reprises character of Daniel Cleaver but says he won’t play role of ‘60-year-old wandering around looking at young girls’ It is a universally acknowledged truth that Bridget Jones films are packed with humour and comedic scenes that attract viewers in their droves. However, in a slight departure, Hugh Grant has revealed that the fourth film in the series will also be “very sad”. Continue reading... from Film | The Guardian https://ift.tt/ZJoB2VO via IFTTT
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Mark Kermode on… Kathryn Bigelow, a stylish ruffler of feathers

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From vampire noir to Bin Laden, Point Break to Detroit, the first woman to win an Oscar for best director has never pulled her punches

Watching new Jeff Nichols release The Bikeriders, starring Austin Butler and Tom Hardy as 60s Chicago greasers, I was reminded of two other movies: László Benedek’s 1953 Marlon Brando vehicle The Wild One, explicitly cited as an inspiration, and The Loveless, the 1981 feature debut of Kathryn Bigelow, the American film-maker (b.1951) who would go on to become the first woman to win a best director Oscar with her 2008 war drama The Hurt Locker.

A symphony of leather-clad posing (with just a touch of Kenneth Anger), The Loveless was a staple of the late-night circuit in the 80s, often on a double bill with David Lynch’s Eraserhead. Sharing directing credits with Monty Montgomery, Bigelow playfully deconstructed masculinity and machismo in a manner that was one part wry to two parts relish. I remember seeing The Loveless at the Phoenix in East Finchley, north London, on a Friday night, and next day heading down to Camden Market to buy a cheap leather jacket. The next time I saw The Loveless (this time at the Scala), I wore the jacket and greased my hair – as did almost everyone else in the audience.

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