The film’s three stars dominate the best actor category.
Matt Palmer’s Highlands-set thriller Calibre has garnered five BAFTA Scotland nominations.
The film’s three stars took all three spots in the best film actor category, for Screen Stars of Tomorrow Jack Lowden (2014) and Martin McCann (2007), as well as for Tony Curran. Palmer has also been nominated for best fiction director, and best writer for film/television. However the film missed out on a best feature film nomination.
Full list of nominations below
Lowden and McCann play childhood friends who find themselves backed into a corner by locals when...
Matt Palmer’s Highlands-set thriller Calibre has garnered five BAFTA Scotland nominations.
The film’s three stars took all three spots in the best film actor category, for Screen Stars of Tomorrow Jack Lowden (2014) and Martin McCann (2007), as well as for Tony Curran. Palmer has also been nominated for best fiction director, and best writer for film/television. However the film missed out on a best feature film nomination.
Full list of nominations below
Lowden and McCann play childhood friends who find themselves backed into a corner by locals when...
- 9/26/2018
- by Ben Dalton
- ScreenDaily
BERLIN -- "Asylum" is a psychological thriller without bothering much with psychology. Come to think of it, the thrills are pretty much missing, as well.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
- 3/23/2005
- The Hollywood Reporter - Movie News
BERLIN -- "Asylum" is a psychological thriller without bothering much with psychology. Come to think of it, the thrills are pretty much missing, as well.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
- 2/12/2005
- The Hollywood Reporter - Movie News
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