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Period Drama Forums - Statistics Center

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22d 5h 1m
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Forum History (using forum time offset)

Yearly Summary New Topics New Posts New Members Most Online
* 2018 185 884 29 72
September 2018 15 61 0 42
August 2018 12 75 0 44
July 2018 20 108 4 44
June 2018 15 83 0 42
May 2018 35 128 0 39
April 2018 25 148 12 37
March 2018 30 142 2 39
February 2018 19 70 7 36
January 2018 14 69 4 72
* 2017 30 207 0 30
December 2017 30 207 0 30

* BBC Films

* The Guardian (Film)

  • post Send us your questions for Mike Leigh - 20 September
  • The Observer New Review asks you to put your questions to the much-loved director ahead of the release of his new film, Peterloo
    Mike Leigh is one of the country?s most beloved and respected film-makers. A versatile and humanist director, he has explored themes as diverse as camping holidays in Nuts in May (1976), middle-class soirees in Abigail?s Party (1977), adoption and class in Secrets & Lies (1996), illegal abortion in Vera Drake (2004), unusual driving lessons in Happy-Go-Lucky (2008), and, in 2014?s Mr Turner, the final years of the Romantic painter. Related: Mike Leigh's Peterloo: first trailer for drama about the notorious massacre Continue reading...
  • post James Bond 25: Cary Fukunaga named as new director - 20 September
  • Beasts of No Nation and True Detective director Fukunaga confirmed to take over from Danny Boyle on new film starring Daniel CraigDanny Boyle?s replacement as director of the 25th James Bond film has been named as Cary Fukunaga. In a statement released on Thursday, producers confirmed the hire of the Beasts of No Nation film-maker, saying:?We are delighted to be working with Cary. His versatility and innovation make him an excellent choice for our next James Bond adventure.? Continue reading...
  • post The Big Lebowski review ? The Dude bowls back the years - 20 September
  • Twenty years on, the Coen brothers? comic masterpiece is sleeker and sharper, with even more menace and mysteryAfter 20 years, the shaggy-dog-stoner LA noir that could be the Coens? comic masterpiece rolls back on to the big screen, as light and insouciant as the tumbleweed from the old west that drifts incongruously up to the city in the opening sequence. In fact, after two decades, the film looks weirdly less shaggy, less dishevelled to me: sleeker, sharper, more integrated and with more menace, more mystery. (I found myself thinking of Thomas Pynchon and Lynch?s Mulholland Drive). Sam Elliott?s basso profundo narrator, topping and tailing the action and appearing enigmatically in the middle, creates a fascinating residue of unease. But there are just as many laughs.Our sub-Chandleresque hero is Jeffrey ?The Dude? Lebowski, unforgettably played by Jeff Bridges: a younger or more lightweight actor would have made this character seem merely silly. He is a man whose plot function is so close to that of the classic private eye that he is mistaken for one by another private eye late on in the film. Continue reading...
  • post Queercore: behind a documentary reliving the gay punk movement - 20 September
  • As the origins of the radical subculture are explored in a new film director Yony Leyser and key figure Bruce LaBruce discuss its relevancy todayDirector Yony Leyser calls queercore ?a farce that became real?, while film-maker Bruce LaBruce labels it a respite for ?the fringe of the fringe?.LaBruce is uniquely qualified to make his claim. Thirty years ago, he and fellow Toronto artist GB Jones started what later became known as queercore, a fake movement that somehow morphed into a genuine one. ?People thought that Toronto was the center of this hardcore movement,? says LaBruce in a new documentary directed by Leyser titled Queercore: How To Punk A Revolution. ?But it was just me and two women who sat in their basement and churned out alternative publications and experimental movies.? Continue reading...
  • post Faces Places review ? Agnès Varda's spectacular odd-couple odyssey - 20 September
  • The 90-year-old director goes on the road with street artist JR to create remarkable, moving portraits of the people they meetThere?s a wonderful warmth and playful indirectness to this essay/road movie in the classic nouvelle vague spirit, conjuring a semi-accidental narrative in the midst of what is ostensibly a documentary. It is a collaboration between the legendary 90-year-old director Agnès Varda and the 35-year-old French street artist who styles himself simply JR and always wears a hat and dark glasses, indoors and out ? an opaque mannerism, almost a disguise, which Varda compares to her old comrade Jean-Luc Godard, and which irritates her a little bit. Continue reading...
  • post Never Here review ? dark, disturbing surveillance thriller - 20 September
  • In his last screen role, Sam Shepard plays an art dealer whose affair with a young conceptual artist leads to disquieting questions of identitySam Shephard makes his final screen appearance in this flawed, but intriguing and often very disturbing work from film-maker Camille Thoman ? surveillance thriller and noir nightmare, combined. He plays Paul Stark, a New York art dealer who is representing and indeed having an affair with Miranda Fall (Mireille Enos), a fashionable young conceptual artist with a critically acclaimed but scandalous new installation currently on show. Miranda had discovered someone?s mobile phone in the street, and used all the photos in it as an exhibition devoted to this total stranger, meditating on the mystery of identity. The victim himself is of course astonished and furious, and shows up angrily on the opening night, creating a miasma of unease. Continue reading...
  • post Toronto 2018 roundup: popcorn, syrup and a convict in space - 15 September
  • While Steve McQueen and Barry Jenkins led the hype for Oscars, it was veteran director Claire Denis?s bizarre sci-fi High Life that really caught the eyeThe Toronto international film festival is an increasingly glitzy affair, with enough world premieres from celebrated auteurs to have even casual moviegoers frothing at the mouth ? and critics positively weak at the knees. Courting the sweet spot between art house and mainstream, it?s a prime destination for Oscar contenders opening on the festival circuit (taking place just after Venice and the prestigious though less well-known Telluride). Distribution deals are made in high-rise hotels, and celebrities roam the streets like civilians.The festival may be a hype machine, but the hype itself is as fragile as a bubblegum balloon. Praise swelled around Steve McQueen?s Widows, a wildly entertaining female-led crime thriller co-written by the director with the author of Gone Girl, Gillian Flynn, and set on the mean streets of Chicago?s South Side. Viola Davis is Veronica, widow of Liam Neeson?s criminal Harry Rawlings and inheritor of a sizable debt in the wake of his last, bungled job. McQueen?s previous three films were elegant and sombre, and interested in how bodies do and don?t yield to violence inflicted by the self, society and the state. The altogether lighter, slighter Widows feels like a sharp left turn: the artist-director has made an almost trashy popcorn movie with a sly sense of humour, indulging in adrenaline-pumping, car-chase set pieces and soapy parodies of seedy politicians. It?s a little top heavy and rushes its conclusion, but it?s exciting to see McQueen having so much fun. Continue reading...
  • post Boy Erased review ? plodding gay conversion drama lacks power - 12 September
  • Strong performances from Lucas Hedges and Nicole Kidman aren?t enough to bring a disappointingly pedestrian tale to lifeThe isolating process of becoming aware of one?s sexuality, being forced by societal constraints to deny it and then finally dealing with the often difficult after-effects that follow coming out, or being forced out, can be deeply traumatic and difficult to explain to those who haven?t endured it themselves. In Boy Erased, this experience is brought to the screen within a particularly harrowing framework, based on the memoir from Garrard Conley. Related: Red Joan review ? Judi Dench's 'granny spy' brings OAP to the KGB Continue reading...
  • post Red Joan review ? Judi Dench's 'granny spy' brings OAP to the KGB - 12 September
  • Dench is a pensioner pulled up for her wartime sympathies in a stodgy espionage drama that can?t disguise its mediocrity?No one suspects us because we?re women,? smiles one feminine conspirator to another in Trevor Nunn?s wartime spy drama Red Joan. Never mind all the espionage and atomic physics, this movie is really about the dangers of underestimating women. Our Joan is patronised in two different eras of her life, both as the pensioner charged with treason and as a demure Cambridge scientist in the 1940s, who slips nuclear secrets to the Soviets on the sly.The older Joan, played all too briefly by Judi Dench, is a retired and softly spoken librarian apparently engrossed in watercolours and gardening. Her friends, neighbours and even her adult sonare flabbergasted when the police come knocking. Surely the old dear can?t have snow on her boots? These dopes haven?t clocked her Che Guevara coffee mug. As the police interrogate her, flashbacks take us back to her youth as a susceptible student, singled out by conniving communists at a screening of Battleship Potemkin. Continue reading...
  • post The Old Man and the Gun review ? Redford radiates swagger and class - 12 September
  • The film feels like a homage to Redford, who will surely earn a final best actor Oscar nomination for his performanceRobert Redford?s career ends not with a bang but a caper, the sort that he might have romped through half a century ago. Reportedly Redford?s final film, The Old Man and the Gun will surely earn the the 82-year-old one final best actor Oscar nomination for a performance of immense swagger and class.It?s directed by David Lowery, who is fast gaining a reputation as one of the harder-to-pin down talents currently working in Hollywood. Anyone who struggled with Lowery?s last film, the peculiar metaphysical drama A Ghost Story, might expect something similarly chewy this time around. But he was also responsible for a faithful recent remake of Disney?s Pete?s Dragon (which also featured Redford), and here creates a film that cleaves so closely to the aesthetic of 60s/early 70s Hollywood that it might as well be pickled in aspic. Continue reading...

* CinemaBlend

* Guardian - Film

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