Tim joined Tom Barnard and the Morning Show crew on the “The KQ Morning Show” on KQRS-FM Thursday to review the new theatrical/Disney+ with Premier Access release “Cruella” and theatrical release “A Quiet Place, Part II.” On Friday, Tim reviewed the films with Kelly Cordes on “It Matters with Kelly Cordes,” and Paul Douglas on the “Paul and Jordana” show on WCCO-AM. Click to listen to everything below, including Tim’s appearance to review the films Thursday on “The BS Show.” All of the segments are brought to you by Michael Bryant and Bradshaw & Bryant.
AUDIO: Tim reviews the films with Kelly Cordes on WJON-AM.
Tim Lammers reviews movies weekly for “The KQ92 Morning Show” with Tom Barnard on KQRS-FM, “Paul and Jordana” with Paul Douglas and Jordana Green on WCCO Radio, “It Matters with Kelly Cordes” on WJON-AM, KLZZ-FM, “Let’s Talk Movies with Tim Lammers” with Tim Matthews on KRWC-AM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere, and reviews streaming programming on WCCO Radio’s “Paul and Jordana” as well. On TV, Tim has made hundreds of guest appearances on NBC affiliate KARE on the news program “KARE 11 News at 11”.
The past seven years have been quite eventful for acclaimed actress Hayley Atwell, who has been working non-stop on the big and small screens following her breakthrough role in 2011 as Agent Peggy Carter opposite Chris Evans in “Captain America: The First Avenger.”
The role has not only provided Atwell an opportunity to reprise the role in three more Marvel Cinematic Universe projects, but on TV’s “Agents of S.H.I.E.L.D” and her own series, “Agent Carter.” On top of that, Atwell’s good fortunes landed her a small but pivotal role in director Kenneth Branagh’s opulent live-action adaptation of Disney’s “Cinderella,” and in August, she’ll appear opposite Ewan McGregor in Disney’s live-action/animated hybrid, “Christopher Robin,” based on the animated tales of Winnie the Pooh.
Suffice it to say, Atwell is more than used to the daunting task of tackling time-honored stories and characters in her career, and on Sunday, fans will get to see the 36-year-old performer take on perhaps her most challenging role yet — as the legendary character Margaret Schlegel on STARZ’s miniseries adaptation of E.M. Forester’s classic novel “Howards End.”
In a recent phone conversation from London, Atwell said she was thrilled that director Hettie Macdonald and scribe Kenneth Lonergan could give “Howards End” time to breathe as a four-hour miniseries. Without question, there’s so much more to the narrative than what film fans were treated to with the critically lauded, 2 hour, 22 minute Merchant/Ivory version of “Howards End” a quarter-century ago, and Atwell couldn’t wait to help tell it.
“They wanted to take the time to explore the intellectual depth of E.M. Forster’s book, and I don’t mean intellectual in the sense of trying to make it academic or inaccessible. Instead, I think the heart of the story is about emotional intelligence,” Atwell said. “It shows our ability to move forward as human beings, as long as we are willing to engage in conversation about our differences rather that divide ourselves because of them. The story doesn’t shy away from questions and big ideas like social reform, and understanding social status and economic backgrounds, and the opportunities that one had back then, merely based on the family that you were part of.”
Set in Edwardian London in the early 1900s, Howards End tells the story of three families from different classes — the well-to-do Wilcoxes, the middle class Schlegels and lower class Basts — and how their lives fatefully intersect despite their vast differences in wealth and lifestyle. Atwell stars as Margaret Schlegel, who along with her sister, Helen (Philippa Coulthard), boast fiery independent spirits who find a cause in helping Leonard Bast (Joseph Quinn), an insurance clerk who is sliding deep into poverty. The dynamic between the sisters begins to change, though, when Margaret marries Henry Wilcox (Matthew Macfayden), the widowed patriarch of the Wilcox clan and head of the family’s business empire.
Establishing new pathways
There’s no doubt a giant looming in the background of the new TV adaptation in the form of the acclaimed 1992 film version of “Howards End,” which starred Emma Thompson, Anthony Hopkins and Helena Bonham Carter, and earned three Oscars including a Best Actress statuette for Thompson. Atwell is well-aware that some fans are going to want to compare it to the 1992 film, yet is confident that this new adaptation of the 1910 novel has established its own identity.
“It’s a question that just never comes up in the theater. When I played ‘Major Barbara’ on the Olivier stage at the National Theater, the question in the press was not, ‘Do you feel pressure because Judi Dench played her in 1960s?’ because I would have been like, ‘No, the reason I’m an actor is that I want to have a go at telling the story of a character,'” Atwell said. “I like telling stories in theater because the pieces transcend time and deal with universal themes, and then each production gets an opportunity within that place of time that they are to interpret that text.”
Effectively, Atwell wants viewers to look at “Howards End” through the same sort of lens, because while the story is set in the exact same time period as the source material, people’s views of how they look at the world have changed. Besides, Atwell, who describes herself as a “restless mind that longs to be challenged intellectually as well as emotionally,” wouldn’t have engaged in the project if it didn’t provide new promise.
“Our version of ‘Howards End’ is an adaptation of a classic book and a masterpiece told in 2017. The sensibilities that we have now are different than they were 25 years ago. There’s really no cause for comparison,” Atwell said. “While Emma Thompson and Anthony Hopkins so beautifully told their version of that story very successfully, it doesn’t mean that our path has already been paved. The material is so rich that now we can do something exquisite with it. In 2017, we became the custodians of these characters and we’re choosing our path now.”
Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere. Copyright 2018 DirectConversations.com
“Bridget Jones’s Baby” (R) 3 1/2 stars (out of four)
A stellar cast and clever writing makes for a bountiful arrival with “Bridget Jones’s Baby,” the third and presumably final chapter of the “Bridget Jones” movie trilogy. Beginning in 2001 with “Bridget Jones’s Diary” and continuing in 2004 with “Bridget Jones: The Edge of Reason,” the third trimester finds Bridget (Renee Zellweger) on her 43rd birthday, still single and very alone.
Convinced by a co-worker that she needs to sexually liberate herself, Bridget first sleeps with a handsome American online love guru Jack (Patrick Dempsey) at a weekend music festival, only to fall into the arms, once again, of Mr. Darcy (Colin Firth) one week later. Despite using what she thought was protection, Bridget finds out she is pregnant, but doesn’t know by which man. First trying to covertly discover which man is the father, Bridget eventually confesses what’s up to Jack and Darcy, who, without any idea who the father is, both vie for her love.
Fans of the “Bridget Jones” series will no doubt love “Bridget Jones’s Baby,” while those new to the trials and tribulations of Bridget will be filled in with flashbacks of Bridget and Darcy so the narrative makes sense. Hugh Grant’s Daniel Cleaver was written out of the new film, but in a creative sort of way that he remains in spirit. Jim Broadbent, Gemma Jones and Emma Thompson are wonderful in their key supporting roles.
Click book cover for info on how to buy!
“Blair Witch” (R) 1 star (out of four)
The more things change the more they remain the same with “Blair Witch,” the second sequel to the micro-budget indie-turned-blockbuster hit “The Blair Witch Project” from 1999. Another “found footage” movie, the only difference between “Blair Witch” and the original film is that the footage is culled from memory cards this time around instead of videotape. Otherwise, the set-up and execution is exactly the same (and no doubt bloodier and more violent).
Convinced by YouTube footage that includes a glimpse of a woman he believes is his sister, Heather Donohue (the woman in “The Blair Witch Project”), James (James Allen McCune) assembles a small crew of friends to venture out into the desolate woods of Burkittsville, Maryland, to find her.
Hear Tim’s reviews of the films on “The KQ Morning Show” with Tom Barnard and Michele Tafoya, starting 13 minutes in.
Well aware of the legend of the Blair Witch, James — accompanied by the couple who discovered the YouTube footage – and his crew, document the search with GoPro-like cameras and a drone, telling the tale, essentially, from their point-of-view. Their first night in the woods, the search party begins to hear strange noises and eventually, screams, which escalates into a violent night of terror at the house shown at the conclusion of “The Blair Witch Project.”
Trudging through the footsteps of the first movie, “Blair Witch” was no doubt an ill-advised film project, because essentially, it’s a remake of the 1999 original. Mercifully short at 89 minutes, “Blair Witch” is proliferated by shaky cam movements from beginning to end, even though there are no real scares to be had for the first 50 minutes.
The sad thing is, once the terror begins and the crew takes flight through the woods, the action and camera movements are so manic that it’s hard to tell just what exactly is going on. Covertly filmed under a different title and surprisingly revealed at this summer’s San Diego Comic Con, “Blair Witch” should have remained a buried secret.
Original Interviews, Reviews & More By Tim Lammers
