Breakinger A Brilliant Conflict

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Matt Greene Look, Howards End is a competent, mildly intriguing Merchant Ivory production about the paranoia of the wealthy. Mostly though it's over 2 hours of proof as to why I don't and have no desire to watch Downton Abbey. Posh people have quietly regal discussions, a sudden outburst of drama temporarily disrupts the nobility, repeat.

Sancar Seckiner Dir. James Ivory-Pro. Ismail Merchant' s excellent work Howards End , 1992 with Emma Thompson-Anthony Hopkins is adapted from novel of E.M.Foster. The following year, 1993 , we see another gorgeous performance , the Remains of the Day with same people. This time adaptation is from Kazuo Ishiguro ' s novel. Writer was awarded Nobel Literature Price in 2017.Recently , we heart that a new co-operation with Emma Thompson- Anthony Hopkins is on the way : King Lear, 2018. This time , director is Richard Eyre.P.S. Two important adaptation by James Ivory : A Room with a view (E.M.Foster), 1985 and Golden Bowl (Henry James), 2000.Two additional adaptation info. : A Passage to India(E.M.Foster) by David Lean , 1984 and Washington Square(Henry James) by Agnieszka Holland , 1997.

Michael Neumann Producer Ismail Merchant and director James Ivory return, again, to the source of their greatest commercial triumph (E.M. Forster, author of 'Room With A View'), but this time have chosen a novel which doesn't lend itself well to screen adaptation. The customary virtues of other Merchant-Ivory productions are all here: the handsome period setting; a graceful and witty screenplay; tasteful direction and so forth, but every grace note is undermined by Forster's awkward scenario and sometimes labored plotting, often requiring key characters to disappear for long stretches of screen time. In the end Ivory tacitly admits defeat by using portentous slow motion effects to make a dramatic point, a technique best left to Hollywood hacks with music video training. Saving graces include appearances by a luminous Vanessa Redgrave, and Anthony Hopkins showing his true range after being lauded for his one-note performance in 'Silence of the Lambs'.

Greg Mullins So subtle, yet so very clever. There are some films you watch again and again just because you like them, or something about them. Even if you don't think them among the best ever - they're one of your favorites. This is not that. There are others you really have to watch several times just to penetrate the layers of things hidden - multiple meaning and real subtext. Modern film goers aren't used to this. Many find even the idea of intelligent films that require your intelligence to watch them, a foreign concept. This is one of those.Now mind you I'm not saying this is a hard film to watch, it is not. It's extremely easy to watch, and very enjoyable - if you like people (or at least the idea of liking people). If you don't like people, you probably won't like this or any period piece. This movie actually has something to say, which is easy to miss. Meaning if you stay on the surface of it, it's very easy to take for granted - looking at the lovely and missing the principles and truths on display. Attention is something you have to Pay, and some are simply not willing to do that. They feel the price of the ticket should have covered it.If you love excellence then you'll love this film, because it it is filled with excellence. It's not fast paced like a thriller, but not a single moment of the film is wasted. All the transitions from scene to scene are seamless, and every scene is full. The language here is the language of relationships. With one of the stronger underlying themes being that of the Biblical law of reaping what you sow, and accountability for one's actions.Pay special attention to where the film begins and the offense (morally) that occurs there, where the film ends - and who is given what would have been theirs (at least in part) had the right thing been done instead of the offense, and the way that it all comes about. Which is part of what causes you to not notice it. Believe me, it is so subtle pretty nearly everyone misses it. In an almost altruistic sense the story comes full circle by ending exactly where it began. Watch how the inanimate objects of an umbrella, a sword, and a house participate in the flow of events, and thereby the direction of lives. This is probably the most nuanced film you'll ever see, and it is a masterpiece . . . fullgrownministry.com