Laikals The greatest movie ever made..!

Solidrariol Am I Missing Something?

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Delight Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Amy Adler Henry (Sam Neill) has just lost his job and has been very unlucky in love, too. After hatching a plan to jump off a tall bridge, Henry is surprised to see that someone else is there ahead of him, with the same idea. Its Karen (Helena Bonham Carter), who has been dumped by a man she thought loved her very much. As Henry and Karen convince each other not to end it all, Karen proposes a plan straight out of Hitchcock. Karen will get revenge on Henry's ex boss if Henry will go after her ex and the wife to whom he returned. Bewildered and still emotionally raw, Henry agrees to talk about the idea back at Karen's home. Wait, its a castle and obviously the lady is quite rich. Doubting whether Henry is really sincere, she invites him to spend the night but, when he wakes, Henry's clothes are gone and he is tied to a bed. Nothing will free him except the promise of taking her ex down. He agrees. Soon, Karen has disguised herself as a frump and wormed her way into a temp job as Henry's ex-boss' (Steve Googan) secretary. Meanwhile, Henry reluctantly seeks out the farm where his targeted couple abide, including the lovely wife, Imogen (Kristin Scott Thomas). All too soon, Karen seems to be achieving her goals while Henry drags his feet, because Imogen has transfixed him. What, what will Karen do as revenge to Henry if he doesn't do her bidding? This is a funny tale but by no means exceptional. Neill is great as the hero trying to turn to the dark side for a bit while Bonham Carter is one nasty female. Thomas, Coogan, Rupert Graves and the others do nice supporting work. Sets, costumes, script and direction are quite above average. Therefore, those who enjoy British comedy and light romance will find this a satisfying view for an evening.

carbuff I really enjoyed this unusual mildly black comedy/drama of the kind only the British seem to be able to do well. It is understated and unpredictable with very solid performances all around. I even liked Helena Bonham Carter, who fit her role to a tee, since she was as annoying as usual, which was exactly what was called for. Although I expect that many people may find this film a bit slow and maybe even too cerebral compared with more modern fare (which doesn't really say much for our society, I think), I personally loved it and consider it another hidden gem.

James Hitchcock Sir Alan Ayckbourn is one of Britain's most successful and prolific playwrights, but the British film industry, unlike the British theatre and British television, has never taken much interest in his work. Although he has written more than seventy full-length plays, most of which have been performed in London's West End and many of which have been adapted for television, the number of feature films based on his work can be counted on the fingers of one hand. (Two have been made by the French director Alain Resnais; the only other one in English is Michael Winner's version of "A Chorus of Disapproval"). "The Revengers' Comedies" is the other British exception to the general cinematic disregard of Ayckbourn's work, although I must say that it was a strange choice to adapt for the screen. The original play was not a success when it was put on in the West End in 1991, largely because it runs for five hours and was presented in two parts over two successive evenings. Malcolm Mowbray's film makes no attempt to match the play in length; indeed, at only 86 minutes it is shorter than most films these days. This means that, inevitably, much of Ayckbourn's original material has to be jettisoned. Mowbray, however, keeps the plural noun "comedies" in the title, which Ayckbourn used to signify that this was a two-part play. The title is a play on "The Revenger's Tragedy", the Jacobean tragedy which has been attributed to both Cyril Tourneur and Thomas Middleton. The plot owes something to Alfred Hitchcock's film "Strangers on a Train". It starts with the two principal characters meeting when they attempt to commit suicide by jumping from Tower Bridge. (The Albert Bridge in the play). Henry Bell, a middle-aged business executive, has recently been sacked from his job. Karen Knightly, the eccentric daughter of a wealthy country family, has been involved in an unhappy love affair with a married man. When both fail in their suicide bids, they compare stories and agree that each will exact revenge for their misfortunes on behalf of the other. Karen will seek revenge on Henry's unpleasant former boss Bruce Tick while Henry will seek revenge, not against Karen's former lover Anthony Staxton-Billing, with whom she is still in love, but against his wife Imogen whom Karen blames for her misfortunes. A complication arises, however, when Henry meets Imogen and starts to fall in love with her. The film features a number of well-known names from the British acting profession, most of whom play their parts very well. I felt that Sam Neill perhaps made Henry too staid and conservative compared to Griff Rhys Jones' interpretation when he played the part on stage; I felt that Henry must have had a darker side to his character to have gone along with Karen's mad scheme in the first place. Helena Bonham Carter, however, was brilliant as Karen, a spoilt, wilful upper-class brat, wildly eccentric to the point of insanity. I felt that Steve Coogan's Tick was insufficiently arrogant and bullying, but Martin Clunes' Anthony was suitably obnoxious, essentially a crude thug in the clothing of an English country gentleman. Kristin Scott Thomas seems to play upper-class horsey types at regular ten-year intervals; her Brenda Last from 1988's "A Handful of Dust" and her Veronica Whittaker from 2008's "Easy Virtue" are, socially speaking, very similar characters to the one she plays here. Imogen, however, is more sympathetic than either Brenda or Veronica; although she initially comes across as a hard-bitten snob, we soon realise that underneath she is a vulnerable figure, the victim of a selfish, womanising husband.There is a lot of humour in the film; the funniest scenes, I felt, were those where Karen disguises herself as a frumpy office temp in order to infiltrate Tick's company and that strange duel between Henry and Anthony. And yet the film as a whole did not work for me quite as well as the play. (I seem to be not only one of the few people who actually saw the 1991 production but also one of the even smaller group of people who liked it). Ayckbourn's success as a dramatist is due not merely to the quality of his plots and dialogue but also on matters which transfer less easily to the cinema screen, such as complexity of structure and his knowledge of stagecraft. (Besides being a playwright, he is also the artistic director of a theatre). By condensing the five hours of his "Revengers Comedies" into less than an hour and a half, much of the dramatic material in the plays has had to be sacrificed, and the result is something less complex and less well-structured than the original play. (The ending in particular is rather disappointing). The film version also loses something of the dark quality of Ayckbourn's black comedy. It is a valiant attempt to adapt Ayckbourn for the screen, but it perhaps also indicates why such an attempt is fraught with difficulty and why so few films have been based on his plays. 7/10

merklekranz If you view a great British comedy in the right mood, it can be a splendid evenings entertainment. First you have to get past the dialect, and the faster the lines are delivered, the more challenging this becomes. However, if the laughs are there they will come through loud and clear. Unfortunately this is not the case with "Sweet Revenge". This totally predictable and uninspired effort, fails on several levels. The punchlines are telegraphed well in advance. The script is in many places more mean spirited than funny. Do yourself a favor. If you want to see a wonderful, dark, British comedy, seek out "Car Trouble" and skip this one. - MERK