Plantiana Yawn. Poorly Filmed Snooze Fest.

Cathardincu Surprisingly incoherent and boring

Wordiezett So much average

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

cajoseph-20193 AT the end I wish Bernie had just let Anna jump or better yet pushed her off the ledge. Caught this on Netflix in 2017. I THINK that the daughter and the grand-kid were BOTH imaginary - hence the baby sleeping sign was always on the door. Why was Anna phoning her own apartment from a phone booth? And what's with the old-fashioned touch phone in 2015? Where did the itchy cast on her broken arm come from - did she get it from killing the match.com date? London is photographed like NYC (Gotham) in a Batman movie and I half expected to see the Caped Crusader and Catwoman appear. This is a plot? HE'S a newly divorced cop (DCI Bernie Kominski - a Brit police chief with a Borsch Belt name and demeanor) who stumbles around like he's taken far too many of those Ambien pills he's seen swallowing. SHE'S a lonely, sixtyish woman who works selling mattresses in a department store and hallucinates she's living w/her (non-existent?) daughter and dead grand-kid. She does in-person speed-dating and during the process runs into a rough-trade character. During a sex hook-up with the dude she kills him in self-defense and can't remember the killing happened, much less that she did the deed herself. OY VEY Bernie! She ALSO doesn't remember that while day-dreaming during a babysitting stint she got forgetful (again) and let her grand-kid run off and get killed by a car. So she goes to the park and pushes an empty swing. Bernie gets to investigate the gory murder and despite his attraction to Anna, comes to suspect her and when he comes in for the arrest, she steps out onto the edge of the high-rise and threatens to jump. He pulls Anna (now the love of his heart) back. End of film....

st-shot Love seems to be blinding in this tepid suspense film featuring the world weary presence of Charlotte Rampling and Gabriel Byrne operating with distracted lonely hearts. While they may have an excuse director Barnaby Southcombe has none as his smoke and mirror distractions to deny the stretched out obvious story line along with a poorly edited far fetched finale that smacks of modern day DW Griffith, the dating disastrous. .Anna Welles (Rampling) readies herself for another round of a singles get together. Divorced and in her 50s she meets George and goes back to his apartment with him. He's later found dead. Detective Bernie Reid (Byrne)runs into her the next day near the scene retrieving an umbrella and again at the dating session where she does not recall meeting him (Hmmmm?). Director Southcombe direction is ambitious but with weak material as it offers up a couple of drab alibis in a surly pair of marginals that are clearly a long shot as we begin to piece together the unstable psyche of Anna. Seasoned investigator Reid should clearly know better but remains clueless and goes rogue over a woman he only thinks he knows after a few meetings. In addition to the murder Southcombe makes a statement about aging and the demeaning speed dating game as well as make victim George a justifiable homicide. Another tragedy precedes as well to cloud matters but compelling as it is it adds little to the mystery and the fact Anna is one forgetful lady that might be forgiven for a lot of things.Rampling understated look and sound of indifference usually controls the mood of most of her films. Here she is wasted, her performance for the most part catatonic. Byrne's histrionics at the end wake up a dull performance best left sleeping, while Eddie Marsan's cop associate could use some sedation. Perhaps the film's finest moment and performance is the cameo of Honor Blackman as Joan putting on her game face in a ladies room and pointedly summing up the way it is.

nzpedals There are so many strands that make up the story, and very little to connect them together. But it is well worth watching a second (or more) time just to get the whole picture (!)Charlotte Rampling is so good, so convincing as the middle-aged woman, now separated and living with a daughter and grandchild. But there is a past incident, very important to what else is happening, briefly referred to a couple of times that isn't really explained - perhaps a tragedy involving another child? Every now and then, there is a flashback with Anna now wearing a bright red dress. That's a signal to us to change our focus and concentrate and try to join the scenes together.Gabriel Byrne is the cop who becomes attracted (no surprise there!) to Anna. A very good performance.

Lucy-westmore The erroneous synopsis to this stylish if slightly flawed thriller, does not do the intricate, complex story the justice it deserves. Barnaby Southcombe's debut feature is an adaption of Elsa Lewin's dark novel of the same name. Shot in various locations around London, it unravels the story of the relationship between a high ranking detective (Gabriel Byrne) investigating the murder of a no good low life, and a middle aged divorcée, Charlotte Rampling, with whom he develops a potentially damaging obsession. The film unfolds slowly but is worth the wait. The film engages the viewer as the pace quickens and story intensifies and things just gets better and better. Strong performances from the two stars as one would expect. A wonderful vehicle for Charlotte Rampling to prove a woman over 50 can be just as sexy and alluring as any 25 year old, she is totally convincing as the fragile, complex protagonist. And a real treat to have Eddie Marsan on screen, every film is improved by his presence, never puts a foot wrong, superb. London is a stylish but never overwhelming backdrop to this pleasing contemporary film noir. And a cracking soundtrack too...