When I read the news that there is going to be a third Bridget Jones movie, I couldn’t help but smile.

I may be in the minority (particularly after the second movie), but I would love to see Bridget on the big screen again. And now I will have that chance, since, as Entertainment Weekly has reported, Universal Pictures and Working Title films have given the project the green light.

This is one of those rare cases where I loved both the books and the movies. Author Helen Fielding started penning the third novel earlier this year, and I’m certainly looking forward to it. She hinted that the plot might center on Bridget in a baby crisis but said that she didn’t know if the book and film would follow the same storyline. A plot floated by Mark Darcy himself (Colin Firth) suggested that Bridget (Renee Zellweger) and Mark have trouble conceiving, which leads her to turn to Daniel Cleaver (Hugh Grant) for help. And I think we all know how that would turn out …

I’m just going to put it out there. I think Bridget Jones’s Diary is one of the most accurate portrayals of women, relationships and women in relationships out there.

Yes; I said it, and I stand by it.

I think there is some of Bridget in every woman. I can pinpoint many of Bridget’s tendencies in myself. What I love most about the books and movies is that they aren’t afraid to cast a spotlight on flaws every woman I know has.

One of the (arguably) pivotal scenes in the first movie shows Bridget getting ready to go out. She’s forced to choose between the ginormous underthings that will make her look just a little bit skinnier and the skimpier, sexier variety. That, my friends, is real life.

One of the things I can relate to is Bridget’s perception of the two leading men (as it were) in her life. She simply cannot see that Daniel is bad for her, and she simply cannot see that Mark is good for her. It’s not exactly a case of wanting what he can’t have, but I suppose it’s close. Bridget merely chooses (in the beginning, at least) the exciting over the predictable. I’ve done that, too. I have no doubt I’ve passed on wonderful, stable guys in favor of someone more dazzling who turned out to be not quite as dazzling as I thought he was. Bridget learned her lesson, and so did I.

But the one thing that I think makes Bridget Jones’s Diary so true to life are her insecurities. From her weight to her belief that no one like Daniel Cleaver could possibly love her just the way she is, those insecurities shape her actions and reactions. And I think, on some level, every woman has those fears – myself included. I understand why she does what she does because I’ve done some of the same things. I completely get how those insecurities lead to tension in her relationship with Mark. It’s refreshing to see someone struggle to work through them, just like the rest of us would in real life.

Bottom line: I don’t mind being a little like Bridget Jones. I think it’s a v. good thing.

The script is from actor Wentworth Miller and follows a girl and her mother who, after the death of the father, reunite with his mysterious brother. Kidman is the mother, Waskiowska is the girl and Firth would be the mysterious uncle, who is rumored to be a vampire (via /Film).

Even though Park tackled vampirism in his under-appreciated The Thirst, he has a knack for finding new themes to explore, like in his vengeance-fueled Sympathy for Mr. Vengeance, Oldboy, and Lady Vengeance. Epic.

Blu-ray has the list of Special Features you can expect:

• Audio commentary with director Tom Hooper
• Making of Featurette: An Inspirational Story of an Unlikely Friendship
• Q&A with the director and the cast including Colin Firth
• Speeches from the real King George VI
• The real Lionel Logue highlights

The story centers on Smiley, a middle-aged, taciturn, perspicacious intelligence expert in forced retirement. He is recalled to hunt down a Soviet mole in the “Circus”, the highest echelon of the Secret Intelligence Service. Working Title Films is involved with the feature and no word yet on when filming will start. This is Alfredson’s recent directorial piece after his breakout Swedish tale Let the Right One In, which is being remade at the moment as Let Me In with Matt Reeves directing.

Oldman recently got cast to voice one of the main characters in the DreamWorks Animation sequel Kung Fu Panda: The Kaboom of Doom. Fassbender appears as Burke in the comic book adapted film Jonah Hex, coming out in theaters everywhere on June 18th. Thewlis not only finished wrapping up his role as Remus Luplin in Harry Potter and the Deathly Hallows, but is appearing in the Bernard Rose film Mr. Nice.

Sturgess plays Tom Wilkin, one of two British officers (the other played by MacFadyen) who are trying to track down Jewish militant groups who are responsible for terror attacks against British soldiers and Arabs, all in the lead up to the partition of Palestine in 1948. Firth will play a poet named Avraham Stern, who is the leader of an extreme right-wing Jewish group. (The Film Stage)

Producing the pictures is Winterbottom and Andrew Eaton, who’s other production credits include The Killer Inside Me and the Red Riding trilogy. Also, a super random fact for you all, did you know that both MacFadyen and Firth at one point have played the charming Mr. Darcy in a Pride and Prejudice film or television show? Well, now you do.

Normally when buzz is being received the most for a single performance, the rest of the film falls at the waist side. This is not the case for A Single Man, one of the most visually storytelling films of the year. Tom Ford’s vision truly stands out in many ways, from subtle changes in coloration, the focus and overall perception of the world through Falconer’s eyes.

One of the key components of this feature is the amazing performance that Colin Firth dishes out. He absorbs himself entirely into the role, earning a new wave of admiration over tackling such a heart wrenching piece. The supporting cast is almost equally as good, the one standing out the most is Nicholas Holt as Kenny, the epitome of color and beauty that’s as delicate as a blossoming rose. Julianne Moore plays Charley with charisma, adding a bit more depth within the minor character not just through dialogue, but by simple mannerisms.

The one thing that helps the most with thrusting us into Falconer’s world in the film is not only the direction but the simple use of camera work. We implanted into this era, but we find a different layer that appears through his eyes when something affects his fragile state of mind. An example that happens through different forms is the way color seems to fill the frame shot of Kenny when Falconer listens to the insight of the bright young man, although his world still appear bleak when cutting back to him.

A Single Man plays itself out like a sun randomly peeking in between thick clouds of rain, tugging away at our emotional core. It leaves an impression as one of the most moving and tragically beautiful pieces of cinema to hit theaters in 2009.

Rating: 5 out of 5 stars

Penning the script will be TV scribe David Seidler with Emile Sherman and Iain Canning producing under See Saw Films. Gaerth Unwin will be producing alongside Bedlam Productions with The Weinstein Company distributing it. No word yet on when this film will be set out into the States, but from the bland kind of plot line this reporter here is in no rush to see it.

Source: YouTube

An Education: Winner of the Audience Award at the Sundance Film Festival, An Education is the one of the biggest front runners in this year’s Oscar race, with across the board praise for its female lead Carey Mulligan, and raves for lead actor Peter Sarsgaard, and supporting performance by the under appreciated Alfred Molina. At this point, Carey Mulligan is the biggest front runner in all the races combined with an assured nomination and possible victory.

The Lovely Bones:  Peter Jackson‘s highly anticipated return comes in the adaptation of the Alice Sebold novel The Lovely Bones.  The film tells the story of a young woman who is brutally raped and murdered and watches from heaven, as her family tries to cope with the loss, and try to solve what or why it happened.  One of the biggest front runners in this year’s Oscar race has already been screened  a  few times, and is slowly loosing steam as reviews come in saying the film is magnificent, but plays more as a thriller, rather than solid drama.  Keep a look out for technical nominations, as well as nominations in lead for past Oscar nominee Saoirse Ronan of Atonement, and supporting nominations for Rachel Weisz, as with as the big ones for Best Picture, Director and Adapted Screenplay.

Avatar:  To put this film, as being highly anticipated would not do the film justice with fans and fanboys, to see what the master filmmaker has conjured up with his first feature length film since 1997′s record breaking phenomenon Titanic.  Oscar prognosticators seem to be at odds whether the film will be a Best Picture nominee, with the Academy changing to 10 films, but those  who have seen cuts or scenes from the film overwhelmingly believe it can.  Expect the film to sweep the technical categories.

Precious: Based on the novel “Push” by Sapphire :  Already the front runner for a Supporting Actress win, Mo’Nique seems to be on every one’s radar at the moment, since the film’s reception at this year’s Sundance Film Festival, where the film went on to win the coveted Grand Jury Prize, along with the Audience Award.  The film has been slowly gaining steam towards a Best Picture nomination, as well as, a nom for Gabourey Sidibe as the film’s lead playing an overweight black woman who is pregnant with her second child, and under pressure from her cruel mother (Mo’Nique), while seeking guidance from a social worker (Mariah Carey).

Nine : On the Oscar train since the film’s announcement; Nine marks the return to the musical for Chicago director Rob Marshall in an adaptation of the Broadway play of the same name.  The film stars a virtual roster of Oscar winners and nominees, with Judy Dench, Kate Hudson, Penelope Cruz, Marion Cotillard, Sophia Loren, Nicole Kidman and in the singing and dancing lead, Daniel Day Lewis.  Early buzz has been mixed, but likely to take a Best Picture nomination, as well as, acting categories going either way for Judy Dench and Marion Cotillard.

Bright Star: Still the only female to every win the best director award at the Cannes film festival, Jane Campion returns with Bright Star, an original screenplay of her own that tells  of poet John Keats and his lover Fanny Brawne, played by Abbie Cornish in a star making performance, whose previous work in Candy and Stop-Loss first put the talented actress on the Hollywood map.  Though the film’s reception has considerably cooled since it’s Cannes premiere, the film is growing a strong following hoping to muster up some Oscar attention, with its best chances in the lead actress and original screenplay categories.

The Road: Loved by many, and indifferent to others, the film tells the incredibly bleak story of a father and son on their trek to to the coast in a post apocalyptic America.  Viggo Mortenson returns in top form as the father protecting his son, played by Kodi Smit-McPhee.  Both actors are looking to earn Oscar nominations for their respective performances, but with Mortenson and the film’s cinematography so far the one’s up ahead.

The Hurt Locker:   One of the summer’s breakout films The Hurt Locker has been receiving raves since its premier at the Venice Film Festival last year and has not slowed down since.  The Hurt Locker is primed for Oscar gold with enough love for the film to earn its slot in the Oscar top 10 list, as well as, nomination love for Best Director Kathryn Bigelow, and possible nomination for lead actor Jeremy Renner and supporting actor Anthony Mackie.

UP:  With Oscar prognosticators still reeling over last year’s omission of Wall*E in the Best Picture category, UP seems to have all the right marks to fit the bill, and give Pixar its coveted Best Picture nomination, a first for an animated film since 1991′s Beauty and the Beast.

Amelia: Beloved director Mira Nair returns with the ambitious biopic of legendary pilot Amelia Earhart played by Oscar winner Hilary Swank in an attempt to get Oscar number 3.  Don’t expect Ms. Swank to obtain the win, but a nomination is very likely for the film, along with coveted Best Picture nomination and long shot nominations for Richard Gere and Ewen McGregor, to have the next possible acting nominations outside of the film’s technical nominations.

Invictus:  In the most obvious Oscar film out there, the secretive Invictus tells pseudo biopic of famed civil rights activist Nelson Mandela, played by Morgan Freeman and his hosting of the 1995 Rugby World Cup, in hopes to unify his country with Matt Damon, as one of the film’s rugby players.  With the film directed by Oscar winner Clint Eastwood and previous Oscar track record look for Invictus to do well at the big show.

A Prophet: France’s official entry into the Best Foreign Film race, as well as hopes to crack the Best Picture race, A Prophet has earned nothing but raves, with many calling the film the best prison film ever made, with comparisons to last year’s Gomorrah.

Up In The Air: Jason Reitman returns again from the Toronto International Film Festival, after his success last year with Juno, with his new dramedy Up In The Air starring a never better George Clooney, in what folks are describing as the best film of the year so far (up till September). It’s a story of a lonely businessman working up to 10 million frequent flyer miles, who falls for a similar woman on the way played by Vera Farmiga.  Look for the film to aim toward nominations for lead George Clooney, supporting noms for Anna Kendrick and Vera Farmiga, as well as luck for Best Picture, Director and Adapted Screenplay.

The Informant! : Based on the book by Kurt Eichenwald, Warner Bros. is looking to gain some serious momentum towards getting the Steven Soderbergh dark comedy nominations for Best Adapted Screenplay, as well as a Best Actor for Matt Damon as the corporate whistle blower.

A Single Man: After earning raves at this year’s Venice Film Festival and winning the fest’s Golden Lion Award, along with Best Actor Colin Firth, A Single Man is shaping up to be this year’s dark horse. The film tells the story of  a gay college professor, who learns his lover has died. It has just been purchased by The Weinstein Company, and we all know how  well they do come Oscar time.

Get Low: In the dark dramedy starring  Robert DuVall in a performance earning him raves surpassing his work in The Apostle, Get Low tells the folk fairy tale of a man about a 1930′s recluse who goes as far as throwing his funeral party while still alive.

And if the film gets released this year, look for Terrence Malick to score well with his highly secretive film starring Brad Pitt and Sean Penn in The Tree of Life, but seeing as the man takes around 2 years per film and takes even longer in between, we can never count him in the race until  his film is completed.  The film’s plot has been keptsecret by the studio, but is known to be a 1950′s period peace telling  a multi-generational family story, with information leaked that Malick is indeed working with CGI for the first time including pre-historic dinosaurs.

The Film:

Based on a true story from Blake Morrison’s autobiographical account of his relationship with his father, When Did You Last See Your Father? becomes a near-tear jerker in the final act. It’s a gorgeously shot film that never calls itself out, as the film is subdued and restrained in its approach. Even with rain and mist, the English country sides have never looked prettier.

Colin Firth and Jim Broadbent are superb as the film’s anchors. Broadbent’s playfulness as the father is offset by Firth’s turn as the son, who is introvert and a bit stuffy. The film balances scenes with them, with scenes of Blake as a by growing up. Blake’s misunderstanding of his father is played out in a kaleidoscope of memories.

I like the film a lot; with the way it handles how the son never fully understands his father. Through his eyes, he is bold and silly, forcing him into situations he’d rather not be in, like camping or embarrassing him when he’s with a girl. The film feels too much like a series of scenes that are only strung together by the appearance of Blake and his father. It isn’t until the middle section when it starts to come together in a sad but intelligent way.

His father is quickly dying from cancer and seeing him weak and immobile, Blake asks if he can have one good talk with him soon. He agrees. Will Blake ever have it and settle the issues he has with his father? The film tackles haunting subjects and re-examines the film’s title in an interesting way. When was the last time Blake (or us) really seen our father? Was it at the funeral or his sick bed? These questions are answered and are quite emotionally charged.

Even memories are examined again as the director uses some interesting angles captured within mirrors, crafting subtle ways in which to view things from different points of view. When Did You Last See Your Father? is a gripping, soft, subdued film, worthy of your time if you are looking for a well-made drama that isn’t afraid of exposing truths within its characters or even perhaps within yourself.

The DVD:

Audio/Video: As typical with any drama, the film is mostly front centered since its all dialogue. It’s a sound track. The video is great; the transfer maintains the muted photography and the natural film grain.

Commentary: Anand Tucker discusses more on the film’s themes and ideas, which is a nice change of pace. It’s a rewarding track, although a bit dry.

Deleted Scenes: Seven deleted scenes are presented here with optional commentary. They were all wisely deleted by the way.

Trailer

When Did You Last See Your Father? is a great, heartfelt drama. I can’t recommend it sight unseen, but it’s worth seeing sooner than later.

Rating: 3.5 out of 5 stars