[no registration] Hope Gap Full Movie
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Release Year: 2019 tomatometers: 7,3 / 10 star reviews: A couple's visit with their son takes a dramatic turn when the father tells him he plans on leaving his mother country: UK 111 vote Genre: Drama. Hope gap full movie trailer. Hope gap full movie 2017. BUENA ORQUESTA. Woahh man! This is hugee🙌🏻🙌🏻❤. Ohhh Myyy gaaadddd prajuuuuu❤❤❤really Really Reaallly excited. For thisssss 😍😍. Length Hope Gap Full Movie. 10 star rating for this cinema. I loved it the way of direction. 1:12 - 1:19 The Shade. “This has been BoJack. Horseman, obviously”. Hope Gap Full movie page imdb. Hope gap full movie cast. Very enjoyable drama about an couple whose marriage is strained and break up and the effects on each and their grown son. Some humour but a serious film. Performances are first class and as usual Annette Bening is outstanding. John O'Connor (Gods Own Country) also is a stand out.
A real Tear jerker is on the way.
Gonna be honest: I only got netflix again to watch bojack. Glad it's ending so it dosen't drag on into mediocrity, but I'll miss it. Won't miss the netflix bill tho.
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Octubre ♥️2019🌻.
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A great three hander dealing with relationships in a real way without being banal. Great use of dialogue and poetry. A mature movie that s satisfying without being trite.
Annette Bening in Hope Gap. Photo: Courtesy of TIFF In William Nicholson’s woebegone, autobiographical English drama Hope Gap, a meek-ish man named Edward (Bill Nighy) leaves his voluble wife, Grace ( Annette Bening), and Grace responds the way many educated British characters do as they plummet emotionally: She talks. And she talks. She cries out to her husband in sheer disbelief. She wheedles, needles, and muses histrionically on the meaning of matrimony and family and human and cosmic mercy. It’s not iambic pentameter, but Bening — enunciating in an English accent that had me pushing away images of Emma Thompson, as one would a stray thought while meditating — runs through periods (full stops, in the U. K. ) and inserts pauses mid-sentence, to suggest the squeezing of inchoate panic through the proper channels. The accent gives Bening an odd sibilance as well as an overbite I’ve never noticed: Have her very features been altered by her voice? It’s a fascinating performance, but Grace is too distanced — and too borderline insufferable — to relate to fully, even if you recognize her desperation in the face of abandonment, even if you’ve lived a version of that desperation yourself. The movie — having its world premiere at the Toronto International Film Festival — is a brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry. Grace’s pet project is creating an anthology of poems arranged by emotional states (like, say, the feeling of abandonment), and at various points the characters intone the words of those who’ve been here and done that. The big set piece, in fact, is Dante Gabriel Rossetti’s “Sudden Light, ” which begins, “I have been here before, / But when or how I cannot tell, ” and ends with a question — whether love will be restored “In death’s despite, / And day and night yield delight once more? ” Rossetti, the cliffs, and the swelling music (by Alex Heffes) supply what the characters cannot. You don’t blame Nighy’s Edward for leaving. You blame him for how he leaves, slinking off into the arms of a younger woman who has pushed him to sever his miserable marital bond. Nighy plays Edward in his familiar key of awkward formality, stammering and keeping his gaze guiltily low. Edward points out that Grace has found him so consistently annoying over the years that he wonders why she feels so angry and bereft — but if he wonders that, he doesn’t know much about how some marriages work. His sudden realization that he and Grace were never meant to be is moving, but despite several melancholy monologues, the character doesn’t have much stature. Much of our sympathy ends up with the couple’s 29-year-old son, Jamie (Josh O’Connor), whom Grace tries to use as an emissary but who isn’t very good at it. He can’t plead Grace’s case when he doesn’t fully buy it. The actor is affecting: He seems ultimately as puzzled by his parents’ union as the writer-director does. Nicholson is 70 and is primarily known as a writer, and in Hope Gap he doesn’t conceal his artistic flourishes artfully. The camera pans from dishes piling up in the sink to the mantle with its photos and lifetime’s worth of memories or hovers about the waves creeping over the rocks. Sometimes he will frame a character on the side of the wide screen, not so much to express alienation as to keep the person out of the boring center. But he does one thing very well: comedy. Bening gets a real performance rhythm going when Grace buys a dog she names Edward, like her ex-husband, and teaches him the command, “Stay. ” Bening seems more in her element snapping at the dog than she does delivering theatrical plaints. She’s marvelous when Grace volunteers for a grief hotline and ends up commiserating too deeply with her callers — I wanted even more of those scenes. But if Nicholson hasn’t decided whether the end of his parents’ marriage was a comedy or a tragedy, well — who ever does? He’s reaching for something he never gets: That’s not a bad way to lose. Unlike Grace, he loses gracefully. Annette Bening Gives a Fascinating Performance in Hope Gap.
Cree en el Señor Jesucristo y seras salvo tu y tu casa.
William Nicholson's drama stars Annette Bening and Bill Nighy as an aging British couple navigating an unexpected divorce.
Hope Gap arrives as a rare modern example of the old-school British playwright brand of cinema, in which the camera is trained obediently upon well-spoken actors as they precisely enunciate their well-wrought lines. Aside from the occasional drone shot that ventures out past the white cliffs to scenically take in the English Channel below, this is a film that could as easily have been made in 1949 as in 2019, which to a handful of viewers will represent a good thing but to others will seem impossibly retrograde.
A mature public, which represents the target audience for veteran screenwriter William Nicholson's study of the divorce of a longtime couple played by Annette Bening and Bill Nighy, will mostly wait to catch this on home screens rather than in a cinema.
Puzzling though it may be, the film's title is positively scrutable compared to that of the play it is based on, Nicholson's The Retreat From Moscow. Napoleon's humiliation, a tad grandiose a metaphor for a husband's abandonment of his presumably once-cherished wife, is mentioned briefly in the drama, which originally debuted onstage at the 1999 Chichester Festival. With John Lithgow and Eileen Atkins in the leading roles, the Broadway production was a modest success and multiple Tony Awards nominee in the 2003-04 season.
Act one is set almost entirely in the cozy Seaford, East Sussex, home of Edward and Grace, whose 29th anniversary is approaching (in the stage version they've been married 33 years). Wasting no time, Nicholson fearlessly gets right to the point in exposing the couple's winterish discontent. Grace issues such tart complaints as, “Do I have to do everything? ” and “I say things. Why don't you say things? ” and then boldly inquires, “We are happy, aren't we?, ” to which Edward blandly replies, “Why wouldn't we be? ” In search of a bit of solace, Grace thereupon toddles off to Sunday mass; naturally, Edward is a non-believer.
Thus is laid out the measure of Edward's displeasure. “Things are coming to a head, ” Edward, a teacher, warns his son Jamie (Josh O'Connor), who's briefly down from London and learns the news of his father's intention to leave his mother before she does. “She'll be better off without me, ” Edward insists, before adding that, oh, by the way, “There's someone else. ”
When he succinctly announces all this to Grace upon her return from church, she is incredulous and insists that he stay so they can right the ship. For his part, Edward believes that saying “I'm no good for you” should be enough; all he wants is a quick exit from the excruciating situation, which he manages. The only thing missing here is a curtain coming down or a title announcing, “End of Act One. ”
Every dramatic detail in this relatable microdrama is scrupulously tended to, every comma and period is in place, every sorry admission is conveyed with just the right measure of weary regret or anger, and each attempt by Grace to perform a last-minute rescue proves more pathetic than the last. What's most admirable in the writer's approach is his even-handed fairness toward both characters, his refusal to point a finger of blame or subtly take sides. Neither is more in the wrong than the other; the only thing that's unfair is that one of them has someone else to go to, while the other is left high and dry.
Bening, employing a steady, all-purpose British accent, credibly registers the full measure of shock, dismay and disbelief that any woman, but perhaps especially a long-married one in her 60s, might be expected to convey. As for the older-looking Edward, he just wants to get out of the room and go somewhere to quietly read a book without Grace bothering him all the time. Nighy has often played wild, unhinged, hilarious characters, so his seriously tamped-down turn here reveals the far opposite end of his range.
What's odd about this take on a long-term couple's break is that it is conducted in front of an adult son, so there's hope after the half-hour first act that Jamie, who is in his mid-20s, might emerge with a monkey wrench to twist the drama in an unexpected direction. Unfortunately, the young man, both as written and acted, proves to be a wash-out, a gaping-mouthed lad who has no spark, insight or anything useful to say and is scarcely believable as the son of his two intelligent, if emotionally imbalanced, parents. The fact that O'Connor resembles neither of the actors playing his parents can't go unnoticed, either.
After a spell spent sharing Grace's self-imposed solitary misery, the film turns to the couple's first post-split encounter where they're meant to sign papers giving her full ownership of their house, which unsurprisingly doesn't go as planned. Visits to the great cliffs overlooking the Channel provide an occasional visual break (the pic's title refers to a certain spot along the coast), but nothing can conceal that the whole enterprise feels hyper-calculated in what might call an anti-Pinterish way, in that bile and biliousness are held in check.
Nicholson directed one previous film, the 1830s-set romantic melodrama Firelight in 1997, and his approach here can simply be called direct and fully devoted to the support of the script. The issue is that there is no subtext or undertones, the suggestion of nuance and complexities. The characters proclaim their positions, announce what they feel and think but, despite this, we know little about them other than their feelings about the immediate subject at hand.
Hope Gap may engage the mind up to a point with its pithy dialogue and resourceful players, but it offers little insight into the complexities and wages of wedlock.
Production company: Origin Pictures
Cast: Annette Bening, Bill Nighy, Josh O'Connor
Director-s creenwriter: William Nicholson, based on his play The Retreat From Moscow
Producers: David M. Thompson, Sandra McDermott
Executive producers: Hugo Heppell, Nicolas D. Sampson, Arno Hazebroek, Cristos Michaels, Gavin Poolman, Alex Tate
Director of photography: Anna Valdez-Hanks
Production designer: Simon Rogers
Costume designer: Suzanne Cave
Editor: Pia Di Ciaula
Music: Alex Heefes
Casting: Gary Davy
Venue: Toronto International Film Festival (Special Presentations)
101 minutes.
SRA. ALCALDESA DE VIÑA DEL TIENE UNA EXCELENTE ORQUESTA FEMENINA DE COLOMBIA PARA TAN PRESTIGIOSO FESTIVAL. It says a lot to proclaim Annette Bening’s portrayal of a woman in denial about her failing marriage in Hope Gap as one of the very best of her career. Yet it most definitely is. Sporting a nifty English accent, the four-time Oscar nominee hits new notes of authenticity and power as Grace, a wife of 29 years who is surprised and devastated when her husband suddenly says he wants out. That is the premise of this raw and revealing look at the effect of a breakup on not only the two at the center of it, but the entire family unit. It is something writer-director William Nicholson knows well as this very personal film was inspired by his own reaction to the end of his parents’ 30-year marriage. This isn’t directly their story, but one that may strike universal chords among families who have been through this kind of traumatic experience. Deadline Grace (Bening) and Edward (Bill Nighy) live comfortably in a beautiful oceanside home on the English coast. They have a devoted grown son Jamie (Josh O’Connor) who is summoned home from London to visit for the weekend. After a tense dinner in which Grace, who is retired and devoted to putting together an anthology of poetry, challenges her husband to put some more life and work into their relationship, Edward privately tells Jamie the real reason he asked him to come. He has met Angela, a mother of one of the students at the school where he teaches, and has decided to leave Grace and move in with her immediately. Jamie is clearly confused by this news and by the fact his father wants him to stay behind for a few hours after he tells his wife and leaves for a new life. When he does that, she goes straight into full denial, ultimately apologizing for being too harsh on him and promising to do better. He maintains that it is over, that he never felt he could live up to what Grace expected of him, and heads off to Angela’s, finally free of a union that really existed only for the love of their son. As the movie progresses, Grace keeps trying to turn it around until it becomes apparent there is no going back. For his part, Jamie finds it not only hard to deal with the breakup of his family, but also the effect it has on his own relationships. Nicholson, perhaps channeling his own life, makes Jamie the centerpiece of all of this as brittle truths are uncovered and his parents head for divorce. It is a hard fact of life to take, but ultimately the drama unfolds in a way that feels like real life. I cannot say enough for what this superb trio of actors brings to these roles. It all feels so intimate that it could be a play, but Nicholson in choosing the town of Seaford makes the setting singularly cinematic. Bening gets right to the core of Grace, a woman with spirit who refuses to accept what her husband is doing and almost desperately tries to turn it around, even with the sad fact her marriage may not have ever been what she believed it was. Nighy almost never smiles in this role, stoically portraying a man with little ambition and the need for a companion to accept his shortcomings as he sees them. He’s completely believable here, as is O’Connor (currently Prince Charles in The Crown, and again opposite Nighy in Emma), ideally cast as a young man who never dreamed this could happen to his family, and who has to become a go-between as a new reality sets in. There are especially poignant moments here as well, and some very funny ones especially when Grace decides to get a dog as a new companion and names him Edward. The line she throws at the dog in the lawyer’s office, “Edward, stay, ” not only draws a laugh but also says more than you can imagine about her state of mind. Hope Gap is a compelling and rich human drama with acting that is just about as good as it gets. Producers are David M. Thompson and Sarada Medermott. Roadside Attractions puts it in limited release Friday. Check out my video review above with scenes from the film. Do you plan to see Hope Gap? Let us know what you think.
VIEWER BEWARE! If you see this, remember that this will largely be from Robbies perspective since Levon, Rick and Richard arent around to defend themselves or offer an opposing view.
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