Emily Morgan Movies
- 2011
Two men wonder if they've found love or just had a drunken hookup in this drama from British director Andrew Haigh. Russell (Tom Cullen) is gay, but most of his friends are straight, and after a long night of boozing with his pals, he stops by a gay club on his way home and picks up Glen (Chris New). The next morning, Glen explains that he's an artist, and begins interviewing Russell about their night together for an installation project he has in the works. Alcohol has made Russell's memory of the previous evening a bit fuzzy, but just as importantly, he's not as comfortable as Glen when it comes to opening up about his sexuality or his personal thoughts. Glen, on the other hand, is willing to share, but there isn't always a lot of depth in his exchange of ideas. Over the course of the next two days, Russell and Glen spend a lot of time talking, exploring the city, and exploring one another, but neither is sure if they're at the start of a new relationship or just avoiding the end of a one-night stand, especially after Glen mentions he's planning to move to the United States soon. Weekend won the Audience Award in the Emerging Visions program at the 2011 South by Southwest Film Festival. ~ Mark Deming, Rovi
- Starring:
- Tom Cullen, Chris New, (more)
A sort of mannered, British version of The Odd Couple (1970), this drama won four of the seven major BAFTA Awards for which it was nominated. Albert Finney stars as Reggie Cunningham-Jarvis, a former Royal Air Force squadron leader who is utterly debilitated by the death of his wife, allowing his estate to decay. At the suggestion of a social worker, Reggie is paired with Roy Southgate (Tom Courtenay), a retired milkman, orderly homebody, and fellow recent widower. Roy moves in and begins caring for Reggie's manor, and an unlikely friendship between the two men develops, although Reggie treats Roy more as a servant than a roommate. Their relationship becomes tested, however, with the arrival of Lizzie Franks (Joanna Lumley), a shop owner hoping to seduce Reggie for his riches. ~ Karl Williams, Rovi
- Starring:
- Albert Finney, Tom Courtenay, (more)
This acclaimed British comedy centers on the intermittent romance between a charming (if slightly bumbling) Englishman and a beautiful American woman, who seem to always run into each other at weddings. Indeed, it is at the first of the title's four weddings that Charles (Hugh Grant) and Carrie (Andie McDowell) meet, enjoying a brief but fleeting connection. The spark is rekindled several months later, when they unexpectedly meet at another wedding. Unfortunately, however, Carrie has become engaged to another, a fact that complicates matters for them both. The story may seem simple, but the film is elevated by screenwriter Richard Curtis' ear for witty dialogue and a colorful supporting cast. Director Mike Newell's sympathetic attention to character keeps the proceedings believable, and prevents the film's more serious moments from seeming mawkish. These elements, along with Grant's star-making performance as Charles, helped the film achieve unexpected international success, including an Academy Award nomination for Best Picture. ~ Judd Blaise, Rovi
- Starring:
- Hugh Grant, Andie MacDowell, (more)
- 1990
In this British spy spoof, the dangers to World War Two intelligence agents from interagency rivalry in London itself are nearly as great as the dangers to them from the battlefield mayhem concocted by the enemy. Rival operations by allies turn out to be equally threatening. In the story, the highly eccentric Monk (Edward Fox) is a senior agent of the British Secret Service who runs his operation out of a mental hospital. In the story, Monk recruits as a woman agent the lovely Corporal Merriman (Emily Morgan, to help him track down and stop the German agent, Cat Lady. Merriman is soon embroiled in plots and counter-plots, including the infamous Operation Fattypuff and Thinnifer. Eventually, a team of operatives parachutes into occupied France to carry out their objectives. ~ Clarke Fountain, Rovi
- Starring:
- Edward Fox, Emily Morgan, (more)
John Fowles' original novel The French Lieutenant's Woman was distinguished by a literary technique that involved telling a story of Victorian sexual and social oppression within the bounds of a 1970s viewpoint. How does one convey this time-frame dichotomy on film? The decision made by director Karel Reisz and Harold Pinter was to frame Fowles' basic plot within a "modern" context of their own making. While we watch as Sarah (Meryl Streep), a 19th-century Englishwoman ruined by an affair with a French lieutenant, enters into another disastrous relationship with principled young Charles (Jeremy Irons), we are constantly made aware that what we're seeing is only a film. This is done by surrounding the story with a modern narrative, focusing on a movie production company which is on location--filming The French Lieutenant's Woman. Meryl Streep doubles in the role of Sara and the American actress who plays her, while Jeremy Irons essays the dual role of Charles and the handsome Briton playing Charles. Likewise, everyone else in the cast is seen as "themselves" and as their French Lieutenant's Woman characters. Not surprisingly, the "real" Streep and Irons enter into an affair which closely parallels their characters' relationship. The commercial TV version of French Lieutenant's Woman eliminates 30 minutes' worth of "extraneous" scenes. ~ Hal Erickson, Rovi
- Starring:
- Meryl Streep, Jeremy Irons, (more)
