The Directors Network (TDN), a talent agency for freelance directors and cinematographers, has signed director and still photographer Judy Starkman whose body of work includes documentary and real people fare. Headed by Jeff Lewis, TDN has also signed DP Rainer Lipski….London-based production house Colonel Blimp, best known for its music videos and music-related content, has secured Nathan James as marketing and development rep. He comes over from Partizan where he headed up repping duties for the animation division. Prior to Partizan, James held posts at Cut+Run, Pagan Films and Bullet….DP Karl Walter Lindenlaub, ASC, BVK, has joined WME for exclusive representation in features, television and commercials….New York Office has signed DP Pat Notaro for commercial, music video, TV and feature representation….Innovative Artists has signed still photography duo Elevendy for film and commercial work. Elevendy specializes in effect-driven shoots and celebrity talent. They’ve recently wrapped the “Jane Bond” project with Alison Haislip as part of Comic Con 2011…
Review: Director Michael Morris’ “Bridget Jones: Mad About the Boy”
It is a truth universally acknowledged, as Bridget Jones herself might write in her diary, that at the end of any Bridget Jones movie, our heroine has triumphed over all doubts and obstacles and is finally happy.
With a man. Well, so far, with one particular man: Mark Darcy, the stuffy-yet-dashing man of her dreams.
This, dear viewer, is not a spoiler for the new fourth movie, "Bridget Jones: Mad About the Boy." In fact, if you've seen the trailer, you'll know that Bridget (Renée Zellweger, still pretty delightful), who finally married Mark at the end of the third film, is now a widow.
We're not supposed to divulge exactly what happens next. But remember, folks, this is a classic romantic comedy franchise. Rom-coms can be sad and deep, but they still need to be romantic.
What makes "Bridget Jones: Mad About the Boy" especially enjoyable, then — and the best since the 2001 original — is not that Bridget finds a way yet again to triumph over doubts and obstacles. It's that she still makes us care so darned much.
How does she do it after all these years? All I know is, I was rooting harder for her at the end of this film than I was with the others, even the original where she's kissing Mark in the snowy street in underwear and sneakers.
There are various possible explanations. One is Zellweger herself, who has brought her character gracefully into her 50s, retaining Bridget's goofiness and deep-set optimism while reflecting hard-won life experience.
And there are subtle changes to the equation. The relationships in this latest film are more interesting — old ones and new.
Bridget's relationship with herself is more interesting, too — and healthier. Sure, she can swig a full bottle of Chardonnay on a bad... Read More