Showing posts with label Keira Knightley. Show all posts

Friday, October 3, 2025

Keira Knightley Is Loving Her Thriller Era

October 1, 2025

Keira Knightley is firmly in her pulpy, pacy thriller era. After holding the British government to account as an Iraq War whistleblower in Official Secrets, hunting down a ’60s serial killer in Boston Strangler, and leaping into the part of Black Doves’ lethal Helen Webb with guns blazing, the 40-year-old, twice-Oscar-nominated Londoner is throwing herself into another no-holds-barred, edge-of-your-seat crowdpleaser: The Woman in Cabin 10, Simon Stone’s breathless Netflix adaptation of Ruth Ware’s 2016 bestseller.

Donald Sutherland / ‘He stood in the middle of the party wearing a gas mask’

Keira Knightley and Donald Shutherland
Pride and Prejudice (2005)

Keira Knightley

‘He stood in the middle of the party wearing a gas mask’

Keira Knightley, co-star in Pride and Prejudice (2005)
Monday 24 June 2024

Donald was a giant. When you meet most actors, they’re surprisingly small. But Donald was huge. I remember feeling unbelievably intimidated by his size and reputation when I first met him. He had this clause in his contract that no one was allowed to smoke anywhere near him. Most of the rest of the cast were in their late teens and early 20s, all chugging away.

Tom Stoppard / 'Anna Karenina comes to grief because she has fallen in love for the first time'

Tom Stoppard: 'Anna Karenina comes to grief because she has fallen in love for the first time'

Tom Stoppard says his original approach to writing the screenplay for Joe Wright's new film adaptation of Anna Karenina was for a fast, modern movie about being in lust. Then wiser counsels – including his own – prevailed

Robert McCrum
Sunday 2 September 2012 00.04 BST

he latest film adaptation of Tolstoy's Anna Karenina began in what Tom Stoppard calls "a normal kind of way", though it did not exactly have a normal outcome. Sitting in his penthouse flat in west London with his back to a stunning view of the Thames, he lights the first of the six cigarettes that will measure out this conversation.

"Somebody rang my agent, Anthony Jones," he says, before adding: "It was to ask if I was up for adapting Anna Karenina for Joe Wright. It was Joe's choice of movie."

The latest celebrity to star in Mario Testino’s beautiful towel series is…

Imaan Hamaam

The latest celebrity to star in Mario Testino’s beautiful towel series is…

Marie Claire

May 25, 2016

Imaan Hammam is the latest star to pose nude with just a towel, as part of legendary photographer Mario Testino's towel series.

Imaan Hammam joins previous models, Bella Thorne and Kristen Stewart who also participated in the series.

The beautiful photo series has seen a number of famed celebrities, from Naomi Campbell to Anna Wintour, pose in nothing but a towel for the lens.

Joe Wright / Pride & Prejudice

Pride & Prejudice

Joe Wright's cinematic debut takes Austen's classic at a brisk pace, underpinned by a brace of outstanding performances

Philip French
Sunday 18 September 2005 00.11 BST

t is a truth by Universal acknowledged that a British producer in possession of Hollywood finance must be in want of a period screenplay. So it's scarcely surprising that the British production company Working Title, having disappointed its American financiers Universal Studios with the contemporary comedy, Wimbledon, should turn to Jane Austen's perennially popular 1813 novel, Pride and Prejudice.

John Carney / 'I’ll never make a film with supermodels again'

John Carney: 'I’ll never make a film with supermodels again'

The Once director on his new film Sing Street, working with Keira Knightley, impending fatherhood, and how to write a hit musical

Friday 27 May 2016

John Carney is a filmmaker and musician best known for his hit award-winning musical film Once. Formerly the bassist in The Frames, Dublin-based Carney’s last film was Begin Again, starring Keira Knightley and Mark Ruffalo. His latest creation, Sing Street, is a must-see coming of age film set in the 80s about a teenager from a rough school forming a band to win a girl.

Sing Street has had rave reviews. How do you feel about the reaction?

Well, it’s fantastic. I’m very surprised; it’s a small personal movie with no Keira Knightleys in it. It’s really rewarding.

Keira Knightley / 'I was trying to keep hold of a real, raw Anna Karenina'

Keira Knightley: 'I was trying to keep hold of a real, raw Anna Karenina'

BIOGRAPHY

For Keira Knightley, the key to playing Tolstoy's tragic heroine in Joe Wright's adaptation of Anna Karenina was endless research

Jason Solomons
Sunday 2 September 2012 00.04 BST

Did you have any idea how the film would look when you were shooting?

Not really, no. I think we all had little pieces of it in our head, but only Joe [Wright, the director,] really knew. If I'm honest, I think he tried to explain it to us, collectively and individually, but no one really knew quite what he was going on about. If I hadn't worked with him before, maybe I would have panicked but I've learned to just trust him over the years and it helps you dive in.

Never Let Me Go – review

Philip French
Sunday 13 February 2011 00.04 GMT
B

ased on Kazuo Ishiguro's 2005 novel, this SF fable is set in an alternative Britain of the late 20th century after a major scientific breakthrough has greatly extended people's lives. The setting is a seemingly benevolent, somewhat sinister educational institution, part public school, part orphanage, which bears the name of a famous Tory politician and has adopted a version of Harrow's "Forty Years On" as the school song. The pupils have Kafkaesque initials instead of surnames, are electronically tagged and oddly emotionless. All is mysterious until a new teacher delivers a spoiler of the kind critics can't perpetrate without attracting the wrath of viewers. Then the movie turns from a thriller into an intriguing, suggestive philosophical work about love, life, mortality and the choice we face between challenging our destinies or accepting them. Principally it centres on three friends (Keira Knightley, Andrew Garfield and Carey Mulligan, the narrator) from childhood to their 20s, and the movie, presumably deliberately, expires entropically as the director's remote style decreases its grip. One is reminded of Joseph Losey's flawed masterpiece The Damned, which is much superior, and of two more recent films, Michael Bay's The Island and M Night Shyamelan's The Village, both considerably inferior. A brave film of some ambition.

THE GUARDIAN