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Here is Tilda Swinton as batty Betsey Trotwood there is Ben Whishaw as villainous Uriah Heep Morfydd Clark plays Copperfield’s mother and his dog-loving wife Dora Spenlow we have turns from Darren Boyd, Gwendoline Christie, Hugh Laurie, Peter Capaldi.
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Iannucci’s movie bursts with energy-and with scene-stealing British acting. In an act of color-blind casting that suits Iannucci’s subtlely modern retelling, Dev Patel plays the titular character, who endures fortune and misfortune in Victorian England with wide-eyed aplomb.
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But the most surprising thing about this adaptation of Charles Dickens’s beloved doorstop of a novel is how gentle it is, how winningly heartfelt. Wrote Taylor Antrim in June: “Fans of Armando Iannucci’s fiercely excoriating brand of satiric comedy ( The Death of Stalin, Veep, In the Loop) will approach his new film, The Personal History of David Copperfield, as one might a prizefight-expecting the jokes to land like blows. One of two LGBT+ films based on Broadway shows coming from Ryan Murphy to Netflix this year, The Boys in the Band reunites the cast of the 2018 revival of the play for a film version. Photo: ©Searchlight Pictures/Courtesy Everett Collection Harriet Fitch-Little Portrait of a Lady on Fire ( on Hulu)
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Knightley, Mia Goth, Callum Turner, Bill Nighy (who renders Emma’s endearingly hypochondriacal father with comic aplomb), and Miranda Hart, as the eager neighbor Miss Bates, gives additional dimension to the sumptuous setting. A supporting cast that includes Johnny Flynn as Mr. “It’s like swimming in a giant cupcake,” says star Anya Taylor-Joy. De Wilde’s background is in music and fashion photography, and her first foray into feature filmmaking is overtly gorgeous: a riot of feathered bonnets, corkscrew curls, and colorful carriage dresses. Emma ( on Amazon)Īutumn de Wilde’s adaptation of Jane Austen’s Emma is, at its heart, a sparkling romance that feels unexpectedly timely. Still, the films that did manage to come out had a largely captive audience: scores of lonely, restless people even more eager for a good story than usual.įrom adaptations of beloved classics to tales that grapple with very real social issues, these are the recent films that made Vogue editors and writers laugh, cry, and otherwise disassociate from our stranger-than-fiction moment, at least for a few hours. It has been, to put it mildly, a very strange year at the movies, what with the scrambled release dates, virtual festivals, and industry infighting.