P.S. I Love You has officially been giving women unrealistic expectations of men for 10 years.
That’s 10 whole years since Gerard Butler danced his way across the room in nothing but a pair of dress shoes, boxers and braces. Ten years since Hilary Swank opened the door to a leprechaun holding a balloon.
An entire decade guys. Doesn’t time fly?
Adapted from Cecelia Ahern’s 2004 novel of the same name, the film starred Swank as Holly, a young widow trying to move on after her husband Gerry’s untimely death.
Butler was Irish charmer Gerry who, knowing that he didn’t have much time left, arranged for letters to be delivered to his wife after he was gone to help her move on.
Filled with silly humour, sad-but-happy romance and life-affirming words of wisdom, P.S. I Love You is designed to pluck at the heartstrings.
Here are 12 quotes that still have the ability to both melt and break hearts.
What do you want? I know what I want, cause I’m holding it in my hands.
Every morning I still wake up and the first thing I want to do is to see your face.
We’re so arrogant, aren’t we? So afraid of age, we do everything we can to prevent it. We don’t realise what a privilege it is to grow old with someone.
I have a feeling this is the last letter, because there is only one thing left to tell you. It isn’t to go down memory lane or make you buy a lamp, you can take care of yourself without any help from me.
It’s to tell you how much you move me, how you changed me. You made me a man, by loving me, Holly. And for that, I am eternally grateful.
I’m so angry I could kill somebody. I’m alone, and it doesn’t matter what job I have or what I do or what I don’t do or what friends I have, he’s not here.
There’s no man, alive or dead, who’s going to fault you for living.
My life had changed right there. I’m not worried about you remembering me, luv. You need to remember that girl on the road.
You know the worst thing for a parent, second after losing a child? Watching your child head for the same life you had.
You can’t stop it. It’s a terrible, helpless feeling. Makes you angry all the time. And I’ve been angry. For a very long time.
Look, if you ever just wanna get out, just do anything, just, I’ll wait for your call. And just so you know, I’m not looking for ‘a thing’ right now. I’m just flirting in good faith.
Dear Gerry, you said you wanted me to fall in love again, and maybe one day I will. But there are all kinds of love out there.
This is my one and only life. And it’s a great and terrible and short and endless thing, and none of us come out of it alive.
Gerry and Holly
I bet we will meet again.
You better win that bet, because if we do, that’ll be the end of it.
The end of what?
Life as we know it.
Thank you for the honour of being my wife. I’m a man with no regrets. How lucky am I. You made my life, Holly.
You’re free to wipe away those tears now.
The post P.S. I Love You turns 10: 12 emotional quotes from the film appeared first on News Wire Now.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”