Focusing on Billy’s vulnerability as much as his flamboyance (Alex Lawther handles both with aplomb), Trudie Styler charts his hard-won maturation with sobering insights into his warring parents and fellow students cowed into obedience.
Maurice is the overlooked middle child in Merchant Ivory’s trio of E.M. Forster adaptations, sandwiched between the lighthearted mainstream hit A Room With a View (1985) and the prestigious critical juggernaut Howards End (1992). Thirty years later, Maurice has aged quite well.
In their cozy remake, director Gillies Mackinnon and screenwriter Peter McDougall take a less screwball approach to the source material: Compton Mackenzie’s 1947 novel and the real wartime wreck that inspired it.
If prolific reader Carrie Pilby (Bel Powley) watched romantic comedies the way she consumes books, she might see that her dispiriting year as a recluse was ending and that she’d wandered into a merry and bright fairy tale of New York.
Director Maggie Greenwald has adapted Augusta Trobaugh’s 2001 historical romance into a decorous feminist drama whose characters share many qualities with the willful nonconformists of her other period films, The Ballad of Little Jo and Songcatcher.