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The Queen Reviews

Brilliantly portrays the public nature of Royal life, and the personal side of a figure we all know.

Full Review | Original Score: 5/5 | Sep 15, 2022

Helen Mirren, acting royalty in her own right, earned a well-deserved Oscar for her portrayal of Queen Elizabeth II...

Full Review | Sep 10, 2022

The writing, by Peter Morgan, is pitched perfectly — pathos and an empathy for the tragedy of the situation is matched by the elegant wit and well-observed humour of the piece.

Full Review | Aug 30, 2022

As always, Mirren is superb as a woman who believes her motivations are beyond reproach, as Queen and that protocol justifies everything.

Full Review | Dec 29, 2021

The Queen feels like a classic women's picture with a 21st-century media-age makeover.

Full Review | Jan 28, 2020

It's surprising how tame and incurious Stephen Frears' documentation of the aftermath of Diana's death on the Royal Family (and the Queen in particular) actually is.

Full Review | Original Score: 2/5 | Aug 21, 2019

A fantastic, endlessly engrossing film, anchored by some of the year's best performances and Alexandre Desplat's liltingly beautiful score.

Full Review | Original Score: 4/4 | Jun 6, 2019

Makes for engaging and entertaining viewing. Not just the subject, it's also the interpretation and storytelling that one closely identifies with.

Full Review | Original Score: 3/4 | Jan 25, 2019

A slyly amusing blend of fact, fantasy and hearsay set in England in 1997.

Full Review | Original Score: 4/5 | Aug 23, 2018

Frears's movie pays Britain's first family the supreme compliment of taking it seriously, and it's hard not to feel that the results will enjoy a long and fruitful reign in the affections of moviegoers.

Full Review | Aug 21, 2018

The film makes brilliant use of juxtaposition to underscore the class divide between the Windsors and the Blairs.

Full Review | Apr 12, 2018

The Queen's myopia is so complete, the performances so meticulous, that you can't help but start to care about, or pine for, or want to overthrow the British monarchy.

Full Review | Mar 1, 2018

Helen Mirren gives perhaps her most remarkable performance in an already remarkable career.

Full Review | Original Score: 4/5 | Jan 30, 2017

The Queen will knock your socks off.

Full Review | Original Score: 8/10 | Feb 9, 2011

Stuffed with stinging truths about swiftly turning winds of public opinion, Stephen Frears' film is a tough, fair-minded and, at times, morbidly satirical depiction of the extraordinary circumstance of leading in grief as well as government.

Full Review | Original Score: 4/4 | Sep 17, 2010

Trenchantly stages its climax around the passing of an era

Full Review | Aug 28, 2009

Surely to be considered at Oscar time.

Full Review | Original Score: 3.5/4 | Apr 29, 2009

A lesser director might make all of this deadly earnest, but Frears treats it as what you might call a tragi-comedy of manners, perfectly serious but human foibles everywhere.

Full Review | Oct 18, 2008

A disappointingly claustrophobic play at sympathy for someone so out of touch with her 'subjects.' And why blow it up for the big screen? . . . Where's the arc? The tragic flaw? The ebbs and flows to her character? . . . A middle-of-the-pack chamber drama

Full Review | Oct 9, 2008

Director Stephen Frears' The Queen offers an incisive and utterly persuasive glimpse behind the scenes of recent history.

Full Review | Original Score: 5/5 | Aug 7, 2008

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This week's films

Reviews in chronological order (Total 10 reviews)

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DVD & Streaming

Content Caution

In Theaters

Helen Mirren as Queen Elizabeth II; Michael Sheen as Tony Blair; James Cromwell as Prince Philip; Sylvia Syms as The Queen Mother; Alex Jennings as Prince Charles; Helen McCrory as Cherie Blair

Home Release Date

Stephen Frears

Distributor

Miramax Films

Movie Review

In 1997, not long after Tony Blair has been elected as prime minister following a campaign that promised massive modernization of the British government, Princess Diana is killed in Paris. The Queen details the royal family’s behind-closed-doors reactions both to the tragedy itself and the overwhelming public outpouring of grief.

Specifically, writer Peter Morgan and director Stephen Frears reveal Queen Elizabeth II’s struggle to understand why her people so vehemently resent her stoic response to the death of a “former” royal. Meanwhile, Blair’s popularity soars in response to his accessible and sympathetic reaction to the loss of Diana. And while he’s baffled by the odd, tradition-bound royal family, his growing sympathy for the queen prompts him to attempt to help “save her from herself” and in so doing protect the monarchy.

Positive Elements

More than anything, The Queen is a character study, and its most positive elements involve its empathy for the positive character qualities of two high-profile political figures who are also two very human beings, Elizabeth Alexandra Mary Windsor and Anthony Charles Lynton Blair. In a time when it was easy to mock the royal family for its scandals, lives of privilege and detachment from reality, the film slowly helps us to find the queen’s humanity and her commitment to serve her people (and God) in the best way she knows how.

Mr. Blair, who at one point dresses down his staff for taking satisfaction in the royals’ dilemma, is cast as a hero of sorts for his choice to give respect to the monarch for her position and experience when he might have scored bigger political points by publicly deriding her. Similarly, the queen attempts to temper the harsh remarks her husband, Prince Philip, makes about the deceased Diana.

The overly invasive actions of paparazzi are blasted, but it’s made exceedingly clear that there’s much more to Diana’s life and death than her battle with flashbulbs.

Spiritual Elements

Trying to urge sympathy for the queen in spite of her stubborn refusal to make a public response to Diana’s death, her personal assistant tells Blair that she “really believes it is God’s will that she is who she is.” Blair responds that bringing God into the conversation is not helpful. Later, the queen mother reminds her daughter of her royal oath, to commit her whole life in service to England and God.

Sexual & romantic Content

The closest The Queen comes to containing any sexual content are a few brief stills of the real-life Diana in a swimsuit embracing Dodi Fayed on his yacht after her divorce from Prince Charles. Later, Prince Philip wonders why Charles couldn’t maintain his relationship with his mistress and still keep Diana in line.

Nude classical statues fill the background in a few scenes. Comments are made about “a chorus line of soap stars and homosexuals” attending Diana’s funeral. And Prince Philip expresses disgust over the idea that Elton John is to perform at Westminster Abbey.

Violent Content

We follow Diana’s car and a group of photographers on motorcycles as they race toward the tunnel where the fatal accident occurred. But we don’t see any reaction shots from inside the car and the scene cuts away before impact. Later, Prince Charles appears to be quite worried that he’ll be killed in an assassination attempt.

We hear that a stag has been shot. And we see the beheaded carcass hung up to bleed out.

Crude or Profane Language

Aside from a very few (but harsh) swear words, the film would easily have earned a PG rating. The names of God and Christ are abused once or twice each. The f-word (spoken by Tony Blair’s wife, Cherie), the British “b-gger” (muttered by the queen herself) and “h—” are all used once. “Bloody” is inserted into dialogue a couple of times. Cherie dubs the royals “freeloading, emotionally retarded nutters.”

Drug and Alcohol Content

The queen and her mother are both seen with glasses of alcohol. Prince Philip offers his wife a bottle of prescription pills to help her sleep. (She turns them down.)

The Queen is a quiet, profound, and even gently amusing film that accomplishes the unlikely. It builds empathy for an emotionally distant monarch and a (currently) buffeted politician by following them through a difficult week. On the surface, very little is going on as the film unspools. The history it details is so recent and the lives of British royalty so well documented that none of the events are really a surprise. Morgan and Frears could easily have turned the royals into a kind of a joke, exaggerating their out-of-touch comments and mannerisms for comic effect. Instead, they play every character with great restraint and even with what you might call affection, allowing their biggest revelations about the nobility and banality of a monarchy in the modern age to be discovered in the smallest movements.

They owe their success in large part to Helen Mirren’s exquisite performance as the queen. She refuses to warm the character too much to garner obvious sympathy. Thus we’re forced to search her face for hints as to her deeper feelings, and what we find there is astonishing and satisfying. She easily earns all the Oscar talk flowing her way on the heels of the film’s Academy Awards-qualifying release.

A larger message presented here is also welcome. The foul language that sporadically accompanies it isn’t, but the message, which illustrates just how deeply our values have changed in the modern era, is. Disappearing is the notion that leaders are established by God and should be respected for their office, if nothing else. Instead, we demand that our public figures perform for our respect by presenting us with an emotionally resonant version of themselves.

Position and even politics matter less and less to more and more of us. The Queen helps us understand why Elizabeth has such a hard time getting her head around that idea. And it does so with such a deft touch that we actually care.

Christopher Lyon

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All Hail “The Queen”

The Queen , the sublime comedy of (grand) manners directed by Stephen Frears, centers on the face of Helen Mirren as Elizabeth II—a face that barely bestirs itself. That doesn’t mean she’s inexpressive. Shortly after the death of Diana, Princess of Wales, as public dismay builds at the lack of a statement from Buckingham Palace, Mirren’s queen watches Diana sniffle through an old TV interview over her treatment at the hands of the unfeeling royals. The queen neither snorts nor sighs: She simply stares at her late daughter-in-law on the screen, her eyes widening ever so slightly. Yet it’s uncanny how many emotions bleed through Mirren’s regal mask: distaste, horror, pity, regret, bewilderment, and perhaps something else—envy. Like her Elizabethan namesake (whom Mirren also impersonated recently, on HBO), Elizabeth II considers it her duty to rise above her private feelings, to function as a symbol for her people. That this Diana person, a member of the royal family, could have allowed herself to be so open, so histrionic, so overflowingly human: To the queen, it is a mystery with no bottom.

What a challenge Frears and the screenwriter Peter Morgan have set for themselves: to dramatize the conflict between a pretty, vulnerable young woman and a frumpy, emotionally stunted monarch—and to turn our normal sympathies topsy-turvy, so that the former is absent while the latter is our damsel in distress. How can they give this stubborn, blinkered, coddled woman, who can’t even grieve like a human being, an ounce of dramatic stature?

The obvious way is by casting Dame Helen, who is peerless when it comes to playing characters trapped in roles to which society has assigned them. In a sort of overture, Elizabeth poses for a portrait while keeping tabs on the election that will sweep Tony Blair into office—Blair the youthful, studiously informal Labour upstart whose wife is a renowned anti-monarchist. Confiding sadly to the artist that she wishes she could just once be joyfully partisan, this plain woman turns toward the camera, raises her eyebrows, and assumes the queenliest of miens as the title— The Queen —fades in majestically. It’s the movie’s only wink at the audience, but it’s hilarious, and it’s enough: It primes you to scrutinize Mirren’s face for signs of tension between the woman and the sovereign. It also primes you to marvel at the will it takes to keep up appearances when virtually everyone on earth thinks you’re both scarily heartless and laughably out of touch.

We all did, of course: We might have been divided on the subject of Diana’s beatitude, but there was no disagreement about the royals’ cluelessness. Much of The Queen has the quality of a disaster film in which idiots ignore the volcano up the road spewing ever-larger gobs of lava. Elizabeth insists that the mourning will be quiet, with dignity, that there will be no public funeral for an ex-royal, that this is a private matter for her family. You say there will be an international outpouring of grief, on an undreamed-of scale? An absurd notion. You say the queen should address the nation, to help her people cope with the loss? The subjects would desire no such thing. After fairly begging Elizabeth to reckon with reality— as well as with the excoriating headlines and widespread calls for an end to the monarchy—Blair (Michael Sheen) gazes heavenward and cries, “Will someone please save these people from themselves?”

If The Queen is the story of Elizabeth and Diana’s disastrous antipathy, it’s also the tale of Liz and Tony’s fortunate symbiosis. Showing the kind of deference to authority that would one day lead him down the garden path with an even more shortsighted (and considerably stupider) world leader, the prime minister behaves with a chivalry that not even he seems fully to comprehend. Sheen is slighter and more chipmunk-like than his real-life model, but it’s hard to imagine a more generous portrait—or a more deliciously impudent turn by Helen McCrory as his wife, Cherie. You love Cherie when she makes an ironic show of backing out of the queen’s drawing room (one must never turn one’s back on Her Majesty), and you love Elizabeth for registering the affront while keeping her smile firmly in place.

It’s hard not to love everyone in this movie except the charmless Prince Philip (James Cromwell), whose exclamations are unfailingly snobbish and dull. Even Charles (Alex Jennings) is a figure more to be pitied than censured. He’s always piping up about changing times and the need to be flexible—and you see him through his mother’s eyes, not so much flexible as boneless. I’ve rarely seen body language more amusing than Jennings’s when he directs his chief of staff to make overtures to Blair behind his mother’s back (“The prince feels that you and he are modern men”); he leans away from the phone as if afraid it will turn into Mummy and whack off his head.

In the hands of another director, The Queen could be an exercise in claustrophobia, like a dinner party with horrible food and worse people. But Frears doesn’t score easy laughs at his characters’ expense. Having made up his mind that he reveres this queen (and this actress), he invests her surroundings with genuine elegance rather than empty ostentation. For all the senseless protocol, Elizabeth behaves toward her army of employees with more grace than the average B-list Hollywood celebrity. And she doesn’t cut a ludicrous figure amid the mighty crags and rolling hills of her family’s 50,000-acre Scottish estate; in that landscape, she knows her place. Given the movie’s cheekiness, Morgan and Frears take a chance by hitting a note of awe— the appearance of a magnificent stag that gazes into her eyes as she struggles with her existential dilemma.

There’s something perverse—delightfully perverse—about a film in which the suspense is in whether a woman can bring herself to make a grudging statement of grief, and when she acquiesces, it’s not exactly a stand-up-and-cheer kind of climax. But it’s a momentous one, because it marks, for Queen Elizabeth II, the passing of a more dignified, more orderly world. It’s akin to Chekhov’s idle rich having to sell off their cherry orchard to commoners, except the story has been updated: The catastrophe is a public-relations one, and what Elizabeth has to sell is her image. She has it coming, though: She was frightful to poor, unhinged Diana, the queen of modernity, of celebrity culture. The Queen is the most reverent irreverent comedy imaginable. Or maybe it’s the most irreverent reverent comedy. Either way, it’s a small masterpiece.

The Queen ’s Peter Morgan also wrote the screenplay (with Jeremy Brock) of The Last King of Scotland , the fictional story of a young Scottish doctor (James McAvoy) who travels to Uganda to escape an overbearing patriarch and ends up in the hearty embrace of a patriarch who’s even more overbearing … Idi Amin! The movie is one of those morality plays about the dangers of letting yourself be seduced by powerful people, especially when they’re genocidal maniacs, and you can guess where it’s heading when the doctor and Idi’s wife No. 3 (Kerry Washington) begin trading longing looks. But if the story is familiar, the treatment isn’t: The film is phenomenally well directed by Kevin Macdonald and edited by Justine Wright to bring out every bit of scary volatility in the most casual interactions. The charismatic McAvoy finds an ever-shifting blend of opportunism and decency; Simon McBurney is a reptilian marvel as Idi’s English minder; and Gillian Anderson is amazingly vivid as a beaten-down do-gooder. Dwarfing all is Forest Whitaker, who finally gets to seize the space and show us how he can rage. His Amin is the most bloodcurdling kind of actor: a paranoiac with one eye on his audience and the power to give them the hook.

BACKSTORY In 1977, Idi Amin famously declared himself “His Excellency President for Life, Field Marshal Al-Hadji Doctor Idi Amin, VC, DSO, MC, Lord of All the Beasts of the Earth and Fishes of the Sea, and Conqueror of the British Empire in Africa in General and Uganda in Particular.” He was deposed in 1979. Other presidents for life were Napoleon Bonaparte (declared in 1802, deposed in 1814) and Sukarno of Indonesia (declared in 1963, deposed in 1965). Saparmurat Niyazov of Turkmenistan (declared in 1999) is the only one left , though he’s promised free and fair elections by 2010.

The Queen Directed by Stephen Frears. Miramax. PG-13. The Last King of Scotland Directed by Kevin MacDonald. Fox Searchlight. R. E-mail: [email protected] .

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By Peter Travers

Peter Travers

All hail Helen Mirren, who delivers a master class in acting in The Queen . Having just won an Emmy for playing Elizabeth I, who ruled England from 1558 to 1603, Mirren is in line for a curtsy from Oscar for digging deep into the role of Elizabeth II, the queen since 1952. If you’re expecting a soggy biopic about a monarch known for her rigid formality, snap out of it. The Queen is one of the best and liveliest movies of the year—funny and touching in ways you can’t predict. Set mostly during the week after the August 1997 death of Princess Diana, whose rebellious behavior before and after her divorce from Prince Charles (Alex Jennings) gave the royal family palpitations, the film goes behind closed doors at Buckingham Palace. The script, by Peter Morgan, who used “inside sources,” is a model of elegance and bracing wit. The gifted Stephen Frears directs with an eye for telling detail and an ear for the emotions roiling under polite royal speech. Frears and Morgan teamed on The Deal , a 2003 British TV movie about Prime Minister Tony Blair. Michael Sheen played the role then and does so here, finding the steel behind the PM’s killer charm. It’s a sensational performance, alert and nuanced.

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Sheen had to be that good to take on Mirren. After the PM’s election, the queen brings him down a peg by reminding him that he is her tenth PM, Winston Churchill being the first. The tables turn when Blair mourns Diana on TV as “the people’s princess.” His speechwriter (Mark Bazeley) coined the phrase, but Blair rides it to popular glory while the queen freezes out her subjects by taking refuge at Balmoral Castle in Scotland. The queen mother (Sylvia Syms) is appalled at the publicity. Ditto Prince Philip, a dotty nut job as played by James Cromwell, who predicts a funeral attended by “soap stars and homosexuals.” He gasps that “Elton John will be singing at Westminster.” And so he does.

Frears uses footage of the funeral and the real Diana to comment on the action. But the real triumph of the film is the dignity it finally allows the queen. Bred to serve since girlhood, she has dedicated herself to a life Diana rejected. And yet as the queen walks past the mountain of flowers the people have left at the palace and reads the notes of love to Diana—and the insults to Her Majesty—Mirren lets us see the confusion and hurt in Elizabeth’s eyes. It’s Blair who has forced her back to London to mourn Diana publicly, much against her private nature. In a tart reference to Blair’s current career reversals, the script has the queen tell him that “one day, quite suddenly, the same thing will happen to you.” Palace politics keep the film zipping along, but the crowning achievement is Mirren’s. With subtle humor and innate class, she shows us a side of the queen long hidden from the world: her humanity.

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The Queen’s Gambit

When you read the words “Netflix limited drama series about addiction, obsession, trauma, and chess,” the first adjective which springs to mind is probably not “thrilling.” But here we are, and “The Queen’s Gambit,” Scott Frank ’s adaptation of Walter Tevis ’ coming-of-age novel of the same name, absolutely demands the use of “thrilling.” Anchored by a magnetic lead performance and bolstered by world-class acting, marvelous visual language, a teleplay that’s never less than gripping, and an admirable willingness to embrace contradiction and ambiguity, it’s one of the year’s best series. While not without flaws, it is, in short, a triumph. And it is satisfying not just as a compelling period drama, a character study, and a feast for the eyes. It’s also, at its heart, a sports movie wrapped up in the vestments of a prestige TV series. Ask yourself this: When is the last time you fist-pumped the air over chess? Isn’t that something you deserve?

Odds are that Beth Harmon (the remarkable Anya Taylor-Joy ) will earn quite a few fist-pumps as people discover Frank and co-creator Alan Scott ’s excellent series. We meet Beth as an eight-year-old (Isla Johnson) when she’s left impossibly unharmed—physically, at least—by the car crash that kills her mother. Her father’s not in the picture, so Beth finds herself at a Christian school for orphans. While there, she develops three things: a friendship with Jolene (newcomer Moses Ingram, excellent), a passion for chess, and a physical and emotional dependence on the little green tranquilizers fed to the children until they’re outlawed by the state. When she finally leaves the school, she’s got those last two things packed in her suitcase alongside a bunch of chess books, a sizable ego, some unexplored trauma, and no small amount of self-loathing. But it’s the game that drives her, sending her both to the heights of the competitive chess world and, increasingly, to her hoard of pills and the oblivion offered by alcohol.

In short, Beth has a lot to handle. Luckily, Anya Taylor-Joy is more than up to the task. Playing Beth from 15 onward, Taylor-Joy gives the kind of performance that only becomes more riveting the longer you sit with it. It’s a turn of both intoxicating glamour and precious little vanity, internal without ever being closed-off, heartbreakingly vulnerable and sharply funny, often at once. Much of the story hinges on when and how Beth is alone—and sometimes she’s most alone when surrounded by people—and Taylor-Joy’s performance is particularly remarkable in these moments. Scenes of Beth alone in her home, in a stranger’s apartment, on a plane, in her bed at night—they all hum with the kind of energy that only arises when one is truly unobserved. In this case, however, she’s creating that energy in a room full of cameras and crew members. That kind of honesty and release is the stuff of acting legend, like Eleanora Duse’s blush . It’s yet another high watermark in a young career already full of them, and somehow she’s never better than when Beth is sitting silently behind a chess board.

We’ll come back to those scenes, but it would be a mistake to assume that Taylor-Joy’s only great scene partner is the camera, gazing from across the 64 squares of the board. Frank and casting director Ellen Lewis assembled an ensemble of heavy-hitters, including the great Bill Camp as the isolated janitor who introduces Beth to the game, Thomas Brodie-Sangster and Harry Melling as rivals and eventual allies in the chess world, the wonderful (if underused) Ingram, and director Marielle Heller , who gives a hypnotic performance as the fragile, damaged, compassionate woman who eventually welcomes Beth into her home. There’s not a dud in the bunch; even the actors who show up for a scene or two at most give performances that feel fully inhabited. It’s a stunner of an ensemble.

And here’s a bonus: they all look incredible. “The Crown” is rightly praised for its sumptuous, detailed production design and costuming, and “The Queen’s Gambit” will likely find itself compared to its Netflix predecessor with some frequency. But for all the strengths of “The Crown,” it rarely showcases the kind of imagination on display here. Costume designer Gabriele Binder , hair and makeup head Daniel Parker , and production designer Uli Hanisch (the latter of “ Cloud Atlas ,” “Sense8,” and “Babylon Berlin”) do much more than capture the look and feel of the 1960s in the United States and abroad. They use that aesthetic to illuminate Beth’s mindset. When does Beth embrace the wilder aspects of ‘60s makeup? Why, when she’s balancing precariously on the edge and her thick eyeliner serves to make her look even thinner and more fragile. That’s one example of many. It’s incredibly thoughtful and stylish. Consider it isolated breakdown chic.

The aesthetic of Beth’s inner world is also explored, though to detail what that looks like and what it means is to diminish some of the pleasure (and anxiety) it engenders. Just know that it lends Beth’s struggles a visceral energy that most stories of addiction tend to either take for granted or overplay. And for the most part, that care and thoughtfulness is found in all of the tropes present in “The Queen’s Gambit” (and there are plenty of tropes—this is a sports movie in disguise, after all). That said, Frank’s largely excellent teleplays do occasionally stumble, particularly when it comes to race (Jolene deserves better) and gender. The latter is a shortcoming shared with Frank’s “Godless”—both have their hearts in the right place, but are perhaps not as thoughtful or insightful when it comes to sex, love, and the realities of a patriarchal society than they believe themselves to be.

Frankly, it’s hard to get too worked up about those shortcomings thought, especially when the chess starts. The chess! My god, the chess. Like any good sports movie, this character-driven period drama lives and dies by its editing. Editor Michelle Tesoro should go ahead and buy a bookshelf for all the hardware she’s about to pick up for “The Queen’s Gambit” right now; the chess sequences are all electric, and each in its own way. One will make you hold your breath. Two will likely bring you to tears. Some are funny. Some are infuriating. Some are, somehow, very, very sexy. Each is electric, and Tesoro and Taylor-Joy make them so through skill, talent, and precision. (Some credit here is also due to chess consultants Bruce Pandolfini and Garry Kasparov. I know very little about chess, but somehow “The Queen’s Gambit” convinced me otherwise and dazzled me all at once.)

Every truly great sports story has not one, but two beating hearts. There’s the sport itself, a game or competition in which the viewer becomes undeniably invested. And then there’s the player or players, someone whose life is much bigger than the game, yet is nevertheless somewhat consumed by it. “The Queen’s Gambit” has both those hearts, and both are racing. Frank, Taylor-Joy, and company never stop telling both those stories at once, and the result is a fascinating portrait of a young woman fighting to become the person she wants to be, battling for victory and for peace. When her journey brings her to Paris, she remembers the words of a woman who loved her and spends some time wandering museums, feeding her soul with something more than chess. Yet there’s never any doubt that somewhere, in some corner of her mind, she’s got her eyes on the board. What a privilege it is to see that corner and see the world’s beauty, all at once.

Now available on Netflix

Allison Shoemaker

Allison Shoemaker is a freelance film and television critic based in Chicago.

Anya Taylor-Joy as Beth Harmon
Harry Melling as Harry Beltik
Thomas Brodie Sangster as Benny
Chloe Pirrie as Alice Harmon
Marielle Heller as Alma Wheatley
Allan Scott
Scott Frank
Walter Tevis
Carlos Rafael Rivera
Michelle Tesoro

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Steven Meizler

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The Queen Reviews

90 Metascore
1 hr 40 mins
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Helen Mirren's Oscar-winning portrayal of Queen Elizabeth II propels this studied re-imagining of the royals' response to the death of Princess Diana.

Dryly funny and unexpectedly poignant, Stephen Frears' restrained comedy of manners weaves together decorous gossip and a fascinating look beneath the facade of pomp and ritual to capture Britain's royal family — particularly Helen Mirren's vivid Queen Elizabeth II — enmeshed in a crisis they're blithely unaware is unfolding around them. Frears and screenwriter Peter Morgan could have skewered them for their eccentricities — all those fusty, fabulously wealthy aristocrats clomping around their Scottish summer estate in Balmoral in sensible shoes and kilts, more concerned with stag hunting and Welsh corgis than the popular outpouring of grief for "People's Princess" Diana Spencer. But their subtle dissection of the complex relationship between the queen, the living embodiment of the traditional English virtues of restraint, propriety and stoicism, and brash new prime minister Tony Blair (Michael Sheen), whose populist, media-savvy government represents the exact opposite, produces a much richer result than slashing satire ever could. August, 1997: Blair, who campaigned on a promise to modernize Britain, has barely taken office when news comes from Paris that the former Princess of Wales has died in a car accident. Blair recognizes a media circus in the making, and, with the help of chief spokesman Alastair Campbell (Mark Bazeley), who coins the term "People's Princess," promptly comes down on the right side of it. The queen and her family, cocooned by staffers, blinkered by old-fashioned notions of rigid decorum and prejudiced by their long-standing distaste for celebrity in general and Diana in particular, land themselves squarely on the wrong side. As weeping crowds gather outside Buckingham Palace, lighting candles and laying an ocean of flowers at the gate, the royals remain silent, insisting that Diana's death is a private matter and sniffing among themselves that she wasn't even a member of the family anymore. Days pass, public sentiment becomes increasingly ugly, and it falls to Blair — whose own wife (Helen McCrory) is an outspoken antiroyalist — to delicately steer the queen in the right direction, despite the splenetic harrumphing of her husband, the Duke of Edinburgh (James Cromwell), and the wrongheaded insistence of her own mother (Sylvia Syms) that the British people will rediscover their stiff upper lips if only the queen leads the way. Mirren, who's played her share of queens in the past, is hypnotic, but it's her prickly rapport with the slick, smiling Sheen that makes the movie crackle — not in a vulgar way, mind you, but with such brilliant control that a slightly arched eyebrow speaks louder than a dozen cackling commentators with microphones.

Cast & crew
User reviews

After the death of Princess Diana , Queen Elizabeth II struggles with her reaction to a sequence of events nobody could have predicted.
Diana, the "People's Princess" has died in a car accident in Paris. The Queen (Dame Helen Mirren) and her family decide that for the best, they should remain hidden behind the closed doors of Balmoral Castle. The heartbroken public do not understand and request that the Queen comforts her people. This also puts pressure on newly elected Tony Blair (Michael Sheen), who constantly tries to convince the monarchy to address the public. — Film_Fan
In 1997, after the death of Princess Diana in a car accident in Paris, the reluctant Queen (Dame Helen Mirren) and the Establishment do not accept to honor the "People's Princess" as a member of the Royal Family. However, the public and the media question the utility of the monarchy and the just-elected Prime Minister Tony Blair (Michael Sheen) advises the Queen to make a public speech mourning the loss of Diana. — Claudio Carvalho, Rio de Janeiro, Brazil
This movie looks at the reaction of Britain's Royal Family and that of newly elected Prime Minister Tony Blair (Michael Sheen) in the immediate aftermath of Princess Diana's death in a car crash in Paris on August 31, 1997. As far as the Queen (Dame Helen Mirren) is concerned, Diana's death is a private matter given that she was no longer an "HRH". Blair, however, realizes that the public has taken a different view, feeling the loss of the "People's Princess", as he calls her. Tucked away at Balmoral, their Scottish retreat, the Royal Family appears oblivious to the public's reaction. Soon, however, public opinion turns against them, forcing Blair to offer stern and not necessarily welcome advice. — garykmcd
Following the death of Princess Diana in an auto accident, Great Britain's Queen Elizabeth II (Dame Helen Mirren) and Prime Minister Tony Blair (Michael Sheen) struggle to reach a compromise in how the royal family should publicly respond to the tragedy. In the balance is the family's need for privacy and the public's demand for an outward show of mourning. — Jwelch5742
The film begins on the eve of the 1997 British general election, which sees Tony Blair (Sheen) elected as the United Kingdom's first Labour Party Prime Minister in 18 years. While posing for an official portrait, the Queen (Mirren) talks with the artist and expresses her regret about not being allowed to vote. She is slightly wary of the new prime minister and his pledge to "modernise" the country, but Blair promises to respect the independence of the Royal Family. When Blair visits Buckingham Palace to kiss hands, the Queen follows custom and asks him to form a Government in her name. Three months later, during a visit to Paris, Diana, Princess of Wales is killed in a car accident in the Pont de l'Alma tunnel along with her companion Dodi Fayed and driver Henri Paul. Blair's director of communications, Alastair Campbell (Mark Bazeley), immediately prepares a speech in which he describes her as "the people's princess." Blair gives the speech the next morning and the phrase catches on immediately. Over the next few days, millions of British people in London erupt in an outpouring of grief, as they flock to Buckingham and Kensington palaces to leave floral tributes and notes. Meanwhile, the Royal Family are still on their summer residence at Balmoral Castle, the Queen's estate in Aberdeenshire, Scotland. Diana's death immediately sparks division among senior members of the family; while the Queen is saddened by Diana's death, she and her husband differ with Prince Charles, Prince of Wales over what arrangements should be made. The Queen observes that since Diana divorced Charles (Alex Jennings) a year earlier, she is no longer a member of the Royal Family. Consequently, she insists that the funeral arrangements are a "private affair" and are best left to the princess's own family, the Spencers. A visibly grief stricken Prince Charles, however, argues that Diana was mother of the future King and that the Queen's suggestion is dismissive of this fact. Following her mother's suggestion, the Queen eventually sanctions the use of an aircraft of the Royal Flight to bring Diana's body back to Britain. Charles ensures that his ex-wife's coffin is draped with a Royal Standard instead of remaining a "wooden crate." In London, the bouquets begin to pile up along the palace railings, forcing the changing of the guard to use another gate. Meanwhile, British tabloids become increasingly inflammatory about the lack of any statement by the Royal Family. Prince Charles, during a brief conversation with Blair and later through back-channel contacts, leaves no doubt that he shares the Prime Minister's views about the need for a more public expression of grief. As the Queen's ratings plummet, Blair's popularity rises sharply, to the delight of the his Anti-Monarchist advisers and wife Cherie (Helen McCrory). Blair, however, does not share these sentiments. Despite not concurring with the Queen's course of action, he admires her and tells his wife that a Republican Britain is a ludicrous idea. Later on, he angrily denounces the anti-royal disdain of his Labour advisors and accuses Diana of having tried to destroy everything which the monarchy stands for. After days of building pressure, Blair calls the Queen at Balmoral and urgently recommends a course of action he believes is needed to regain the public's confidence in the monarchy. These measures include attending a public funeral for Diana at Westminster Abbey, flying a Union flag at half mast over Buckingham Palace (the flag is only meant to be flown when a Royal person is present and has never been used for mourning), and speaking to the nation about Diana's legacy in a live, televised address from the palace. Blair's recommendations outrage Prince Philip, Duke of Edinburgh (James Cromwell) and Queen Elizabeth, the Queen Mother (Sylvia Syms). Philip is also surprised that Elton John is asked to attend and sing a song, "Candle in the Wind" in Diana's honour. They view such steps as an undignified surrender to public hysteria, created by the tabloids, that will eventually calm down when the public comes to its senses. The Queen seems more concerned about this and although she shares their feelings, she begins to have doubts as she closely follows the news coverage. Speaking with her mother, the Queen muses that there has been some shift in public values, that perhaps she should step aside and hand over the monarchy to the next generation. The Queen Mother dismisses these ideas, however, saying that she is one of the greatest assets the monarchy has ever had, stated: "The real problem will come when you leave." She also reminds her daughter of the promise she made in Cape Town, South Africa, on April 21, 1947, her 21st birthday, in which she promised that her "whole life, whether it be long or short, shall be devoted to your service and the service of our great imperial family to which we all belong..." Later at Balmoral, Philip attempts to distract his grandsons from their mother's death by taking them deer stalking. While venturing out alone in her Land Rover, the Queen damages her vehicle while fording a river and has to call for assistance. While waiting, she weeps in frustration but then catches sight of the majestic Red Deer stag which her grandsons have been stalking. Hearing a distant gunshot, she shoos the animal away. Later that day, the Queen decides to carry out the recommendations of Blair. While preparing to return to London, she is horrified to learn that the stag has been killed on a neighbouring estate, by a visiting stockbroker. She visits the estate where the stag is being dressed and expresses dismay at the amateurish way it was hunted. In the film's climax, the Royal Family return to London and inspect the floral tributes. The Queen also goes on live television to speak about Diana's life and legacy, even going so far as calling her "an exceptional and gifted human being." Two months later, Blair comes to Buckingham Palace for a weekly meeting. The Queen has regained her popularity, but believes she will never quite fully recover from "that week." She cautions Blair that one day he too will find that public opinion can rapidly turn against him. She declares, however, that times have changed and that the monarchy must "modernise." When Blair suggests that he can help with this, The Queen responds, "Don't get ahead of yourself Prime Minister. Remember, I'm supposed to be the one advising you".

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"Fascinating Dramatic Glimpse into Another World"

	None	Light	Moderate	Heavy
Language
Violence
Sex
Nudity

What You Need To Know:

(BBB, L, M) Very strong moral worldview with very strong references to God showing the tension between tradition and modernization; four exclamatory light profanities, three light obscenities and a lot of positive God talk, as well as one denunciation of homosexuality; no overt violence but discussion of Princess Diana's accidental death and discussion of the shooting of a deer, as well as the slaughtered deer hanging from the slaughterhouse; no sex; no nudity; no overt alcohol consumption; no smoking; and, a crisis moment in the government of England and the United Kingdom.

More Detail:

THE QUEEN is an illuminating, fascinating glimpse into the rarified world of the British royalty. While it has a lot of humor, pathos and drama, it is not mean-spirited, satiric or cynical.

The movie starts off on May 2, 1997, when Tony Blair, as head of the Labour Party, wins the office of Prime Minister by a landslide. Queen Elizabeth, played exquisitely by Helen Mirren, comments to her portrait painter that she wishes she could vote just once in her life. She wants to take a side just once. Her comment reveals that she is trapped in a job that she did not choose and that she has had to dedicate her life to serving the United Kingdom. As Queen, she must now ask Tony Blair to head up the government. Her job as Queen is to advise the Prime Minister. Tony’s wife, Cherie, is a republican who would like to see the monarchy disappear and laughs at the protocol.

Tony, played so well by Michael Sheen that the audience believes they’re watching the real Tony Blair, went to the same boarding schools as the Prince of Wales, and his father was a Conservative. He respects the Queen, who is the same age that his mother would have been if she had not died when he was at university. Thus, there is a thinly veiled mother and son relationship between Tony and the Queen.

On August 31, in the middle of the night, crisis strikes when Princess Diana, who has recently divorced Prince Charles, dies with Dodi Fayed in a car accident in Paris. The Queen, coming from the World War II generation, believes that you have to keep a stiff upper lip, that you don’t display your emotions on your sleeve, and that this is a private affair. Tony Blair, on the other hand, realizes this is the People’s Princess and gives a speech that endears him to England and to the world.

As the Queen and her family remain in mourning at Balmoral Castle in Scotland, the people of Great Britain become more and more agitated and angry that the Queen doesn’t come out to display and share their mourning, their grief and their emotions. Tony understands the Queen and the people. He tries to get the Queen to come out of mourning.

In the midst of the crisis, she drives into the countryside to confront a magnificent, 14-point stag deer. Like her, this deer is trapped and has no control over its own life.

Tony finally convinces the Queen to return to London when he tells her over the phone the latest poll data that a large number of people want to abolish the monarchy, including his wife. The Queen, who has been trying to protect Diana’s boys, finally understands, but it may be too late.

Even if you know this story, this movie will grab your heart. Laughter and tears consumed the screening audience. The drama written by Peter Morgan avoids the facile condemnation of the Queen and does not satirize the situation. It gives deep insight into the Queen’s struggles and into Tony Blair’s struggles. Thus, it illuminates a critical, pivotal point in history.

The direction by Stephen Frears is brilliant. Stephen keeps each moment pregnant with emotion and has the audience believe that they are seeing the real people. This is quite an achievement since most of us have lived through the story and know these people. Believing that these actors are the historical figures is incredible.

Tony Blair really bridges the gap between the old and the new. He confesses God while some of his minions profane Him.

The Queen also confesses God. She believes that the job of king killed her father before his time, and she honors the oath that she took to God to serve the United Kingdom. She does not see herself as a bon vivant but as a servant. She has the authority of someone who understands reality. At a couple points when she talks about God’s blessing in the movie, the audience giggled, although it would be impossible to know the mindset of the reviewers, it appeared that they did not understand how deeply her faith was integrated into her person.

Helen Mirren and Michael Sheen deserve Oscars. When Helen Mirren confronts the deer, it is a poignant epiphany.

In many ways, this is a conservative movie made by people who are not conservative. There have been a run of movies like this. WORLD TRADE CENTER, ALL THE KING’S MEN and now THE QUEEN. In America, we believe that conservatism is in opposition to monarchy. The movie, however, gives an understanding of both sides of the issue, which most political textbooks cannot. This is very rare.

Many people are suggesting that THE QUEEN should be up for many Academy Awards. If it is not, then the Academy has truly gone off its rocker, because this is a rare movie indeed that works on all levels and is fascinating to watch.

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The Queen Parent Guide

Have you ever wondered what conversations took place in Buckingham Palace during the fateful week in August 1997 when the beloved Princess Diana was killed in a horrific car crash? Speculating on that question, screenwriter Peter Morgan adds his imagination to a mountain of research, and creates a compelling drama about the royal responsibilities of The Queen.

Release date October 26, 2006

Why is The Queen rated PG-13? The MPAA rated The Queen PG-13 for brief strong language.

Get Content Details

The guide to our grades, parent movie review by rod gustafson.

If you’ve ever wondered what conversations took place in Buckingham Palace during the fateful August week in 1997 when the beloved Princess Diana was killed in a horrific car crash, Peter Morgan, screenwriter for The Queen , fills us in on what he thinks was said in the most intimate of circumstances.

Late one night, just a few months into Prime Minister Tony Blair’s (Michael Sheen) leadership, comes the shocking news of the Princess of Wales’ death. Awoken with the announcement, Queen Elizabeth II (Helen Mirren) quickly decides the situation has no bearing on the Royal Family because it is a private matter for the Spencer family.

However, back in “reality,” a very different situation is developing. The British people are reeling from the tragedy and creating a monument of flowers in front of Buckingham Palace. Rising with the pile of memorials is the public’s desire to have the Royals respond to the tragedy in a way that will allow all Britons an opportunity to grieve a loss that has left many personally affected.

Walking the fine line between honoring the wishes of his head of state and the voters of his nation, Tony Blair finds himself in a most unusual situation. Carefully, he suggests to the Queen what he feels she must do if she is to maintain public support for the Royal Family. His counsel includes returning to London and participating in what will be one of the most public funerals in all of history. Meanwhile, both his advisers and his wife (Helen McCrory) do not support the Monarchy and feel Blair’s innate desire to assist Buckingham is unnecessary.

Other than the possibility of teens and children balking at an apparently dry premise, the film presents only minimal content concerns from a parent’s perspective. These include a very quick and single use of the sexual expletive and a handful of other mild profanities. As well, some discussion of Diana and Charles’s adulterous relationships are heard, and a dead deer with its head removed is depicted.

Yet this intelligent movie, which is (quoting the press information) “drawn from extensive interviews, devoted research and informed imagination” will undoubtedly spark debate on the well-tread topic of whether the Royal Family is still a valid and necessary entity in today’s political arena. Refreshingly even handed and never lowering to gratuitous extremes, The Queen offers a very compelling drama that will leave audiences with something to talk about afterward—and even young viewers may be surprised at just how intriguing this story is.

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Rod Gustafson

The queen rating & content info.

Why is The Queen rated PG-13? The Queen is rated PG-13 by the MPAA for brief strong language.

One quick and somewhat difficult to understand use of a sexual expletive is the greatest content concern in this film. A few other mild expletives and one use of a scatological term are heard. Sexual impropriety is vaguely discussed. Violence is limited to a scene depicting a dead deer with its head removed. One person is shown with what appears to be an alcoholic drink.

Page last updated July 17, 2017

The Queen Parents' Guide

What are the advantages or disadvantages of monarchial rule? Do you think people still value the British Monarchy today? Is it right for taxpayers to support the Royal Family?

When does the media step across the line of privacy when reporting on the lives of public figures? Does the public have any right to see or know about the private lives of The Royal family or other celebrities?

The most recent home video release of The Queen movie is April 23, 2007. Here are some details…

DVD release Date: 24 April 2007

Enjoy the royal treatment with the DVD release of The Queen. Luxurious commentaries are offered by director Stephen Frears and writer Peter Morgan, as well as by Robert Lacey (British historian, expert on royalty and author of Majesty ). Fans can also indulge their fancy with a making-of featurette. Audio tracks are available in English (Dolby Digital 5.1) and Spanish (Dolby Digital 2.0 Stereo), with subtitles in English and Spanish.

Related news about The Queen

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The queen's corgi.

Common Sense Says
Parents Say 28 Reviews
Kids Say 15 Reviews

Common Sense Media Review

"Family" comedy has crass jokes and sexual innuendo.

Parents Need to Know

Why Age 9+?

Flirting between the dogs, sexual innuendo, and references to mating. One dog is

Slapstick violence, with some peril and the suggestion of pain being inflicted.

"God" is used an exclamation. A character is referred to as a "stud muffin," and

A teapot is replaced with a bottle of Coca-Cola -- although the words "Coca-Cola

One character asks another, "Have you been on the brandy again?"

Any Positive Content?

Mixed. Positive themes include standing up to bullies, conquering your fears, wo

At the animal shelter there's a friendly camaraderie among the stray dogs; Jack

Sex, Romance & Nudity

Flirting between the dogs, sexual innuendo, and references to mating. One dog is covered in make-up and struts around in a showy way. In one scene, two dogs go inside a carriage that starts to rock back and forth to the sound of loud kissing. One dog is introduced as an exotic dancer and performs for a roomful of other dogs. In one scene, there's a play on Donald Trump's crude leaked Access Hollywood comments.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Violence & Scariness

Slapstick violence, with some peril and the suggestion of pain being inflicted. There's an after-hours "fight club" at the animal shelter. One of the dogs is intimidating and aggressive -- verbally abusing and physically attacking another.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

"God" is used an exclamation. A character is referred to as a "stud muffin," and another refers to themselves as a "spoiled brat."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

A teapot is replaced with a bottle of Coca-Cola -- although the words "Coca-Cola" are obscured, the branding is clear.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Positive Messages

Mixed. Positive themes include standing up to bullies, conquering your fears, working as a team, and sticking up for your friends. But there are also negative messages -- like hurting others to get what you want, using your sexuality to make an impression, and placing value on social status.

Positive Role Models

At the animal shelter there's a friendly camaraderie among the stray dogs; Jack is warm and welcoming toward newcomer Rex. Other characters are less positive, portrayed variously as fickle, ruthless, promiscuous, or aggressive. Some of the dogs fulfill gender stereotypes.

Parents need to know that The Queen's Corgi is a Belgian-made English-language movie that's a bizarre mix of colorful animated fun and inappropriate adult content masked as humor. The story of Rex (voiced by Jack Whitehall ) -- a pampered pooch who tries to find his way back home after being thrust into the big wide world -- is warm and well-meaning. Unfortunately, the sexualization of the female canine characters strikes an unsettling tone. A brief scene features a cross-dressing man wearing make-up, a ladies' hat, and full beard. And there's a crass, out-of-place joke related to the comments Donald Trump made on the leaked Access Hollywood tape. The "fight club for dogs" that Rex stumbles upon also raises moral question marks. Rex encounters a few scary situations: crossing a busy road, navigating a creepy park at night, and falling into a frozen pond. At the animal shelter, he encounters bullying and the threat of violence, as well as witnessing a (thankfully non-graphic) dog fight. At face value, this is a kid-targeted adventure full of cute dogs and slapstick comedy. But older children and adults might feel uncomfortable with the sexual innuendo and canine gender stereotypes. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Parent and Kid Reviews

Parents say (28)
Kids say (15)

Based on 28 parent reviews

Not what you’d expect.

Disturbing & depraved, what's the story.

THE QUEEN'S CORGI follows the adventures of Rex (voiced by Jack Whitehall ) -- the queen's ( Julie Walters ) favorite corgi and "Top Dog" at Buckingham Palace. Following a visit from Donald and Melania Trump, the queen suggests that Rex might make a good match for the couple's dog, Mitzi ( Sarah Hadland ). Rex is horrified and escapes, ending up at an animal shelter where he discovers a dog fighting club and befriends a group of strays who try to help him find his way back home.

Is It Any Good?

Despite a cast stuffed full of some of Britain's best-loved TV actors, this animated movie misses the mark on many levels. The basic storyline is solid enough, but there are several subplots -- in particular, the promiscuous Mitzi and the doggie fight club -- that are iffy at best. Jokes are often weak and, in some cases, downright crass. Meanwhile, it's hard to warm to any of the characters. Rex is presented as charming and irresistible, though this frequently verges on arrogance and smugness. He does at least acknowledge that he's "a spoiled brat." His frenemy Charlie (Dino Andrade) is sinister and devious -- but he gets his comeuppance at the end. And the rather patronizing portrayal of the queen as overly sentimental is almost embarrassing.

All of that said, the animation in The Queen's Corgi is colorful and charming, with a lovely, detailed depiction of Buckingham Palace. The voice acting is solid -- selfie-taking Donald Trump is brilliantly voiced by impressionist Jon Culshaw , and Whitehall is perfect as posh pooch Rex. As with many kids' movies, there are plenty of moments that will make parents cringe while the kids are giggling with delight. But, more worryingly, there are bits of dialogue that could be deemed offensive by adults -- Trump telling his dog to "go grab some puppy" is eerily reminiscent of his real-life "grab them by the p---y" comment -- but will probably be missed by younger children. But with the peculiar sexualization of characters, the implications of violence, and the shameless social climbing, The Queen's Corgi is a royal appointment best avoided.

Talk to Your Kids About ...

Families can talk about some of the jokes in The Queen's Corgi . Did they feel out of place in the movie? Why might some of them be considered problematic for kids?

How are the female dogs portrayed? Might they be described as stereotypes? What's the danger of gender stereotypes ?

Rex meets lots of stray dogs at the animal shelter. Talk to your kids about the responsibilities of owning a dog and the concept of re-homing an unwanted dog.

Think about what day-to-day life is like for the queen -- living in a palace and having servants. How is it different from your life? Do you think you'd like it?

Discuss the value of being "popular" or being someone's "favorite." Is social status important in life? What characteristics do you think would be more important?

Movie Details

In theaters : January 24, 2020
On DVD or streaming : April 21, 2020
Cast : Rusty Shackleford , Jo Wyatt , Leo Barakat
Directors : Vincent Kesteloot , Ben Stassen
Inclusion Information : Female actors
Studio : Lionsgate
Genre : Family and Kids
Topics : Cats, Dogs, and Mice , Friendship
Run time : 85 minutes
MPAA rating : PG
MPAA explanation : thematic content involving sexually suggestive material, rude humor, violence and some language
Last updated : June 20, 2023

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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'What Happens Later' Review: The Queen of Rom-Coms Returns for a Sweet Trip

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The Big Picture

Meg Ryan and David Duchovny have excellent chemistry and deliver standout performances in What Happens Later , bringing fun and charm to the film.
While the story may follow predictable rom-com tropes, it's elevated by interesting backstories and solid comic banter.
The movie may lack flashy visuals, but strong casting and a solid script makes it an enjoyable and comforting watch for fans of the genre.

These days, great romantic comedies are few and far between. Unless it's one of the few that we get going straight to streaming or the occasional awards-fare outing , we barely ever get any theatrically released movies in this subgenre anymore. So, what better than to have Meg Ryan , the queen of romantic comedies, come back from her eight-year hiatus and fill every major creative role to bring these movies back? Well, that's exactly what she did with What Happens Later . Now, the lead-up to this hasn't quite been the noisiest rollout ever, and it doesn't have the level of prestige that maybe a Nora Ephron project might bear, but if you're looking for an old-fashioned Ryan outing, then it's hard to imagine that you could ask for anything safer than What Happens Later .

What Happens Later

Two ex lovers, Bill (David Duchovny) and Willa (Meg Ryan) get snowed in at a regional airport overnight. Indefinitely delayed, Willa, a magical thinker, and Bill, a catastrophic one, find themselves just as attracted to and annoyed by one another as they did decades earlier. But as they unpack the riddle of their mutual past and compare their lives to the dreams they once shared, they begin to wonder if their reunion is mere coincidence, or something more enchanted. - Bleecker Street

Essentially, Ryan's sophomore feature is a two-hander. Starring alongside her is David Duchovny , another star of '90s pop culture, and that's about it really (other than Hal Liggett , who provides the voice of the seemingly sentient airport announcer). Together, they play Willa and Bill, two ex-lovers who are stranded at a small airport overnight and are forced to unpack their relationship from top to bottom. Yes, that means talking about all the fun stuff... and airing out dirty laundry. It almost feels like a play while you're watching What Happens Later , and that's for good reason. The film is based on Steve Dietz's play, Shooting Star , and together, they co-wrote it alongside Kirk Lynn . Go into Ryan's second effort essentially expecting a one-location, dialogue-driven play, and you'll be in the right mindset. Instead of hopping around from one lavish location to the next to settle you into the perfect rom-com mood, this movie relies solely on locking you into Ryan and Duchovny's chemistry. It might have a bit too much cheese sprinkled in here and there, but for the large majority of its runtime, What Happens Later works surprisingly well.

'What Happens Later' Works Because of the Chemistry Between Its Leads

Meg Ryan and David Duchovny sitting at an aiport bar in What Happens Later

There's nothing that can derail a romantic comedy more than casting two leads that just don't work together. Having to sit through 90 minutes to two hours with a pair of actors that can't sync up no matter what is about as huge of a miss as one of these movies can make. Just look at Ashton Kutcher and Cameron Diaz in the forgotten What Happens in Vegas , or even Meg Ryan and William H. Macy in The Deal . This is usually not a comment on the individual actors themselves, but more of a mishap in the way they work off of each other. Because of movies like Sleepless in Seattle and When Harry Met Sally... , we know that Ryan is more than capable of bringing the goods, it just depends on who's starring alongside her.

So what about Duchovny? By and large, he's either known for being one-half of The X-Files or for performing in dramas like Californication , while a whole slew of comedies sits comfortably under his belt. But what about that kind of chemistry that we need in a romance? Well, you have all the proof you need in The X-Files . He's proven for decades now that he and Gillian Anderson can line up together any day of the week and riff off of each other, while also seeming to have a bit of tension beneath the surface. Now we just have to see how well he plays off of a master like Ryan.

When paired together, Ryan and Duchovny work like dynamite. It's uncertain whether or not these two have had any sort of friendship off-screen over the years, but in What Happens Later , they're a great match. It really does feel like their history goes back decades. The movie's more dramatic moments regarding why they broke up work well enough, but these scenes rely less on how well they can riff and more on their actual delivery. It's in Later's light-hearted and playful stretches where Ryan and Duchovny are at their best.

Meg Ryan and David Duchovny Bring Their A-Game to 'What Happens Later'

Meg Ryan and David Duchovny nuzzling their heads as Willa and Bill in What Happens Later

It's likely that you'll walk away from What Happens Later a bit surprised. You'd expect to come to this movie to watch Meg Ryan cook, while David Duchovny is just filling the role of her love interest. In reality, both are whipping it up and having a great time, but she might be just a little too much. Given the fact that this is her return from an eight-year hiatus, she's directing, writing, and starring in this, and it's in her genre field of expertise, Ryan is coming out swinging. Her performance is shouting off the rooftops "The Queen is back!" Sometimes, she's sliding right back into her charming and fun pocket that she's always had, but every now and then she ends up playing the Hallmark Channel's greatest emotional hits.

These moments aren't lined up one after the other, but once Willa and Bill start breaking down all kinds of emotional walls, you might find yourself groaning a bit at some of her sappy line readings and exhaustive hippie knowledge. Rom-com mega fans might eat these parts up (minus the free-spirited sayings), but that's just a fair warning to the casual viewers out there. All of that being said, by and large, Ryan's still got it and is as fun as she's ever been on-screen. The movie itself might not be on par with classics like You've Got Mail , but Ryan herself hasn't lost her touch.

Duchovny, on the other hand, has no stake in this movie other than his performance. He strolls onto the screen calm and collected, as he always does, and doesn't disappoint one bit. As a matter of fact, he kind of ends up stealing this movie. Given their chemistry, it seems as though Ryan allowed for there to be a good bit of improv while the cameras were rolling. You can see the two of them having a lot of fun and seamlessly riffing off of each other, but it's mostly Duchovny who walks away with a lot of the laughs in this movie. He delivers so many of his lines with a Harrison Ford -like wit, shrugging off clever remarks and charming quips left and right. It's not a game-changing performance, it's just the exact type you want from a romantic comedy.

'What Happens Later' Isn't Entirely Predictable

David Duchovny and Meg Ryan on a walkway in What Happens Later

The story of What Happens Later might feel by the numbers as it moves along, but it actually ends up subverting your expectations a little bit . These movies work because you typically know where the couple will end up, we just want to see how they get there. The same goes for this film. By and large, we're just here to watch exactly how Willa and Bill comfort each other and help one another work out their problems. Ryan, Lynn, and Dietz concocted enough interesting details for these two's backstories, all told either with solid comic banter or believable enough drama that it all goes by easily.

That said, there are a few moments where Ryan has the camera whipping back and forth as Willa and Bill sarcastically spout off at each other which gives the film some life visually. By and large, it all looks about as lively as a car commercial. The film is also peppered in needle drops that do work in theory but are mostly made up of tacky cover versions. These can be a bit distracting at times, but it's no deal breaker. The movie has some truly... um... "choice" visual effects shots, with the most astounding being the last thing that we see. These would be unforgivable if they weren't placed in a pretty schmaltzy movie.

There's nothing about What Happens Later that revolutionizes the romantic comedy subgenre, but you don't always need a movie to change the game. Sometimes, you just need comfort food. Meg Ryan is a face on the Mount Rushmore of romantic comedies . She'd have to go all the way out of her way to mess one of these movies up. Plus, David Duchovny is just one of those guys where it's just a good time to watch him crack some jokes and wax about his problems. Even when he's talking about his hardships, he makes it seem cool to have troubles in life. You will not walk away from What Happens Later as a changed individual, but if you have a soft spot for light-hearted comedies (specifically romantic comedies, which I usually don't), you'll be sure to find a movie that does its job way better than it needed to. Let's be honest, you'd have to have a cold heart to hate this movie.

What Happens Later is playing in theaters in the U.S. starting November 3. Click here for showtimes near you.

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Movie Review: Quaid looks (and sounds) the part, but ‘Reagan’ is more glowing commercial than biopic

Film review - reagan.

“Is there anything worse than an actor with a cause?” asks an annoyed Jane Wyman, Ronald Reagan’s first wife, early in “Reagan,” the new biopic starring Dennis Quaid.

Well, after watching two more hours of this story, an adoring look back at the man who served two terms as our 40th president, we can report that there is definitely one thing worse: An actor without a movie.

Let’s not blame the star, though. Quaid, who has played more than one president, has certainly got the charismatic grin, the pomaded hair and especially that distinctive, folksy voice down — close your eyes, and it sounds VERY familiar. If he were to appear on “Saturday Night Live” in the role, it would feel like a casting coup akin to Larry David as Bernie Sanders.

But this is not an “SNL” skit, despite the fact that Jon Voight appears throughout with a heavy Russian accent as a KGB spy, but we’ll get to that. This is a 135-minute film that demands a lot more depth. And, so, to co-opt a political phrase from Bill Clinton, whom Quaid also has played: It’s the script, stupid.

Lovingly directed by Sean McNamara with a screenplay by Howard Klausner, “Reagan” begins with a chilling event (and a parallel to a recent one): the assassination attempt on Reagan in Washington in March 1981, only two months after he became president.

There are those who say Reagan cemented his relationship with the public by surviving that attempt; he famously told wife Nancy from his bed: “Honey, I forgot to duck.” In any case, the filmmakers use the event to set up their story, and will return to it later on, chronologically.

But their early point is that Reagan came away from the scare with a divine plan. “My mother used to say that everything in life happens for a reason, even the most disheartening setbacks,” he says. And as he will tell Tip O’Neill, the House speaker, everything from then on will be part of that divine plan.

The yet broader point here is that Reagan, according to this film, was basically solely responsible for the eventual downfall of the Soviet Union, because he showed the people of the world what freedom meant. “I knew that he was the one,” says Viktor Petrovich, the retired spy played by Voight as a narrator figure throughout — meaning the one who would bring it all down. The script is based on Paul Kengor’s “The Crusader: Ronald Reagan and the Fall of Communism,” and Kengor has said Viktor is based on a number of KGB agents and analysts who tracked Reagan for years.

That point is made early and often. The rest is a history reel, with lots of glorious, loving lighting around our star. We go back to his younger years, learning about his mother and what she taught him about faith, and then his Hollywood years as an actor, Screen Actors Guild president (and a Democrat) before fully committing to politics, and the GOP.

We also see a newly divorced Reagan meet a winsome Nancy Davis, who will become his second wife, loving partner and constant companion. Like Quaid, Penelope Ann Miller is a perfectly fine actor who has little nuance to work with here. Together, they embark on the path to political stardom, starting with the California governorship. When they arrive at a neighbor’s home to campaign, the housewife at the door hears Reagan's “RR” initials and thinks he's Roy Rogers.

But a decade and change later, Reagan is sworn in as president, beginning his eight years in office. “It became my obsession to understand what was beneath the facade,” says Voight’s Petrovich, explaining why Reagan was so consequential.

Maybe, then, he could let us know?

Because when this movie ends, with the president’s death in 2004 a decade after announcing he had Alzheimer’s disease, we don’t know a lot more than when we began about a figure so influential in American politics.

Sure, we get all the great hits. ”Mr. Gorbachev, tear down this wall!” we see him say in 1987 in Berlin, a scene with much buildup.

And it’s fun to see the famous debate lines, like “There you go again,” to Jimmy Carter in 1980, and of course his famously deft deflection of the age issue in 1984, with Walter Mondale. “I will not make age an issue of this campaign,” the 73-year-old president told his questioner. “I am not going to exploit for political purposes my opponent’s youth and inexperience.”

The line, which made Mondale himself laugh, got Reagan back on track in the race. The movie, not so much.

“History is never about when, why, how — it always comes down to ‘who,’” says Voight’s Petrovich. However historians feel about that, we would have gladly taken a more incisive look at when, why, how or anything else that would give us real insight, instead of an extended and glowing commercial, into who this man really was.

“Reagan,” a Showbiz Direct release, has been rated PG-13 by the Motion Picture Association “for violent content and smoking.” Running time: 135 minutes. One and a half stars out of four.

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‘reagan’ review: dennis quaid headlines an overly reverential tribute to a controversial politician.

Jon Voight, Mena Suvari and Penelope Ann Miller also star in the biopic directed by Sean McNamara ('Soul Surfer'), which hits all the major events of the former president's life and career.

By Stephen Farber

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Twenty years ago, Ronald Reagan became the subject of The Reagans . Starring James Brolin and a superb Judy Davis, the very controversial TV movie elicited scornful reactions from Reagan acolytes and barely made it to the airwaves. But no one should have similar reactions to the reverential Reagan , starring Dennis Quaid as the former president. No one, that is, except people looking for a sharp, lively piece of cinematic entertainment.

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‘Reagan’ Review: The Gipper Takes on Moscow

In this unabashed love letter to former president Ronald Reagan, Dennis Quaid fights the Cold War with conviction.

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On a private jet, a woman in an orange blouse is hugged by a man in a white dress shirt and a gray striped tie.

By Glenn Kenny

In his long career, Dennis Quaid has sometimes played politicians. He’s been former President Bill Clinton (“The Special Relationship”) and was the president in the musical comedy “American Dreamz” with Hugh Grant and Willem Dafoe. Now, in “Reagan,” Quaid portrays former President Ronald Reagan with, if not brilliance, at least evident conviction. Time truly holds surprises for all of us.

The movie, directed by Sean McNamara from a screenplay by Howard Klausner, opens with Quaid as the 40th president leaving a speech site and walking right into an assassination attempt. The picture then moves to present-day Moscow. Jon Voight plays Viktor Petrovich, a retired K.G.B. agent with an accent straight out of “The Rocky and Bullwinkle Show” who narrates the story of Reagan to a younger functionary. And so we shift back to the 1980s, and then back to Reagan’s early years in radio and Hollywood. (Mena Suvari plays Reagan’s first wife, Jane Wyman, and Penelope Ann Miller is Nancy.)

In the first eight minutes, the movie makes as many temporal shifts as a 1960s Alain Resnais work, albeit quite less gracefully.

Why is Reagan’s story relayed by a K.G.B. guy? Because in this unabashed love letter to the former president, Reagan was the force behind the fall of the Soviet Union. The movie implies that this “evil empire” collapsed as a result not just of his presidency, but of his anti-Communist activism during his entertainment career in the 1930s, ’40s and ’50s. These eras are depicted in scenes strongly suggesting that before shooting, the cinematographer, Christian Sebaldt, happened upon a fire sale on diffusion filters at the camera store.

The cast is dotted with cameos from the actors Lesley-Anne Down and Kevin Dillon; the prominent Hollywood conservatives Kevin Sorbo and Robert Davi also appear as seals of approval, one infers. It all makes for a plodding film, more curious than compelling.

Reagan Not rated. Running time: 2 hours 15 minutes. In theaters.

New Times, New Thinking.

The Queen’s greatest act

Craig Brown’s A Voyage Around the Queen shows how Elizabeth II reflected her subjects back at themselves.

By Margaret MacMillan

Years ago, in Kathmandu, I saw a living goddess. Still a child, she sat in a window while crowds gawked at her. Who knew what she was thinking or whether she liked or detested the role that she had been assigned? Queen Elizabeth II was a great distance away not just geographically but also in circumstances – but she presents the same puzzle. True, the living goddess spent her days in a small wooden house on a noisy, dusty street; the Queen in a series of palaces and castles surrounded by great gardens and parklands, with one of the greatest art collections in the world and piles of precious jewels to rival Aladdin’s cave.

Yet both women trod paths that had been chosen for them by fate, whether through karma or descent. Both were the objects of adulation, sometimes hostility, as their observers projected on to them their own biases. Goddess and queen, what were they really like? With the Queen, at least, there were the occasional remarks, a laugh here or a frown there, which give brief hints of a private life away from the unrelenting gaze of the public.

Craig Brown’s wonderfully readable new book is, as the title says, a voyage around the phenomenon of the Queen, rather than a biography. He has done his homework, dutifully reading even the most fawning accounts – an experience like eating candyfloss, he says: “You emerge pink and queasy, but also undernourished.” In fact, he has retrieved a wealth of marvellous details, on the royal corgis, for example, whom he compares to the Corleone clan, in their viciousness and unpredictability.

His more serious object, which he achieves triumphantly, is to explore the impact of the Queen on so many millions of people. And not just in their waking moments but their subconscious too. “Queen of the British psyche,” was Brian Masters’ term. One estimate from the Seventies is that a third of the British dream about the royal family. Her sister, Princess Margaret (the subject of Brown’s 2017 book Ma’am Darling ), dreamed frequently that she had made the Queen very angry. A housewife in Leeds dreams of meeting the Queen on a bus and taking her home for a cup of tea. A famous writer, who chooses to remain anonymous, confesses that he sees the Queen in his dreams as the God from whom no secrets are hidden.

For more than 70 years she did her duty, opening parliaments, holding receptions, receiving dignitaries or launching ships. She visited 117 different countries. She gave out over 400,000 honours and sent 45,000 Christmas cards. Scores of dictators and democratic leaders came and went while she was on the throne. She knew 14 American presidents and 15 British prime ministers. Stalin died in 1953, the year she was coronated, and she lived through the collapse of his Soviet Union in 1991. Her coronation was the first to be televised; millions of people bought tiny black and white televisions for the occasion. Her funeral, watched by half the world’s population according to one estimate, was in colour while drones flew over London to get footage of the gigantic crowds.

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Those moments, as well as her wedding and her four jubilees, were markers of the passage of time but also the occasion for national reflection. (They were also opportunities for crass commercialism. At her Silver Jubilee some 30,000 separate items were put up for sale and after her death in 2022 a tea bag she had once used sold for $12,000 on eBay.) When the Queen died it was as though a stable and valued monument, like the tree in the Sycamore Gap or Stonehenge, had fallen. She was, said JK Rowling, “a thread winding through all our lives”. A five-mile-long queue stretched through London as people waited patiently to visit her coffin as it lay in state. Scores of sporting events were cancelled and at one primary school Guinea Pig Awareness Week was postponed.

In her lifetime she was not above criticism. The initial reserved reaction of the royal family to the death of Princess Diana was widely attacked in the press and among the public. The then prime minister Tony Blair described the public mood as “menacing”. Throughout her life the Queen was frequently mocked for her conversational gambits – “Have you come far?” – and for so often murmuring “how interesting”. “Her Majesty’s a pretty nice girl,” sang the Beatles when they were young and cheeky, “but she doesn’t have a lot to say.” She had learned early on that simple questions and commonplaces were safest. In longer conversations, as the emperor of Japan once complained, she often talked about dogs and horses. (She found that he talked mainly about his tropical fish.) She was always being watched, often accused of being bored or grumpy. “I’ve the kind of face that if I’m not smiling, I look cross,” she once said.

Wherever she went she walked on new carpets, smelled fresh paint or saw newly planted flower beds. Once in Totnes, guests were advised to stand in a semi-circle to hide the entrance to the men’s lavatory from the royal gaze. At her coronation the pre-eminent royal commentator, Richard Dimbleby, “the Gold Microphone-in-Waiting”, pioneered a special back-to-front sentence for describing her. “The moment of the Queen’s crowning is come,” he intoned from his box behind the high altar in Westminster Abbey.

One of the many delights of Brown’s book is his exploration of the extraordinary effect her mere presence had on people: she was, as he puts it, like a mirror reflecting her observers back on themselves. “To watch a line of some of the most powerful people in the world waiting to be introduced to the Queen,” said the poet Ben Okri, “was to watch something unreal, the visible form of the magnetic power of the moon on the tides.” (When the prominent left-wing playwrights John Osborne, Harold Pinter and David Hare met at a Buckingham Palace reception all said they were there because of their wives.) As they first saw the Queen people often felt slightly woozy, as if a well-known portrait had come alive. Kingsley Amis was so afraid of farting – or worse – in the royal presence that he gave up eating beans for weeks and gobbled down anti-diarrhoea tablets. People found themselves behaving strangely, roaring with fake laughter, their gestures too broad.

If the Queen asked them a question, even the most self-confident found themselves babbling inanely or, for some reason, telling lies. When a young Brown met her he found himself giving her an extensive lecture on English humour. Phil Collins, the rock star, found himself whistling a tune but when the Queen asked him what it was he couldn’t answer. “What came over me?” he asked the radio presenter Terry Wogan. It was, replied Wogan, the “Royal Effect” where “you say the first thing that comes into your head, and you carry the memory of your foolishness with you to the grave”.

In her own fashion the Queen played a role as successful monarchs have done through the ages. She too was surrounded by mystery and rituals, even recently invented ones such as parts of the coronation ceremony. For most of her reign the Queen was supported, with the occasional firework, by Prince Philip, who had created his own public persona as a bluff English naval officer, although his complicated family background and his intellectual curiosity were rather different. She had imagined being an actress once, she said to the then French president François Hollande. Perhaps, replied Hollande, she had become one. Yes, she admitted, “but always the same role.”

Yet when there was talk at the start of the new century of the Queen stepping aside in favour of Prince Charles, a courtier told Max Hastings that he and his fellow journalists just didn’t get it. “She likes being Queen.” Mostly. Perceptively, Brown wonders if part of her love for her corgis was that they did exactly what they wanted. Her passion for horse-racing may have been because it too was unpredictable. For someone who was always expected to be so cautious it meant, he says, “she could be spontaneous, excitable and competitive”. And competitive she was, ruthlessly discarding horses and trainers if they weren’t winning.

Occasionally the woman behind the role peeps out. In the Christmas speech of 1992, the year Princess Anne got divorced, Charles and Diana separated and much of Windsor Castle burned, the Queen talked about how, like other families, hers has had some difficulties. More recently, when the Sussexes lobbed accusations of royal racism from California, the phrase “recollections may vary” was apparently the Queen’s own. She was obliged to entertain some appalling people, from Idi Amin to the Ceaușescus but made it clear she did not like them. President Donald Trump she found “very rude” and wondered why on Earth his wife stayed married to him. (Trump, inevitably, thought he had been a great success.) There is no danger here of candyfloss overload.

At once sympathetic but clear-eyed, kind but sharp, Brown has given us a serious reflection on the nature of power and why institutions such as the monarchy, in the right hands, can provide a society with stability and a sense of continuity, especially in turbulent times. When faced with the alternatives on offer at the moment, even committed republicans may find themselves reconsidering their position.

Margaret MacMillan is emeritus professor of international history at Oxford University

A Voyage Around the Queen Craig Brown 4th Estate, 672pp, £25

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[See also: How motherhood was weaponised ]

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This article appears in the 21 Aug 2024 issue of the New Statesman, The Christian Comeback

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COMMENTS

Ebert: A crowning achievement movie review (2006)
Ebert: A crowning achievement. Drama. 103 minutes ‧ PG-13 ‧ 2006. Roger Ebert. October 12, 2006. 5 min read. Queen Elizabeth II (Helen Mirren) bucks public sentiment by opposing a royal funeral for Diana in The Queen, which seems to know what goes on backstage with the monarchy. The opening shots of Stephen Frears ' "The Queen" simply ...
The Queen
Rated 2.5/5 Stars • 12/03/23. Released in 2006, The Queen is a Stephen Frears film following the British Royal Family's very public reaction (and initial lack thereof) to the death of Princess ...
The Queen (2006)
The Queen (Helen Mirren) is reluctant to change any protocol. Prince Philip (James Cromwell) dismisses the tidal wave of grief. Blair tries to advise them despite their intransigence. Eventually the pressure becomes too overwhelming and the Royals must change with the times. There are two great performances in this.
The Queen
The Queen Reviews. Brilliantly portrays the public nature of Royal life, and the personal side of a figure we all know. Full Review | Original Score: 5/5 | Sep 15, 2022. Helen Mirren, acting ...
The Queen
Movie Review | 'The Queen' However Heavy It Gets, Wear a Crown Lightly. Share full article. The Queen NYT Critic's Pick Directed by Stephen Frears Biography, Drama, History PG-13 1h 43m.
The Queen (2006)
The Queen: Directed by Stephen Frears. With Helen Mirren, James Cromwell, Alex Jennings, Roger Allam. After the death of Princess Diana, Queen Elizabeth II struggles with her reaction to a sequence of events nobody could have predicted.
'The Queen': Helen Mirren Movie Review (2006)
On Nov. 17, 2006, Miramax unveiled the Helen Mirren-starring The Queen in wide release stateside. The royal drama would go on to gross $123 million and earn six nominations, including best picture ...
The Queen (2006 film)
The Queen is a 2006 historical drama film directed by Stephen Frears and written by Peter Morgan.The film depicts the death of Diana, Princess of Wales in 1997. The royal family regards Diana's death as a private affair and thus not to be treated as an official royal death, in contrast with the views of Prime Minister Tony Blair and Diana's ex-husband, Prince Charles, who favour the general ...
The Queen critic reviews
Chicago Sun-Times. The Queen is a spellbinding story of opposed passions -- of Elizabeth's icy resolve to keep the royal family separate and aloof from the death of the divorced Diana, who was legally no longer a royal, and of Blair's correct reading of the public mood. Read More. By Roger Ebert FULL REVIEW. 100.
The Queen
Submitted by Marcus on 27/12/2006 01:45. Helen Mirren successfully sidesteps caricature in a finely nuanced performance as the Queen, assisted by a script that shows great sensitivity and ...
The Queen
Directed by Stephen Frears, the film has script by Peter Morgan and has Helen Mirren in the title role. Princess Diana was, as long as she lived, one of the most powerful and influential figures of European royalty, helping to popularize and modernize the monarchy the same way that, decades earlier, Grace Kelly did.
The Queen
Movie Review. In 1997, not long after Tony Blair has been elected as prime minister following a campaign that promised massive modernization of the British government, Princess Diana is killed in Paris. The Queen details the royal family's behind-closed-doors reactions both to the tragedy itself and the overwhelming public outpouring of grief.
The Queen Movie Review
Our review: Parents say ( 2 ): Kids say ( 4 ): For its first hour or so, The Queen is carried along by a witty irreverence, equally targeting the queen and Blair as both manage their self-image. But then, instead of trusting Mirren to convey the queen's emotional transition -- which she does, brilliantly -- the film comes up with a heavy-handed ...
The Queen
The Queen's Peter Morgan also wrote the screenplay (with Jeremy Brock) of The Last King of Scotland, the fictional story of a young Scottish doctor (James McAvoy) who travels to Uganda to escape ...
The Queen
September 21, 2006. All hail Helen Mirren, who delivers a master class in acting in The Queen. Having just won an Emmy for playing Elizabeth I, who ruled England from 1558 to 1603, Mirren is in ...
The Queen movie review & film summary (1969)
Miss Philadelphia, a young blond named Harlow, wins the contest, accepts his crown, understandably weeps a bit, and then must endure a bitter backstage tirade from a disappointed runner-up. The film ends with Harlow, back in pants, holding the crown in his hand, sitting rather forlornly in the Port Authority Bus Terminal waiting, I guess, for ...
The Queen's Gambit movie review (2020)
But here we are, and "The Queen's Gambit," Scott Frank 's adaptation of Walter Tevis ' coming-of-age novel of the same name, absolutely demands the use of "thrilling.". Anchored by a magnetic lead performance and bolstered by world-class acting, marvelous visual language, a teleplay that's never less than gripping, and an ...
The Queen
The queen and her family, cocooned by staffers, blinkered by old-fashioned notions of rigid decorum and prejudiced by their long-standing distaste for celebrity in general and Diana in particular ...
The Queen (2006)
The Queen also goes on live television to speak about Diana's life and legacy, even going so far as calling her "an exceptional and gifted human being." Two months later, Blair comes to Buckingham Palace for a weekly meeting. The Queen has regained her popularity, but believes she will never quite fully recover from "that week."
THE QUEEN
The Queen, who has been trying to protect Diana's boys, finally understands, but it may be too late. Even if you know this story, this movie will grab your heart. Laughter and tears consumed the screening audience. The drama written by Peter Morgan avoids the facile condemnation of the Queen and does not satirize the situation.
The Queen Movie Review for Parents
The Queen is rated PG-13 by the MPAA for brief strong language. One quick and somewhat difficult to understand use of a sexual expletive is the greatest content concern in this film. A few other mild expletives and one use of a scatological term are heard. Sexual impropriety is vaguely discussed.
The Queen's Corgi Movie Review
Based on 28 parent reviews. randiw89 Adult. December 3, 2021. age 10+. Not what you'd expect. My 8 year old was so excited to see this movie because she has a corgi. We were both shocked so many times at the insanely inappropriate jokes. Of course she didn't get them all but she got enough.
'What Happens Later' Review
The movie may lack flashy visuals, but strong casting and a solid script makes it an enjoyable and comforting watch for fans of the genre. These days, great romantic comedies are few and far between.
Movie Review: Quaid looks (and sounds) the part, but 'Reagan ...
Intuitive Machines, the venture-backed startup that went public last year, will send a moon lander to the lunar south pole in 2027 as part of a $116.9 million contract awarded by NASA on Thursday.
'Reagan' Review: Dennis Quaid Leads Glossy Biopic of Former President
Jon Voight, Mena Suvari and Penelope Ann Miller also star in the biopic directed by Sean McNamara ('Soul Surfer'), which hits all the major events of the former president's life and career.
'Reagan' Review: Dennis Quaid's Time-Hopping Cold War Drama
The movie implies that this "evil empire" collapsed as a result not just of his presidency, but of his anti-Communist activism during his entertainment career in the 1930s, '40s and '50s.
'Reagan' Review: Dennis Quaid's Impeachable Presidential Portrait
Film Review 'Reagan' Review: Dennis Quaid's Impeachable Presidential Portrait ... Brezhnev's mind was blown," Petrovich says, spending the entire movie seething and railing and generally ...
The Queen's greatest act
"Queen of the British psyche," was Brian Masters' term. One estimate from the Seventies is that a third of the British dream about the royal family. Her sister, Princess Margaret (the subject of Brown's 2017 book Ma'am Darling), dreamed frequently that she had made the Queen very angry. A housewife in Leeds dreams of meeting the Queen ...

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The Queen Reviews

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Reviews in chronological order (Total 10 reviews)

Submitted by Carrie O'Key on 05/10/2006 06:50

Submitted by Morry Jaffe on 07/10/2006 20:29

Submitted by Roy on 18/09/2006 15:00

Submitted by Emma on 18/09/2006 16:38

Submitted by Oldak Quill on 29/10/2006 05:18

Submitted by Marcus on 27/12/2006 01:45

Submitted by Krittick on 01/02/2007 14:32

Submitted by Palifiko Bill on 02/04/2007 12:26

Submitted by Des on 07/01/2007 22:34

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