lukeshulver When I watched the preview I was expecting another version of "The 100 Foot Journey" - struggle of mixed cultures or class hierarchy ultimately finding common ground and respect. Instead I was pleasantly surprised to find a far more realistic presentation of small town mentality enabling the abuse of power, corruption, and community based harassment. While the movie itself is incredibly slow it's great to see these themes explored as they are alive and well today. Great concept but poorly executed - still well worth the watch.

Ian I love books and I love Bill Nighy and Emily Mortimer and they play to their strengths in this charming period piece about vindictive English small-mindedness.However, I'm sure the book was far better than the movie - god save us, as ever, from writer/directors! - as the screenplay doesn't quite come off and some of the characters'' lines don't flow or hang together terribly well. The pace is slow but not painfully slow apart from those sections with songs which do absolutely nothing except make you wish they'd end!The period setting is wonderful but not enough to carry the movie. The inevitable ending is heavily telegraphed in the first part of the movie - c'mon Coixet! But I did love the Ray Bradbury references.I was charmed by the idea and setting but if you're not a book lover or a particular fan of the actors - really?? - you may not get much out of it.

Clive Hodges In 1959, Florence Green (Emily Mortimer) buys the dilapidated 'Old House' in the small coastal town of Hardborough, East Anglia, takes over the unsold stock of a business in London that has closed, and opens a bookshop. Reading is not a past-time that's widely popular in Hardborough. The townsfolk are convinced that the bookshop of kind-hearted Mrs Green, widowed during World War II, will fail - not for economic reasons or lack of readers but because the formidable, ruthless and vindictive Mrs Violet Gamart (Patricia Clarkson), self-appointed patroness of all public activities in the town, wants 'Old House' to be an Arts and Cultural Centre. Florence does have supporters. There's young Christine (Honor Kneafsey), worldly beyond her years, who helps out after school; and Edmund Brundish (Bill Nighy), the local squire, a voracious reader and Florence's best customer. The film moves at a leisurely pace. A pace that allows us time to appreciate whatever is on the screen, be it conflict, embarrassment, unresolved tension or moments of reflection. A pace that allows time for the cinematographer (Jean-Claude Larrieu) to linger on water, trees, fields and tall grass wavering in the wind. Isabel Coixet, the director, wrote the screenplay which she based on a novel by Penelope Fitzgerald. The movie - filmed in County Down, Northern Ireland and Barcelona, Spain - won three of Spain's Goya Awards (best film; best director; best adapted screenplay) earlier this year. The cast performs magnificently. Florence: naïve, courageous, and trusting; Christine: precocious and determined; Edmund: reclusive and supportive; Violet: persuasive, highly motivated, and effective. This painfully tender movie - rigorously unsentimental - wormed its way into my affections. It's a film that touches the emotions with an ending that's bitter-sweet.

CineMuseFilms Echoes of Dylan Thomas' Under Milkwood whisper throughout the deliciously slow film The Bookshop (2017), a village drama that captures the essence of old-world Britishness. If narrative action is important to you there is little to see here, but if you enjoy character portraits you will love this inconsequential tale told beautifully.Set in a sleepy 1959 seaside port, young widow Florence Green (Emily Mortimer) arrives determined to overcome her grief and open a small bookshop. The town has never had a bookshop and most of the villagers don't like books anyway, except for the reclusive Mr Brundish (Bill Nighy) who reads everything he can. After pushing through a wall of petty officials the shop opens in a run-down cottage despite fierce opposition from the imperious Mrs Gamart (Patricia Clarkson). She wants the cottage reclaimed as an arts centre, so battle-lines are drawn between small-mindedness and the winds of change.At times the story slows down so much that it almost stops, just to watch tall grass swaying in the wind or to hear leaves sighing on trees. The camera lingers in the space between words or glances, or it traverses shelves full of books with titles hinting that change is coming. Even the film's highlight romantic scene is little more than agonisingly tender moments that evaporate into the ether. Fortunately, the cinematography is up to the challenge of capturing mood and nuance as it dwells on Bradbury's dystopian Fahrenheit 451 (1953)and Nabokov's controversial Lolita (1955)to telegraph the post-war social transformation that is underway elsewhere.Instead of pushing the narrative forward, the film prefers to dwell on archetypal caricatures of small people in small places. A smug gadabout, a banker nicknamed Mr Potato Head, a smelly fishmonger, a precocious teenager, a dithering lawyer, the snobbish and manipulative Mrs Gamart, and of course, the incurable romantic Mr Brundish. While these are portrayed with a light brush, it is Florence who holds our attention for the depth of her vanguard feminist courage and self-belief. The entire cast is well chosen, but Emily Mortimer is the film's undoubted shining star.It might be argued that Bill Nighy is such an icon of British movies that he overpowers any given role simply by being a composite of every other persona he has ever played. In other words: he is always Bill Nighy. But that is a minor distraction in an otherwise flawlessly directed, slow-burning village drama of how books and ideas can change the world we live in. It is not recommended, however, for anyone who does not have the time or need to stop and smell flowers or watch boats sail by.