Top 5 pictures of Keira Knightley on the Google

Holly-Bolly-Masala was nominated as Best Celebrity Blog. Vote for us(right bottom side). Enjoy awesome pictures of Keira Knightley only on Holly-Bolly-Masala:

'The Edge of Love' is releasing on 20 March 2009

Starring: Keira Knightley, Matthew Rhys, Cillian Murphy, Sienna Miller

Releasing Date: 20 March 2009

Director: John Maybury

Studio: Capitol Films

Rating: NR

Genre: Drama / Romance / War

Movie Reviews:
Review by Louise Keller:
Love, war and poetry swirl together to form this cocktail of a film, in which fantasy and reality are the main, but conflicting ingredients. Sharman Macdonald (who also happens to be Keira Knightley's mother) has written a dense screenplay about a high-pitched emotional story involving Welsh poet Dylan Thomas (played by Matthew Rhys), his first love Vera (Knightley) and wife Caitlin (Sienna Miller). Infatuation, infidelity, friendship, jealousy and betrayal are not comfortable partners, as Vera and Caitlin discover with the help of Cillian Murphy's catalyst soldier hero William Killick. In keeping with Dylan's ethereal poetry, director John Maybury injects an artistic flourish to this involving drama, allowing us to understand the intricate complexities of the spiral of love and friendship in which the characters find themselves engrossed.

To Dylan, Vera lives in his sky, while Caitlin remains in his earth. In an unexpected twist, the two women in Thomas' life become best friends. 'I might like you; then again, I might not,' Miller's Caitlin tells Knightley's Vera on first meeting. It is clear from the start that Vera still holds a large crush on Thomas, her first love, but lets the persistence of Murphy's devoted and loyal William to penetrate her reserve. He falls for her beauty and aloofness as she sings torch songs in the underground shelters of the 1940 blitz. But when William heads to the isolated Wales coast during the war, and finds the threesome comfortably settled in a controversial relationship, a war of a different kind erupts. To William, life is simple when it comes to the woman he loves, but to the parasitic Dylan who feeds off life in order to create his thoughts and words, people and emotions are nothing but commodities used for pleasure.

Knightley and Miller deliver splendid performances, the former showing she has a pretty, tuneful voice. Murphy is enigmatic as the strong-willed soldier, while Rhys is suitably soppy as the weak and often detestable Dylan. The story drags at times but there are rewards as the relationships each find their footholds, and Vera is taken right to the precarious edge of love as she finally realises what is most important.

Review by Andrew L. Urban:
Artists and poets whose works have inspired and enriched our lives seem to have usually lived fairly rotten lives, and Dylan Thomas appears to be no exception. This wonderfully cinematic revelation of his life as seen through relationships with the two key women in his life doesn't have to convince us that every detail is historically accurate. It can't anyway. But it does convince in terms of characters and the mood of the times.

Matthew Rhys is remarkably effective as Dylan in a performance that captures the complexity of a man who lives to write, but is not very good at anything else. Sienna Miller and Keira Knightley are superb, too, as the sparring women united in friendship but at odds over love. Miller's feisty and risk taking free spirit Caitlin is an entire creation, while Knightley is riveting as the lovely and torn Vera.

The film's cinematic signature is made up of moody imagery that is still grounded in reality, but with poetic flourish. Angelo Badalamenti's score is elegantly understated but crucial, and Emma E. Hickox finds the right structure with her edit.

I really don't like the title, the pace sags at times and the ending is a bit of a mess, but these are luckily unharmful to the film's engaging tone and compelling characters. It's an ideal film for all those who complain about too many brash, youth oriented popcorn movies.

Tokyo! 2009 Movie Reviews and Critics

Starring: Ryo Kase, Ayumi Ito, Renji Ishibashi, Naoto Takenaka, Yu Aoi, Jean-François Balmer, Ayako Fujitani, Teruyuki Kagawa, Denis Lavant

Director: Joon-ho Bong, Michel Gondry, Leos Carax

Studio: Liberation Entertainment

Rating: NR

Genre: Drama

Release Date: March 6, 2009 (NY; Los Angeles on March 20)

Movie Reviews and critics:
Tokyo! is a curious conundrum. The movie is a triptych of short films about the titular metropolis made by Michel Gondry, Leos Carax, and Joon-ho Bong, three non-Japanese filmmakers. Each tries to offer up personalized impressions of the Japanese capital, and that alone would suggest a worthwhile cinematic experience. But the films themselves lack the intimacy with Tokyo's cultural nuances that we crave from a piece like this, trafficking instead in stereotypes and platitudes.

For its easy charm and humor, Michel Gondry's "Interior Design" comes off best. Gondry's story follows a young couple -- Hiroko and Akira (Ayako Fujitani and Ryo Kase) -- who have just moved to Tokyo, struggling to find an apartment, jobs, and generally to start their new lives. Akira's an aspiring filmmaker-artist, hence a bit of a space case, while his girlfriend Hiroko is smart but directionless. While getting started in Tokyo, they bunk up with a friend in her absurdly tiny apartment. Gradually, Hiroko pulls away from Akira and, in a Gondry-esque bit of transmogrification, she suddenly has the ability to shift from human to chair form and back. As a chair, she becomes part of the furnishings in a stranger's home, and feels herself an object of value, something she lacked as a human being. Gondry pokes fun at Tokyo's housing crisis: The living spaces are hilariously cramped, hardly more than glorified closets. With the low-key bantering of its characters, the quotidian details of Tokyo street life, its movie-within-a-movie device, the human-chair magic trick, and the overall theme of life-as-reverie, this is a Gondry project through and through. And, though not illuminating on the subject of its city, it's still a cute, clever take on Tokyo to keep us amused.

Coming a close second is Korean filmmaker Joon-ho Bong's "Shaking Tokyo," about a recluse (Teruyuki Kagawa) who's holed himself up in his apartment for 10 years. His only contact with the outside world is via his telephone, through which orders groceries and take-out pizza. When he falls in love with the pizza delivery girl, the recluse decides to break his self-imposed isolation, and sets out across Tokyo to find her. But the Tokyo that he steps into is a strangely desolate urban landscape -- the outer world has come to mirror the inner world -- as citizens have sealed themselves into their own private universes and happy-faced robots perform the task of maintaining the city. It's also a world punctuated by earthquakes, premonitions of disaster and death against which the love between the recluse and the pizza girl is the only talisman. Strikingly filmed, Bong infuses a dreamy, sullen mood to express the alienation of modern Tokyo, all unfolding against the ever-present reality of natural disaster murmuring in the background.

Sandwiched between Gondry's and Bong's entries is Leos Carax' "Merde" -- a film least about Tokyo and most about Leos Carax. Riffing on Tokyo's Godzilla culture, Carax' tiresome, distinctly French (i.e. unfunny) comedy depicts a subterranean troll-like humanoid (Denis Lavant) who becomes a media sensation after he emerges from his sewer-home and begins harassing and killing Tokyo citizens. The troll -- dubbed Merde (French for "shit" in case you cared) -- is captured but, turns out, his oddball, simian grunting can only be understood by an equally oddball French attorney (Jean-François Balmer) who insists on defending Merde in a circus-like trial in which issues of Japan's xenophobia are obtusely explored. Self-consciously wry, "Merde" reaches for big themes on the absurdity of the news media, Japan's pop culture (i.e. Godzilla), the fear of the "other," and something about communication and language. On all counts, it's an airball. Carax' film is painfully precious and heavy handed in the worst French tradition, and has no business being part of an omnibus about Tokyo.

While intermittently enjoyable and visually clever, Tokyo! isn't remotely groundbreaking, either as cinema or as a vision of one of the world's most chaotic, complex, and exuberant cities. At its best, the movie is a stylish spin through the Tokyo universe, a play on the psychology and realities of one of the world's most urbanized societies, by two entertaining directors. And, at its worst, it's a jumping-off point for one filmmaker's tedious and solipsistic self indulgence.