Keira Knightley 24X36 Poster - Very Hot - New! - Buy Me! #01

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In the bohemian underground of World War II London, a stirring love story ignites among legendary poet Dylan Thomas (Matthew Rhys, TV's Brothers and Sisters) and the two extraordinary women who inspire him. Sienna Miller (Casanova) is Caitlin, Thomas' free-spirited wife, while Keira Knightley (Atonement) is Vera, the long-lost teenage sweetheart who later reconnects with Thomas. Despite their romantic rivalry, the two women form a surprisingly close bond. The trio is unusually blissful until Vera's husband, a handsome soldier (Cillian Murphy, Girl with a Pearl Earring), sends their uninhibited lives spiraling out of control.

Stills from The! Edge of Love (Click for larger image)

Stylish and strangely remote, The Edge of Love salutes two women who made a significant impact on poet Dylan Thomas in the 1940s. Married to restless Irish lass Caitlin (Sienna Miller), who favors revealing outfits, Dylan (Welsh actor Matthew Rhys, Brothers and Sisters) still pines for his childhood sweetheart, torch singer Vera Phillips (Keir! a Knightley, who does her own singing and does it well). Vera ! feels th e same, but as Dylan isn't available she accepts a proposal from Captain William Killick (Cillian Murphy), a persistent British suitor. To Dylan, Vera is heavenly and Caitlin is earthly--and he can't see living without either one (the Thomases have an open marriage). While William is stationed in Greece, the trio, plus two children, share neighboring cottages in Wales, live off William's paychecks, and smoke every cigarette they can find, but when William returns, penniless and depressed, things start to fall apart. An act of violence, followed by a cruel betrayal, puts an end to their idyll for good. Since the 1990s, the poet-during-wartime picture has become a genre unto itself, and John Maybury's third feature bears comparison with Regeneration and Pandaemonium, while also serving as a literary companion to Love Is the Devil, Maybury's feverish portrait of painter Francis Bacon (Knightley's mother, Sharman Macdonald, wrote the script). If Sienna's Iri! sh accent is barely detectable, the same goes for Keira's Welsh warble, but the women otherwise form a believable bond--even if the men pale in comparison. --Kathleen C. FennessyOne of the greatest love stories of all time, Pride & Prejudice, comes to the screen in a glorious new adaptation starring Keira Knightley. When Elizabeth Bennett (Knightley) meets the handsome Mr. Darcy (Matthew MacFadyen), she believes he is the last man on earth she could ever marry. But as their lives become intertwined in an unexpected adventure, she finds herself captivated by the very person she swore to loathe for all eternity. Based on the beloved masterpiece by Jane Austen, it is the classic tale of love and misunderstanding that sparkles with romance, wit and emotional force. Critics are calling it "Exhilarating. A joy from start to finish" (Carina Chocano, Los Angeles Times).Literary adaptations just don't get any better than director Joe Wright's 2005 version of Jane Austen's ! Pride & Prejudice. The key word here is adaptation, becaus! e Wright and gifted screenwriter Deborah Moggach have taken liberties with Austen's classic novel that purists may find objectionable, but in this exquisite film their artistic decisions are entirely justified and exceptionally well executed. It's a more rural England that we see here, circa 1790 (as opposed to Austen's early 19th century), in which Elizabeth Bennet (Keira Knightley) is one of several sisters primed for marriage, with an anxious mother (Brenda Blethyn) only too desperate to see her daughters paired off with the finest, richest husbands available. Elizabeth is strong-willed and opinionated, but her head (not to mention her pride and prejudice) lead her heart astray when she meets the wealthy Mr. Darcy (Matthew Macfadyen), whose own sense of decency and discretion (not to mention his pride and prejudice) prevent him from expressing his mutual affection. They're clearly meant for each other, and as Knightley's performance lights up the screen (still young enough to be ! girlishly impertinent, yet wise beyond her 20 years), Austen's timeless romance yields yet another timeless adaptation, easily on par with the beloved BBC miniseries that has been embraced by millions since originally broadcast in 1995. Individual tastes will vary as to which version should be considered "definitive," but with a stellar supporting cast including Judi Dench and Donald Sutherland, this impeccable production achieves its own kind of perfection. --Jeff ShannonSet in the East-End of London, PURE is a story about the bond between a family and the pull of drugs. Following the death of his father, ten-year old Paul (Harry Eden) becomes the caretaker of his family mother Mel (Molly Parker) and youngest brother Lee (Vinni Hunter). His only friend is a flighty waitress Louise (Keira Knightley) who helps Paul in his desperate attempt to protect his family from the mother s drug addiction and her boyfriend, the local dealer (David Wenham).Academy Award® Nominees! Carey Mulligan and Keira Knightley, co-star with talented new! comer An drew Garfield (The Social Network) in this poignant and powerful film. Kathy (Mulligan), Ruth (Knightley) and Tommy (Garfield) are best friends who grow up together at an English boarding school with a chilling secret. When they learn the shocking truth--that they are genetically engineered clones raised to be organ donors--they embrace their fleeting chance to live and love. Based on the acclaimed novel by Kazuo Ishiguro (The Remains of the Day), Never Let Me Go is an intriguing exploration of hope and humanity. In adapting Kazuo Ishiguro's celebrated novel, director Mark Romanek (One Hour Photo) and screenwriter Alex Garland (Sunshine) transform dystopian fiction into period drama by presenting an alternate past in which people routinely live beyond 100--at a cost to those who make it possible. In the 1970s, Kathy (Isobel Meikle-Small) and Ruth (Ella Purnell) attend Hailsham, a British boarding school where Miss Emily (Charlotte Rampling)! holds sway--and no one ever mentions their parents. When new teacher Miss Lucy (Sally Hawkins, Happy-Go-Lucky) arrives, she reaches out to the awkward Tommy (Charlie Rowe), with whom Kathy becomes close--until jealous Ruth steals him away. Then Lucy reveals what will happen when they leave. By the 1980s, Kathy (a poignant Carey Mulligan), Ruth (Keira Knightley), and Tommy (Andrew Garfield) live in the country until they're ready to fulfill their purpose. With Ruth and Tommy an item, Kathy becomes a carer, a sort of social worker. Over the years, the three go their separate ways until the 1990s, by which point their time will run out unless they can arrange for a deferral. Throughout, Romanek never presents alternate points of view; the audience experiences this brave new world only through the eyes of its sheltered protagonists. If the story raises issues that recall Orwell, the unhurried pace echoes The Remains of the Day, Merchant Ivory's Ishiguro adaptatio! n. Similarly, Never Let Me Go is a work of great skill ! and comp assion, but make no mistake: it's also very, very depressing. --Kathleen C. FennessyFrom the award-winning director of Pride and Prejudice comes a stunning, critically acclaimed epic story of love. When a young girl catches her sister in a passionate embrace with a childhood friend, her jealousy drives her to tell a lie that will irrevocably change the course of all their lives forever. Academy Award® nominee Keira Knightley and James McAvoy lead an all-star cast in the film critics are hailing "the year's best picture" (Thelma Adams, US Weekly).Director Joe Wright (Pride and Prejudice) gives Ian McEwan’s bestselling novel a sumptuous treatment for the screen that should come to be regarded as one of the defining films of the epic romantic drama. Indeed, everything about this film stems from those three words: there is little here that is not epic, romantic, and dramatic, and Atonement is a film that masterfully expresses the overarching sense of adve! nture and emotion that such stories are meant to convey. In this instance, the story centers around the love story of highborn Cecilia Tallis (Keira Knightley) and housekeeper’s son Robbie Turner (James McAvoy, in a star-making turn), in England shortly before World War II. Despite their class differences, they are powerfully attracted to each other, and just as their relationship begins Robbie is tragically forced away due to false accusations from Cecilia’s younger sister Briony (Saoirse Ronan). She has a crush on Robbie, too, and after reading a private letter he sent to Cecilia, and then witnessing the first expression of their mutual love but mistaking it for mistreatment, her resentment grows until it leads to her telling the lie that will send Robbie away. Soon World War II breaks out; Robbie enlists and is posted to France, Cecilia is a nurse in London, and Briony, now age 18 and aware of what she has done, tries to atone for her actions--but none of them will b! e able to get back what they have lost. Knightley and McAvoy a! re perfe ctly cast as the young star crossed lovers, and the young Ronan is particularly impressive, but it’s clear that the real star of this film is the director. Wright allows Atonement to revel in every moment of its story and each scene is compelling in its own way, but that now famous extended shot with Robbie on the beach at Dunkirk--filmed in one take and sure to be considered one of the great long tracking shots in film history--is the most memorable moment in this remarkable film. Atonement is an excellent example of what can happen when a great book meets great filmmaking. This is one that is not to be missed. --Daniel Vancini

Stills from Atonement (click for larger image).

DUCHESS - DVD MovieSwaddled in whalebone and wigs, Keira Knightley steps into the restricted world of the Duchess of Devonshire, a royal lady popular with her subjects but stuck in an unhappy marriage. If this situation recalls Princess Diana (a descendent of the Duchess's family), so much the better for the purposes of director Saul Dibb and company; this film is eager to draw parallels with the unfortunate Lady Di, even if she is never directly mentioned. Knightley's unsuspecting girl is married off to the D! uke (Ralph Fiennes), a distracted jerk who craves sons, and obviously has never thought of women as anything other than a means to achieve an heir. When the Duchess launches her procreative career with a couple of daughters, well, the Duke begins to get nervous--and partners outside the marriage become increasingly appealing. The Duchess serves up lavish portions of Brit-movie staples: costumes (which, in Knightley's case, are nothing short of spectacular), landscapes, and gorgeous music (by Rachel Portman). If it falls short in some vague way, perhaps it's because the film is a mostly one-note affair, meaning exactly what it seems to mean at every moment. Charlotte Rampling appears too briefly as Knightley's mother, and Dominic Cooper and Hayley Atwell (from Brideshead Revisited), rising stars both, contribute attractive lures for the principals. They prove the old movie adage: there's a lot to be said for eye candy. --Robert Horton

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Stills from Th! e Duches s (Click for larger image)

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