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Ben Cookson Ratings: 6,2 / 10 Star Country: Belgium actor: Anjelica Huston 72 vote Runtime: 109Minutes. Timmys mom:Finds out shes pregnant Mistakes Were Made. Waiting for anya showtimes. Waiting for anya official trailer. Waiting for anya release date. OH MY GOD, THEY FINALLY ADAPTED THE SECRET GARDEN! YAY. Waiting for anya movie reviews. That „kissy-thing“ on the nose at 1:00 made me want to throw up. That was hella uncomfortable.

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Ever since Finns been on stranger things hes gotten so much fam. Anjelica Huston, Jean Reno and Noah Schnapp of 'Stranger Things' appear in Ben Cookson's World War II-set thriller based on a YA novel by 'War Horse' author Michael Morpurgo. Holocaust-themed films geared to younger audiences inevitably have a certain defanged quality. It's the inevitable trade-off for softening the horrors attendant to the subject matter, and there's something to be said for making the historical period more accessible to viewers who may not be familiar with it. Unfortunately, the approach can also result in blandness, which is the main problem afflicting Ben Cookson's screen adaptation of British author Michael Morpurgo's 1990 children's book. Despite its laudable intentions, Waiting for Anya proves less impactful than it should be. The film certainly doesn't have the thematic weight of War Horse, another film (and acclaimed stage play) based on a war-themed book by Morpurgo that was geared to young readers. There's certainly an arresting story at the pic's center. Set in 1942 in the French Pyrenees, it concerns Jo (Noah Schnapp, displaying the same strong presence as he does in Netflix's Stranger Things), a teenage shepherd who spends much of his time in the mountains attending to his grandfather Henri's (Jean Reno) sheep. One day, after narrowly avoiding a possibly fatal encounter with a bear, Jo runs into the mysterious Benjamin (Frederick Schmidt). It turns out that Benjamin, a Jew, had escaped with his young daughter Anya from a train bound for a concentration camp, after which they were unfortunately separated. Now, he hides in the woods, helping to smuggle Jewish children to safety in Spain with the help of his elderly widowed mother-in-law Horcada (Angelica Huston) and desperately hoping to be reunited with Anya. Although the area in southern France is technically not under Nazi occupation, there are many of them around and they are obviously up to no good. Or at least one of them isn't, since we're presented with one very bad Nazi in the form of a sneering, vicious lieutenant (Tomas Lemarquis) and one pretty good Nazi in the form of a kindly corporal (Thomas Kretschmann) who befriends Jo and talks longingly of returning home to his wife and daughters after the war. The contrast between the two men seems too simplistically drawn. Yes, there were some Nazis who were no doubt decent men, but you get the feeling here that the movie simply wanted to be fair and balanced. Wanting to help Benjamin and Horcada in their noble efforts, Jo gets involved despite the dangers. His contribution consists largely of making trips to the village to procure groceries and medicine for the children being hidden in Horcada's barn, and ironically is helped at one point by the corporal who offers to carry the heavy bag. Meanwhile, the lieutenant becomes increasingly suspicious of the villagers' activities. The frequent presence of a mentally impaired classmate of Jo's who antagonizes the Nazis only adds to the danger of the situation. Director/co-screenwriter Cookson ( Almost Married) proves unable to wrest much sustained tension from the scenario, indulging in too many subplots and minor characters and letting the pacing lag. Despite the fine efforts of the ensemble that includes such solid veterans as Huston (her accent, however, proves distracting), Reno and particularly Kretschmann, who brings real shadings to his role as the conflicted colonel, the film never overcomes its air of staidness. Waiting for Anya boasts handsome visuals, with cinematographer Gerry Vasbenter wasting no opportunities to employ drones to capture the beauty of its setting (the pic was shot on location in the Pyrenees). But even that quality ironically works against it; the aerial shots of the mountain scenery look so gorgeous you keep waiting for Julie Andrews to appear, twirling and singing "The Sound of Music. " Presumably, that's not the effect the filmmakers were hoping for. Production companies: Goldfinch Studios, T&B Media Global, 13 Films, Artemis Production Distributor: Vertical Entertainment Cast: Noah Schnapp, Anjelica Huston, Sadi Frost, Jean Reno, Nicolas Rowe, Thomas Kretschmann, Frederick Schmidt, Gilles Marini, Tomas Lemarquis, Elsa Zylberstein, Josephine de la Baume Director: Ben Cookson Screenwriters: Toby Torlesse, Ben Cookson Producers: Alan Latham Phin Glynn Executive producers: Kirsty Bell, Geoffrey Iles, Phil McKenzie, Tannaz Anisi, Gregory R. Schenz, Jwanwat Ahriyavraromp, Bhakbhume Tanta-Nanta, Ekkasitha Chalermrattawongz, Pornsuree Thienbunlertrat, Alastair Burlingham, Paul Ward, Raj Awasti Director of photography: Gerry Vasbenter Production designer: Laurence Brenguier Editors: Chris Gill, Sandrine Deegan Composer: James Seymour Brett Costume designer: Agnes Noden Casting: Shannon Makhanian 109 minutes.

Waiting for Anya, directed by Ben Cookson, who co-wrote the screenplay with Toby Torlesse, is a film that falls within a popular World War II sub-genre that focuses on a local conflict between German occupiers and French non-combatants, typically set away from the civilian centers that suffered crushing horror, destruction, and death. Based on a true story, the film focuses on the attempt of a group of residents of Lescun, a small Southwestern French town in the Pyrenees, who hide a number of Jewish refugees while devising a nebulous plan to somehow lead them to a safe haven over the border into neutral Spain. The film is based on a children’s book of the same name, written by the popular British novelist Michael Morpurgo (author of the novel War Horse, the basis for the 2011 Stephen Spielberg film). When a small company of German soldiers appears with an assignment to guard and secure the area, the townsfolk, led by the wise Widow Orcada (Anjelica Huston, “ 50/50 ”) and Henri (Jean Reno, “ Cold Blood ”) a tough, wizened veteran of World War I, craftily find ways to deceive the war-weary occupiers. Each of these seasoned actors does an admirable job in creating individual characters, which in less capable hands, could have been reduced to stereotypes. However, the film’s focal protagonist is the 14-year-old-boy Jo Laland (Noah Schnapp, “ The Peanuts Movie ”), who decides the moral thing to do (while his father is being held at a Nazi work camp) is to help the ragtag townsfolk harbor the unfortunate refugees. Jo also stands out because the other townsfolk engaged in the subterfuge are primarily older men or women. The film’s central narrative trope is the reminiscence of the elderly Jo, who, through reflection many years hence, relates via voice over, the time in his life when he placed morality ahead of personal safety. As such, the film has a structure that in Tennessee Williams’ definition, constitutes a “work of memory. ” While this structure can be used successfully in film, for example, in “Stand by Me” or “Shawshank Redemption” (both based on Stephen King novels, by the way), it falls flat in Waiting for Anya. For one thing, the script has logical and temporal gaps, and the art direction at times seems sanitized with too much of a precious aesthetic. The result is that Jo’s memories create an idealistic bedtime story rather than a believable reflection of a grim and demanding time. Owing to these shortcomings, the film never rises above a TV movie-ish, after-school special morality tale, which, even for a narrative aimed primarily at a young audience, seems naïve by contemporary standards. Certain structural elements and cinematic choices stand out as particularly poor. For example, there are excessively lengthy pans and traveling shots that reveal the scenic Pyrenees. These camera movements seem more suitable for a travelogue than a story narrative. To add to this romantic depiction of place and local culture is the work of the art direction team, which seems to have spent too much time in displaying period costumes rather than aiding in bringing the verisimilitude to life. This is particularly apparent with the attire of young Jo. His cape and black beret appear to have been taken off the costume rack and freshly pressed, while his personal grooming is nearly immaculate. As a result, he often possesses the appearance of a clothing model in a catalog. He is, after all, a young shepherd, and much of his work involves slogging through the meadows. As audience members, we may be asked to suspend our disbelief and appreciate the natural beauty and the innocence of youth, but during these moments the central conflicts seem placed on hiatus. In addition, the camera seems unduly transfixed on scenes of seated townsfolk, chatting around French provincial tables or going about the quotidian tasks that make up town life. But as “charming” as these situations may appear visually, they are too often visual padding — perhaps incorporated to compensate for an undeveloped script. As a result, even a young audience might get a bit edgy in its seats. When the script is effective, the actors do a good job of inhabiting the time and place. Benjamin (played by Frederick Schmidt, the Jewish father of the titular Anya), provides a convincing portrait of an emotionally desperate man as he serves double duty: Hoping his daughter will miraculously appear while carefully monitoring the activities of the Germans on patrol. A German soldier, who is second in command, and referred to only as Korporal (Thomas Kretschmann, “ Jungle ”) is excellent as a man conflicted between preserving his role as a Jew hunter as he fails to hide his inner feelings as a wistful father and nature lover. Unfortunately, several good performances are not enough to raise Waiting for Anya to a level that would both render it an aesthetic whole, or a believable narrative. The inconsistencies simply can’t be redeemed.

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