Bright Young Things


Comedy / Drama / War

IMDb Rating 6.6 10 4,920


Downloaded times
August 26, 2020



720p.WEB 1080p.WEB
975.1 MB
English 2.0
23.976 fps
102 min
P/S N/A / N/A
1.77 GB
English 2.0
23.976 fps
102 min
P/S N/A / N/A

Movie Reviews

Reviewed by mmize 10 / 10 / 10

Fun, Smart, and A Good Ride

This is one of the best films I have seen in a while. I was lucky to be able to catch it at Washington, DC's International Film Fest, but I hope that it gets a proper U.S. release date soon. The stunning costumes, set, and dialogue -- all very era-appropriate -- were compelling. I don't usually go for period pieces, but so much of this movie seemed tongue-and-cheek that I couldn't help enjoying it. The main characters were well-developed, each with their own quirks, and there were some unexpected twists that helped move the plot along. Stephen Campbell Moore, the actor who plays the lead (Adam Symes), is a real find. He carries the movie beautifully, and I wouldn't be surprised if he became a huge star. Even though Moore does fine on his own, you have to give credit to Simon Callow (King of Anatolia), Jim Broadbent (the drunk Major), and others in the supporting cast for mastering their oddball roles. Furthermore, the costume designer deserves an Oscar. I was a bit disappointed with the ending, or at least the scenes leading up to the end. The film starts out like a carnival ride and runs out of gas near the end. But, like all good carnival rides, once you finish, you want to get back on. That's the way I felt about "Bright Young Things." I can't wait to see it in the theater again.

Reviewed by drednm 2 / 10 / 10

Fenella Woolgar Steals the Film

Actor Stephen Fry makes an impressive splash as a director with Bright Young Things, based on the Evelyn Waugh novel, Vile Bodies. The story centers on some struggling "bright young things" during the years before England entered World War II. Adam (Stephen Campbell Moore) and Nina (Emily Mortimer) play sometime-engaged young things at the center of a disparate group of eccentrics. They seem addicted to the London "social whirl" as well as cocaine. He's a struggling writer, and she needs a rich husband. He gets roped into taking a job as a gossip columnist because the former writer (James McAvoy) commits suicide and because his manuscript is confiscated when he enters Scotland. So the young things go to every party and write up tons of scandalous gossip for the rag, keep getting drunk and stoned, and keep pursuing money. Typical acid commentary from Waugh, and Fry does a good job balancing all the characters and sub-plots. Impressive cast as well with Peter O'Toole (very funny), Dan Aykroyd, Stockard Channing (hilariously named Mrs. Melrose Ape), Harriet Walter, Imelda Staunton, Simon Callow, Jim Broadbent, Julia McKemzie, John Mills, Jim Carter, Angela Thorne, Bill Paterson, Richard E. Grant, and Margaret Tyzack recognizable. Fry appears as a chauffeur. Moore and Mortimer are solid as young things, but Fenella Woolgar as Agatha is the standout. She's awesome in the part of the drugged out socialite who ends up in an asylum. Woolgar has several memorable scenes and droops about being "smashingly bored." Her race car scene is a scream. David Tennant is the repulsive Ginger, Michael Sheen is the queeny Miles, Lisa Dillon is the social wannabe, and Alec Newman is the very odd race driver. Only real complaint is that the ending is VERY long and drawn out. And even though a few loose ends are tied up, it seems padded and interminable. We didn't really need to see WW II battle scenes, and even if the ending worked in the novel it seems very phony in the film.

Reviewed by slokes 2 / 10 / 10

Waugh A Waste

"Bright Young Things" is a comedy that's never funny, a period piece that doesn't know what period it's in, and a party film that leaves you with the hangover. When writer-director Stephen Fry decided to make an adaptation of an Evelyn Waugh novel, he could have done himself a favor and not adapted "Vile Bodies." It's an episodic satire on the lives of a group of London club kids in the late 1920s that attempts to elicit laughter from the nasty ways they are run to ground by the world around them. The characters aren't meant for any deeper emotional investment than lab rats, though Fry seems to believe otherwise. At the center of the story, in both novel and film, is young Adam (Stephen Campbell Moore), who at the start of our story has lost his prized manuscript and is desperately trying to find new sources of funding with which to marry his lover Nina (Emily Mortimer). Opportunity comes in the form of an offer from publisher Lord Monomark (Dan Aykroyd) who wants Adam's help "tearing the lid off the young, idle, and rich." "I put Seignior Mussolini on the front page, no one buys a copy," he laments. "But a picture of one of your set in a nightclub, I can't print enough copies." The problem with both the novel and the film is this interesting idea is dropped almost before it begins, in favor of a number of other outrageous episodes which seem to act on the principle that anything can be made merry provided it moves fast enough. Like a strange major who makes off with some money Adam wanted to bet on a long-shot horse. Or a party that winds up finding themselves in the Prime Minister's residence. Or a car race that loses a wayward driver. All of this is drawn out as if it were funny merely by being incongruous. The film is worse on a few counts. First, Fry by necessity condenses the story but is at pains to include almost every character that appears in the book, as a way of facilitating assorted cameos that run from extraneous (Richard E. Grant as an angry Jesuit) to sad (John Mills as a mute coke sniffer). Second, he invests his version with an elegiac sadness that feels totally out of place in the second half. Nothing says comedy like a man sticking his head in an oven, or another tearfully discovering his homosexual lifestyle exposed. Even the main romance, a matter of crass opportunism in the book, is presented as a kind of real love story, even heroic as the Roaring '20s zip suddenly ahead to Dunkirk and the Blitz. Fry doesn't seem to trust either Waugh's wit or his own to make "Bright Young Things" work on comedic grounds, or else he really thinks the characters worth celebrating. The result is a doubled-down waste of our time.

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