Comedy / Drama / Romance

Rotten Tomatoes Critics - Rotten 45%
Rotten Tomatoes Audience - Spilled 38%
IMDb Rating 5.9 10 1663


Uploaded By: FREEMAN
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January 14, 2018 at 10:43 PM



Diane Keaton as Emily Walters
Brendan Gleeson as Donald Horner
James Norton as Philip
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751.46 MB
24 fps
1hr 42 min
P/S 36 / 316
1.56 GB
24 fps
1hr 42 min
P/S 49 / 221

Movie Reviews

Reviewed by Figgy66-915-598470 7 / 10

Interesting telling based on true events

23 June 2017 Film of Choice at The Plaza Dorchester Tonight - Hampstead. Why do people find it so hard to reconcile themselves to the fact that it's OK to be different. This story takes us on a journey of burgeoning love between a widowed American and a man who deliberately chose to remove himself from society. Putting nothing into society, yet taking nothing out, he is persecuted for his lifestyle and when he is being threatened with eviction he finds support from an unexpected source....namely Emily, played the the wonderful Diane Keaton, who brings her flighty style to this put upon, widowed character. Almost forced into rebelling by Fiona, her busy body head of the tenants association neighbour, Emily discovers Donald Horner, a man who has been practising his lifestyle for 17 years, yet is facing eviction by the developers who want to utilise his plot of land. Based on a true story this film shows the unpleasant side of some people's characters and the nicer side of those who are drawn out from their shells. A feel good film which only had one uneasy moment for me, that was when Emily seemed to change her personality momentarily leading me to wonder where things were going. A good rainy Sunday afternoon film.

Reviewed by Karen Naylor 5 / 10

Easy watching

In this Joel Hopkins (The Love Punch, Last Chance Harvey) directed and Robert Festinger (Stars in Shorts, Trust) written film, Brendan Gleeson (Gangs of New York, Edge of Tomorrow) stars as Donald Horner, a man who lives in a makeshift house on Hampstead Heath who is befriended by an American widow, Emily Walters played by Diane Keaton (Father of the Bride, The First Wives Club). She is in financial difficulties and urged by both her son Philip (James Norton: Belle, TVs Happy Valley and Grantchester) and friend Fiona (Lesley Manville: Maleficent, Vera Drake) to consult an accountant, she agrees to meet with James Smythe (Jason Watkins: TVs Taboo and Being Human) and to hand out flyers about Fiona's husbands property development and this is when she meets Donald. Drumming up help from some local activists (Hugh Skinner: Les Miserables, TVs W1A), she sorts out a lawyer (Adeel Akhtar: The Dictator, Four Lions) to fight his eviction notice.

With a very human story, this drama based on true events is full of sadness, romance and comedy and the workings of society. From an ostracised 'homeless' man to a widow trying to live up to social expectations we see how lifestyles can so easily be turned from successful to difficult and how this can be judged by others. Both main characters have problems and their pride is preventing them from accepting help yet they ultimately realise that they have to be true to themselves and their real friends in order to move on with their lives.

Norton is woefully underused and the music score is far too elevator, but the cinematography makes up for this. There is a great turn by Simon Callow (Four Weddings and a Funeral, Viceroy's House) as the judge and although there is a strange moment where Emily, the widow, begins to do things totally out of character, the film has a well-paced gentle if predictable plot with fine acting. The minor characters do seem to be a tad one-dimensional but there is something satisfying about these two outsiders taking on the establishment and winning.

Reviewed by CineMuseFilms 6 / 10

an unevenly lukewarm British rom-com

Importing a Hollywood veteran into a quintessentially English romantic comedy can sometimes be magic, sometimes not. Hampstead (2017) might have been a great British romantic comedy but instead it must work with an inauthentic American personality who limits the film's impact. Fortunately, brilliant cinematography rescues the film enough to produce a visually delicious but lightweight story of late-life romance between a lady and a tramp.

Based on a true story, Donald Horner (Brendan Gleeson) has been a squatter on London's Hampstead Heath for 17 years. He is a surly off-the-grid loner who avoids all trappings of modern life in a quaint shanty shack built from other people's rubbish. Within a binocular's view from across the road, American widow Emily Walters (Diane Keaton) spies him bathing in the pond and out of curiosity soon invents an excuse to meet him. Property developers have targeted the land, and Donald must defend himself from an eviction notice. He becomes a cause celebre with do-gooders and naysayers petitioning for and against his squatter's rights while he and Emily get together despite pushback from her posh Pommy friends. This predictable narrative of tramp versus society offers modest delights but few surprises.

There are three noteworthy parts to this uneven film: the cinematography and the two co-stars. The first is simply wonderful: Hampstead village and the Heath are lovingly filmed and the charming shanty shack look like something out of a fairy tale. Every time Donald or Emily walk down the narrow track into the woods it becomes an act of escapism from urban living and entry into a floral wonderland. Brendan Gleeson is cast to perfection as a girthsome giant with craggy features and expressive eyes. His Irish accent complements the natural beauty of the Heath to which he convincingly belongs. And then there is Diane Keaton. What made her famous forty years ago in Woody Allen films do not translate easily to this contemporary British rom-com. The camera has tried too hard and its efforts are just too obvious: repeat use of backlit shots, glowing soft-focus, cutesy beret hat and Annie Hall smiles make it hard to engage with her character as a real person. In contrast to Donald's melodic Irish-ness, Emily's timing and tone are often grating. For example, when Donald's home of 17 years is cruelly trashed in a turning point moment, Emily's breezy response might work in New York but here is totally disengaged from what has just happened.

Donald's story is based on a real character and a real fight between a homeless eccentric and the imperatives of capitalism so there is a serious side to Hampstead. But this lightweight rom-com is unlikely to raise consciousness of what is means to be homeless. The lukewarm chemistry between the senior lovebirds will excite few and the sleep-inducing musical score even less. Whether casting Keaton can add American baby boomer audiences to an essentially home-grown British story remains to be seen. Filmmakers sometimes need reminding that older viewers can handle more challenge than one-dimensional films like Paris Can Wait (2017) and Hampstead (2017).

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