‘I’d rather read a book’: Tarantino criticises ‘flavourless sausage factory’ Hollywood

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Pulp Fiction director writes in Sight and Sound that ‘since the pandemic … it seems almost impossible for a new movie to come out that I don’t pick to death’ Quentin Tarantino has criticised contemporary Hollywood, calling it “a flavourless sausage factory”. Writing in Sight and Sound magazine, Tarantino said that “since the pandemic … it seems almost impossible for a new movie to come out that I don’t pick to death”. He added: “Flaws, implausibilities, audience pandering, miscast performers or just plain stupid shit usually torpedoes every new movie coming out of the flavourless sausage factory that used to call itself Hollywood.” Continue reading... from Film | The Guardian https://ift.tt/Q6Oz8uX via IFTTT
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‘Life can be complicated’: Rachel Weisz on balancing privacy with stardom

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Her latest TV series calls for her to play both twins in a reworking of Cronenberg’s dark and bloody classic, Dead Ringers. But Rachel Weisz, the famously private Oscar-winner, is used to stepping in and out of roles

There’s quite a lot of blood. There’s really quite a lot of blood in Dead Ringers, but it’s not the blood of bullet holes or stab wounds, or any of the other violences one might expect in a dark psychological thriller like this. It’s blood on knickers and operating tables, and smeared on silk shirts, and the blood as a baby’s head crowns – the bloods of birth and loss, guttural screams, and in the middle of it all, Rachel Weisz, twice.

In David Cronenberg’s original 1988 film, a grisly examination of the relationship between the physical and mental self, Jeremy Irons played twin gynaecologists whose dubious ethics led to all manner of horrors. In this gender-swapped adaptation, in which Weisz stars and exec-produced, she plays those twins identical in every way but character. Dr Beverly Mantle is the shy moral introvert, whose love affair with a patient triggers a psychic unravelling between the sisters, while Elliot is a modern mad scientist, hungry for meat, drugs, conflict, godliness, sex. What could come off as a soapy trick, in Weisz’s Oscar-winning hands becomes camply surreal, uncanny, seductive, a little perverse – joy.

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