Melania documentary struggles in UK cinemas as Vue admits sales are ‘soft’

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Only one ticket sold for premiere of film about US first lady at Vue’s flagship London branch as insiders question launch strategy As film exhibitor strategies go, counter-programming is one of the most reliable. It worked for The Dark Knight and Mamma Mia!, released in the US on the same day in 2008, as well as for Dunkirk and Girls Trip in 2017 . In 2023, Barbie and Oppenheimer leveraged the tactic to the tune of $2.5bn in combined box office takings. This week we could see another example as Amazon releases its authorised documentary about Melania Trump in more than 100 UK cinemas. There it will compete against an already-eclectic slate of releases including the Jason Statham action film Shelter, the ape horror Primate , Bradley Cooper’s comedy-drama Is This Thing On? and Richard Linklater’s Jean-Luc Godard fictionalisation Nouvelle Vague . Continue reading... from Film | The Guardian https://ift.tt/KZHyf0R 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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