How being crushed by a 14,000lb snowplough made Jeremy Renner a nicer person: ‘I’ve never been more vulnerable, open and loving’

He was known as a tightly wound Hollywood tough guy, on and off screen – and then the star found himself fighting for his life. He talks about ‘bullying his body’ into recovery, and how the accident changed him Six ribs broken in 14 places. Three breaks in the lower pelvis. Right and left ankle broken. Left tibia broken. Left wrist fractured. Left toes, three breaks. Right clavicle broken. Right shoulder blade cracked. Eye socket, jaw, mandible, all broken. Major laceration back of head. Lung collapsed. Liver pierced from rib bone. The inventory of Jeremy Renner’s injuries, documented by the twice Oscar-nominated movie star himself, was exhaustive. It was a miracle that the actor had survived; he had no right to. Renner had been crushed by his own 14,000lb (6,350kg) snowplough on New Year’s Day 2023. A neighbour who helped him at the scene believes he died momentarily. So does Renner. He tells me it was a very special moment. “What I experienced when I passed...

Club Zero review – not much to chew on in this baffling non-satire

Jessica Hausner’s film, which avoids spelling out its obvious subject, focuses on a group of schoolgirls encouraged to live without food

Jessica Hausner is the Austrian director whose elegant, refrigerated style has made her a Cannes favourite and her 2009 film Lourdes, about the ordinary world of miracles, is a 21st-century classic. But her recent move to English-language movies has resulted in some nebulous work in the shape of her 2019 picture Little Joe, and so it has proved again with this exasperating and baffling movie.

Club Zero is a strenuous, pointless non-satire which fails to say anything of value about its ostensible subjects: body image, eating disorders and western overconsumption. The “trigger warning” at the beginning of the film about these issues is fatuous, whether intended ironically or not. The deadpan mannerisms are glib, the line readings are torpid in the wrong way and the laborious drama leads us round and round and round like an Escher staircase. But it is certainly well shot by Martin Gschlacht and punctiliously designed by Beck Rainford.

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