Diane Keaton’s nail clippers for $960: what’s behind the new boom in celebrity estate auctions?

With beloved stars’ personal items increasingly up for grabs after they die, a new generation of fans are bidding on everything from bowler hats to dog bowls From Diane Keaton’s bowler hats and polka dot scarfs, to Gene Hackman’s used paint brushes, to Terence Stamp’s love letters from Jean Shrimpton and even Matthew Perry’s black leather wallet (his credit cards and AAA membership card still inside), fans are being offered – at a price – increasingly personal items from the estates of dead celebrities. The growing trend for auctions of deceased famous people’s personal items – which has boomed ever since the hugely popular Marilyn Monroe estate sale in 1999 – has even attracted its own portmanteau: “deleb” as in dead celebrity. Continue reading... from Film | The Guardian https://ift.tt/4Yh215g via IFTTT

November review replay of Bataclan terror response is good PR for French cops

Cédric Jiminez’s focus on police operations in the aftermath of the 2015 Paris terrorist attacks doesn’t give a real sense of who any of the agents involved are

Artistic responses to the 2015 Paris terrorist attacks – including You Will Not Have My Hate, Paris Memories and the excellent You Resemble Me – have rightly erred on the side of the contemplative, though even that couldn’t excuse last year’s soft-rock stage musical For You I’d Wait. With November, the director and co-writer Cédric Jiminez, who excavated the origins of The French Connection in his 2014 thriller The Connection, zeroes in on the police operation in the immediate aftermath of the attacks when the terrorists were still on the run. Jiminez’s Connection star Jean Dujardin oversees the hunt, calling his wife to say “Give the kids my love” before five solid days of barking at suspects and pointing at maps.

Deploying the standard Jason Bourne vocabulary of swish-pans, shaky-cam and jittery editing, the film mercifully avoids restaging the attacks themselves and instead catalogues the surveillance operations, false leads, interrogations and high-speed pursuits. Despite reliable work from a wiry-looking Jérémie Renier as a scowling cop and Anaïs Demoustier as a novice agent, we don’t get to know much about these (fictional) heroes who are pulling pizza-and-Alka-Seltzer all-nighters. A gun-runner (Hugo Dillon) with a colourful if dubious defence – “Don’t blame my Kalashnikovs, blame pussy politicians!” he fumes – comes more sharply into focus than anyone else here.

Continue reading...

from Film | The Guardian https://ift.tt/tvJ1pOT
via IFTTT

Comments

Popular posts from this blog

The Miracle Club review – Maggie Smith can’t save this rocky road trip to Lourdes

‘I lost a friend of almost 40 years’: Nancy Meyers pays tribute to Diane Keaton

Malaika Arora scolds 16-year-old dancer for inappropriate gestures: “He is winking, giving flying kisses”