Timothée Chalamet puts alter-ego rumors to rest in remix with EsDeeKid

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After speculation actor was actually underground MC, pair join on remix to EsDeeKid’s 4 Raws It’s been arguably the most popular musical meme of the year: is masked Liverpudlian rapper EsDeeKid actually Hollywood actor Timothée Chalamet in disguise? Now the speculation has been put to bed, with Chalamet jumping on an unexpected remix of EsDeeKid’s track 4 Raws. Chalamet posted a clip of a video for the track to his social media, rapping alongside EsDeeKid in a series of scenes, from a cramped kitchen to a housing estate. Continue reading... from Film | The Guardian https://ift.tt/9sfMPY3 via IFTTT
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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