Brigitte Bardot, French screen legend, dies aged 91

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Bardot became a celebrated sex symbol in 1950s and 60s, but later embraced animal rights activism and an increasingly controversial political stance • Brigitte Bardot: a life in pictures • Peter Bradshaw on Brigitte Bardot – a zeitgeist-force and France’s most sensational export Brigitte Bardot, the French actor and singer who became an international sex symbol before turning her back on the film industry to become an animal rights activist, has died aged 91. “The Brigitte Bardot foundation announces with immense sadness the death of its founder and president, Madame Brigitte Bardot, a world-renowned actress and singer, who chose to abandon her prestigious career to dedicate her life and energy to animal welfare and her foundation,” it said in a statement sent to Agence France-Presse on Sunday, without specifying the time or place of death. Continue reading... from Film | The Guardian https://ift.tt/upgxtaC via IFTTT
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It Lives Inside review – standard-issue schlock horror has its moments

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This Indian American monster movie has interesting touches of cultural specificity but it’s a mostly familiar formula

There’s a swirl of the old and the new in the hokey pre-Halloween horror It Lives Inside, a balance that could have benefited from a lot more of the latter – because when the first-time director Bishal Dutta does try to add freshness to the familiarity of formula, he manages to carve his film its own place within two overstuffed subgenres, flashes of intrigue as he veers between schlocky curse and even schlockier monster movie.

A wide-releasing horror film centered on an Indian American teenager already gives the film a certain distinction. Dutta, also acting as writer, tries to thread themes of assimilation and identity through a predictable procession of mostly ineffective jump scares and slightly more effective set pieces, the film working better when it’s trying to chill rather than shock. Never Have I Ever and Missing’s Megan Suri plays Samidha, or Sam as she prefers to be called, a girl trying to fit in at a predominantly white high school despite her mother keenly trying to keep traditions an integral part of her life. It’s led to a distance from her other Indian American friend, Tamira and, like Heathers and Fright Night before it, explores that interesting fracture of leaving one friend behind to climb higher socially.

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