The Oscars red carpet was in a skip. Then a woman took it home for her flat. What else could be repurposed?

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A dumpster-diving TikToker struck gold the morning after the Academy Awards. But why are they binning carpets after one brief use? And where can we find the uneaten chocolate Oscars? The Oscars are over, and the world has moved on. No longer are we debating the merits of any particular film, or the validity of any given win. Now there are only two sets of people who care about the Oscars; the agents of the winners, who are all busy renegotiating their clients’ contracts, and amateur Los Angeles-based carpet fitter Paige Thalia. Thalia found a small amount of viral fame this week , after she discovered the Oscars red carpet languishing in a skip the morning after the ceremony, and decided to kit out her home with it. Continue reading... from Film | The Guardian https://ift.tt/UtqFOL1 via IFTTT
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Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

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Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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