‘It feels like flying!’ Sadie Sink and Noah Jupe on child stardom, passion and the heady rush of Romeo and Juliet

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Fresh from Stranger Things and Hamnet, the pair are surprised to find themselves playing Shakespeare’s star-crossed lovers in the West End. They talk chemistry, dating apps – and what they’ve taught director Robert Icke Noah Jupe and Sadie Sink are comparing their CVs. “Noah has more Shakespeare experience than me, for sure,” says Sink. “Oh yes, I think so,” replies Jupe. “How many lines?” asks Sink. “Quite a few, actually,” he reports. “More than 10!” If Jupe wanted to flex, he could say in all truth that he played Hamlet when he was only 19. That was two summers ago, when he stood on the stage in a replica of Shakespeare’s Globe theatre and asked “To be or not to be?” in Chloé Zhao’s Oscar-nominated adaptation of Hamnet . Continue reading... from Film | The Guardian https://ift.tt/qIM3rWk 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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