Infinite Icon: A Visual Memoir review – Paris Hilton’s act of self-love shows there’s nothing behind the mask

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A look behind the scenes of the star’s second album turns out to reveal exactly what you’d expect, at arduous length Paris Hilton here presents us with an unbearable act of docu-self-love, avowedly a behind-the-scenes study of her second studio album, Infinite Icon, and where she’s at as a musician, survivor and mom. But maybe there is, in fact, nothing behind the scenes; judging by this, the scenes are all there is: Insta-exhibitionism, empty phrases and show. Hilton’s second album no doubt has its admirers and detractors, and her fans are perfectly happy with it. But this film, for which she is executive producer, is an indiscriminate non-curation of narcissism and torpid self-importance that seems to go on and on and on for ever; the longest two hours of anyone’s life, finally signing off with a splodge of uninteresting and unedited concert footage. Continue reading... from Film | The Guardian https://ift.tt/BNvDRxa via IFTTT
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Baghead review – ancient face-covered demon emerges from creepy pub’s basement

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A young woman finds the pub she’s inherited is home to a 400-year-old she-devil, but few of the ensuing jump scares will surprise you

The extravagant absurdity of this chiller from screenwriter Lorcan Reilly and director Alberto Corredor might conceivably get it an audience. There are some interesting touches, but horror fans might well feel that it’s just too similar to the recent and frankly superior Australian film Talk to Me – though it must be said that Talk to Me was made well after Reilly and Corredor’s original 2017 short, with the same high concept, on which this is based.

Iris (Freya Allen) is a young woman, bitterly estranged from her widower father (Peter Mullan) and she is astonished to learn after his death that she has inherited from him a creepy old pub. And this pub has a 400-year-old she-devil locked up in the basement, her face concealed by an old sack, nicknamed “Baghead”. On request, and for two minutes only, she can summon up any dead person you want to talk to – but keep talking for more than two minutes, and the spirit of the dead is irreversibly loosed into the world of the living. An angry, intense young man, Neil (Jeremy Irvine) shows up at the pub, offering Iris fistfuls of cash, desperate for the chance to speak just one last time to his dead wife. But things go terribly wrong.

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