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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Mark Kermode on… director Christoper Nolan, a magician of cinema as memory

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From Memento to the Golden Globe-winning Oppenheimer, the head-scrambling British-American director has revelled in using cinema as a time machine – and a conjuring trick

Somewhere between the crowd-pleasing spectacle of Hollywood and the esoteric inventions of European cinema lies the work of Christopher Nolan, the London-born writer-director who next month will receive the British Film Institute’s highest honour – the fellowship. Hailed by the BFI as “a blockbuster auteur and champion of cinema”, five-time Academy Award nominee Nolan is tipped for success at last at the forthcoming Oscars with his recent Golden Globe winner Oppenheimer – a frontrunner for, among others, best film, best director and best adapted screenplay.

The fact that this darkly ruminative three-hour epic has become the highest grossing biopic of all time, outselling the poptastically entertaining Bohemian Rhapsody, says much about Nolan’s ability to connect with mainstream audiences. Stranger still, a substantial number of those who furrowed their brows through the existential crises of Oppenheimer went on to double-bill it with Greta Gerwig’s pink-hued Barbie, creating one of cinema’s most unlikely box-office bonanzas – Barbenheimer!

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