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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Tom Priestley obituary

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Film editor who was nominated for an Oscar for Deliverance and sought to promote his father JB Priestley’s writing

Tom Priestley, who has died aged 91, knew early on that he wanted a career in the arts. “But my father had covered so much territory, there wasn’t much left,” he said. He was the sixth child and only son of the playwright and novelist JB Priestley.

The discipline he eventually chose, and excelled at, was film editing. He won a Bafta for Morgan: A Suitable Case for Treatment (1966), Karel Reisz’s dark comedy about conformity and rebellion, starring David Warner and Vanessa Redgrave. He was also nominated for an Oscar for John Boorman’s thriller Deliverance (1972), with Burt Reynolds and Jon Voight. It was adapted by James Dickey from his own novel about four friends who are terrorised by Appalachian locals while on a canoeing trip.

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