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Showing posts with the label Film | The Guardian

SCOOP: Sanjay Dutt-starrer Aakhri Sawal unlikely to release in cinemas on May 8 due to censor issues; makers eye May 15 release

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Bollywood Hungama has exclusively learned that Aakhri Sawal, which was all set to release in cinemas on May 8, is unlikely to make it to theatres on the scheduled date due to censor certification issues. We were the first ones to report last week that even the trailer has not yet been cleared by the Central Board of Film Certification (CBFC). The trailer, like the film, is still awaiting clearance from the Censor Board. A source told Bollywood Hungama, “The nature of the film and its plot is such that the CBFC members are being cautious. The makers have explained to the CBFC committee that their film is based on historical events and records and hence, deserves to be released. The discussions between the makers and the CBFC have taken a lot of time. Hence, the producers of Aakhri Sawal felt that it would be wise to push the film to a later date.” The source continued, “At present, the makers are considering releasing their film on May 15. Of course, this will be subject to receiving t...
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Jimpa review – Olivia Colman and John Lithgow show up for indulgent queer family drama

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Sophie Hyde’s semi-autobiographical tale about sexual identity and intergenerational dynamics falls flat, but is buoyed by Colman and Lithgow’s committed performances Sophie Hyde has directed an earnestly intended but very indulgent film, somewhere between autobiography and autofiction; it blandly congratulates itself on its sensitivity and cathartic honesty, but is without the spark of her 2019 quarterlifecrisis comedy Animals . When the teen female lead takes soulful photos on a hipstery disposable roll-film camera instead of on a smartphone like anyone else, it is frankly a little bit insufferable. Yet there are focused and committed performances from Olivia Colman and John Lithgow. Adelaide-based film-maker Hannah (Colman), based on Hyde, goes on a trip to Amsterdam with her smiley husband and non-binary child Frances, played by Hyde’s own child Aud Mason-Hyde; this is to visit Hannah’s charismatic, brilliant and impossibly life-affirming father, Jim (Lithgow), adorably calledJimpa...
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Preemptive Listening review – artist’s film about sirens is buzzing with sonic ideas

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With its striking images and experimental soundtrack, artist Aura Satz’s film is an endurance test that might work better in a gallery This film from the London-based artist Aura Satz is an exploration of sirens – as in the warning devices, not the mythical creatures that lure unsuspecting men to their doom. Really it’s an art film, and might have been more at home in a gallery where audiences would be able to engage with its striking images and experimental soundtrack for as long as the mood takes them. As a feature-film experience it becomes an endurance test, a battle to pay attention and concentrate for the whole thing. It opens with a drone shot of a huge siren in the middle of what looks like a residential neighbourhood, ready to alert residents to heaven knows what threat. Over the top, a shrill, insinuating track from composer Laurie Spiegel buzzes with the nagging whine of an electronic mosquito. There are some interesting ideas here. British-Egyptian actor Khalid Abdalla muse...
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Blake Lively and Justin Baldoni settle lawsuit over acrimonious It Ends With Us production

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Settlement details were not revealed in the agreement that put an end to a highly anticipated trial before it began Sign up for the Breaking News US newsletter email Blake Lively and Justin Baldoni have settled their legal dispute from the acrimonious production of their 2024 film It Ends With Us, just weeks before a highly anticipated scheduled trial. In a joint statement on Monday, legal representatives of both parties said: “The end product – the movie It Ends With Us – is a source of pride to all of us who worked to bring it to life. Raising awareness, and making a meaningful impact in the lives of domestic violence survivors – and all survivors – is a goal that we stand behind.” Continue reading... from Film | The Guardian https://ift.tt/Dv3XfCF via IFTTT
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Breakwater review – troubled souls cross class and age barriers in nicely judged debut feature

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An Oxford theology student and a middle-aged fisher are drawn together despite their many differences in an ambitious first film from Max Morgan This evocative debut feature from Max Morgan is a film of many contrasts. One is the May-December attraction between Otto (Daniel McNamee), a theology student and aspiring violinist, and John (Shaun Paul McGrath), a middle-aged fisher with a shadowy past. The worlds that they inhabit seem poles apart. Compared with the storm-ravaged Suffolk coast that curves around John’s rugged village, the imposing halls of Otto’s college at Oxford are at once grand and isolating. Despite their differences in age, the two men are bound by shared trauma and turmoil: both struggle with their sexuality and the loss of a loved one. The highly textured cinematography renders these inner conflicts strikingly tactile. The camera at times stays uncomfortably close to the main characters, highlighting the gnawing anxiety of not belonging. From the demands of a frustr...
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Rise of the Conqueror review – Gladiator meets throat singing as Mongol hordes ride out

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Christian Mortensen takes up arms as the 14th-century kingmaker Timur but could do with a stronger force behind him and a better beard in front The western-produced Greco-Judeo-Roman epic has been with us since early cinema, while the Chinese film industry kept the eastern end up with a string of recent historical pictures. But what about the lands in between? Apart from a smattering of pictures about Genghis Khan, including John Wayne’s regrettable appearance in 1956’s The Conqueror , the Mongol hordes have not exactly ravaged the box office. So it’s refreshing to see Rise of the Conqueror sally forth, with Christian Mortensen in the saddle as the 14th-century Turkic-Mongol chieftain Timur . This is basically Gladiator with added throat-singing. Man-at-arms Timur is a kingmaker caught between his native Barlas tribe, which includes his testy brother-in-law Hussayn (Mahesh Jadu) who’s eager to reclaim his family’s rule in Samarkand; on the other side is occupying Mongol warmonger Tuglu...
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The devil wears Primark: is the romcom reporter about to get the sack?

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Glamour? Money? Hope? They’re so last season. With fashion magazines on their knees, where does that leave The Devil Wears Prada 2 – and its famously relatable heroine? Runway magazine is collapsing. Miranda is eating in the cafeteria and flying economy. Andy is the new features editor. Emily is dating a billionaire. Somebody dies. Amelia Dimoldenberg makes a cameo. But the one unexpected detail in The Devil Wears Prada 2 that I can’t stop thinking about is this: Andy worries that she’ll never be in a position to unfreeze her eggs. “Left New York for 15 years, not married – never found the right person, and my kids are at a doctor’s office on 85th,” she breezily reports to Emily when they reunite after 20 years. “They’re eggs,” she clarifies, adding that she is excited to have children. And in that moment, I couldn’t help but wonder: was the woman who once had the job “a million girls would kill for” always this relatable? Continue reading... from Film | The Guardian https://ift.tt/...
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Gaga, Dior and $24 tweezers: how The Devil Wears Prada 2 turns rags to riches

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From celebrity cameos to lucrative brand partnerships, The Devil Wears Prada 2’s approach to maximising revenue is worthy of Runway’s finest For a film that serves as a commentary on the perilous economics of today’s media landscape, it’s fitting that promotion for The Devil Wears Prada 2 has been so frank about its finances. Speaking ahead of the New York premiere, Meryl Streep revealed she initially turned down the role of withering fashion magazine editor Miranda Priestly in the 2006 original in a bid to extract more money from its producers. Continue reading... from Film | The Guardian https://ift.tt/clJQszL via IFTTT
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Oscars changes allow for double acting nominations while banning AI

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The Academy of Motion Pictures Arts and Sciences has also rewritten rules on international film eligibility The Academy of Motion Picture Arts and Sciences announced a number of major changes for the Oscars on Friday, including a new policy allowing multiple nominations for a single actor in one category, as well as barring acting and writing awards for work done by AI. According to new statutes decreed by the group’s board of governors, only performances “demonstrably performed” by humans with their consent will be eligible for acting Oscars, while only human-authored screenplays can be up for any writing awards. Continue reading... from Film | The Guardian https://ift.tt/wktSfcp via IFTTT
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‘Outrageous’: Rebel Wilson denies she was behind Snapchat leak of actor’s nude photo, court hears

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The Pitch Perfect star is being sued for defamation by Charlotte MacInnes, the lead actor of Wilson’s directorial debut, The Deb Follow our Australia news live blog for latest updates Get our breaking news email , free app or daily news podcast Hollywood star Rebel Wilson has slammed as “outrageous” an accusation she directed a cyber attack on her co-star’s social media account that led to a nude photo leak. The Pitch Perfect star is being sued for defamation by Charlotte MacInnes, the 27-year-old lead actor of the musical comedy The Deb, which is Wilson’s directorial debut. In Australia, support is available at Full Stop Australia (1800 385 578). In the UK, Rape Crisis offers support on 0808 500 2222. In the US, Rainn offers support on 800-656-4673. Other international helplines can be found at ibiblio.org/rcip/internl.html Continue reading... from Film | The Guardian https://ift.tt/4ZaVG1y via IFTTT
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Alpha review – Julia Ducournau’s disjointed body horror is an absolute gamma

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Cannes film festival The winner of the Palme d’Or for Titane delivers Cannes’ first true turkey: the tonally inept tale of a girl with a dodgy tattoo and a disease that turns people to marble Strident, oppressive, incoherent and weirdly pointless from first to last … Julia Ducournau’s new film Alpha has to be the most bewildering disappointment of this year’s Cannes competition; even an honest lead performance from Mélissa Boros can’t retrieve it. I admit I was agnostic about her much-acclaimed Palme d’Or winner Titane from 2021 but that had an energised purpose lacking in Alpha and Ducournau’s excellent 2016 debut Raw is still easily her best work. Continue reading... from Film | The Guardian https://ift.tt/VaClJcw via IFTTT
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Highest 2 Lowest review – Spike Lee and Denzel Washington remake Kurosawa in fine style

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Cannes film festival Akira Kurosawa’s downbeat noir High and Low is retooled with Washington on magnificent form as a record producer whose godson is kidnapped by mistake Spike Lee has made a brash, bold, big-city movie with this pulsing New York adventure that doubles as a love letter to NYC’s sports and its music. It is a remake (or maybe cover version) of Akira Kurosawa’s classic downbeat noir High and Low from 1963, transplanting the action from Yokohama to New York – or rather returning it there, because the original source material, Ed McBain’s novel King’s Ransom, is set in a fictional city based on the Big Apple. It’s got a terrific throb of energy and life, moving across the screen with the rangy grace of its superstar Denzel Washington – though a little of the minor-key sombreness and complex pessimism and cynicism of the first film has been lost and the modern technology of GPS (unknown in Kurosawa’s day) has indirectly left it with a very small plausibility issue. Cont...
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Nicolas Cage: ‘I don’t think a day goes by where I’m not mistaken for Nick Cave’

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As psycho-thriller The Surfer is released, the actor answers your questions about eating rats, loving pickled eggs and scaring Terry Wogan What do you remember of that appearance on Wogan? What was Terry like in real life? Have you still got that leather jacket, and the snakeskin jacket from Wild at Heart? johnnysmooth, EddieChorepost and BigAl65 I remember Terry Wogan was a very nice man and I enjoyed the interview with him, although I thought I was both obnoxious and somewhat wild. I guess it’s no secret that I was promoting a movie called Wild at Heart , so I was sort of play acting to that. I remember, as a child, I was in a car, a guy was walking down the street, and he had a leather jacket on and no shirt on underneath. I thought: “Well, that’s an interesting look.” I don’t know why that came back to me when I went on Terry’s show, but I thought: “I’m going to create that look again.” It was incredibly absurd and irreverent. I don’t have that leather jacket any more. I found...
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The Love That Remains review – startling tragicomic portrait of a fractured family

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Cannes film festival Icelandic director Hlynur Pálmason examines a broken marriage through stunning imagery and quirky fantasy visions, but his new comic tone undermines the pain Icelandic film-maker Hlynur Pálmason gave us the haunting historical drama Godland and the challenging and bizarre thriller A White, White Day ; now he has changed things up with this startling, amusing, vaguely frustrating movie. The Love That Remains is a portrait of a fractured family and a sundered marriage which, with its dreamy piano score, fantasy visions and quirky sequences to go with the dead-serious scenes of purported emotional pain, introduces a slightly disconcerting but certainly intriguing new comic tone. Pálmason’s visual and compositional sense is as commanding as ever, with some stunning imagery of the Icelandic landscape. But it is flavoured with a new tone of persistent, playful unseriousness, which finally morphs into a tragicomic spectacle of male loneliness. In some places this film ...
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The Phoenician Scheme review: Mia Threapleton shines in Wes Anderson’s muted new confection

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Benicio Del Toro and Michael Cera are essentially wingmen to Kate Winslet’s daughter, making a breakthrough big screen turn in Anderson’s enjoyable yet airless ensemble romp Wes Anderson has contrived another of his elegant, eccentric, rectilinear comedies - as ever, he is vulnerable to the charge of making films that stylistically resemble all his others, and yet no more, surely, than all those other directors making conventional films that resemble all the rest of their own conventional work. The Phoenician Scheme is enjoyable and executed with Anderson’s usual tremendous despatch, but it is somehow less visually detailed and inspired than some of his earlier work; there is less screwball sympathy for the characters, and it is disconcerting to see actors of the calibre of Tom Hanks, Willem Dafoe and Scarlett Johansson phoning in tiny, deadpan, almost immobile cameos. But there is a likeable lead turn from Mia Threapleton, an eerie visual and aural echo of her mother, Kate Winslet....
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Die My Love review – Jennifer Lawrence excels in intensely sensual study of a woman in meltdown

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Lawrence excels as a woman whose bipolar disorder is exacerbated by husband Robert Pattinson’s infidelity, with super-strength direction from Lynne Ramsay Lynne Ramsay brings the Gothic-realist steam heat, some violent shocks and deafening music slams to this movie, adapted by her with co-writers Alice Birch and Enda Walsh from the 2012 novel by Ariana Harwicz . It’s a ferociously intense study of a lonely, passionate woman and her descent into bipolar disorder as she is left alone all day with a new baby in a rambling Montana house originally belonging to her husband’s uncle, who took his own life in a gruesome way that we are not permitted to discover until some way into the movie. Die My Love is another film to remind you that Ramsay believes you should make movies the way VS Naipaul believed you should write books: from a position of strength. There is, simply, overwhelming muscular strength in this picture: in her direction, in Paul Davies’s sound design, in the saturated colour...
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Nouvelle Vague – Richard Linklater bends the knee to Breathless and Jean-Luc Godard

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Linklater recreates the making of the landmark French New Wave classic with an awestruck tastefulness that smooths over any disruptiveness Breathless, deathless … and pointless? Here is Richard Linklater’s impeccably submissive, tastefully cinephile period drama about the making of Godard’s debut 1960 classic À Bout de Souffle, that starred Jean Seberg and Jean-Paul Belmondo as the star-crossed lovers in Paris. Linklater’s homage has credits in French and is beautifully shot in monochrome, as opposed to the boring old colour of real life in which the events were actually happening; he even cutely fabricates cue marks in the corner of the screen, those things that once told projectionists when to changeover the reels. But Linklater smoothly avoids any disruptive jump-cuts. It’s a good natured, intelligent effort for which Godard himself, were he still alive, would undoubtedly have ripped Linklater a new one. (When Michel Hazanavicius made Redoubtable in 2017 about Godard’s making of ...
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Bono: Stories of Surrender review – megastar tries out humility in likable one-man show

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Cannes film festival The U2 singer’s solo stage appearance sees him reflect on his anguished family past and have a decent go at being an ordinary Joe The stadium-conquering rock superstar Bono finds a smaller arena than usual for this more intimate and much acclaimed “quarter-man” show, performed solo without his U2 bandmates Adam Clayton, David “The Edge” Evans and Larry Mullen Jr and filmed live on stage at New York’s Beacon theatre in 2023 by Andrew Dominik. It’s a confident, often engaging mix of music and no-frills theatrical performance, with Bono often coming across like some forgotten character that Samuel Beckett created but then suppressed due to undue levels of rock’n’roll pizzazz. Bono delivers anecdotes from his autobiography Surrender, starting with his recent heart scare and going back to his Dublin childhood, his musical breakthrough to global fame, his post-Live Aid charity work on poverty and famine relief (though no discourse on the question of whether Live Aid w...
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Hurry Up Tomorrow review – The Weeknd’s meta-thriller plays like a music video

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Visually effective yet narratively meandering, the star’s moody psycho-thriller-cum-therapy-session is a missed opportunity Regrets? The Weeknd has a few. In Hurry Up Tomorrow, a celluloid roman-à-clef pegged to his sixth studio album , the Grammy-winning multi-hyphenate puzzles through the consequences of hooking up with a deranged groupie who forces him to reckon with his rock star flings. But it’s viewers who will probably be feeling rueful over nearly two hours lost in the end. Though technically a thriller, Tomorrow takes inspiration from a real-life moment of weakness: the Weeknd – born Abel Tesfaye – losing his voice while filming The Idol TV series in between a global stadium tour. As with most of his artistic efforts, the Weeknd makes the job of distinguishing his sincere reflections from his satirical self-observations impossibly hard on audiences and smirks when they don’t get the joke. Recall his dizzying Super Bowl half-time show and face-bandage stunt he pulled to p...
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Eddington review - Ari Aster’s tedious Covid western masks drama and mutes his stars

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Cannes film festival Joaquin Phoenix, Pedro Pascal, Emma Stone and Austin Butler have little to work with in this disappointing dud from the Hereditary and Midsommar director Ari Aster now worryingly creates a losing streak with this bafflingly dull movie, a laborious and weirdly self-important satire which makes a heavy, flavourless meal of some uninteresting and unoriginal thoughts – on the Covid lockdown, online conspiracy theories, social polarisation, Black Lives Matter, liberal-white privilege and guns. The movie looks good, courtesy of Darius Khondji’s cinematography, but has nothing new or dramatically vital to say, and moreover manages the extraordinary achievement of making Emma Stone, Pedro Pascal and Joaquin Phoenix look like boring actors. This is by virtue of its moderate script and by the unvarying stolid pace over its hefty running time which might have suited a 12-episode streamer. Eddington is a fictional small town in New Mexico in the US, bordering Native Amer...
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‘Men run away from vulnerability’: The Weeknd on blinding success, panic attacks and why The Idol was ‘half-baked’

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Abel Tesfaye is arguably the world’s biggest pop star – so why is he thinking of wrapping up the Weeknd? As he releases soul-baring film Hurry Up Tomorrow, he charts his path through drugs, heartbreak and abandonment Walking out to perform in front of 80,000 people and finding that your voice has gone: it’s the type of stress dream you have the night before a big work presentation. But for Abel Tesfaye, AKA the Weeknd, it happened for real at Los Angeles’ SoFi Stadium in 2022. “I ran backstage to find my vocal coach: I can’t sing, it’s not coming out,” he says. “And what I found out later on is that I was having a panic attack. It wasn’t a physical injury. It was more up here” – he gestures to his head – “than it was here” – his throat. The concert, which had to be called off and rescheduled, was the final night of a US stadium tour happening while Tesfaye was also wrapping up his painfully gestated – and eventually widely lampooned – TV series The Idol , which he starred in, co-wrot...
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