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The Guardian - Film
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After the disappointing box office performance of Solo: A Star Wars Story, Disney CEO Bob Iger says fans 'can expect some slowdown' After months of rumour and speculation, Disney CEO Bob Iger has confirmed that its production and release of Star Wars movies will be scaled back. Iger admitted that he had made a mistake, and that there had been too much, too fast, in an interview with the Hollywood Reporter, after it put him at the top of its list of the most powerful people in the entertainment industry. Continue reading.
Prequel to The Intent goes on holiday to the Caribbean for lots of slo-mo, shotgun-wielding action but forgets to pack a believable story For those who missed it, The Intent (2016) was an independently produced late entry in the cycle of inner-city British crime dramas; its rough, grime-infused edges differentiated it from Noel Clarke's upwardly mobile 'Hood series, but made for an unintentionally gruelling watch. Money has now been found for a prequel, which proves a touch more polished - an offscreen partnership with Island Records carries the stick-up crew from the first film to Jamaica - but it still suffers from the same underlying flaws. Writer-performers Femi Oyeniran and Nicky Slimting Walker are far more interested in filming themselves wielding shotguns in fetishising slo-mo than they are in putting in the hard yards of character, or telling a coherent story.
Documentary with wonderful footage of the Russian ballet dancer and defector deftly captures the times he lived through Co-directors (and siblings) Jacqui and David Morris's immaculate documentary about Rudolf Nureyev is more than just essential viewing for anyone interested ballet and dance. Like any great biography, it casts a light through its prismatic subject, whose unique story refracts out colourful strands touching on art, politics, history, identity and so much more. It helps that Nureyev, the title subject and one of the last century's greatest dancers and performers, was such an extraordinarily magnetic figure, likened several times by interviewees here to a panther, all savage beauty and muscular grace.
In Paul Feig's comedy-thriller, Anna Kendrick turns detective after her new friend, played by Blake Lively, disappears Director Paul Feig follows his female-fronted Ghostbusters with this good-natured comedy-thriller about female friendship set in moneyed suburbia. A Simple Favour combines the school-gate politics of Big Little Lies with a Gone Girl-ish mystery, though lacks the edge of either. What it does have up its sleeve is Anna Kendrick and Blake Lively being deliriously funny together in career-high performances as mothers whose kids attend the same school.
The director of TV's True Detective and Netflix film Beasts of No Nation will bring thoroughly modern skills to Daniel Craig's final Bond filmExclusive interview with new Bond director Cary Fukunaga. The puffs of white smoke have emerged from the roof of the discreetly lavish offices of Eon Productions in London's Mayfair - so weirdly similar to the old MI6 building in which Ian Fleming imagined 007 reporting for duty. This is the place where producers Michael G Wilson and Barbara Broccoli make serious decisions about the colossally lucrative James Bond brand.
The rapper MIA comes across as impulsive, seductive, brattish and immensely likable in this scrappy documentary 'I'm unmanageable, jokes rapper/singer/firebrand activist MIA on the phone to her manager in the midst of yet another scandal. (You don't hear the manager's side of the conversation. But Why can't you just keep quiet and be normal? may have been running through their mind.
Twenty years on, the Coen brothers' comic masterpiece is sleeker and sharper, with even more menace and mystery After 20 years, the shaggy-dog-stoner LA noir that could be the Coens' comic masterpiece rolls back on to the big screen, as light and insouciant as the tumbleweed from the old west that drifts incongruously up to the city in the opening sequence. In fact, after two decades, the film looks weirdly less shaggy, less dishevelled to me: sleeker, sharper, more integrated and with more menace, more mystery. (I found myself thinking of Thomas Pynchon and Lynch's Mulholland Drive).
Beasts of No Nation and True Detective director Fukunaga confirmed to take over from Danny Boyle on new film starring Daniel Craig Danny Boyle's replacement as director of the 25th James Bond film has been named as Cary Fukunaga. In a statement released on Thursday, producers confirmed the hire of the Beasts of No Nation film-maker, saying: We are delighted to be working with Cary. His versatility and innovation make him an excellent choice for our next James Bond adventure.
The Observer New Review asks you to put your questions to the much-loved director ahead of the release of his new film, Peterloo Mike Leigh is one of the country's most beloved and respected film-makers. A versatile and humanist director, he has explored themes as diverse as camping holidays in Nuts in May (1976), middle-class soirees in Abigail's Party (1977), adoption and class in Secrets & Lies (1996), illegal abortion in Vera Drake (2004), unusual driving lessons in Happy-Go-Lucky (2008), and, in 2014's Mr Turner, the final years of the Romantic painter. Related: Mike Leigh's Peterloo: first trailer for drama about the notorious massacre Continue reading.
The 90-year-old director goes on the road with street artist JR to create remarkable, moving portraits of the people they meet There's a wonderful warmth and playful indirectness to this essay/road movie in the classic nouvelle vague spirit, conjuring a semi-accidental narrative in the midst of what is ostensibly a documentary. It is a collaboration between the legendary 90-year-old director Agns Varda and the 35-year-old French street artist who styles himself simply JR and always wears a hat and dark glasses, indoors and out - an opaque mannerism, almost a disguise, which Varda compares to her old comrade Jean-Luc Godard, and which irritates her a little bit. Continue reading.
In this horrifying true story, a German deserter poses as a Luftwaffe captain and presides over the slaughter of prisoners Here is a nightmare from the German home front in April 1945, collapsing into horror and chaos with the looming reality of imminent defeat. It's a movie with echoes of Gnter Grass's The Tin Drum or Ralf Rothmann's To Die in Spring - written and directed by Robert Schwentke, a veteran of commercial Hollywood fare who has gone back to basics with this brutally stark picture, shot by Florian Ballhaus in a crystalline black-and-white: a look inspired, perhaps, by Spielberg's Schindler's List. The drama is based on the bizarre true story of Willi Herold, a German deserter who while on the run chanced upon a Luftwaffe captain's uniform, dressed up in it and with extraordinary effrontery and cunning played on Germany's cringing fear of authority by passing himself off as an officer of that rank, claiming to be on a special mission from the Fhrer to root out deserters and, incredibly, actually presided over a mass slaughter of prisoners at a labour camp - like someone who senses the best way to avoid a witch hunt is to set yourself up as the fiercest witchfinder of all.
In his latest collaboration with director Peter Berg, Wahlberg leads a special ops team on a mission to recover stolen batches of nuclear material Recently Mark Wahlberg startled us all by releasing details of his daily fitness routine. It involves getting up at 2:30am, a half-hour of golf, but three times that long in the shower. What on earth can Mark Wahlberg be doing for 90 minutes in the shower? The answer could well be .
Jack Black and Cate Blanchett star in this uninspiring tale of a lonely, recently orphaned boy with supernatural skills Shockmeister Eli Roth takes on something cosier and comfier than usual with this family-oriented movie about an orphan boy who goes to live with his eccentric and mysterious uncle in a spooky old-timey house, full of clocks. It is adapted by screenwriter Eric Kripke from the children's fantasy novel published in 1973 by the American author John Bellairs. But, in the larger and more obvious sense, it is basically another post-Potter, post-His-Dark-Materials knockoff, machine-tooled for the tweenie fanbase, about a kid called Lewis (Owen Vaccaro), heartbreakingly lonely and well-mannered, with a quasi-Brit bowtie (does he really tie that thing up every morning, or is it a clip-on?) and sporting an annoying pair of goggles for no very compelling or amusing reason.
From Mark Wahlberg to The Rock, America's cinema strongmen have increasingly big biceps - is it something to do with waning power? If global politics had left you in any doubt, the commotion caused by Mark Wahlberg last week confirmed that we are truly in the age of the strongman. The publication of the actor's daily routine - which includes two gym sessions, six meals and one hour cultivating his torso in a cryogenic recovery chamber - confirmed what many of us had suspected for some time: a man's cultural worth these days can be accurately gauged by the circumference of his biceps. Telltale evidence had already arrived last year, when the eighth film in the Fast and Furious series shattered the global box-office record for an opening weekend, taking an absurd half a billion dollars in three days.
Sci-fi reboot knocks supernatural horror prequel off the top spot; while Crazy Rich Asians and King of Thieves share the spoils just behind them Arriving at the summit of the official UK box-office line-up, Shane Black's The Predator has given distributor Fox its third chart winner of the year, after The Greatest Showman and Deadpool 2. Including previews, the franchise title opened with 2.39m - just ahead of the debut number for previous entry Predators, which began in July 2010 with 2.
Woman alleges she was attacked in the 1990s, says Scotland Yard British police investigating Harvey Weinstein have received a further allegation of sexual assault after an 11th woman came forward. Scotland Yard said the latest allegation was received on 16 August after a woman alleged she was assaulted at an unknown location in the early 1990s. Continue reading.
Feelgood movie starring Mahershala Ali and Viggo Mortensen scoops the festival's People's Choice prize Green Book, the Peter Farrelly-directed film about a Jamaican-American pianist touring the Deep South in the 1960s, has massively boosted its Oscars chances after taking the top prize at the Toronto film festival. The festival's People's Choice award has long been seen as a reliable Oscars bellwether, with nine out of the last 10 winners going on to secure a best picture Academy Award or nomination, including La La Land, 12 Years a Slave and Slumdog Millionaire. Continue reading.
With the arrival of Lady Gaga's star turn, Natalie Portman's Vox Lux and Elisabeth Moss's Her Smell, the murky world of female pop stardom finally gets immortalised on screen Looking at this season's awards contenders, it is clear quite a few female actors have had the same idea: portray a pop star, one who is about to be chewed up by the music industry. Preferably in a movie whose title sounds like a Nirvana song. Take Vox Lux, which sees Natalie Portman chasing a second Oscar as a jaded pop chameleon.
Settle back as Channel 4 streams its Indian film season for the first time. Plus, more Indian picks from Amazon Prime and Festival Scope All 4, Channel 4's streaming and catch-up service, is not a resource I use as often as I should, at least when it comes to sourcing highlights for this column. That's partly because some of their most surprising offerings are rather obscurely folded into the more typical fabric of the brand: people are largely heading to All 4 for last week's episode of The Great British Bake Off, after all, rather than anything more specialist in nature.
While Steve McQueen and Barry Jenkins led the hype for Oscars, it was veteran director Claire Denis's bizarre sci-fi High Life that really caught the eye The Toronto international film festival is an increasingly glitzy affair, with enough world premieres from celebrated auteurs to have even casual moviegoers frothing at the mouth - and critics positively weak at the knees. Courting the sweet spot between art house and mainstream, it's a prime destination for Oscar contenders opening on the festival circuit (taking place just after Venice and the prestigious though less well-known Telluride). Distribution deals are made in high-rise hotels, and celebrities roam the streets like civilians.