Oscar-winning actor and his wife were found dead in their Santa Fe home last month, along with one of their three pet dogs

Ayo Edebiri and John Malkovich headline this unconvincing celebrity satire – and we’ve been here before (and too recently)

Alors certes, le live-action Lilo & Stitch ne sera pas entièrement en CGI, mais plusieurs personnages de cette adaptation, dont évidemment Stitch lui-même, sont entièrement créés et animés en CGI. Jusqu’ici, le choix des adaptations en live action a été globalement catastrophique pour Disney, la plupart de ces …

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L’article Lilo & Stitch : enfin un premier live-action en CGI réussi pour Disney ? est apparu en premier sur KultureGeek.

The actor and younger brother of Sylvester Stallone blamed the state’s ‘filth’ on ‘really bad leadership’

The writer-director duo behind ‘Avengers: Endgame’ have made an eerily dystopian action film that worships nakedly at the altar of consumerism

‘This is so cheap,’ the actor recalls thinking during filming for the 2000 romcom ‘Down to You’

Prepare to crank those amps to 11...again

Sorti en novembre 2024, le Fujifilm X-M5 reste encore aujourd'hui très difficile à acquérir dans le commerce. Pourquoi ce boîtier attire tant ? Et quand espérer le voir réellement en stock ? Éléments de réponse.

Fans believe the star could be playing an X-Men character in the blockbuster

Live-action remake has been subject to controversy over matters including race, politics and the inclusion of the seven dwarfs

The film is hoping to ‘honour’ Lee’s legacy

Lively attended the opening night of ‘Another Simple Favor’ in Austin on Friday

Last year, Musk shared a fake report that claimed Edebiri was being considered as a Johnny Depp replacement in a ‘Pirates of the Caribbean’ reboot

‘King Richard’ director Reinaldo Marcus Green is also attached

The Age of Disclosure, a provocative new documentary that argues for the existence of extraterrestrials, has drawn gasps and criticism at the SXSW film festival

A splashy new documentary that asserts the presence of extraterrestrial life on Earth and alleges a US government effort to hide information on possible alien activity is making waves at SXSW.

The Age of Disclosure expounds upon years of congressional activity and testimony surrounding the presence of Unexplained Anomalous Phenomena (or UAP, a rebranding of the stigmatized UFO), in the United States, drawing both buzz and skepticism at the Austin, Texas-based cultural festival.

‘King Richard’ director Reinaldo Marcus Green is also attached

The Bear actor called Musk a fascist and an idiot after his reaction to a post from a rightwing account that claimed she was replacing Johnny Depp

Ayo Edebiri, the actor best known for her Emmy-award winning work on The Bear, has said she received “insane death threats” after Elon Musk shared a fake news report about her being cast in a film.

On her Instagram, Edebiri recalled the furore that met Musk’s reposting of a story by “Unlimited L’s”, a rightwing account with no apparent Hollywood connection or insight, that she was to replace Johnny Depp in a reboot of the Pirates of the Caribbean franchise.

SXSW film festival: The star of I Think You Should Leave brings a similar brand of comedy to this strange and genuinely funny film about a friendship breakup

Few adult experiences sting as much as a friendship breakup, a rejection in some ways more personal, hurtful and confusing than that of a romantic partner. And few actors are better equipped to mine the weird vulnerabilities, fixations and feelings of a platonic split like the cult comedy king Tim Robinson, co-creator and star of the Netflix sketch show I Think You Should Leave (ITYSL). Over three seasons, Robinson has built up a devoted in-the-know following for his situational comedy, generationally playing unrepentant characters with no impulse control or allegiance to social scripts, people whose untidy feelings derail otherwise normal situations into absurd tangles.

In other words, not the type of people to take rejection well. With Robinson as the unfortunate half of a buddy dump, Friendship, writer-director Andrew DeYoung’s strange and hilarious debut feature, spins comedy gold out the straight male loneliness epidemic. Robinson goes for broke as Craig, a typical ITYSL character: pathetic, awkward, estranged from social rituals, an oddball at once sweet and a little creepy. A guy baffled by the ease of other men and desperate for their approval, whose face displays the big emotions – anger, love, jealousy – in amusingly bold, bright primary colors.

Cameron is pulling out all the stops to promote Avatar: Fire and Ash, by telling the world that it reduced Suzy Amis Cameron to tears for four hours

Can you feel it? If you’re paying enough attention, and you have your spirit tuned to the frequencies of the planet, then you’ll be able to sense that the old Avatar machinery is starting to crank up again. The third instalment of the series, Avatar: Fire and Ash, is set for release in December. And this means that James Cameron finds himself saddled with a familiar task; in just nine months he has to try and motivate people to see a film from a franchise that they’ve already forgotten about twice before now.

The bad news is that these are incredibly expensive films to make. So expensive, in fact, that Cameron previously stated that the second film needed to be the third highest grossing movie of all time just to break even. And, just to compound things, that film was such an incomprehensible mishmash of confused mythology, nondescript motivation and vague characterisation that this one needs to be something really special to get bums on seats.

Last year, Musk shared a fake report that claimed Edebiri was being considered as a Johnny Depp replacement in a ‘Pirates of the Caribbean’ reboot

The singer last hosted her daytime show on March 5

It stars a roaming shapeshifter – and a cat-faced soldier fighting a zombie in a swamp. We go behind the scenes of The Stimming Pool, the first ever feature film to be made by autistic directors

Do you know how many autistic people there are in the UK? The answer is an estimated 700,000. Yet until now, there has never been a single feature-length film directed by autistic people. Or at least not one that has secured a theatrical release in the UK and slots at festivals worldwide.

The film is The Stimming Pool, an experimental feature shot over just 12 days that puts on screen the interests, passions and perspectives of its five young autistic creators. They worked alongside Steven Eastwood, professor of film practice at London’s Queen Mary University, funded initially by the Wellcome Trust. “We asked why autistic people are always required to explain or illustrate their experience,” says Eastwood. “What about just having neurodivergent authors behind the cameras, doing the creativity?”

Lively attended the opening night of ‘Another Simple Favor’ in Austin on Friday

Emma Heming Willis, who is primary carer for the actor since his dementia diagnosis in 2023, says there is ‘a broader story’ to tell about their plight

Emma Heming Willis, the primary carer for her husband, the actor Bruce Willis, who is suffering from a rare form of dementia, has issued a statement in the wake of the deaths of Gene Hackman and his wife, Betsy Arakawa.

An investigation by local authorities in New Mexico concluded last week that Arakawa, 65, died of a rare respiratory disease around seven days before her husband, meaning that it was likely he spent a week by himself, disorientated and increasingly malnourished.

The director talks about his genre-trampling film Sister Midnight, the hilarious and gory story of a female force of nature stifled in an arranged marriage

One of the most powerful scenes in Sister Midnight is also a quiet and unexpected one. The protagonist, Uma, sits idly with her neighbour Sheetal outside their adjoining homes in Mumbai. To pass the time, the bored housewives pretend to be divorcing one another. Amid the role play, Uma turns to her confidant and says: “I’m tainted goods, I’m a divorcee. But it’s OK. I’ll wear this like a badge and go forth to the hills, form a manless nation and build a monolithic altar to the pussy.”

The statement captures what is so provocative about the film – it turns societal norms on their head and dares to ask: what if we did things differently? At its core, the film feels quite feminist. “That word comes up a lot,” says director Karan Kandhari. “I’m happy people can see the film like that, but I didn’t set out to make something with an agenda. I would say the film is actually punk rock because it questions things that don’t make sense. Just because something is tradition or old doesn’t mean it’s right.”

Radhika Apte is terrific as a woman preparing to settle down with a shiftless husband she barely knows when her world goes awry

British-Indian film-maker Karan Kandhari makes a stylish and offbeat feature debut with a black-comic horror set in Mumbai, elegantly shot by Sverre Sørdal and designed by Shruti Gupte – and if it runs out of road a bit before the end, and can’t quite decide what the point of everything has been … well, we’ve had a lot of laugh-lines, shocks and ingenious sight gags along the way. With its deadpan drollery and rectilinear tableau scenes, Sister Midnight takes something from Wes Anderson and Jim Jarmusch and also – at its most alarming – something more from Polanski’s Repulsion.

The movie’s satirical theme is the horror of arranged marriage, or maybe the intimate horror of marriage full stop – the feeling of being trapped, of suddenly and mysteriously not knowing who or what your partner is, the delirious fear and hate that can boil up out of nowhere for your spouse and yourself. Radhika Apte plays Uma, a woman who has arrived in Mumbai to start life as a housewife after an arranged marriage, the groom having gone on ahead to where he has already established himself in what is to be their modest marital home. (Apte also played an arranged bride in Michael Winterbottom’s The Wedding Guest) The wedding itself has evidently already taken place, and her husband is Gopal (Ashok Pathak), an unprepossessing guy from her home village with whom she hasn’t really spoken since they were both children, and who now spends his leisure hours at home loafing around, not talking to his wife, watching TV and masturbating. “You used to be so sensitive!” complains Uma. “I was eight,” replies Gopal.

The film is hoping to ‘honour’ Lee’s legacy

The defiantly anti-commercial British musician had walked away from mainstream success twice by his early 20s. Will his Academy Award convince him to embrace Hollywood, celebrity, the big bucks?

Daniel Blumberg hands me his Oscar, as surprised as he is chuffed. Bloody hell, it’s heavy. Is it real gold? “I wish it was,” says the latest winner of best original score, for The Brutalist. (Apparently, it’s gold-plated bronze.) He puts it back on a shabby wooden shelf alongside his Bafta, also for The Brutalist, and his Ivor Novello award, which he won in 2022 for The World to Come, directed by Mona Fastvold (the partner of Brutalist director Brady Corbet). “Before the Ivor Novello, the only thing I’d ever won was ‘most improved footballer’ when I was six,” he says. “Honestly, I’d never thought about Oscars in my entire life. I’d never even watched the ceremony.”

Blumberg, 35, is the least likely Oscar winner you could imagine. Not because he lacks the talent, but because he has spent his career walking away from mainstream success. The former schoolboy indie pop star has reinvented himself as an atonal improviser of scratchy, screechy weirdness. If that sounds like a tough listen, it’s all combined with sublime minimalist melodies to create music as beautiful as it is challenging.

Geoffrey Rush’s retired judge is terrorised by Lithgow’s therapy puppet-wielding fellow resident in this claustrophobic tale of elder-on-elder abuse

Film-maker James Ashcroft has created a scary and intimately upsetting psychological horror based on a story by New Zealand author Owen Marshall set in a care home, a film whose coolly maintained claustrophobic mood and bravura performances make up for the slight narrative blurring towards the end. It’s a movie about bullying and elder abuse – more specifically, elder-on-elder abuse – and it is always most chilling when it sticks to the realist constraints of what could actually happen.

The locale is an un-luxurious residential care facility where a retired judge is now astonished to find himself; this is Stefan Mortensen, played by Geoffrey Rush, who succumbed to a catastrophic stroke while passing judgment from the bench. He is a cantankerous and high-handed man, furious to be in this demeaning place and who, like many there, assures himself it isn’t for long. Mortensen has to share a room with Tony Garfield (George Henare), a retired rugby star whose career fizzled out. These men are terrorised by long-term patient Dave Crealy, played with true hideousness by John Lithgow, a racist bully who convinces the care staff he is a gentle, harmless soul by exaggerating his mental and physical decay, but tyrannises patients behind officialdom’s back with his therapy hand puppet named Jenny Pen, making the bewildered and terrified patients submit to her “rule”.

Live-action remake has been subject to controversy over matters including race, politics and the inclusion of the seven dwarfs

Louis Chilton selects 17 films that fell at the final hurdle

Jacob Stolworthy walks through some of most shocking moments in cinema history