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  Variety · 2h ago

  After the Cast and Creator’s Comments, ‘Nobody Wants This’ Can No Longer Ignore Israel and Gaza

  For the past few weeks, the cast and creator of the Netflix hit comedy “Nobody Wants This” have been trading takes on the Israel-Palestine conflict via the press. First, star Adam Brody, who plays “hot rabbi” Noah Roklov and one half of the show’s central couple, told GQ that he considers Israel’s actions in Gaza […]

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  Variety · 2h ago

  Jennifer Lawrence Filmed a Nude Scene and Discovered Crew Members Who Were Not Approved to Be on Set: ‘I Came Down Hard on That’

  Jennifer Lawrence revealed on the “Call Her Daddy” podcast that she once discovered while filming a nude scene that there were crew members on set who were not approved to be there during the filming of such intimate material. The incident prompted Lawrence to “come down hard” on the crew and remains one of the […]

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  Variety · 2h ago

  The Best Gifts for Men in 2026: From Criterion Collector’s Sets to Coffee Subscriptions and Photo Books

  Shopping for the men in your life can be a challenge, especially when their wish lists are either nonexistent or impossibly specific. But whether you’re buying for a fashion obsessive, a self-proclaimed cinephile or someone who takes his morning coffee a little too seriously, there’s no shortage of gifts worth giving this year. From designer […]

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  The Guardian · 12h ago

  Everest: The Other Side review – couple’s climb on the mountain’s toughest face comes with tricky moral questions

  Immersive portrait of mountaineers Jim Morrison and Hilaree Nelson as they seek to become the first people to ski down Everest’s north faceWith some of its showings in the huge Imax format, this National Geographic-backed documentary feels like a callback to the early, glory days of large-format cinema when it was all about spectacle and scale, turning footage of natural-world wonders into an immersive experience. Those with a fear of heights or prone to vertigo may find this all a bit too immersive, in fact. That’s even more the case considering the point of the movie appears to be to provoke anxiety in the viewer for nearly the entire running time as we watch the subjects scale the steeper, far less travelled north face of Mount Everest and then, for reasons never quite adequately explained, ski back down it again.Such was the mission of experienced mountaineer Jim Morrison, an amiable-seeming fellow who, like all of those who pursue extreme sports, seems to feel a compulsion to put himself in the kind of grave danger that, should things go wrong, would put other people in danger rescuing him. His partner Hilaree Nelson shares his passion, and the two of them set off to be the first people to ski down Everest’s north face, and the first third of the film tracks them as they plan and eventually do practice runs to achieve this goal. Neither seems able to adequately explain why they’ve chosen to take such a risk, although Nelson tries a bit to articulate her mountaineering life almost as if it’s a career choice that her two teenage sons should simply accept as her choice to make, and maybe even thank her for – even if that means that should she be injured or lost they and Morrison (who is not the boys’ biological father) would also have to deal with the aftermath. Continue reading...

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  The Guardian · 14h ago

  Peter Asher: Everywhere Man review – music-biz face from Beatles-buddy pop act to superstar producer

  Backstory of modest industry veteran who started out as one half of pop duo Peter and Gordon, and went on to produce acts such as James Taylor and Linda RonstadtRock’n’roll is notorious for its tales of bad behaviour: throwing TVs out of the window, mountains of cocaine, parades of groupies … but you won’t find any of that here. Peter Asher, brother of Jane, one half of Peter and Gordon, and super-successful producer of acts such as James Taylor and Linda Ronstadt, appears to be about as nerdish and clean-living as a 60s/70s music industry veteran could be. Although that might just be what he wants us to think; what are the chances Asher is a complete reprobate away from the camera, and is just brilliant at hiding it? That glasses and ruffled shirt front combo definitely reminds you of someone a tad more sleazy, even before Asher himself reminds you about it in the final credits.Whatever the truth, Asher by any standards carved an amazing path, making the absolute most of being in the right place at the right time. Smartly structured around Asher’s anecdotes-and-music live show, the film stitches together a collection of clips, audio and musical performances that gallops through his personal backstory. His luckiest break, of course, was that his early partnership with schoolfriend Gordon Waller (modelled, it turned out, on the Everly Brothers) benefited from cast-off songs handed over by his sister’s boyfriend, one Paul McCartney; there’s an amusing moment where we hear John Lennon’s sneer at the lyric of what would become Peter and Gordon’s first and biggest hit, A World Without Love: “Please lock me away …” “Yes”. While the film clearly acknowledges the debt to McCartney’s songwriting (which presumably Lennon vetoed for the Beatles), it’s perhaps not quite ready to admit that without this connection, none of what followed would have happened at all. Continue reading...

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  The Guardian · 5d ago

  Junk review – David Schwimmer is lost in Mubi’s frustrating LA-set misstep

  The Friends alum makes up half of a messy and pretentious comedy drama that boasts some visual panache but is dragged down by a confused toneYou could be forgiven, upon watching the first scene of Junk, for believing that this debut feature will boldly, perhaps ill-advisedly, dare to satirize the industry it’s purporting to join. At a swanky restaurant in LA, four people aglow with self-importance embark on the time-honored ritual of discussing the screenplays they’re working on – specifically, the screenplay Martin (David Schwimmer), is “working on”. It’s classic industry navel-gazing, underscored by a tight focus on Martin’s clammy face as he sputters poorly through a confidence game.Schwimmer, of course, is still best known for playing a perpetually and comedically exasperated sitcom character; it’s hard to square that extremely familiar voice with Martin’s dark bluster on how “drug-addled gen Zers” have “no respect for the communal aspect of the cinema”, an off-putting rant that is also a tad intriguing – who is more pretentious here, the sweaty character or the picture starkly sending him up? Continue reading...

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  The Guardian · 7d ago

  Clayface review – flesh-stretching DC body horror is very gory but not very good

  Liverpool makes for an unconvincing Gotham City in this effectively gross but otherwise middling attempt to milk money from a lesser-known Batman villainA sense of desperation is understandably in the air over at DC, the company, like Marvel, slowly realising that the mass superhero fever has finally broken. There’s still interest there, of course (this summer’s Spider-Man is now the biggest film of all time in the US after all), but it’s no longer good enough to leave a high-speed conveyor belt unmanned, purpose and quality control be damned. 2019 saw a staggering 10 superhero films released in cinemas, and the inevitable exhaustion that followed, also fueled by Covid, led to a gradual winding down, monster hits turning into minor ones and sure bets often becoming expensive flops.As Peter Parker winged his way to box office records this summer, DC’s Supergirl bombed so hard that experts believe it might have cost Warners upwards of $200m in losses. It was just the latest disappointment for the brand after Black Adam, Joker: Folie à Deux, Blue Beetle and The Flash all underperformed while even last year’s much-heralded Superman reboot only grossed a solid $618m, a far cry from the $1bn heyday of the genre (things got so bad that even a fully filmed Batgirl adventure was deleted for the tax break). Notably, the last DC film to swoop past that magic figure was Joker in 2019, a darker, lower-budget attempt to spotlight a villain rather than a hero, a big swing with relatively low stakes. Todd Phillips’s film might be best known by some for being brave enough to ask the question, “What if Taxi Driver sucked?” but for all of its many issues, it brought buzz and prestige and, shockingly, Oscars, to an easily ridiculed universe. It was also, crucially, something rare in that world: a close-to-good idea. Continue reading...

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  The Guardian · 13d ago

  Klara and the Sun review – Taika Waititi’s manic pixie dream robot sci-fi is a sentimental mess

  The director of Hunt for the Wilderpeople and Jojo Rabbit turns Kazuo Ishiguro’s AI fable into a twee, tiresome tale of love and griefTaika Waititi detonates an explosion of postmodern quirkiness and ironic dorkiness in this unbearably mannered, unspeakably acted film. It’s a slice of sentimental whimsy-futurism and non-satire, adapted by Waititi from the Kazuo Ishiguro novel, which winds up saying nothing substantial or meaningful (or funny) about artificial intelligence, love or grief. Klara and the Sun is soft-centred sci-fi-lite, simultaneously demanding we laugh at its (unfunny) humour and wipe away a tear at its pass-agg poignancy. With earlier films like Hunt for the Wilderpeople and Thor: Ragnarok, Waititi showed he can do comedy. But this, sadly, is closer to his notorious fey-Hitler fantasy Jojo Rabbit – misjudged and self-admiring.In the world to come in an uncanny valley of the almost-real, families can buy “artificial friend” or AF robots for their kids. In terms of tech plausibility overall, incidentally, their status isn’t entirely clear: AF salesperson (Natasha Lyonne) says that the recent third world war has wiped out the internet. (This post-WW3 world looks in pretty good shape apart from that.) And these AF humanoids incidentally have a kind of purple blood called PEC-9 running through them which one character incidentally tells us is “highly flammable”. (Uh-oh. Quite the design fault.) Continue reading...

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  The Guardian · 17d ago

  Wildwood review – Laika’s pleasingly old fashioned stop-motion magic-forest odyssey

  The makers of Coraline return with their distinctive animation style in a magical tale of a secret world of strange beasts, talking animals and evil governessesHere is an engaging family movie from the Portland-based Laika studio that created Coraline. It is a fantasy adventure in Laika’s distinctively crafted stop-motion animation, written by Chris Butler from the bestseller of the same title by Carson Ellis and Colin Meloy, the latter being a band member of The Decemberists, one of whose tour posters we duly glimpse in this film. The director is Laika’s lead animator Travis Knight. It’s a forthright, exuberant, good-natured and old-fashioned children’s tale which CS Lewis and JRR Tolkien might have recognised, a story about the mysterious glory of going on a quest and the terrible fear and wish-fulfilment euphoria of being called upon to confront secret forces that the grownups know nothing about.The setting is modern-day Portland, Oregon, a groovy city whose hipster-ish stores (there’s a coffee shop actually called Dripster) and Woke 1.0 signage are affectionately mocked. But most of all, the film is aware of a huge forest park next to the city, a place here mythologised as the impassable wilderness or “wildwood” where strange creatures, fairytale nobility and wisecracking talking animals reputedly dwell, of which the city-dwelling humans are entirely ignorant. Prue (voiced by Peyton Elizabeth Lee) is a 12-year-old girl whose parents (voiced by Jake Johnson and Maya Erskine) are a couple of amiable hippies who believe in natural forces and benign magic. They have another child, Prue’s baby brother Mac, who Prue has to look after one day, pushing him in his stroller around the city and having to endure a certain classmate of hers tagging along. This is nerdy Curtis (Jacob Tremblay) who has a crush on her. Continue reading...

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  The Guardian · 42d ago

  A Talent for Murder review – Helen Mirren is a viperous Patricia Highsmith in hit-and-miss thriller

  Toronto film festival: A fictionalised version of the cantankerous crime author plots a murder with an ambitious editor in a story in need of a sharper edgeThe restrictions of Covid led to an inevitable rise in safely contained chamber-piece movies, where a handful of characters find themselves in a usually remote house, dialogue taking obvious precedence over action. There were some highlights, such as Kevin Williamson’s timely slasher Sick, and some considerable low points, such as Sam Levinson’s vapid drama Malcolm & Marie, but while we had plenty of them, none of them rivalled some of the greatest and smartest pre-pandemic examples. The very best tended to be based on plays and quite often starred Michael Caine.He was in Anthony Shaffer’s Sleuth, which went from Tony to Oscar success back in the 1970s, and then the arguably even better Deathtrap in the decade after, which Sidney Lumet adapted from Ira Levin’s deviously plotted play. In between there was also an under-seen TV movie called One of My Wives Is Missing, based on 60s play Trap for a Single Man, which was notably lesser but still delivered a similarly specific brand of twisty, talky thrills. There would be secrets, surprises, reversals and usually at least one dead body by the end of it, a subgenre entirely indebted to the work of Agatha Christie (who reportedly loved Sleuth on stage so much that she dedicated a picture of herself to be hung in the house used in the big screen adaptation). The bar is therefore held rather high, a puzzle that requires an ingenious level of writing that needs to be smart without smug and shocking without feeling cheap. Continue reading...

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  The Guardian · 167d ago

  Fatherland review – Sandra Hüller brings a bayonet of intelligence to Paweł Pawlikowski’s taut return

  Hanns Zischler stars as Thomas Mann on his 1949 tour of Germany, contending with political barbs, personal tragedy and his daughter, played by an extraordinary HüllerHere is an impossibly elegant, poised historical vignette whose brevity and control can hardly contain its characters’ personal and historical pain. It is directed and co-written by the Polish film-maker Paweł Pawlikowski and shot in lustrous monochrome by Lukasz Zal; it is a film about exile and betrayal, the impossibility of going home and of reconciling an artist’s children to their secondary importance.The setting is 1949 and the celebrated German novelist and Nobel laureate Thomas Mann – who fled the Nazis before the war for California exile and US citizenship – has returned home, first visiting Frankfurt (now in West Germany) to receive an award named after Goethe, whose birthplace this is. It is Goethe’s enlightened civilised wisdom and apolitical artistry Mann will pointedly evoke in his many elaborate speeches. Continue reading...

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  The Guardian · 273d ago

  The Only Living Pickpocket in New York review – John Turturro steals this simple, charming tale

  Sundance film festival: the actor plays a pickpocket who steals from the wrong person in a leisurely, straightforward crime thriller with a sting in its tailNoah Segan’s light-footed crime noir The Only Living Pickpocket in New York is a film obsessed with the gap between the old and new. There are memories shared about how things used to be, and some older characters refusing to keep up with digital progression, while there are eye-rolls from the younger generation, poking fun at those losing touch with how the world now operates. I’d argue that the theme is often a little overplayed, a classic case of writer-director Segan – a frequent Rian Johnson collaborator – telling rather than showing. But his film makes a convincing case for the old, a brisk throwback to a 70s-era character-led thriller, made with borrowed flair from yesteryear.The title is itself partly borrowed from a Simon and Garfunkel song and speaks to a protagonist of a dying breed, a pickpocket who prides himself on the old ways; though he might swipe smartphones, he doesn’t own one. He’s played by John Turturro, an actor who hasn’t enjoyed many a lead role of late – his last was in the ill-received Big Lebowski “sequel” The Jesus Rolls and that’s only because he wrote and directed it himself. But this is a welcome step up, or step back up, for someone deserving of something more substantial to tear into. Fittingly, he’s someone who would have arguably had a more prominent career as a leading man in a different time.The Only Living Pickpocket in New York is screening at the Sundance film festival and is seeking distribution Continue reading...

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  The Guardian · 276d ago

  Wicker review – Olivia Colman is smelly fisherwoman falling for wicker man in uneven fable

  Sundance film festival: an inventively made fantasy boasts eye-catching premise and typically rewarding performance from Oscar-winner but something’s missingIn terms of attention-demanding loglines, this year’s Sundance has a few. There’s the body horror Saccharine, about a diet craze that involves eating human ashes, midnight movie Buddy, about a Barney-esque kids TV star who starts murdering children and then there’s Mum, I’m Alien Pregnant which, well, you can probably imagine.But the annual “wait, what?” prize easily goes to the offbeat fable Wicker, the story of a smelly spinster fisherwoman who commissions herself a husband made of, that’s right, wicker. While the film does have its expected amount of audience-provoking moments – wicker-fucking bringing the most noise both on and off the screen – to its credit, there’s an attempt to give us more than just easy shock value, something that can’t always be said for films in this often tedious category. Writer-directors Alex Huston Fischer and Eleanor Wilson, who previously brought the mostly likable alien invasion comedy Save Yourselves! to the festival, use their far-out premise to touch upon more of-our-world issues like the patriarchal cruelty of marriage and the special fury reserved for those who dare to live outside of the accepted rules. They succeed in brief flashes but ultimately, there’s too much here that doesn’t gel, a tonally uneven mix of mostly unfunny bawdy humour, dark fantasy and unlikely romance, too much wood but not enough fire.Wicker is screening at the Sundance film festival Continue reading...

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