HOME > RSS > NEWS UK > Guardian Unlimited Film News

R S S : Guardian Unlimited Film News

PageRank : 2 %

VoteRank :
(0 - 0 vote)

tagsTags: , , , , , , , , , , , , ,



Silver linings playback: will Jack Nicholson's return inspire film's dormant veterans?

20 February, by John Patterson[ —]

The role of an eccentric dad in Toni Erdmann has persuaded the Hollywood heavyweight to make his first movie since 2010. Which of his retired peers are also due a comeback?

Related: Jack Nicholson set to come out of retirement for Toni Erdmann remake

So it turns out that Jack Nicholson might un-retire himself and return to the big screen with a US remake of the recent German hit Toni Erdmann. Before he stopped working in 2010 – after the toothless James Brooks flop How Do You Know – Jack was offering one interesting performance per decade, down from a tally of about one every nine months in the 1970s. But perhaps Erdmann – an eccentric weirdo who creates a bewigged alter ego to try to reconnect with his daughter – is a meaty enough role to rescue his acting talent, now long marooned in lukewarm romantic dramas.

Continue reading...

Why Moonlight should win the best picture Oscar

20 February, by Benjamin Lee[ —]

Benjamin Lee makes the case for Barry Jenkins’ heartfelt and artful look at the life of a black gay man in America

An all-too-frequently used response to the call for increased diversity on screen is based around a rather defensive notion. It’s that a piece of entertainment may be enjoyably consumed without the need for unequivocal identification with the characters being viewed. Just check out the comments section of any article arguing for a more varied set of narratives from Hollywood.

Related: Why La La Land should win the best picture Oscar

Continue reading...

Angelina Jolie speaks out on 'difficult' Brad Pitt divorce for first time

https://www.theguardian.com/film/bradpittplay episode download
20 February, by Oliver Holmes[ —]

Actor says ‘we are and forever will be a family’ in emotional BBC interview before screening of new Cambodia film

Angelina Jolie has spoken out for the first time since she filed for divorce from Brad Pitt last year, announcing it had been a difficult time but adding “we are and forever will be a family”.

“It was a very difficult time,” Jolie said, appearing visibly upset. “Many people find themselves in this situation … My whole family have all been through a difficult time. My focus is my children, our children.”

Continue reading...

Tell us your alternative Oscar nominees ahead of the awards

20 February, by Guardian readers[ —]

We’d like you to nominate a film or performance the Academy may have overlooked. Tell us who gets your vote and why

As La La Land, Manchester By the Sea and Moonlight battle it out for Oscar glory, we’d like you to tell us which films deserve a special mention this year.

Although the Golden Globes produced a couple of surprises earlier this month – including Damien Chazelle’s musical picking up just five awards, not the expected 14 – we’ll all have heard, and likely already seen, this year’s nominees.

Continue reading...

Marcus Preece obituary

19 February, by Malu Halasa[ —]

When I first met Marcus Preece in Birmingham in the mid-1980s it was rare to find an aspiring author among ska and punk musicians. But he produced screenplays and short stories and eventually earned his living as a writer in Hanoi, Vietnam.

Marcus, who has died aged 53 after suffering from a series of blackouts, was born in the town of Mount Isa, north-west Queensland, Australia, to which his parents, Bevan Preece, a builder from Malvern, Worcestershire, and Phyllis (nee Bracken) a secretary from Dublin, had moved the year before, so that Bevan could work in the copper mines. In 1970, the family returned to Britain because Phyllis’s father was unwell and the family settled in East Grinstead, West Sussex.

Continue reading...

How to have a pop culture hit like La La Land and Rae Sremmurd

19 February, by Derek Thompson[ —]

What are the ingredients of a smash movie or track in 2017? Embrace nostalgia, follow the superstars, and piggy-back on the social networks ...

How do you make a hit? This is the question I have posed to dozens of entertainment executives, pop-culture historians and academics over the past few years. Some of them claimed to know. Others maintained that such knowledge was impossible. But the most interesting things I learned weren’t the variables of some mythic formula, but rather how the shifting rules of cultural popularity are a window into the way the world works, and how it is changing.

If the media revolution of the past generation could be summed up in one word, it would be “more”. The number of opportunities for artists and creators has soared as the internet opened new markets around the world and made possible new media, such as self-published ebooks, and technology, such as ever-cheaper cameras and video-editing software. But the sheer supply of creativity has made breakout success more difficult in just about every industry. In 2000, more than 90% of new television shows survived to year two; today, 50% of shows are cancelled before their second birthday. Despite the surge in new films – which have increased by a factor of seven since the early 80s – Americans bought 200m fewer movie tickets in 2016 than in 2002. Little surprise, then, that we are living in a heyday of flops: 27 of the 30 biggest box-office bombs in Hollywood history have come out since 2005.

Continue reading...

Moonlight review – a five-star symphony of love

https://www.theguardian.com/film/dramaplay episode download
19 February, by Mark Kermode, Observer film critic[ —]

Barry Jenkins’s Oscar-nominated coming-of-age film is a heartbreaking, uplifting, minor-key masterpiece

“Who is you?” This question echoes throughout Moonlight, the breathtaking second feature from Medicine for Melancholy director Barry Jenkins. A coming-of-age story about a young man from a hardscrabble Miami neighbourhood, this kaleidoscopic gem focuses on three periods of its subject’s life, chaptered by the different names and identities he assumes, or is given – “Little”, “Chiron” and “Black”. Lending heartfelt voice to characters who have previously been silenced or sidelined, Moonlight is an astonishingly accomplished work – rich, sensuous and tactile, by turns heartbreaking and uplifting. The first time I saw it I swooned; the second time I cried like a baby. I can’t wait to see it again.

Inspired by playwright Tarell Alvin McCraney’s postgraduate theatre project “In Moonlight Black Boys Look Blue, Jenkins’s film opens with a scrawny kid nicknamed “Little” (Alex Hibbert) being chased into a derelict house from which he is rescued by Juan (Mahershala Ali). Imposing yet gentle, Juan is a drug dealer whose addicted clients include Little’s increasingly bedraggled mother, Paula (Naomie Harris). Aided by his nurturing partner, Teresa (Janelle Monáe, who also co-stars in Hidden Figures; see review overleaf), Juan takes a parental interest in this lost boy, who forlornly asks: “Am I a faggot?”

Continue reading...

American Honey; Free State of Jones; Inferno; Through the Wall; Le parc – reviews

19 February, by Guy Lodge[ —]

Andrea Arnold’s skewering of the American dream gains extra resonance from recent events, while Matthew McConaughey’s career comeback stumbles

At one point early in American Honey (Universal, 15), Shia LaBeouf’s midwestern misfit ringleader gestures to his baggy flannel trousers with broad, garish braces and asks if they’re “too Donald Trumpish”. What may once have been conceived as a throwaway cultural reference is now gasp-inducingly on the nose. British director Andrea Arnold’s wild, whirling, furious American road movie is a pre-emptive vision of Trump’s America, gazing upon the red state poverty and pride that enabled the orange one’s presidency and will be further disabled by it.

Following the misadventures of Star (the remarkable newcomer Sasha Lane), a young, directionless woman of colour, after she falls in with LaBeouf’s magazine-hawking cult of doomed youth, it’s a vividly impressionistic film rather than a rhetorical one. But its political undertow is brash. From the Confederate flag bikini worn by Riley Keough’s spite-fuelled queen bee to the white good guy stetsons worn by a crew of aged, sexually predatory cowboys, to the sprinkler-soaked suburban lawns that put a civil front on toxic white prejudice, Arnold twists age-old iconography into a contemporary reflection of the tainted American dream. She’s not afraid to be unsubtle, and her boldness reaps exhilarating rewards over nearly three hours. We’ve seen a lot of this landscape on screens, yet rarely painted with such hot, fervid visual and sonic imagination.

Continue reading...

Love of My Life – cringeworthy comedy-drama

https://www.theguardian.com/film/dramaplay episode download
19 February, by Simran Hans[ —]
Even Anna Chancellor can’t rescue this dire dramedy about a woman with five days to live

Exactly zero of the jokes land in Joan Carr-Wiggin’s comedy-drama about a woman who finds out she has five days to live. Grace (Anna Chancellor) vows to finally read Middlemarch (out loud, no less) and enjoy her last few days with her teenage daughters and sweet, bumbling husband (The Vicar of Dibley’s James Fleet). Chaos ensues when her Pulitzer-prize winning ex-husband (John Hannah, doing his best Peter Capaldi impression) shows up to “win Grace back”. Yes, the exposition is that blunt.

Unfortunately, even Chancellor, so brilliant and sharp as Lix Storm in BBC2’s newsroom drama The Hour, can’t save this undignified affair, gritting her teeth through writer-director Carr-Wiggin’s cringeworthy script.

Continue reading...

The Great Wall review – lavish Chinese spectacle

19 February, by Simran Hans[ —]
The country’s most expensive co-production to date is a visual treat, complete with a grizzled Matt Damon, but don’t expect any complex plotting

On the hunt for precious “black powder”, rogue mercenaries William Garin (a grizzled-looking Matt Damon) and Pero Tovar (Game of Thrones’s Pedro Pascal) are captured by The Nameless Order, an ancient military operation occupying the Great Wall of China. The order are preparing to battle the mythical Tao-Tie – giant, green, lizard-y looking monsters that are resurrected every 60 years to teach the Chinese a lesson about unchecked greed and swarm the wall in their millions.

Commander Lin (the film’s sole speaking female character, played by Jing Tian) takes a shine to William, pointing out their similarities. However, though both are dab hands with a bow, the two fight for different reasons; he for food and money, she for trust and honour, a lesson William inevitably learns by the film’s conclusion (perhaps making an oversimplified case for Chinese communism).

Continue reading...

0 | 10 | 20 | 30 | 40 | 50 | 60 | 70 | 80 | 90

mirPod.com is the best way to tune in to the Web.

Search, discover, enjoy, news, english podcast, radios, webtv, videos. You can find content from the World & USA & UK. Make your own content and share it with your friends.

HOME add podcastADD PODCAST FORUM By Jordi Mir & mirPod since April 2005....