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Marshall review – Chadwick Boseman holds court in powerful civil rights drama

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18 October, by Cath Clarke[ —]

The Black Panther star is outstanding as the real-life hotshot lawyer who defended a black man accused of rape by a white woman in 1941

It’s impossible not to get caught up in this ripping courtroom drama that watchably restages an episode early in the career of the legendary civil rights lawyer Thurgood Marshall, a decade before he worked on landmark segregation cases in the deep south. It’s 1941 and Marshall (Chadwick Boseman) is a hotshot young NAACP attorney, who, like Atticus Finch in To Kill a Mockingbird, is defending a black man accused of rape by a white woman.

As legal drama, this is fairly conventional, stuffed to the brim with stirring speeches and Ah-ha! moments of cross examination theatrics. Sometimes, it feels a bit glib in its focus on the bromance between Thurman and the local white lawyer (Josh Gad) he hires to work with him, though Downton’s Dan Stevens is nicely cast as the nasty golden-boy prosecutor who becomes increasingly peevish as the trial wears on.

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Snake Outta Compton: finally, the hip-hop monster movie the world's been waiting for

18 October, by Stuart Heritage[ —]

Following the hallowed path marked out by Sharknado, this bargain-bin effort looks set to push the B-movie to new heights of self-aware silliness. We break down its trailer

Sharknado is old hat. Lavalantula? Passé. Supergator? Consider yourself retired. If you’re a fan of objectively bad films with stupid names about large animals, which you’ll watch drunk one night because it sounds funny (only to immediately realise that you much prefer films with things like plot and production design), you are in for a treat. Ladies and gentlemen, may I present Snake Outta Compton.

I mean, I could just stop there. Really, the title is all you need to know about Snake Outta Compton. There’s a snake – and let’s presume, given our affinity with the genre, that it’s quite a big snake – and it terrorises Compton. The end. We can also assume that the title came long before the film, and that the budget is so tiny that we’ll only actually see the snake in about three scenes.

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My Little Pony: The Movie review – horsing around in cloud cuckoo land

18 October, by Mike McCahill[ —]

Emily Blunt lends her voice to the latest outing for a featherlight franchise that nods to minipops feminism while it flogging its kid-friendly merchandise

The Hasbroisation of cinema continues apace, although after the relentless din of five Transformers and a Battleship, it’s almost a relief to be confronted with something of a more bucolic stripe.

Scholars of the MLP canon should be advised that this full-length animation abandons the comparatively hip Equestria Girls strand of 2015’s Friendship Games – wherein the ponies were magicked into smart-talking college students – in favour of a return to the cloud cuckoo land from where the franchise comes. Thus we find earnest purple nag Twilight Sparkle’s efforts to stage the annual Friendship festival sabotaged by underbrushed outsider Tempest Shadow – the latter voiced by Emily Blunt, who must have really loved these toys as a child to have wound up in this vicinity.

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Lena Headey claims she was sexually harassed by Harvey Weinstein

18 October, by Gwilym Mumford[ —]

Game of Thrones actor recounts producer marching her to his hotel room and reacting furiously to a rejection before warning her not to tell anyone

The Game of Thrones actor Lena Headey has spoken of how she felt “powerless” during an encounter with Harvey Weinstein, adding her voice to the growing number of women who have accused the producer of sexual misconduct.

In a series of posts on Twitter, Headey said that Weinstein had spoken to her inappropriately at the Venice film festival and reacted with anger when she resisted his advances in a Los Angeles hotel.

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French Aids drama BPM shows Hollywood how to capture gay history

https://www.theguardian.com/film/dramaplay episode download
18 October, by Guy Lodge[ —]

The Oscar-buzzed film is refreshingly queer, filled with an authenticity that sanitised disappointments such as Dallas Buyers Club and Stonewall still fail to include

It has been a landmark year for LGBT cinema. From Moonlight’s Oscar victory to the triumphant Sundance premieres of gay romances God’s Own Country and Call Me By Your Name; from the transgender breakthrough of Chile’s A Fantastic Woman to the mainstream politicking of Battle of the Sexes, we’re seeing a wider-than-ever array of approaches to sexuality on film, no longer confined to the arthouse fringe.

Related: After the Moonlight fades: what's next for LGBT cinema

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Bill Pullman breaks award moments after receiving it – video

18 October, by Guardian Staff[ —]

Bill Pullman was honoured with an excellence in acting award at the Woodstock film festival in Kingston, New York. But as he was about to deliver his thank you speech, the award toppled off the lectern and snapped in half. After being handed the broken award, Pullman held up a piece in each hand and said: 'I've got two awards tonight!' It was later repaired by the local artisan who made it

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Carry on up the Kremlin: how The Death of Stalin plays Russian roulette with the truth

18 October, by Richard Overy[ —]

Armando Iannucci’s new film is a romp through some of the darkest days of the 20th century. But, asks one historian, is farce really the best way to understand the dictator’s murderous regime – or its legacy in Russia today?

My first memory of the outside world was watching my parents as they heard an announcement on the radio that Joseph Stalin was dead. The news was greeted not with relish but with awe and apprehension. The Soviet dictator was a colossal figure in the mid-20th century, even in the west. His death on 5 March 1953 was a reference point not just for the Soviet people but for the wider world. Now it is history.

That is until now. With The Death of Stalin, director Armando Iannucci has brought the story surrounding the dictator’s last hours and the political scramble among his potential successors to a modern audience. The subject is a strange choice. Where the suicide of Hitler in the bunker has a squalid drama, captured effectively in the 2004 film Downfall, the death of Stalin has to have the drama squeezed out of it, drop by drop. He did not take his own life nor, as far as the evidence suggests, did anyone else. He died of natural causes at his dacha outside Moscow, surrounded by his fearful and sycophantic court.

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Bob Weinstein accused of inappropriate behavior by female TV producer

https://www.theguardian.com/world/sexual-harassmentplay episode download
17 October, by Molly Redden[ —]

Weinstein denies claim by Amanda Segel, a showrunner for Spike TV’s The Mist, who says he made unwanted advances despite her multiple refusals

Bob Weinstein on Tuesday denied an accusation that he made unwanted advances toward a female showrunner working for the Weinstein Company last year.

The showrunner, Amanda Segel, is an executive producer on Spike TV’s The Mist. Segel claims that beginning last summer, Weinstein repeatedly asked her to dine alone with him and made romantic overtures despite her multiple refusals, according to Variety.

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Reese Witherspoon alleges sexual assault by director when she was 16

17 October, by Gwilym Mumford[ —]

Actor says that agents and producers told her to remain silent about the incident, which she says was the first of many experiences of sexual assault and harassment throughout her career

Reese Witherspoon has alleged that she was sexually assaulted by a director when she was 16, but was told to remain silent by agents and producers.

The actor made the claims during a speech reflecting on the problems faced by women in the film industry at the Elle Women in Hollywood event on Monday, People reports. Witherspoon did not name the director in question but said that the incident was the first of many experiences of “harassment and sexual assault” throughout her career.

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The Lego Ninjago Movie karate kicks Blade Runner 2049 off top of the UK box office

17 October, by Charles Gant[ —]

The Snowman gets a slightly chilly reception, while arthouse audiences warm to animated biopic Loving Vincent and Sally Potter comedy The Party

Opening in the UK with £3.64m, The Lego Ninjago Movie tops the box-office chart, elbowing aside Blade Runner 2049. It’s the second Lego-themed chart-topper this year, following The Lego Batman Movie in February. It’s also the fifth animated chart-topper, following Sing, The Lego Batman Movie, The Boss Baby and Despicable Me 3.

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