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2018-08-17T03:10:54.002Z
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The trailer for Human Centipede director’s new film, in which women masturbate over footage of 9/11, is simply witless provocation

If you’ve read any of these trailer reviews before, you’ll know that they operate to a rigid formula. I watch the trailer, I screengrab the trailer and then I make a series of hackneyed non-jokes about the trailer. This approach works for most films; but not The Onania Club.

The trailer for The Onania Club – Tom Six’s barely anticipated follow-up to the Human Centipede trilogy – was released yesterday. It is 40 seconds long, and it cannot be screengrabbed. This is because, in its entirety, The Onania Club’s trailer just consists of women masturbating to 9/11.

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Poster depicts the first-ever screening of films by Lumière brothers in Paris in 1895

A poster promoting the first public screenings of film, providing glimpses of late 19th-century Paris life, is coming up for auction.

Sotheby’s in London is selling 164 rare film posters including one that can lay claim to be the world’s first, one advertising the world-changing cinematography of the Lumière brothers.

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Actor tells of spending time ‘backstage’ in high court for her role in The Children Act

Emma Thompson has said that spending time at the high court for her latest role in which she plays a family court judge was an extraordinary experience and “one of the greatest privileges”.

The actor plays a judge faced with a difficult and painful case in The Children Act, an adaptation of Ian McEwan’s 2014 novel, which sees her character having to decide whether Adam, a 17-year-old with leukaemia, should be forced to have potentially life-saving blood transfusions despite the procedure going against his religious beliefs as a Jehovah’s Witness.

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Chris Paine’s documentary looks at the potential dangers of our intimate relationship with smartphones and laptops

In all likelihood, you are currently reading this article on a device that contains all the salient parts of your life. You’ve given it your bank account information, and use it to move your money around. It’s privy to your conversations with loved ones and work associates, perhaps even words uttered out loud in private moments. It knows your schedule, where you are at any given moment, what you buy, what music you listen to, and who you should date.

Related: Beyond The Cove: what happened after the Oscar-winning documentary?

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Six Academy award nominations have yet to lead to a win for the actor but with a tour de force performance in the acclaimed literary drama, she may finally get her moment

You’ve probably forgotten about this, but seven years ago, Glenn Close unveiled her chef d’oeuvre. Well, that was the idea, anyway. Albert Nobbs was that most desperately impassioned of passion projects, one that had been with her since she played the title role – a secretly transgender male butler in 19th-century Dublin – on stage in 1982, well before the actor was a household name. Several years and fruitless Oscar nominations later, around the turn of the century, she launched her quest to make it into a film. It would take over a decade, enduring financial collapse and a change of directors, but finally, in the autumn of 2011, Albert Nobbs debuted to festival audiences, presented as proudly by Close – its star, producer, co-writer and even composer of a dirgey closing-credits ballad – as if it were her newborn child.

Related: Glenn Close: ‘People don’t realise that you keep your sexuality up until you die’

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A series of film festivals celebrating political and cinematic resistance puts women firmly back in the centre of the frame

The summer season at the movies is traditionally a time for tentpoles and blockbusters, but this year’s wonder women don’t wear bulletproof bracelets. Independent cinemas are offering a sizzling summer of radical, intersectional film as an alternative to the franchise releases. A revival of radical movies made by feminist and queer film-makers from the 60s promises to show that revolutionary cinema and the spirit of 1968 isn’t all about angry young men.

As the weather sizzles, provocative films by directors including Věra Chytilová, Agnès Varda, Laura Mulvey, Greta Schiller and Mai Zetterling will raise the temperature inside the cinema, too. Leading the charge, the queer feminist collective Club des Femmes has collaborated with the Independent Cinema Office, the BFI and several international archives to roll out a programme called Revolt, She Said: Women and Film after ’68, to venues around Britain. The season is named after Julia Kristeva’s 2002 book, which defines revolt as “a permanent state of questioning, of transformations, an endless probing of appearances”.

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Risking the cast’s chemistry by hiring a new Captain Kirk may be boldly going way too far

There are moments in USS Callister, the 2017 Black Mirror episode that riffs furiously on Star Trek and gamer geekery, that might tempt us to wonder if the makers of the new series of films (starring Chris Pine as Captain Kirk) might have considered Jesse Plemons for the role instead. For while Pine has charisma in spades and a confident twinkle in the eye that recalls William Shatner at his best, Plemons is rather better at nailing the Canadian actor’s habit of slipping into knowing, smug braggadocio when the Klingons have been defeated for the umpteenth time.

Casting the star of Breaking Bad and Fargo as James T might be a little like the makers of James Bond deciding to hire Johnny English’s Rowan Atkinson as the new 007. But far worse casting decisions have been made in the halls of Hollywood over the decades – let’s hope we shouldn’t be girding our loins for another now that Pine has been revealed to be in a pay dispute with Paramount Pictures about his future in Star Trek.

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American History X director Tony Kaye has revealed that his next film will star an AI actor, a groundbreaking move but one that fits in with a history of transhumanism on screen

The nightmare scenario of mankind being overthrown by its own creation has been a source of tangible anxiety for at least 200 years, ever since Mary Shelley birthed the science fiction genre with her novel Frankenstein; or, the Modern Prometheus. It’s an anxiety the movies have always been keen to exploit, starting with the first adaptation of Shelly’s work, shot in 1910 by Thomas Edison, up to the present, in films like Her and Blade Runner 2049. But now, Hollywood itself may have to confront this dreadful specter, in the form of the first ever robot movie star.

Related: American History X director Tony Kaye to cast robot as lead actor in next film

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The actor on alcohol, Aldous Huxley and his six car accidents

Born in Dublin, Jonathan Rhys Meyers, 41, was spotted by a casting agent as a teenager. In 2006, he won a Golden Globe for his portrayal of Elvis in a CBS mini-series, and from 2007 to 2010 he starred as Henry VIII in The Tudors. His films include Bend It Like Beckham and Woody Allen’s Match Point. He stars with the late John Hurt in the award-winning Damascus Cover, in cinemas now. He is married to the actor-producer Mara Lane and has a son.

What is your earliest memory?
Forked lightning across the rooftops of the housing estate that I was living in. I must have been three.

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The film-maker will hire an AI actor for his new project 2nd Born in the hope it will receive recognition by the Screen Actors Guild

American History X director Tony Kaye is hoping to cast an artificial intelligence actor as the lead of his new film.

According to Deadline, the British film-maker has made the unprecedented decision to employ a robot over a human for his next project, titled 2nd Born. The android will be trained in various techniques and a variety of acting methods and Kaye hopes it will lead to recognition by the Screen Actors Guild which could also lead to awards consideration.

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Shevaun Mizrahi’s dream-like documentary, shot in an Istanbul retirement home, beautifully captures the residents’ musings on life

‘Old age isn’t a battle; old age is a massacre.” So wrote Philip Roth, a line much quoted in recent obituaries. But, for those of us not yet there, it’s hard to picture ourselves at 90, exiled in the land of the elderly. So the great power of this one-woman, no-budget documentary shot on the frontline of an Istanbul retirement home is its intimacy. American-Turkish director Shevaun Mizrahi has been filming at the home for years, since volunteering as a student, and she trains a sensitive gaze on the decline of old age without horror or shock. But the film’s unprobing stream-of-consciousness interviews with residents left me a little frustrated.

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George Cukor’s rereleased firecracker comedy, with Rosalind Russell and Norma Shearer as ladies who lunch, is an exhilarating delight

‘It’s all about men!” said the tagline on the poster for this extraordinary, almost Dalíesque Hollywood comedy from 1939, now on rerelease, gallopingly directed by George Cukor and adapted by Anita Loos and Jane Murfin from the stage play by Claire Boothe.

But there isn’t a single (or married) man in it. Every character on camera is female, and it’s an elegant whirl of moneyed and married Manhattan women, ladies who lunch off each other’s reputations in health salons and beauty parlours, participating in bizarre regimens and surreal treatments, breaking out firecracker dialogue and indiscreetly tattling about whose husbands are stepping out with shopgirls on the sly. But these gossips get karmically punished by having their own husbands pinched.

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When the comedian Mawaan Rizwan put his mother Shahnaz into his videos, they were an instant hit. And then Bollywood came calling...

In 2012, the comedian Mawaan Rizwan was making videos for YouTube and gaining modest success. One day, he found himself in need of a stooge for his latest sketch, so he roped in his mum, Shahnaz.

The resulting video, My Mum Hates Me, in which the two of them banter back and forth about all the ways in which they annoy each other, took off in a way he’d never experienced. “That got 115,078 views,” he says. “So we did loads more sketches. In one of them, she dressed up as a goth, in another she was a midwife.”

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Sure, Jason Statham gets to battle a man-eating monster – but his movie also packs warnings about ecological destruction


When the trailer for Jon Turteltaub’s The Meg first dropped, it was met with excitement from those wanting a blockbuster B-movie with Jason Statham punching sharks in the face. Now that The Meg is out, we can see that there’s more: its message about the environment and what we are doing to the world’s shark population.

In The Meg, scientists discover an unexplored world deep beneath the Mariana Trench, hidden by a thermal layer. Once the scientists go down, they increase the temperature of the icy layer, which allows a prehistoric megalodon to escape. Once out, the Meg appears to destroy a couple of fishing boats and a school of sharks.The film wants the audience to think the megalodon did it – an easy answer, right? Marine biologist Minway Zhang – played by Winston Chao – gives a sadder explanation. The sharks were not killed by a prehistoric monster, but by shark poachers who cut the sharks’ fin off and left them to bleed to death – “all for a bowl of soup” as Zhang says, before calling the poachers “monsters”. This is not the type of scene you would expect from a film about Jason Statham punching a giant shark in the face.

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In Xavier Beauvois’ fierce, compassionate drama, the first world war casts a terrible shadow over a farming community

The gender divide of this movie, and its whole point, are clearer in the original French title: Les Gardiennes, the female guardians, the women who worked the land in France during the first world war. This richly compassionate, fiercely acted and beautifully shot period drama is about the second conflict, the battle of wills on the home front, as these women struggle to maintain a family farm in the Deux-Sèvres region of western France.

A way of life with its Hardyesque seasonal rhythms of sowing and reaping is minutely, sumptuously depicted. But all the time in the background – in the letters home, in the muttered hints of the grim-faced men on leave and their shellshocked dreams – is the horror of war. Those seasonal rhythms come to include regular visits from officials with telegrams.

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Mike Leigh grew up near scene of Manchester atrocity but says he was never taught about it

All schoolchildren in the UK should be taught about the Peterloo massacre, according to Mike Leigh, who has directed a film about the little-known Manchester atrocity sometimes referred to as Britain’s Tiananmen Square.

Leigh grew up in Salford, a short walk from St Peter’s Field, where on 16 August 1819 government forces charged into a peaceful rally by more than 60,000 people who were demanding political reform and protesting against poverty.

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Fifty years on, this made-for-TV special feels weirdly old and new at the same time

Released to coincide with the 50th anniversary of its broadcast, this made-for-TV special, which revived the ailing career of the then slightly foxed superstar Elvis Presley, continues to enchant. That is partly because the singer is on form here, performing in a way he probably never would again, harking back to his charismatic 1950s pre-army, pre-Hollywood prime.

Electrically alive on a TV soundstage in front of an adoring crowd (who are a fascinating spectacle in their own right, dressed in 60s finery, all beehives and prim collars), Presley revels in their worship and glows with joy in his own God-given talent. It is a reminder of what a skilled musician he was, especially during the bits where he jams on stools with his old backing band buddies, including the incomparable lead guitarist Scotty Moore and drummer DJ Fontana.

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Jason Statham’s prehistoric shark makes waves with summer cinemagoers, while Mamma Mia! 2 is still packing them in

While Jason Statham has been seen on screen in recent years in Fast and Furious and Expendables movies, and had a supporting role in Melissa McCarthy comedy Spy, his own movie vehicles had begun to dwindle in number and impact. His last outing as a protagonist was 2016’s Mechanic: Resurrection, which grossed £1.37m in total in UK cinemas. Before that, 2015’s Wild Card managed just £410,000. Was it now game over for Statham as a leading male action star, some were beginning to wonder?

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As the actor stars in Netflix’s new comedy Like Father he discusses the difficulties of fatherhood, Frasier reboot rumors and his thoughts on Roseanne

Kelsey Grammer seems like a guy who has a grip on his emotions. Not only did he devote 20 years to playing therapist Frasier Crane, but the fame that followed forced him to navigate the toughest moments of his life in public.

He’s spent decades talking about tragedy: the separate murders of his father, Frank, and sister, Karen; the scuba diving accident that killed his twin half-brothers; his struggles with alcohol and cocaine addiction; and his three ex-wives and complex custody arrangements. At 63 and happily married to fourth wife Kayte Walsh, with whom he has three young kids bringing the grand total of the Grammer brood to seven, the veteran actor has the solidity of a boulder that knows it can withstand a toppling breeze. Still, when Grammer first met with Like Father writer-director Lauren Miller Rogen to discuss the part of Harry Hamilton, a workaholic dad who reconnects with the adult daughter he ditched when she was five years old, he began to cry.

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Not very long ago, a gay character leading a Disney film would have been unthinkable. Let’s give this moment the celebration it deserves

Disney’s new film will feature a gay character – for the first time ever in the company’s history.

To have read that statement when I was a closeted, confused 13-year-old boy would have had such an impact.

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