There was once a time when Hugh Jackman Wolverine cameos made a sort of sense. Bursting out of a cell in full Weapon X gear, massacring half a bunker, then vanishing, in 2016's otherwise pretty forgettable X-Men: Apocalypse. Telling potential recruitment team Magneto and Professor X to, er, go fuck themselves while propping up a bar in 2011's X-Men: First Class. Even popping up via archived footage from X-Men Origins: Wolverine in 2018's Deadpool 2.
An enormous Bowie knife whirls through the air and thuds into a wooden bar, sending a shudder of excitement through the cluster of men wearing leather hats, blue jeans, flannelette vests and dirty tees carousing in an outback pub. Bursting through the front door, a man follows the knife, engaged, it seems, in mortal combat with a saltwater crocodile. But the drinkers erupt with laughter as the mad bugger adorned in crocodile teeth and skin wrangles the stuffed beast to the bar.
If modern romcoms aren't sweeping you off your feet any more, you're not the only one wondering where the magic went. Romantic comedies are just not as good as they used to be, according to one of the stars of Love Actually. Thomas Brodie-Sangster, who played lovestruck teenager Sam in Richard Curtis's 2003 Christmas film, said the rise of streaming had led to rushed, cheaper productions, draining the genre of the spark it had in its 1990s heyday.
For years and years, I only would go to the location of a movie set or a speaking engagement, and I never took time to look around these incredible cities I had been sent to for work,
Bryan Brown gives a barely perceptible nod of welcome after I arrive by ferry at Balmain wharf, as he steps out from under the semicircular roof of the late 19th-century timber shelter here, the last of its kind on Sydney harbour. How's it going? he asks, his Australian drawl at once familiar from his roles in 80-plus films and television series. The actor wears a straw hat and sunglasses with a waist-length jacket partially zipped against a rugged late-afternoon north-westerly.
As hard as it may be to believe, some of us have nev­er seen a movie belong­ing to the Mar­vel Cin­e­mat­ic Uni­verse. If you're one of those unini­ti­at­ed, none of the count­less clips incor­po­rat­ed into the Like Sto­ries of Old video essay above will tempt you to get ini­ti­at­ed. Nor will the laments aired by host Tom van der Lin­den, who, despite once enjoy­ing the MCU him­self, even­tu­al­ly came to won­der why keep­ing up with its releas­es had begun to feel less like a thrill.
The filmmaker Noah Baumbach can recall when he may have fallen out of love with his craft. He was shooting "White Noise," based on Don DeLillo's novel, "on a deserted highway in Ohio at 4 A.M. with a rain machine." "Oh, God, I don't know that I like doing this," he recalls thinking. "Am I doing this"-making movies-"only because I do it?"
So Slosberg was in Fort Lauderdale, Fla. earlier this month as town officials planted a plaque at Las Olas Beach to honor Nyad, a local kid who grew up to be as famous as any female American swimmer of the pre-Ledecky era. Slosberg says he hadn't flown in 10 years, but when he heard that the woman who Slosberg calls "swimming's greatest fraud," was going to be commemorated by public servants, he had to get on a plane.
What makes a protagonist cool? When it comes to heroic narratives, there tends to be a binary; either our star character is tight-lipped and detached, or they are forthright and obvious. This dichotomy is probably best exemplified as the difference between DC's Batman and Superman. Regardless of all the evidence to the contrary, our shared default notions of the two heroes come down to this: Batman is brooding, a man of few words, while Superman often smiles and is generally more chatty.
An unfilmed chapter of Kill Bill, centered on Gogo Yubari's sister Yuki,is premiering on Fornite ahead of the theatrical release of The Whole Bloody Affair. You remember Gogo. She's the one with the meteor hammer, played by Battle Royale's Chiaki Kuriyama. In keeping with Kill Bill's cyclic revenge themes, it appears Quentin Tarantino wrote a segment where Yuki traveled to the U.S. to try and get her revenge on Beatrix Kiddo (Uma Thurman).
Trier's newest film is tied up in the mess of parental issues. Gustav Borg (Stellan Skarsgård) plays a negligent father and a filmmaker himself who has returned with his magnum opus: a script written about his own mother who died by suicide. He's written the lead role for his daughter, Nora (Renate Reinsve, a frequent Trier collaborator). But she's less than forgiving of her father's absence and ultimately passes on the part.
