Date of birth
9th April, 1998
1st January, 1970
A curious alien lands in the London suburb of Croydon as punk is sweeping Britain in this sci-fi rom-com based on a short story by Neil Gaiman and directed by John Cameron Mitchell. ‘How to Talk to Girls at Parties’ hits theatres this spring.
It’s 1977 and Enn (Alex Sharp) and his friends John (Ethan Lawrence) and Vic (Abraham Lewis) are young punks looking for anarchy in suburban London and to meet some girls.
Alex Sharp and Elle Fanning in in ‘How to Talk to Girls at Parties’
The young stars will star together in his next film.
Elle Fanning and Selena Gomez are set to become the latest young actresses to appear in a Woody Allen project as his forthcoming movie is announced for next year. It's yet to be given a name, but it's the third movie he's directed and written by Amazon Studios.
The 19 and 25-year-old stars will also be joined by 'Call Me by Your Name' actor Timothée Chalamet, and so far that's all the cast that's been announced. The Academy Award nominated Letty Aronson is on board to produce, having worked on a number of Woody Allen projects over the years.
Continue reading: Elle Fanning And Selena Gomez On Board For Woody Allen Movie
In her inimitable loose style, Sofia Coppola remakes the 1971 Clint Eastwood movie from a distinctly feminine perspective. Like her other films, this feels loose and sometimes aimless, demanding that the audience find their own way through the story. It's also a remarkably effective gothic thriller, darkly playing on the vulnerability and innate power of women.
It's set in 1864 Virginia, where the residents of an isolated girls school can hear the Civil War raging in the distance. Teachers Martha and Edwina (Nicole Kidman and Kirsten Dunst) and students Alicia, Jane, Amy, Marie and Emily (Elle Fanning, Angourie Rice, Oona Laurence, Addison Riecke and Emma Howard) have just been getting on with their education in their cocoon-like plantation. Then Amy discovers wounded Union soldier John (Colin Farrell) in the woods. With their own male relatives dead or missing in the war, all of these women are fascinated by this man, an enemy who needs their help. So each begins flirting with him in her own way. But as John considers staying on as a handyman, he's unaware of the jealousies he is igniting around him.
The actors give provocative, layered performances, subtly revealing their internal desires as they interact in unexpected ways. Kidman is the focal point as the stern Martha, trying to remain stoic and in control even as she feels lust for this interloper. Dunst's Edwina is more openly romantic in her approach, while Fanning's Alicia is old enough to desire him in unfamiliar ways. The younger four girls stay mainly on the sideline, even as they add their own layers of intrigue. And Farrell is terrific as the brooding, swarthy man who's unaware of the passions he's stirring up. Where this goes is creepy and intense, as John seems to think that he can pick whichever woman he likes. But he's badly underestimating them.
Continue reading: The Beguiled Review
Elle Fanning, Nicole Kidman, Sofia Coppola and Kirsten Dunst at the 70th Cannes Film Festival photocall for 'The Beguiled' held at Palais des Festivals, Cannes Film Festival - Cannes, United Kingdom - Wednesday 24th May 2017
Félicie and Victor live in an orphanage, they're best friends and rely on one another for support, Victor has always dreamt of becoming a famous and inventor - though he's still yet to create his 'big' invention and Felicie loves nothing more than to dance, it's all she does, if she's doing chores she's usually attempting a pirouette at the same time.
Both the youngsters know that they won't be able to fulfil their dreams whilst living in the remote town they've been brought up in and Victor suggests they make a break and escape the confines of the orphanage and make their way to the capital city of Paris; Victor is sure he'll be able to make a name for himself there and knows that it could give Felicie the big break she has always needed - after all the renowned Opéra De Paris is located there and they have the highest calibre of dancer. Victor's belief in his best friend is enough to convince her that this is the right move.
The pair see sights unlike any they've previously experienced and luckily Felicie finds herself being taken in by a caretaker called Odette. Felicie can finally enrol in dance school and finally start her journey to become the dancer she's always felt she should be.
Continue: Ballerina - Teaser Trailer
Ray is, in many ways, a regular New York teenager who enjoys skating, goes to school and is being raised by a single mother. The only unusual thing about him is that he was born female. Now he's hit puberty, he wants to under-go hormone replacement therapy and his mother Maggie is behind him one-hundred per cent. She may be grieving for the daughter that she's lost, but all she wants is for Ray to be happy and feel whole. The news that Ray wants to become a boy doesn't sit well with everyone, however. Her lesbian grandmother Dolly, for example, with whom he and his mother lives is dismissive of the idea of transitioning, and when the time comes to sign the parental consent form from the doctor, Maggie struggles to get her estranged husband to agree too. Ray isn't backing down without a fight; he refuses to go to school until he can start afresh in a boyish body, having undergone years of bullying. But it's going to take some serious discussion for him to be accepted for he is by the people around him.
Continue: About Ray Trailer
'Dalton Trumbo had gone from novelist to a successful career as a Hollywood screenwriter which saw him become one of the town's highest paid writers and even earn an Academy Award nomination. But his bright career came to a crushing end in 1947 after he was one of nine people who refused to testify in front of the House Committee on Un-American Activities. This led to Trumbo being blacklisted from Hollywood and effectively ending his movie career. But despite being blacklisted Trumbo refused to give up and instead continued to write, often under pseudonyms, working on films such as Oscar winner Roman Holiday. His fight against the U.S. government and studio bosses over his freedom to write and work entangled everyone in Hollywood from gossip writer Hedda Hopper to Kirk Douglas who would call on Trumbo to pen the scrip for his epic drama 'Spartacus' and help bring about the end of the Hollywood blacklist.
Continue: Trumbo - Trailer Trailer
By Rich Cline
A triumph on a variety of levels, this staggeringly detailed stop-motion animation has a wonderfully deranged story packed with spirited characters. It also takes on some seriously important issues without ever getting heavy-handed about it. So while we're laughing at the astounding visual mayhem, there's plenty of depth to keep our brains spinning. And what the film has to say about communal paranoia is vitally important in today's world.
The story takes place a decade after a baby was kidnapped by the Boxtrolls, nighttime scavengers who prowl by night. Over the last 10 years, their legend has grown, and the people are now terrified of being eaten. So the red-hatted Snatcher (voiced by Ben Kingsley) and his sidekicks (Richard Ayoade, Nick Frost and Tracy Morgan) set a goal to exterminate the trolls in exchange for prestigious white hats, which will let them join Lord Portley-Rind (Jared Harris) for his evening cheese-tasting events. Then Portley-Rind's daughter Winnie (Elle Fanning) spots a boy among the Boxtrolls, learning that Eggs (Isaac Hempstead Wright) is actually the kidnapped baby. And that Boxtrolls aren't actually villains at all. But can she get her father to pay attention to her for even a moment, so he can understand that Snatcher is the real bad guy?
Everything on-screen is in constant motion, with cluttered scenes that are a feast for the eyes. Action sequences are complicated and layered, drawing the eye all over the screen as the stakes grow higher with each scene. The mechanical climax feels like one step too far, but the filmmakers keep the focus tightly on the characters, each of whom has a bundle of quirks and obsessions that make them flawed and likeable. Even the nefarious Snatcher has a soft side, and Kingsley has a great time bringing out each aspect of the hilariously vile character, including his scene-stealing alter ego, the fabulous drag queen Madame Frou Frou.
Continue reading: The Boxtrolls Review
Vulture’s Bilge Ebiri sums up: “Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.” Perhaps the most scathing review comes from Jonathan Romney at The Guardian, who gives the film just one star. Romney describes Maleficent as an “icky affair,” dubbing the movie a “messy live-action retelling of Sleeping Beauty” and criticising Jolie, who he claims is “equipped with a range of variable English accents.”
Continue reading: Film Critics Told What's What: 'Maleficent' Wows Moviegoers
By Rich Cline
Disney rewrites its own history again with this revisionist version of its 1959 classic Sleeping Beauty. As she did with Alice in Wonderland, screenwriter Linda Woolverton uses simplistic plotting and clumsy dialogue to turn a children's story into an eerily dark Lord of the Rings-style effects extravaganza. Fortunately, it's held together by an imperious performance from Angelina Jolie.
She plays the story's wicked witch as a misunderstood hero, a happy fairy who grew up in a magical realm next to a kingdom of humans who were constantly afraid of what they didn't understand. And things take a grim turn when her childhood friend Stefan (Sharlto Copley) brutally violates her in order to become the human's king. Now the two lands are at war with each other, and in a fit of rage Maleficent curses Stefan's firstborn Aurora (Dakota Fanning) to fall into a deep sleep before she turns 16. So Stefan hides her in a country house cared for by three bumbling pixies (Imelda Staunton, Lesley Manville and Juno Temple). But it's actually Maleficent who watches over Aurora, and as they bond Maleficent begins to wish she could undo that pesky curse.
Yes, this is not remotely the familiar 17th century Sleeping Beauty fairytale: it's a completely different plot that reduces the "sleeping" bit from 100 years to little more than a power nap. It also re-casts Maleficent as a woman who had one brief moment of nastiness, while the increasingly paranoid and cruel Stefan is the real villain of the piece. The problem is that this shift leaves all of the characters feeling shallow and uninteresting. Aside from Jolie's fabulously prowling horned fairy, no one on-screen really registers at all. The terrific trio of pixies are sidelined in silly slapstick, while the Handsome Prince (Brendon Thwaites) is utterly hapless and Maleficent's crow-like sidekick (Sam Riley) is the victim of an over-zealous make-up designer.
Continue reading: Maleficent Review