borks. And if that sounds like a really terrible idea, if only because it’s more of an invasion of privacy than usual (which is already a lot), “KIMI” agrees with you.
22.01.2022 - 06:03 / thewrap.com
her own hospitalization, but it also turns her recent years into an afterthought, bypassing many of the highs and lows that led her here over the last two decades. It has an upbeat ending of sorts, painting O’Connor as a survivor who is now receiving her due, and that part necessarily feels hollow the week after she went to a hospital after making her own threats of self-harm.
borks. And if that sounds like a really terrible idea, if only because it’s more of an invasion of privacy than usual (which is already a lot), “KIMI” agrees with you.
a robot could write them. Some unlucky-in-love woman cannot find a husband (despite looking like a supermodel and having a glamorous job), so a condescending guy helps her become more appealing in order to attract Mr.
accused of sexual assault and rape.) There are plenty of other reasons to wish the perfectly watchable “Death” had been better, if only because it’s already an upgrade from the flat, purposeless “Express.” This one’s trappings are plusher, its puzzle and solution niftier, yet still not totally there as a smoothly glamorous, engrossing piece of escapism.Christie aficionados may wonder what a grey WWI prologue in Belgium’s blood-soaked trenches has to do with Mediterranean misadventure. But Branagh and Green believe, a tad obnoxiously, that Poirot is more interesting if he’s less comical oddball and more heavy-headed hero with a lost love.
Flag Day, in which he also stars, he has clearly “still got it”, said Peter Bradshaw in The Guardian. In this “very watchable and well-made family drama”, he plays the real-life swindler John Vogel, who was pursued by the FBI in the 1990s for forging $100 bills on an industrial scale. Penn exudes a “buzzard-like watchfulness” as the sociopathic Vogel; his “seductive address to the camera is almost unrivalled”.
they all find it to reduce each other to writhing heaps. Though you will surely wonder why Jason Acuña (“Wee Man”) would allow himself to be tied down and covered with raw meat as an offering to a hungry vulture, “Jackass Forever” is not for questioning.
In his review of the film, TheWrap’s Steve Pond wrote “‘Nothing Compares’ is a movie that is both timely and curiously out of time. It’s a potent film that explores the roots of the brilliant but troubled Irish singer, who’s been back in the news recently with the suicide of her teenage son and her own hospitalization, but it also turns her recent years into an afterthought, bypassing many of the highs and lows that led her here over the last two decades.”“Nothing Compares” is produced by Eleanor Emptage and Michael Mallie for Tara Films (UK) and Ard Mhacha Productions (Ireland), and presented by Field of Vision.
EXCLUSIVE: Numerous broadcasters and streamers vied for it, but Deadline hears that Showtime is in exclusive negotiations for the worldwide rights to Nothing Compares, the Sundance buzz title documentary about the provocative life of Irish singer Sinéad O’Connor.
Directed by Paula Eislet and Tonya Lewis Lee (Spike Lee’s producer and partner), the documentary “Aftershock” chronicles the dismal maternal mortality rate that women of color face in the United States medical system. The statistics are shameful, pointing to a systemic racist indifference, and the documentary chronicles the staggering number of times that expectant mothers entering into hospitals simply do not come out alive due to a lack of care and sensitivity.
th feature film, Allen returns to a well that is not so much dry as desiccated. The movie opens with Wallace Shawn as our Allen doppelgänger, Mort Rifkin. Mort, an anxious former professor, is also a dedicated cinephile and self-defined intellectual who spends the next hour and a half complaining vociferously to his analyst.He’s reminiscing about a troubled trip to Spain’s San Sebastián Film Festival, which he recently took with his publicist wife, Sue (Gina Gershon).
Grieving Sinéad O'Connor has revealed the sweet way she's remembering her late son Shane following his funeral last week.Taking to Twitter, the Irish musician revealed that she has a permanent place set at the table for the 17 year old, who was reported to have gone missing from hospital before his tragic death earlier this month. Sinéad, 55, wrote: “Am staying with my best girlfriend. Been with her since the funeral.
is a Disney.It’s a self-conscious film, to be sure, driven by a combination of passion and guilt. It’s also a scattershot one that could have viewers wondering if it’s a film about the Walt Disney Company or a film about American capitalism.
awesome,” she says, in a doomed attempt to sublimate her own fear while sharing her bestie’s excitement. And when Jane is hurt by Lucy’s withdrawal, her boyfriend (Jermaine Fowler, “Coming 2 America”) offers the kind of thoughtful advice we’d all want from our significant others.So it does feel a bit jarring when characters around them are sketched more as a symbols or even caricatures.
almost – to make up for the fact that the story itself is something of a letdown.A classic unreliable-narrator doc, the film is always fun to watch. But unlike, say, Ramin Bahrani’s “2nd Chance” — a 2022 Sundance doc that is intricately constructed to take the viewer through the twists and evasions doled out by its own unreliable narrator — “My Old School” works hard to put a stylish spin on a story whose surprises are telegraphed from the beginning.It gets off to a promising start, as we see actor Alan Cumming sitting down at a desk in a Scottish classroom, with titles letting us in on the film’s central conceit: “The man at the heart of this story does not want to show his face, but you will hear his voice.
Equipped with a hazy aesthetic and archival footage galore, “Nothing Compares,” Kathryn Ferguson’s documentary about the early stardom of controversial singer-songwriter Sinéad O’Connor, celebrates the Irish artist’s commitment to shattering industry trends but ultimately fails to break away from traditionalism itself. “Nothing Compares” presents O’Connor as a pioneer, an artist whose foremost rationale for pursuing a career in music resided in her desire to craft art for the sake of social reform by way of personal catharsis.