Timothee Chalamet Archives

Review: ‘Bones and All,’ starring Taylor Russell, Timothée Chalamet and Mark Rylance

November 19, 2022

by Carla Hay

Taylor Russell and Timothée Chalamet in “Bones and All” (Photo by Yannis Drakoulidis/Metro Goldwyn Mayer Pictures)

Directed by Luca Guadagnino

Culture Representation: Taking place from 1988 to 1989, in various parts of the United States, the horror film “Bones and All” features a predominantly white cast of characters (with a few black people) representing the working-class and middle-class.

Culture Clash: After being abandoned by her single father, an 18-year-old loner who has a terrible secret (she’s a cannibal) becomes a nomad and falls in love with a young man who’s also a nomadic cannibal, and they go on a road trip where they feed their deadly desires.

Culture Audience: “Bones and All” will appeal primarily to people who are fans of stars Taylor Russell and Timothée Chalamet; filmmaker Luca Guadagnino; and gruesome horror movies that know how to make people squirm.

Taylor Russell and Mark Rylance in “Bones and All” (Photo by Yannis Drakoulidis/Metro Goldwyn Mayer Pictures)

“Bones and All” is more than just a gory horror film about a cannibal couple. The movie also has clever social commentary about the pitfalls of judging people by outward appearances. Taylor Russell and Timothée Chalamet portray the attractive young couple at the center of the movie, but supporting actor Mark Rylance steals the show with a creepy performance as a middle-aged cannibal with a sinister obsession. Sensitive viewers, be warned: “Bones and All” is not a cute horror romance. This movie has very explicit scenes showing human cannibalism.

Directed by Italian filmmaker Luca Guadagnino, “Bones and All” is his first movie filmed in the United States. Chalamet and Guadagnino previously worked together in 2017’s “Call Me by Your Name,” starring Chalamet in his Oscar-nominated breakout role as a 17-year-old American in Italy who falls in love with a 24-year-old American man who works as a college teaching assistant. “Bones and All” is based on the 2015 novel by Camille DeAngelis. David Kajganich wrote the “Bones and All” adapted screenplay. “Bones and All” had its world premiere at the 2022 Venice International Film Festival in Italy, where Guadagnino won the festival prize for Best Director, while Russell won the Marcello Mastroianni Award, a prize given to emerging actors and actresses.

Taking place in 1988 and 1989, “Bones and All” begins in 1988, in an unnamed U.S. state. Shy and introverted 18-year-old Maren Yearly (played by Russell), who is in her last year of high school, has been invited to a slumber party by a fellow student named Sherry (played by Kendle Coffey), who is a popular student in the school. Maren doesn’t have any close friends at this school, so she’s very surprised by this invitation. Maren tells Sherry that Maren’s overprotective father won’t allow her to go this party, but Sherry suggests that Maren sneak out f Maren’s home at night.

Maren takes this advice and goes to the slumber party, where the female teenagers in attendance are curious to know more about Maren, who is fairly new to the area. Maren and her father Frank Yearly (played by André Holland) have moved around a lot, and they currently live in a trailer in the working-class/poor part of town. Maren recently moved to the area from “the Eastern shore.” She tells the other girls at the party that she doesn’t have any memories of her mother, who abandoned Maren and Frank when Maren was a very young child.

Maren has a big secret about herself that will soon be exposed: She has an intense craving to eat human flesh. The party starts off as festive and friendly. However, Maren’s urges take over, and she suddenly lunges at Sherry and bites off one of Sherry’s fingers. While Sherry and the other partygoers scream in horror, Maren runs back to her home in a panic.

As soon as Frank sees that Maren has come home in a distressed state of mind, he immediately figures out that she snuck out against his wishes and has revealed her cannibal ways. It’s only a matter of time before the police show up at their door. Maren tells Frank that she’s sorry, but he is visibly annoyed and doesn’t want to hear any excuses.

Maren and Frank quickly pack up what they can and leave that night, with no intention of ever going back. Frank and Maren hide out and stay at a motel in Maryland for a few days. It’s not the first time they’ve had to suddenly leave an area because of Maren’s cannibalism.

One morning, Maren wakes up in the motel room and finds out that her father has abandoned her. Frank has left a note saying that he can no longer be around her because he doesn’t know how to deal with her anymore. Frank has also left behind these items for Maren to keep: Maren’s birth certificate, some cash and an audio tape of Frank’s diary-like messages.

In his farewell note, Frank asks Maren to destroy the tape after she’s finished listening to it. In his audio recordings, which Maren plays throughout the movie, Frank tells Maren that when she was 3 years old, she killed her babysitter. Frank covered up that crime and many other cannibal-related crimes committed by Maren. He says after the babysitter’s murder, he changed the family’s surname.

Now completely on her own and homeless, Maren spends the majority of the story as a nomad. Maren is deeply ashamed of being a cannibal, but she also won’t ignore her cannibalistic urges. And now that Maren has her birth certificate, she’s determined to find her mother, whose name is Janelle Kerns (played by Chloë Sevigny).

One night, Maren is out on the street when she meets a soft-spoken, eccentric man named Sully (played by Rylance), who tells her that he’s a cannibal too. Sully says that he knew that Maren is a cannibal because cannibals can smell each other. He also tells Maren that he can tell that Maren has not eaten human flesh in months.

Sully, who is middle-aged and speaks in a Southern drawl, has a very unusual appearance of wearing long, braided hair and a fisherman’s vest. Later, viewers find out that Sully has a gruesome fascination with braided hair: After he eats a human, he takes the dead person’s hair, braids it, and keeps it in a collection.

Knowing that Maren is hungry for human flesh, Sully invites her to go with him to a house where a dying, elderly woman lives alone. Upstairs in her bedroom, the woman is barely conscious. Sully tells Maren that he found the woman in this condition. Sully convinces Maren that if they kill the woman, it will be a mercy killing. And you can imagine what happens next.

Sully tells her a few things about cannibal life that Maren did not know: He says that the most important rule is that cannibals should not eat other cannibals. Sully also warns Maren that her cravings for human flesh will increase as she gets older.

Sully lives in a small, unassuming house. He invites Maren to stay with him for as long as she wants. At first, Sully gives the impression that he wants be a protective father figure to Maren. But it soon becomes apparent that Sully is sexually attracted to Maren and will eventually expect them to be more than friends. Maren knows it too, which is why she secretly gets on a bus to leave the area without saying goodbye to Sully.

The bus is going to Minnesota. Maren’s plan is to eventually travel to Ohio, the state where Maren has her mother’s last-known address. Along the way, she meets another wayward cannibal named Lee (played by Chalamet), who’s a runaway in his late teens. He’s originally from Kentucky and has been living on his own since he was 17. Lee has a truck that he stole from one of his victims: a bachelor named Barry Cook from Centerville, Indiana. Lee invites Maren to travel with him, and they take turns driving.

Lee is not as conflicted as Maren about giving in to his cannibalistic urges. He also tells Maren that he prefers to kill someone who lives alone so he can steal that person’s car and other belongings. As if to justify his crimes, Lee says he usually chooses victims who do something awful to show Lee that these victims “deserve” to be killed.

Lee knew that murder victim Barry lived alone, so he and Maren go to Barry’s home to look for things to steal. Because the vehicles that Lee steals will eventually be reported stolen, he says that’s the motivation he needs to find and kill other people who have cars that he can steal. It’s a vicious cycle that puts Lee and Maren at great risk of getting caught.

Maren isn’t entirely comfortable with what Lee does, but she goes along with everything because she’s lonely and very attracted to him. Lee and Maren become friends and eventually lovers during their extended road trip. During this trip (which takes them to states such as Missouri and Iowa), Lee and Maren experience a lot of highs and lows.

Over time, Lee and Maren share some of their previous cannibal experiences. Lee says that his first cannibal victim as his babysitter. He remembers feeling a like a “superhero’ the first time that he killed and ate her. Maren shares an experience she had when she was 8 years old and went on a camping trip, where a boy was one of her victims.

A memorable part of the movie is when Lee and Maren encounter two other middle-aged cannibals named Jake (played by Michael Stuhlbarg) and Brad (played by David Gordon Green). Over a campfire, Jake and Brad tell Lee and Maren that eating a body, “bones and all,” can give a cannibal an ecstatically powerful feeling like no other. Stuhlbarg, who co-starred with Chalamet in “Call Me by Your Name,” has a much smaller role in “Bones and All,” but his screen time in the movie is still meaningful.

One of the most pivotal parts of “Bones and All” takes place at a carnival, where Lee decides to target a booth worker (played by Jake Horowitz), for reasons that are shown in the movie. This experience is a turning point, because it’s the first time that Maren sees firsthand what Lee is capable of doing. She has to decide if it’s worth staying with him, or if she should continue her journey on her own.

“Bones and All” has stellar acting and a few surprises that make this movie better than the average horror flick. Russell and Chalamet are believable as an emotionally damaged couple who find comfort with each other but are always on edge because of the terrible secrets that they have to keep. Lee and Maren make an interesting pair who are opposites in some ways. Maren is quiet and doesn’t like to call attention to herself, while talkative Lee (with his magenta-streaked hair) has a way about him that practically screams, “Look at me!”

Unlike Maren, whose parents abandoned her, Lee has chosen to abandon his family. Lee has a backstory involving his turbulent relationship with his younger sister Kayla (played by Anna Cobb), who has a lot of resentment toward Lee for leaving the family. Lee confides in Maren that he feels guilty about leaving Kayla behind when he had promised her that he would give her driving lessons.

Chalamet (who is one of the producers of “Bones and All”) is perfectly fine in the role of a troubled young rebel, but it’s the type of character that’s been seen and done in many other movies and TV shows. Russell has the more difficult role, since Maren is very guarded and insecure about her feelings and not a typical wisecracking or sweet ingenue character that would usually be the female love interest in this type of story. Russell capably expresses many emotions through facial expressions and body language because Maren is often afraid of saying what she’s thinking out loud.

And although Sully is not in most of “Bones and All,” his scenes in the movie are what might disturb people the most. Rylance is riveting as this utterly sleazy character, who deliberately disarms people into thinking that he’s just a harmless oddball. On a different level, Lee is a con artist too, because he presents himself as a down-on-his-luck charmer to his victims, who are fooled into thinking that he won’t hurt them.

“Bones and All” has a total running time of 130 minutes, which is a little long for a movie that could have easily been a little under two hours. Although a few scenes in “Bones and All” weren’t entirely necessary, the overall film will still leave a big impression on people. One of the movie’s biggest strengths is that it could have ended in many predictable ways, but it has a twist that many viewers won’t see coming. “Bones and All” goes down a path that will no doubt upset some viewers, but it’s bold enough to not take the easy way out in how to end this grisly and often-heartbreaking story.

Metro Goldwyn Mayer Pictures released “Bones and All” in select U.S. cinemas on November 18, 2022, with an expansion to more U.S. cinemas on November 23, 2022.

Review: ‘Don’t Look Up’ (2021), starring Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Mark Rylance, Rob Morgan, Cate Blanchett, Tyler Perry and Jonah Hill

December 8, 2021

by Carla Hay

Cate Blanchett, Tyler Perry, Leonardo DiCaprio and Jennifer Lawrence in “Don’t Look Up” (Photo by Niko Tavernise/Netflix)

“Don’t Look Up” (2021)

Directed by Adam McKay

Culture Representation: Taking place in the United States (mostly in Michigan, Illinois and Washington, D.C.) during the six months before an apocalypse, the dark comedy film “Don’t Look Up” features a predominantly white cast of characters (with some African Americans and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: After a Ph.D. student in astronomy discovers that a catastrophic comet is headed to Earth to destroy the planet in six months, people have varying reactions, including a stubborn refusal to believe that the apocalypse is coming.

Culture Audience: “Don’t Look Up” will appeal primarily to fans of the movie’s star-studded cast and apocalyptic comedies that repeat the same types of gags for an overly long runtime of nearly two-and-a-half hours.

Pictured in front row, from left to right: Jonah Hill (seated) Paul Guilfoyle (seated), Mark Rylance (standing) and Meryl Streep (seated) in “Don’t Look Up” (Photo by Niko Tavernise/Netflix)

The dark comedy “Don’t Look Up” is the equivalent of watching an annoyingly smug hack comedian tell the same clumsily executed joke for more than two hours. This movie crams in a lot of big-name stars to try to make it look better than it really is. In trying to make a point about complacency and denial about how climate change is a global crisis, writer/director/producer Adam McKay instead mishandles that point in “Don’t Look Up,” by not only overselling it with stunt casting but also selling it short with a bloated and messy story.

In a statement in the production notes for “Don’t Look Up,” McKay says that he was inspired to do the movie after reading David Wallace-Wells’ 2019 non-fiction book “The Uninhabitable Earth.” In the statement, McKay comments on the book: “I couldn’t get it out of my head. It depicts the ways in which global warming will wreak havoc on the planet if nothing is done to combat the climate crisis.”

McKay continues, “And, it all boiled down to this idea I just couldn’t shake: We all know how to react when there is a killer with an ax, or when your house is on fire, but what the author David Wallace-Wells was writing about was a million times worse. How do we get people to realize this is a clear and present danger? How close does that danger have to be for us to have the proper response? I felt like I needed to write this script.”

Based on the disappointing end results of “Don’t Look Up,” McKay should’ve spent more time honing the script, which lazily repeats the same gimmick about climate-change deniers being blithering idiots, and hammers this stereotype all over the movie like a robotic jackhammer on full-blast. Almost all of the people in the movie are caricatures who aren’t very funny at all. In a movie about an impending apocalypse, most of the main characters are not seen with any family members or even shown talking about family members. That’s how phony “Don’t Look Up” is and how it makes these caricatures just hollow vessels for the movie’s dumb jokes.

McKay and the other “Don’t Look Up” filmmakers seem to have spent more energy corralling numerous celebrity cast members (many of whom are Oscar winners and Oscar nominees) to overstuff the movie, rather than giving these cast members well-rounded characters to play. All of the characters are extremely shallow and one-note. And for a movie that has an all-star cast and is set primarily in the United States, it’s appallingly exclusionary and racist that the “Don’t Look Up” filmmakers couldn’t be bothered to cast any Hispanic/Latino people to be among the stars of the movie. When people talk about how Hispanic/Latino people are underrepresented in American-made movies, “Don’t Look Up” is part of that problem.

“Don’t Look Up” is the type of movie that takes nearly two-and-a-half hours (138 minutes, to be exact) to tell a story that could’ve been told in 90 minutes or less. And even if the movie had been about 90 minutes, it still would be stretched too thin by the flimsy plot. If you want to watch an apocalypse movie where people deny that an apocalypse is going to happen, and other people get angry at these deniers, while everyone mugs for the camera and tells really pathetic and poorly written jokes, then “Don’t Look Up” is the movie for you.

In “Don’t Look Up,” Jennifer Lawrence portrays Kate Dibiasky, a Ph.D. student in astronomy at Michigan State University. Kate works in an unrealistic-looking high-tech science lab that looks like a movie set, not a lab that’s supposed to be on a university campus. Kate is a character that looks like what an uptight person thinks is “edgy,” because Kate’s hair is dyed bright red, she wears a nose ring, and she likes to smoke marijuana. One day, a bored-looking Kate sees on her computer monitor that an unusual comet is in the universe. She perks up when she finds out that this comet is extremely rare.

She alerts her professor/supervisor Dr. Randall Mindy (played by Leonardo DiCaprio), who is so elated by this comet discovery, he throws an impromptu party with other students in the lab. But that elation soon turns to horror, when Randall calculates during the party that this comet is actually headed toward Earth. He’s so freaked out by these results that he doesn’t tell his students right away and quickly orders them to leave the building. However, he tells Kate to stay behind and confides his suspicions to her. Kate does her own calculations and finds out that the comet will destroy Earth in six months and 14 days.

Kate and Randall call high-level people at NASA, including NASA chief Dr. Jocelyn Calder (played by Hettienne Park), who is skeptical and doesn’t want to deal with investigating this claim about a comet that will destroy Earth. She passes Kate and Randall off to her underling Dr. Teddy Oglethorpe (played by Rob Morgan), who is NASA’s head of planetary defense. Dr. Oglethorpe essentially becomes an awkward sidekick to Kate and Randall for much of the movie.

The next thing you know, Kate and Randall are whisked on a military plane to the White House, where they meet President Janie Orlean (played by Meryl Streep), who is obviously supposed to be a female version of Donald Trump. (Even if people didn’t know that McKay is an outspoken liberal, his political bias is obvious in his movies.) President Orlean is currently distracted because she’s in the middle of a scandal: Her nomination choice to be a U.S Supreme Court Justice is trigger-happy, right-wing Sheriff Conlon (played by Erik Parillo), whose past as a nude model has been exposed.

The scandal gets worse, when it’s revealed in the news that Sheriff Conlon and President Orlean (who is a bachelorette) have been secret lovers, and she sent him photos of her vagina. This is not spoiler information because—much like all the other crude scenarios in “Don’t Look Up”—it has no bearing on the plot. This movie is filled with a bunch of conversations that do nothing to enhance the story but are just in the movie to try to make everything in the film look like it’s “cutting-edge,” when it’s not. “Don’t Look Up” is really just a dumpster of tawdry and witless jokes thrown together in a monotonous cesspool.

Even though Sherrif Conlon is President Orlean’s choice to be a U.S. Supreme Court Justice, he doesn’t have a law degree. Choosing unqualified people for high-ranking government jobs seems to be President Orlean’s speciality. She has appointed her unqualfied and very obnoxious son Jason Orlean (played by Jonah Hill) as the White House’s chief of staff. (Jason’s father is not seen or mentioned in the movie.)

Jason likes to go on egotistical rants and occasionally spews garbage lines that allude to him having incestuous feelings for his mother. Here’s an example of the not-very-funny dialogue in the movie. At one point, Jason smirks about his mother when he says, “I can’t think of another president I’d rather see in Playboy.” He makes other creepy comments to make it clear that he’s sexually attracted to his mother.

Randall estimates that the comet’s destruction of Earth will be like “a billion Hiroshima bombs.” Kate and Randall desperately try to warn anyone who will listen about this impending apocalypse. The movie wastes a lot of time with repeated scenarios of Randall and Kate seeming to be the only people in America who are really sounding the alarm about this apocalypse and sometimes having emotional meltdowns because people won’t take the warnings seriously.

The over-used “joke” in the movie is that most people whom Kate and Randall tell about the apolcalypse either don’t believe them, or if they do believe, they shame Randall and Kate for being too depressing and paranoid. Meanwhile, other people try to use the apocalypse for their own selfish reasons, which usually have to do with wanting more money and power. A military plan to destroy the comet goes awry when certain greedy people discover there are vaulable minerals inside the comet that could make certain people a massive fortune.

The movie’s title comes from a catch phrase used by “apocalypse deniers,” who say, “Don’t Look Up” as their mantra, which they chant whenever and wherever they fell like chanting it. Many of these “apocalypse deniers” gather at rallies that the “Don’t Look Up” filmmakers deliberately made to look a lot like rallies for Donald Trump supporters, including many attendees wearing red baseball caps. In the movie, the “Don’t Look Up” slogan is used by people to identify themselves as not only apocalypse deniers but also advocates of other conservative-leaning political beliefs.

As an example of how poorly written “Don’t Look Up” is, several characters in the movie are useless and just take up space to further stretch out the running time in the movie. In the beginning of “Don’t Look Up,” Kate has a journalist boyfriend named Phillip (played by Himesh Patel), who adds nothing to the overall story. Somehow, the filmmakers of “Don’t Look Up” think it’s hilarious that there’s a scene of Phillip pondering how he’s going to describe in an article that Sheriff Conlon reportedly had an erection when he was doing nude modeling for an art class. “Was he noticeably aroused or engorged?” Phillip asks aloud when trying to decide which words to use in the article.

Randall is married with two adult sons: Marshall Mindy (played by Conor Sweeney) and Evan Mindy (played by Robert Radochia), who appear to be in ther late teens or early 20s. Marshall and Evan still live at home with Randall and his unassuming wife June Mindy (played by Melanie Lynskey), who has to quickly adjust to their lives changing when Randall starts to be believed and he becomes a celebrity “sex symbol” scientist. Randall also gets the nickname of A.I.L.F. (If you know what the slang acronym MILF stands for, just substitute the word “astronomer” for the word “mother” to know the meaning of the acronym A.I.L.F.)

June gets a little bit of a story arc in “Don’t Look Up,” but Marshall and Evan are completely generic. The movie makes no effort to distinguish between Marshall and Evan, in terms of their personalities. All the movie shows is that Randall has two sons who adore and almost worship him. This seemingly blissful family life is supposed to make Randall look like even more of a jerk when he gives in to temptation to cheat on June. (This review won’t reveal who becomes Randall’s mistress, but it’s not the most obvious guess.)

Other caricatures in the movie include Mark Rylance as a billionaire tech mogul named Peter Isherwell, who physically resembles Apple Inc.’s Tim Cook but who talks more like an Elon Musk type who wants to be a spaced-out New Age guru. Peter is a major donor to President Orlean, who kowtows to his every whim. It’s an obvious satire of how corrupt elected politicians will serve their biggest donors rather than serve the people whom the politicians are supposed to represent.

And in a lazily conceived apocalypse movie involving the U.S. government, “Don’t Look Up” has the most stereotypical of apocalypse movie stereotypes: a war-mongering military officer who’s in charge of a military operation to try to stop the apocalypse. His name is Colonel Ben Drask (played by Ron Perlman), who spouts a lot of racist and xenophobic comments. It’s all so the movie can further put an emphasis on showing that President Orlean surrounds herself with a lot of unhinged, extreme right-wingers.

More useless characters include an on-again/off-again music celebrity couple named Riley Bina (played by Ariana Grande) and DJ Chello (played by Scott Mescudi, also known as real-life rapper Kid Cudi), whose relationship drama further clogs up the movie. It seems like the only reason why these shallow lovebird characters are in the movie is to show their concert scenes, where they perform songs that refer to the apocalypse. Oh, and so Grande could do an original song (“Just Look Up,” the anthem of the movie’s apocalypse believers) that the filmmakers obviously wanted to be nominated for an Oscar.

And there’s a silly running “joke” in the movie that a character named General Themes (played by Paul Guilfoyle), who hangs out at the White House, charges people money for snacks and drinks that are supposed to be free at the White House. When Kate finds out that she was conned into paying General Themes for free food and drinks, she gets very snippy and bratty about it, which seems to be her reaction to most things. Kate’s ranting about having to pay for snacks at the White House seems to be the movie’s heavy-handed way of showing that even in an impending apocalypse, when people should be worried about more important things, people will still go out of their way to get angry over petty things.

Two of the more memorable characters in “Don’t Look Up” are slick and superficial TV news co-hosts Brie Evantee (played by Cate Blanchett) and Jack Bremmer (played by Tyler Perry), who would rather talk about the status of the relationship between Riley and DJ Chello than talk about the apocalypse. Blanchett and Perry understood the assignment of being in a dark comedy, because their Brie and Jack characters are the only ones in “Don’t Look Up” who come closest to being characters that viewers can laugh at and laugh with, in these news anchors’ non-stop parade of vanity. Brie gets more screen time than Jack because the movie has a subplot about her personal life.

Brie and Jack host a program called “The Daily Rip” on a 24-hour news network. Kate and Randall are guests on the show multiple times. And each time, Brie and Jack dismiss and disrespect the warnings about the apocalypse. The first time that Kate and Randall are on “The Daily Rip,” Kate has a very angry tantrum and storms off of the show. Kate’s meltdown becomes an unflattering meme. Meanwhile, just because Brie flirts with Randall and flatters him on the show, he suddenly becomes a sex symbol.

Kate’s relationship with Phillip doesn’t last when she becomes the laughingstock of the world, and he writes a tell-all article about her. She ends up working as a cashier at a convenience store called DrinkMo! that sells a lot of liquor (it’s an obvious spoof of the real-life BevMo! liquor store chain), where she meets a disheveled skateboarder named Yule (Timothée Chalamet), who comes into the store with a few friends. Yule is about 10 years younger than Kate, and he immediately flirts with her. You know where this is going, of course.

One of the worst things about “Don’t Look Up” is how predictable it is. And that predictability makes everything move along at a much more tedious pace. In addition to the terrible jokes, “Don’t Look Up” falters with cheap-looking visual effects, and the film editing is often careless and amateurish. “Don’t Look Up” has a lot of talented cast members, who get no cohesive direction in the movie. For example, Lawrence’s acting in the movie is very uneven: Sometimes she plays the comedy in a deapan way, while other times she’s way too over-the-top.

Other cast members try too hard to be funny. There’s a reason why DiCaprio rarely does comedies. Maybe he should stick to the dramas that he does best. Streep obviously used Trump as a template for her performance, so there’s nothing new and surprising about how she plays President Orlean. (And she’s played many bossy characters in other movies.) Rylance lets the shiny white teeth veneers he’s wearing as Peter do a lot of the acting for him.

Most the cast members seem to have been told to act as irritating as possible while in character. Only a few characters (such as Randall’s wife June and sidekick Dr. Oglethorpe) appear to be decent people. Riley and DJ Chello are too vapid to make an impact on the story.

And this is yet another “end of the world” movie where the male actors far outnumber the female actors. It’s not what the real world looks like at all, because females in reality are 51% of the world’s population. The same 51% female statistic applies to the U.S. population.

“Don’t Look Up” makes half-hearted attempts to show sexism, when people overlook Kate and shower attention on “sex symbol” Randall, who gets most of the glory for work that Kate did. But if the filmmakers intended to have any insightful commentary on women overcoming sexism, it’s overshadowed and negated by the movie making any woman in power (namely, President Orlean, NASA chief Dr. Calder and media star Brie Evantee) use sex to get what she wants and act like groupies when they brag about powerful men they had sex with or dated. “Don’t Look Up” does not celebrate female empowerment. The movie degrades female empowerment, by making it look like women have to sleep with men to gain power, with a woman’s worth in the workplace being valued more for sex appeal rather than talent, personality and intelligence.

Dark comedies are supposed to offer acerbic wit in poking fun at society’s problems, but “Don’t Look Up” is only concerned with stringing together a bunch of scenes where people say and do tacky and annoying things. Simply put: “Don’t Look Up” is boring, sloppily made, and nowhere near as clever as it thinks it is. For a better-made and much-funnier all-star apocalyptic comedy film with adult jokes, watch 2013’s “This Is the End.”

Netflix will release “Don’t Look Up” in select U.S. cinemas on December 10, 2021, and on Netflix on December 24, 2021.

Review: ‘The French Dispatch,’ starring Bill Murray, Tilda Swinton, Owen Wilson, Benicio del Toro, Léa Seydoux, Frances McDormand, Timothée Chalamet and Jeffrey Wright

October 22, 2021

by Carla Hay

“The French Dispatch”

Directed by Wes Anderson

Some language in French with subtitles

Culture Representation: Taking place in the fictional city of Ennui-sur-Blasé, France, the comedy film “The French Dispatch” features predominantly white cast of characters (with a few black people, Latinos and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: After the American editor of The French Dispatch magazine dies, his staffers gather to put together the magazine’s final issues, with four stories coming to life in the movie.

Culture Audience: “The French Dispatch” will appeal primarily to people who are fans of filmmaker Wes Anderson and of arthouse movies that have well-known actors doing quirky comedy.

Lyna Khoudri, Frances McDormand and Timothée Chalamet in “The French Dispatch” (Photo courtesy of Searchlight Pictures)

At times, “The French Dispatch” seems like an overstuffed clown car where filmmaker Wes Anderson tried to fit in as many famous actors as possible in this movie. This star-studded cast elevates the material, which is good but not outstanding. Anderson’s style of filmmaking is an acquired taste that isn’t meant to be for all moviegoers. He fills his movies with retro-looking set designs, vibrant cinematography and snappy dialogue from eccentric characters. “The French Dispatch,” written and directed by Anderson, takes an anthology approach that doesn’t always work well, but the fascinating parts make up for the parts that are downright boring.

The movie revolves around a fictional magazine called The French Dispatch of the Liberty, Kansas Evening Sun (also known as The French Dispatch), which is a widely circulated American magazine based in the fictional city of Ennui-sur-Blasé, France. The French Dispatch was founded in 1925. The movie opens in 1975, when the French Dispatch editor/owner Arthur Howitzer Jr. (played by Bill Murray), an American originally from Kansas, has died in the magazine’s offices. The employees have gathered to work on his obituary and reminisce about him and the magazine’s history.

Arthur appears in flashbacks throughout the movie. In one of the flashbacks, Arthur has told his top-ranking staffers that he has put a clause in his will which requires that The French Dispatch will stop publishing after he dies. The staffers are melancholy and a bit disturbed when they hear about this decision. Arthur is loved and respected by his employees, so they oblige his request. Therefore, they know that the French Dispatch issue that will have Arthur’s obituary will also be the magazine’s final issue.

The French Dispatch is a magazine that is known for its collection of stories. In “The French Dispatch” movie, four of these stories come to life and are told in anthology form, with each story told by someone from the magazine’s staff. Some scenes are in color, and other scenes in black and white. Anderson says in the movie’s production notes that The French Dispatch was inspired by his love for The New Yorker magazine. That’s all you need to know to predict if you think this movie will be delightful or pretentious.

The French Dispatch staffers are mostly Americans. They including copy editor Alumna (played by Elisabeth Moss), cartoonist Hermès Jones (played by Jason Schwartzman), an unnamed story editor (played by Fisher Stevens), an unnamed legal advisor (played by Griffin Dunne), an unnamed proofreader (Anjelica Bette Fellini) and an unnamed writer (played by Wally Wolodarsky). All of these aforementioned staffers don’t have in-depth personalities as much as they have the type of quirky reaction conversations and stagy facial expressions that people have come to expect from characters in a Wes Anderson movie. A running joke in “The French Dispatch” is how obsessive Alumna and proofreader are about things such as comma placement.

The staffers who get more screen time and more insight into their personalities are the four staffers who tell their stories. The first story is told in travelogue form by Herbsaint Sazerac (played by Owen Wilson), whose title is cycling reporter. Herbsaint travels by bicycle to various parts of the city. He has a penchant for going to the seedier neighborhoods to report what’s going on there and the history of how certain locations have changed over the years. During his travels, he visits three other French Dispatch writers who tell their stories. They are J.K.L. Berensen (played by Tilda Swinton), who is the magazine’s flamboyant art critic; Lucinda Krementz (played by Frances McDormand), a secretive essayist who likes to work alone; and Roebuck Wright (played by Jeffrey Wright), a lonely and brilliant writer with a typographic memory.

J.K.L.’s story is “The Concrete Masterpiece,” which is about the how a “criminally insane” painter named Moses Rosenthaler (played by Benicio del Toro as a middle-aged man and by Tony Revolori as a young man) is discovered and exploited while Moses is in prison for murder. One of the paintings that first gets attention for Moses is a nude portrait of a prison guard named Simone (played by Léa Seydoux), who is his muse and his lover. Moses has a makeshift art studio in prison for these intimate painting sessions, which he is able to do because Simone gives him a lot of leeway and protection from being punished.

An unscrupulous art dealer named Julian Cadazio (played by Adrien Brody), along with his equally corrupt and greedy uncles Nick (played by Bob Balaban) and Joe (played by Henry Winkler), find out about Moses’ talent and are eager to make huge profits off of Moses’ work. These art vultures figure that they can take advantage of Moses because he’s in prison. Julian, Nick and Joe get a tizzy over how much money they can make off of Moses, who is a mercurial and unpredictable artist. Imagine these art dealers’ panic when Moses decides he’s going to stop painting until he feels like painting again. There’s also a Kansas art collector named Upshur “Maw” Clampette (played by Lois Smith) who comes into the mix as a potential buyer.

“The Concrete Masterpiece” is the movie’s highlight because it adeptly weaves the absurd with harsh realism. Swinton is a hilarious standout in her scenes, because J.K.L. is quite the raconteur. She delivers her story as a speaking engagement in front of an auditorium filled with unnamed art people. It’s like a pompous lecture and bawdy stand-up comedy routine rolled into one. You almost wish that Anderson would make an entire movie about J.K.L. Berensen.

Lucinda’s story is “Revisions to a Manifesto,” which chronicles a youthful uprising in the French town of Ennui, when young people stage a labor strike that shuts down the entire country. At the center of this youthful rebellion are two lovers named Zeffirelli (played by Timothée Chalamet) and Juliette (played by Lyna Khoudri). Zefferelli (a college student) is the sensitive and romantic one in this relationship, while Juliette has a tendency to be aloof and no-nonsense. Although “Revisions to a Manifesto” has some visually compelling scenes depicting the strikes and protests, the overall tone of this story falls a little flat. Chalamet’s performance is very affected, while McDormand is doing what she usually does when she portrays a repressed character.

Roebuck’s story “The Private Dining Room of the Police Commissioner,” which is a tale of kidnapping and other criminal activities. The story starts off being about a famous chef named Nescaffier (played by Stephen Park), who is hired to serve Ennui-sur-Blasé’s police commissioner (played by Mathieu Amalric), who is just named The Commissaire in the story. But then, the story becomes about The Comissaire’s son/crime-solving protégé Gigi (played by Winsen Ait Hellal), who gets kidnapped by some thugs, led by someone named The Chauffeur (played by Edward Norton). The kidnappers say that Gigi will be murdered unless a recently arrested accountant named Albert (played by Willem Dafoe), nicknamed The Abacus, is set free from jail.

“The Private Dining Room of the Police Commissioner” ends up being too convoluted and somewhat sloppily executed. Liev Schreiber has a small role as a Dick Cavett-type TV talk show host who interviews Roebuck on the show. There’s some whimsical animation in this part of the movie. But ultimately, “The Private Dining Room of the Police Commissioner” is a story about a lot of people running around and making threats with no real sense of danger.

Although it’s admirable that Anderson was able to attract so many famous actors in this movie, after a while it seems like stunt casting that can become distracting. Viewers who watch “The French Dispatch” will wonder which famous person is going to show up next. Some well-known actors who make cameos in “The French Dispatch” include Christoph Waltz, Saoirse Ronan and Rupert Friend. Anjelica Huston is the movie’s voiceover narrator.

“The French Dispatch” can almost become a game of Spot the Celebrities, since there are so many of them in this movie. That being said, there isn’t a bad performance in the bunch. However, the movie would’ve benefited from taking a chance on casting lesser-known but talented actors in some of the prominent speaking roles, in order to make the film a more immersive viewing experience instead of it coming across as an all-star parade.

Despite its flaws, there’s no doubt that “The French Dispatch” is a highly creative film that has Anderson’s unique vision and artistic flair. He has a love of language and a knack for keeping viewers guessing on what will happen next in his movies. And these bold risks in filmmaking are better than not taking any risks at all.

Searchlight Pictures released “The French Dispatch” in U.S. cinemas on October 22, 2021.

Review: ‘Dune’ (2021), starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Zendaya and Jason Momoa

October 22, 2021

by Carla Hay

Rebecca Ferguson, Zendaya, Javier Bardem and Timothée Chalamet in “Dune” (Photo by Chiabella James/Warner Bros. Pictures/Legendary Pictures)

“Dune” (2021)

Directed by Denis Villeneuve

Culture Representation: Taking place in the year 10,191, on the fictional planets of Caladan, Giedi Prime and Arrakis, the sci-fi action film “Dune” features a predominantly white cast of characters (with some black people, Asians and Latinos) representing heroes, villains and people who are in between.

Culture Clash: A territorial war is brewing between two factions—House Atreides from the planet of Caladan and House Harkonnen from the planet of Giedi Prime—who will rule over the planet of Arrakis, which is the only place to find melange, also known as spice, a priceless substance that can enhance and extend human life.

Culture Audience: “Dune” will appeal primarily to people who are fans of the “Dune” novel and to people who like epic sci-fi adventures with stunning visuals and good acting.

Josh Brolin, Oscar Isaac and Stephen McKinley Henderson in “Dune” (Photo courtesy of Warner Bros. Pictures/Legendary Pictures)

By now, you might have heard that filmmaker Denis Villeneuve wants his version of “Dune” to be split into three parts, in order to better serve the movie adaptation of Paul Herbert’s densely packed 1965 novel “Dune.” People who see Villeneuve’s version of “Dune” are also probably familiar with the 1984 movie flop “Dune,” directed by David Lynch. The 1984 version of “Dune” (starring Kyle MacLachlan, Sean Young and Sting) was such a disaster with fans and critics, Lynch wanted to have his name removed from the film credits. That won’t be the case with Villeneuve’s version of “Dune,” which is a sci-fi epic worthy of the novel.

Villeneuve co-wrote his “Dune” screenplay with Eric Roth and Jon Spaihts. Part One of Villeneuve’s “Dune” is of much higher quality than the 1984 “Dune” movie, but any “Dune” movie’s cinematic interpretations tend to be a bit clinical in how the characters are written. “Dune” is a gloomy story, with characters who are, for the most part, very solemn and rarely smile. There are no wisecracking rogues, quirky robot sidekicks or cute alien creatures. In other words, “Dune” is no “Star Wars” saga.

As is the case with most epic sci-fi movies, the biggest attraction to “Dune” is to see the spectacle of immersive production designs and outstanding visual effects. When people say that “Dune” should be seen on the biggest screen possible, believe it. However, it’s a 156-minute movie whose pace might be a little too slow in some areas. If you’re not the type of person who’s inclined to watch a two-and-a-half-hour sci-fi movie that’s not based on a comic book or a cartoon, then “Dune” might not be the movie for you.

And this is a fair warning to anyone who likes their sci-fi movies to have light-hearted, fun banter between characters: “Dune” is not that type of story, because everything and everyone in this story is deadly serious. People might have laughed when watching Lynch’s “Dune,” but it was for all the wrong reasons.

And yes, “Dune” is yet another sci-fi /fantasy story about a young hero who leads a war against an evil villain who wants to take over the universe. In the case of “Dune,” the hero is Paul Atreides (played by Timothée Chalamet), the House Atreides heir who is the son of a duke. House Antreides exists on the oceanic planet of Caladan. And like any war story, the war usually starts with feuding over power.

House Antreides has had a rivalry with House Harkonnen from the planet of Giedi Prime. In the beginning of the movie, Padishah Emperor Shaddam IV has ordered Paul’s father Duke Leto Atreides (played by Oscar Isaac) to serve as fief ruler of Arrakis, a desert planet with harsh terrain. Arrakis is the only place to find a priceless treasure: melange, also known as spice, a dusty substance that can enhance and extend human life.

Prolonged exposure to spice can turn humans’ eyes blue in the iris. Gigantic sandworms ferociously guard the spice. And therefore, harvesting spice can be a deadly activity. However, because spice is the most sought-after substance in the universe and can make people wealthy, people will go to extremes to get it and to be in charge of Arrakis. The native people of Arrakis are called Fremen. The movie presents this colonialism of the Fremen people in a matter-of-fact way, with some (but not a lot of) initial insight into how the Fremen people feel about being ruled over by another group of people from a foreign land.

House Harkonnen had previously overseen Arrakis until that responsibility was given to House Antreides. Leto and his troops are under orders to visit Arrakis, but it’s a set-up so that House Harkonnen enemies can ambush the people from House Antreides. Leto suspects that this trap has been set, but he has no choice but to follow orders and see about the territory that has now come under his stewardship.

The chief villain of House Harkonnen is its leader, Baron Vladimir Harkonnen (played by Stellan Skarsgård), an obese and ruthless tyrant who has a penchant for spending time in saunas filled with a tar-like substance. In the 1984 “Dune” movie, Baron Vladimir was a cartoonish character who floated through the air like a demented balloon that escaped from Willy Wonka’s Chocolate Factory. In the 2021 “Dune” movie, Baron Vladimir is a menacing presence that is undoubtedly pure evil. (This “Dune” movie has shades of “Apocalypse Now” because Baron Vladimir is presented in a way that might remind people of “Apocalypse Now” villain Colonel Walter E. Kurtz, played by Marlon Brando.)

Baron Vladimir’s closest henchmen are his sadistic nephew Glossu Rabban (played by Dave Bautista) and coldly analytical Piter De Vries (played by David Dastmalchian), who is a Mentat: a person that can mimic a computer’s artificial intelligence. At House Antreides, the Mentat is Thufir Hawat (played by Stephen McKinley Henderson), while the loyal mentors who are training Paul for battle are no-nonsense Gurney Halleck (played by Josh Brolin) and adventurous Duncan Idaho (played by Jason Momoa), who is the closest that “Dune” has to having a character with a sense of humor.

Paul confides in certain people that he’s been having premonition-like dreams. In several of these visions, he keeps seeing a young Fremen woman who’s close to his age. Paul won’t meet her until much later in the movie. He will find out that her name is Chani (played by Zendaya), and she becomes a huge part of his life in a subsequent Villeneuve “Dune” movie. Don’t expect there to be any romance in Part One of the movie. When Chani meets Paul for the first time, it’s not exactly love at first sight for Chani. She has this dismissive reaction and says to Paul: “You look like a little boy.”

Paul also keeps envisioning Duncan as living with the Fremen people and being their ally in battle. Paul is also disturbed by a vision of seeing Duncan “lying dead among soldiers after battle.” And speaking of allegiances, Paul’s intuition tells him that there is someone in House Antreides who is a traitor. That person will eventually be revealed. Until then, it’s pretty obvious from Paul’s visions that he has psychic powers. The question then becomes: “How is he going to use those powers?”

Among the other Fremen people who are depicted in the movie is Stilgar (played by Javier Bardem), the leader of the Fremen tribe called Sietch Tabr, whose members include a fighter named Jamis (played by Babs Olusanmokun). Arrakis also as an Imperial judge/ecologist named Dr. Liet-Kynes (played by Sharon Duncan-Brewster), who acts as a go-between/negotiator between the Fremen people and those who come from foreign lands.

There are some poignant father-son moments between Paul and Leto. Their best scene together is after a devastating battle loss when Paul, who is reluctant to be the next ruler of House Antreides, gets reassurance from Leto. The duke says to his son that he didn’t want to be the leader of House Antreides either, because Leto wanted to be a pilot instead. Leto tells Paul that it will ultimately up to Paul to decide whether to be the leader of House Antreides “But if the answer is no,” Leto says, “You’re all I’ll ever needed you to be: my son.”

However, Paul ends up spending more time bonding (and sometimes disagreeing) with his mother Lady Jessica (played by Rebecca Ferguson), a brave warrior who is a member of Bene Gesserit, an all-female group with extraordonary physical and mental abilities. Jessica defied Bene Gesserit’s orders to bear a female child and had Paul instead. Villeneuve’s “Dune” spends a great deal of time showing Paul and Jessica’s quest on Arrakis than Lynch’s “Dune” did. Paul seems to know that he was born as a special child, but at times, it brings him more insecurities than confidence. At one point, Paul yells at his mother Jessica: “You did this to me! You made me a freak!”

One of the influential supporting characters who’s depicted in Villeneuve’s version of “Dune” is Gaius Helen Mohiam (played by Charlotte Rampling), a Bene Gesserit reverend mother and the emperor’s truthsayer. She has one of the most memorable scenes in “Dune” when she gives Paul a pain endurance test that further proves that Paul is no ordinary human being. Dr. Wellington Yueh (played by Chang Chen) is a Suk doctor for House Antreides, and he plays a pivotal role in the story.

Chalamet’s portrayal of Paul is someone who can be introspective yet impulsive. He skillfully portrays a young adult who’s at the stage in his life where he wants to prove his independent identity yet still seeks his parents’ approval. Momoa is also a standout in the film for giving more humanity to a role that could’ve been just a stereotypical warrior type. Ferguson also does well in her performance as the strong-willed Jessica.

But make no mistake: “Dune” is not going to win any major awards for the movie’s acting. Before being released in theaters and on HBO Max, “Dune” made the rounds with premieres at several prestigious film festivals, including the Venice International Film Festival, the Toronto International Film Festival and the New York Film Festival. This festival run is in indication that the filmmakers want this version of “Dune” to be a cut above a typical blockbuster sci-fi movie. “Dune” excels more in its technical aspects rather than in the movie’s acting performances or screenplay.

“Dune” has the type of fight scenes and musical score (by Hans Zimmer) that one can expect of an action film of this high caliber. But even with a movie that’s rich with characters who are heroes, villains and everything in between, it’s enough to say that the sandworms really steal scenes and are what people will remember most about this version of “Dune.” The overall visual effects and a reverence for the “Dune” novel as the source material are truly what make this version of “Dune” an iconic sci-fi movie.

Warner Bros. Pictures released “Dune” in U.S. cinemas and on HBO Max on October 21, 2021, a day earlier than the announced U.S. release date of October 22, 2021. The movie was released in various other countries, beginning in September 2021.

Review: ‘A Rainy Day in New York,’ starring Timothée Chalamet, Elle Fanning, Selena Gomez, Jude Law, Diego Luna and Liev Schreiber

November 5, 2020

by Carla Hay

“A Rainy Day in New York”

Directed by Woody Allen

Culture Representation: Taking place in New York City and in upstate New York, the romantic comedy “A Rainy Day in New York” features a predominantly white cast of characters (with a few Latinos) representing the upper-middle-class and wealthy.

Culture Clash: A college student and his schoolmate girlfriend spend the day in New York City and experience unexpected entanglements with other people.

Culture Audience: “A Rainy Day in New York” will appeal primarily to die-hard fans of writer/director Woody Allen and star Timothée Chalamet, because this movie is clearly not their best work.

Timothée Chalamet and Elle Fanning in “A Rainy Day in New York” (Photo by Jessica Miglio/MPI Media Group)

“A Rainy Day in New York” is writer/director Woody Allen’s very misguided attempt at making a teenage romantic comedy, but the results are as phony and pretentious as many of the characters in the film. Movie aficionados who are familiar with Allen’s work already know that he sticks to certain formulas and themes in his movies. His movies are usually about privileged people in a big city who are preoccupied with their spouses or lovers cheating on them. There’s usually at least one much-older man in the story who makes sexual advances toward a much-younger woman—or the older man at least makes it known that he’s sexually attracted to her. And there’s always jazz in the soundtrack because Allen is a big fan of jazz music.

And even though Allen’s movies usually take place in the racially diverse city of New York, he excludes African Americans and Asians from being in his films in any significant speaking roles. Occasionally, as he did in “A Rainy Day in New York” and in “Vicky Cristina Barcelona,” he might have a few Latinos in his films. The elitist and pseudo-intellectual worlds that Allen has in his movies are usually filled with people whining about personal problems that they create for themselves because they are addicted to self-sabotage.

You don’t have to see the poster for “A Rainy Day in New York” to know exactly who’s going to end up together by the end of the story. But until viewers get to that point, they have to sit through about 92 minutes of college-age people in their late teens and early 20s talking as if they’re about 10 years older, with very affected mannerisms. Unfortunately, much of the movie’s screenplay sounds exactly like what it is: dialogue written for young people by a senior citizen who doesn’t know how today’s young people really talk. Even though these young people are supposed to be privileged and well-educated, they still sound like an old person wrote their words for them.

All of the actors in “A Rainy Day in New York” are very talented, but they perform in this movie as if they’re all too self-aware that they’re in one of Allen’s films. And so, they all act is if they’re trying to conjure up the same neuroses and quirks of characters that were in classic Allen films, such as 1977’s “Annie Hall” and 1986’s “Hannah and Her Sisters,” which are considered two of Allen’s best movies.

“A Rainy Day in New York” follows the usual Allen formula of having the male lead character act like how a young Woody Allen would act, by being neurotic and showing some kind of intellectual snobbery. In this case, Timothée Chalamet plays the Allen surrogate with a character whose name is as pompous as his personality: Gatsby Welles.

Gatsby sees himself as quite the rebel because he dropped out of an unnamed prestigious university (presumably an Ivy League university) and is now enrolled in a small liberal-arts college in upstate New York called Yardley College. He likes to sneak off on a semi-regular basis to gamble with older men of dubious occupations. In reality, Gatsby isn’t that rebellious. He’s spoiled, a bit wimpy, and way too impressed with himself for someone who really hasn’t accomplished much and doesn’t know what he wants to do with his life.

Viewers can immediately see how self-absorbed Gatsby can be, but there’s no subtlety at all in this film. Allen over-amplifies Gatsby’s personality because he makes Gatsby have a constant stream of voiceover narration every time Gatsby is on screen. Other characters talk out loud to themselves when they wouldn’t need to do that if Allen trusted the actors enough to express emotions with their faces and body language.

In the opening scene, which takes place on the Yardley campus, Gatsby says in a voiceover: “This is Yardley, which is supposed to be a very good liberal college, which is supposed to be tony enough for my mother, which is total bullshit, because you get ticks [from] walking in the grass.” Gatsby further comments about his mother: “She says I have a high IQ and I’m not living up to my potential, even though last weekend I made 20 grand playing poker.”

Viewers will hear quite a bit about Gatsby’s domineering mother, because Gatsby can’t stop talking about her, even as he tries to avoid her. Gatsby’s parents (played by Cherry Jones and Jonathan Hogan) don’t have names in the movie, but viewers soon learn that Gatsby’s parents and his older brother Hunter (played by Will Rogers) live in New York City. Gatsby’s mother is a high-society influencer who’s presenting her big annual charity gala that Gatsby desperately does not want to attend.

There’s a scene in the last third of “A Rainy Day in New York” where Gatsby and his mother have a heart-to-heart talk, and it’s the best scene in the movie. Jones is fantastic in this role. Her performance is one of the few highlights of this meandering and often-dull film that recycles a lot of the same love-life problems and dilemmas that have been in other films by Allen.

Gatsby has a girlfriend named Ashleigh Enright (played by Elle Fanning), who also attends Yardley. On paper, Gatsby and Ashleigh both seem like a great match for each other. They both come from well-to-do families (Ashleigh’s father owns several banks in Arizona) that are politically conservative and white Anglo-Saxon Protestant. Gatsby and Ashleigh are both very intelligent and curious. However, Ashleigh tends to be very giggly, forthright and effervescent, which is in contrast to Gatsby’s more brooding, secretive and angst-filled personality. Ashleigh is a movie buff, while Gatsby is more of a literature enthusiast.

Gatsby and Ashleigh have been dating each other for a few months. He says in a voiceover that he’s in love with Ashleigh and she’s perfect for him. Gatsby also says that Ashleigh is the type of girlfriend his mother would approve of, which is why he plans to introduce Ashleigh to his mother for the first time at the big gala event.

It just so happens that Ashleigh, who’s a journalist for the Yardley student newspaper, has landed an interview with a famous New York City-based film director named Roland Pollard (played by Liev Schreiber), and she couldn’t be more ecstatic about it because she’s been a longtime fan of his. Ashleigh tells Gatsby that she’s going to New York City to interview Roland, so Gatsby decides the time is right to go to the city for a couple of days with Ashleigh and make a romantic trip out of it.

Gatsby takes charge of their trip. He tells Ashleigh that they’ll be staying at the Pierre Hotel, and he’s made plans for them to have dinner at Daniel, an exclusive, five-star French restaurant. It’s implied that Gatsby is so well-connected that he can easily get reservations at Daniel, which is a restaurant that’s known to take reservations weeks in advance. Gatsby also wants to possibly stay at the Carlyle Hotel, or at least have lunch there, during the trip.

Ashleigh’s meeting with Roland isn’t really an interview as much as it is a talk session where she nervously gushes over him like a fangirl. Based on how Roland’s movies are described, he’s an “auteur” who prefers to direct creatively challenging films instead of crowd-pleasing blockbusters. Roland is flattered that this young reporter knows a lot of about his work, but he’s wracked with insecurities about his latest film. He also mentions to Ashleigh that his ex-wife’s name was Ashley and she also went to Yardley.

Because Ashleigh is so nervous around Roland, she starts babbling some “too much information” personal details to him. For example, she tells him that she starts to hiccup when she’s anxious. “When I’m sexually anxious, I’ll hiccup indefinitely,” she adds. And, of course, that’s a signal that this nervous tick will definitely happen later in the film.

Ashleigh is such a neophyte journalist that when Roland tells her that he’d like to give her a scoop, she naïvely asks, “A scoop of what?” When Roland explains that a “scoop” is a journalist term for exclusive information, she can’t believe her luck that he chose her. Roland says that the “scoop” he wants to give Ashleigh is that he’s not happy with the film he’s working on, and it might be the last film he directs because he’s thinking of quitting the movie business.

Ashleigh is shocked and tells Roland that he shouldn’t quit. Roland invites Ashleigh to go with him to a private screening room to watch a rough cut of the film and to tell him what she thinks of the movie. The only problem for Ashleigh is that the time it would take to watch the movie would conflict with the lunch date that she made with Gatsby.

The offer from Roland is too good to pass up, so Ashleigh apologetically cancels her lunch date with Gatsby and explains why. Gatsby is disappointed, but he understands why Ashleigh wants this opportunity to get a great interview with one of her idols. And so, Gatsby and Ashleigh make plans to meet up later.

Gatsby now has unexpectedly a few spare hours of time where he’s free to do what he wants. He wanders outside the hotel and happens to see a former classmate from high school: a gossipy jerk named Alvin Troller (played by Ben Warheit), who is an elitist snob yet he has no manners. Gatsby isn’t too enthusiastic about seeing Alvin, but they make some small talk where they give updates on what they’ve been doing with their lives and why Gatsby is visiting in the city. Alvin tactlessly insults Gatsby and some other mutual acquaintances who are mentioned in the conversation.

Alvin tells Gatsby that a mutual former classmate from high school is directing a student film outside on a nearby street and that Gatsby should check out what’s going on with this movie if he’s curious. Before they part ways, Alvin tells Gatsby that if he were Gatsby, he’d be nervous about having his girlfriend alone in a room with a powerful movie director. It plants a seed of doubt in Gatsby about what might happen during the interview with Ashleigh and Roland.

When Gatsby arrives on the film set, the former classmate, whose name is Josh (played by Griffin Newman), is happy to see him. Josh convinces a reluctant Gatsby to make a cameo in the movie. Gatsby doesn’t feel comfortable about being in the movie because he tells Josh that he’s not an actor, but Gatsby agrees to the role only because it won’t take long and he won’t have to say any lines. All Gatsby has to do in the scene is kiss a young woman in a car.

And who is this young woman? Her name is Chan (played by Selena Gomez), and she happens to be the younger sister of Gatsby’s ex-girlfriend named Amy, whom Gatsby briefly dated when he was 16. Chan, who is a student at the Fashion Institute of Technology, is dryly sarcastic and comes from the same well-to-do type of family that Gatsby has. Before Gatsby and Chan start filming their kissing scene, Gatsby and Chan exchange the kind of teasing banter that makes it obvious that they’re thinking, “I’m attracted to you but I’m not going to admit it.” And you know what that means for a romantic comedy like this one.

Gatsby and Chan’s kissing in the scene starts off being very awkward. But then, eventually Gatsby and Chan become more relaxed with each other before the director tells them that he has the footage that he wants. Gatsby and Chan go their separate ways. But what do you know, they happen to see each other again when it starts raining and they both end up hailing the same taxi for their second “meet cute” moment. Gatsby and Chan decide to share the taxi ride, and then they have more banter filled with sexual tension.

During their conversations, Gatsby tells Chan that he’s in New York City with his girlfriend Ashleigh because Ashleigh is interviewing Roland Pollard for the Yardley student newspaper. Gatsby somewhat brags about Ashleigh coming from a wealthy family, but Chan shows some East Coast snobbery when she hears that Ashleigh and her family are originally from Arizona. Chan then proceeds to mock Ashleigh, whom she hasn’t even met, with jokes that imply that Chan thinks Ashleigh is an unsophisticated hick, even if Ashleigh’s family is rich.

It should come as no surprise that for the rest of the day, Chan and Gatsby find themselves spending time together, while Ashleigh gets more caught up in hanging out with Roland and his associates. Various hijinks ensue as Gatsby and Ashleigh make plans to meet up multiple times, only to have those plans changed because of a variety of circumstances. It’s all very predictable and formulaic because people who’ve seen enough romantic comedies know exactly what’s going to happen at the end of this movie.

At the screening room to watch the rough cut of Roland’s latest movie, Ashleigh meets Ted Davidoff (played by Jude Law), the screenwriter of the movie. Roland gets so distraught by what he sees in the rough cut that he storms off. Ted and Ashleigh take off in Ted’s car to try and find Roland. During this hunt for Roland, Ted sees his wife Connie (played by Rebecca Hall), who appears to be on a date with Ted’s best friend Larry Lipshitz. Connie told Ted that she was going to be hanging out with one of her female friends, and now Connie has been caught in a lie.

And so, Ashleigh finds herself tagging along and observing some of this marital drama, as Ted tries to find out if Connie is cheating on him or not. And speaking of infidelity, Ashleigh gets caught up in a situation where she has to decide if she’s going to be faithful to Gatsby or not. During the search for Roland, Ashleigh goes to Kaufman Astoria Studios in Queens, where she meets and is immediately dazzled by a sex-symbol movie star named Francisco Vega (played by Diego Luna), who’s almost twice the age of Ashleigh.

Francisco, who is in Roland’s latest film, doesn’t waste time in asking Ashleigh out on a dinner date. Francisco says he’s recently broken up with his actress girlfriend Tiffany (played by Suki Waterhouse), and when he and Ashleigh go outside together, they’re surrounded by paparazzi and news cameras. You don’t have to be psychic to know who will eventually see this footage.

During the time that Gatsby and Ashleigh are apart, there’s a minor subplot of Gatsby visiting his older brother Hunter and Hunter’s fiancée Lily (played by Annaleigh Ashford) in their spacious home. The wedding invitations have already been sent out, but Hunter confides in Gatsby that he doesn’t want to marry Lily. Why? Because Hunter says he doesn’t like Lily’s laugh, which Hunter describes as “a cross between Dad’s sister Betty and Lenny from ‘Of Mice and Men.'”

It’s yet one of numerous examples of how superficial, status-conscious and image-obsessed so many people are in this story. And it’s why this so-called romantic comedy isn’t very romantic when almost everyone in the story does not seem capable of loving anyone but themselves. Anyone who doesn’t meet their standard of wealth just isn’t worthy enough of their time.

Chalamet and Fanning do their best to bring some relatable humanity to their roles. But Gatsby is just too conceited and Ashleigh is just too fickle to go beyond the “spoiled rich kid” caricatures that writer/director Allen has constructed for them. Gomez doesn’t have much to do with the character of Chan, whose personality is just an empty shell that only exists to lobby semi-insults back and forth with Gatsby as they pretend they’re not attracted to each other. A good romantic comedy will have audiences rooting for the protagonists, but most of the characters in “A Rainy Day in New York” are so insufferable that audiences will wish these people would just shut up and go away.

MPI Media Group and Signature Entertainment released “A Rainy Day in New York” in select U.S. cinemas on October 9, 2020. The movie’s digital, Blu-ray and DVD release date is November 10, 2020. “A Rainy Day in New York” was released in several countries outside the U.S. in 2019.

2018 Hollywood Film Awards: See photos and videos

November 4, 2018

The following is a press release from Dick Clark Productions:

The 22nd Annual Hollywood Film Awards brought together Hollywood’s elite to honor the year’s most talked about, and highly anticipated, actors, actresses, films and those who help bring them to life. The awards ceremony, celebrating its 22nd anniversary as the official launch of the awards season, was hosted by actress and comedian Awkwafina, and took place at the Beverly Hilton in Beverly Hills. In its 22-year history, more than 320 of the world’s biggest stars and filmmakers have been highlighted at the Hollywood Film Awards and more than 130 of the honorees have gone on to garner Oscar nominations and/or wins.

The night kicked off with Awkwafina’s biting humor, and was filled with many intimate and touching moments, as the honorees expressed their pride in their featured works.

Brad Pitt and Felix Van Groeningen at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

After a sincere introduction from Brad Pitt, Felix van Groeningen voiced his utmost gratitude to receive the “Hollywood Breakthrough Director Award” and to be lucky enough to make a film like “Beautiful Boy.” Brad Bird kept his Hollywood Animation Award acceptance speech short and sweet as he stressed the need to keep making animation films for “dreaming and for dreamers.”

Damien Chazelle and Ryan Gosling at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Steve Granitz/WireImage)

Ryan Gosling gave an impassioned speech on the marvel and genius of Damien Chazelle and presented him with the Hollywood Director Award, which Chazelle humbly accepted.

Taraji P. Henson (L) and John David Washington at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Taraji P. Henson lauded the brilliance of John David Washington and his ability to make a period piece, that is still so relevant today, as he was honored with the Hollywood Breakout Performance Actor Award.

After accepting the Hollywood Documentary Award on behalf of Don Argott for “Believer,” Dan Reynolds performed an extremely emotional rendition of the documentary’s original song, “Skipping Stones.”

Dan Reynolds and Hans Zimmer at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Emma McIntyre/Getty Images)

Danny Huston introduced New Hollywood Actress Award recipient Yalitza Aparicio who gave a touching speech in Spanish explaining that she hopes the “win of the performance is felt by the people of Mexico.”

Yalitza Aparicio at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Emma McIntrye/Getty Images)

Hugh Jackman and Anne Hathaway at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Anne Hathaway took the stage to present the “Hollywood Actor Award” to Hugh Jackman, applauding his many achievements including his “20 plus year juggernaut career,” his “sexiest man alive title,” and most importantly, “his widely known reputation for being the nicest guy in Hollywood.”

Sterling K. Brown presented the award for “Hollywood Breakout Ensemble” to the cast of “Crazy Rich Asians.” Several of the cast members including Constance Wu, Henry Golding and Michelle Yeoh, remarked at what an incomparable experience they’ve had making this film and how impactful it has been to be able to share this story with a fully Asian cast.

“Crazy Rich Asians” stars Constance Wu (at podium) and (L-R) Henry Golding, Jimmy O. Yang, Ronny Chieng, Nico Santos, Michelle Yeoh, Lisa Lu, Awkwafina, Harry Shum Jr., and Ken Jeong at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Tommaso Boddi/Getty Images)

Amandla Stenberg and Janelle Monáe at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Steve Granitz/WireImage)

Janelle Monáe was on hand to present Amandla Stenberg with the Hollywood Breakout Performance Actress Award, and shared with the room what a fierce and fearless woman Stenberg is growing up to be. Stenberg expressed her hope that the film “The Hate U Give” encourages people to stand up and be heard.

Christian Slater presented Glenn Close with her Hollywood Actress Award for her unparalleled performance in the film “The Wife.” Close received a standing ovation before thanking all of the members of her team and all the filmmakers for staying with her throughout the entire process.

Glenn Close at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Emma McIntyre/Getty Images)

Michael B. Jordan came out to recognize “Black Panther” producer Nate Moore and director Ryan Coogler with the Hollywood Film Award. He spoke to his experience both making and seeing the movie, saying that “for everyone with African roots, it spoke to us on an intensely powerful level.”

Michael B. Jordan. Ryan Coogler and Nate Moore at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Nicole Kidman and Shailene Woodley at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

The final award of the evening went to Hollywood Career Achievement Award recipient Nicole Kidman, and was presented by Kidman’s co-star Shailene Woodley who was overwhelmed with gratitude that their lives crossed paths. Kidman was welcomed with a standing ovation and thanked those in the room and in the industry for allowing her to play the women she’s played and tell their stories. She vowed to “always give back to [her] craft!”

This year’s award show honored the following:

Hollywood Career Achievement Award

Nicole Kidman, presented by Shailene Woodley

Hollywood Film Award

“Black Panther,” presented by Michael B. Jordan

Hollywood Actress Award

Glenn Close for “The Wife,” presented by Christian Slater

Hollywood Actor Award

Hugh Jackman for “The Front Runner,” presented by Anne Hathaway

Hollywood Supporting Actor Award

Timothée Chalamet for “Beautiful Boy,” presented by Armie Hammer

Hollywood Ensemble Award

Viggo Mortensen, Mahershala Ali, Linda Cardellini for “Green Book,” presented by Octavia Spencer

(Back, L-R) Octavia Spencer with “Green Book” stars Dimiter Marinov, Sebastian Maniscalco, Joe Cortese, Nick Vallelonga, Mike Hatton, Brian Hayes Currie, (front L-R) Mahershala Ali, and Viggo Mortensen at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Hollywood Breakout Ensemble Award

Constance Wu, Henry Golding, Michelle Yeoh, Gemma Chan, Lisa Lu, Awkwafina, Ken Jeong, Sonoya Mizuno, Chris Pang, Jimmy O. Yang, Ronny Chieng, Remi Hii, Nico Santos for “Crazy Rich Asians,” presented by Sterling K. Brown

Hollywood Breakout Performance Actress Award

Amandla Stenberg for “The Hate U Give,” presented by Janelle Monáe

Hollywood Breakout Performance Actor Award

John David Washington for “BlakKklansman,” presented by Taraji P. Henson

New Hollywood Actress Award

Yalitza Aparicio for “Roma,” presented by Danny Huston

Hollywood Director Award

Damien Chazelle for “First Man,” presented by Ryan Gosling

Hollywood Screenwriter Award

Peter Farrelly, Nick Vallelonga, Brian Hayes Currie for “Green Book,” presented by Michael Keaton

Hollywood Breakthrough Director Award

Felix van Groeningen for “Beautiful Boy,” presented by Brad Pitt

Hollywood Documentary Award

“Believer,” presented by Adam Lambert

Hollywood Animation Award

“Incredibles 2,” presented by Sophia Bush

Hollywood Cinematography Award

Matthew Libatique for “A Star Is Born”

Hollywood Film Composer Award

Justin Hurwitz for “First Man”

Hollywood Editor Award

Tom Cross for “First Man”

Hollywood Visual Effects Award

Dan Deleeuw, Kelly Port, Russell Earl, Dan Sudick for “Avengers: Infinity War”

Hollywood Costume Design Award

Sandy Powell for “The Favourite”

Hollywood Make-Up & Hair Styling Award

Jenny Schircore, Sarah Kelly, Hannah Edwards for “Mary Queen of Scots”

Hollywood Production Design Award

Hannah Beachler for “Black Panther”

Hollywood Sound Award

Erik Aadahl, Ethan Van der Ryn, Brandon Proctor for “A Quiet Place”

Timothée Chalamet and Armie Hammer at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Sterling K. Brown at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Sterling K. Brown/Getty Images)

Harry Shum Jr., Awkwafina and Nico Santos at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Nicole Kidman and Keith Urban at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Emma McIntyre/Getty Images)

Octavia Spencer at the 22nd Annual Hollywood Film Awards at The Beverly Hilton Hotel in Beverly Hills, California, on November 4, 2018. (Photo by Tommaso Boddi/Getty Images)

Timothee Chalamet, Anne Hathaway, Hugh Jackman and Armie Hammer at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Matt Winkelmeyer/Getty Images)

Shailene Woodley at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Emma McIntyre/Getty Images)

Michelle Yeoh and Constance Wu at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Steve Granitz/WireImage)

Annie Starke and Glenn Close at the 22nd Annual Hollywood Film Awards at the Beverly Hilton in Beverly Hills, California, on November 4, 2018. (Photo by Jon Kopaloff/Getty Images)

Honoree Portraits are available on the show’s Twitter and Instagram pages. For all information and highlights, please visit the website for the Hollywood Film Awards.

For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.

Twitter: @HollywoodAwards
Facebook: Facebook.com/HollywoodAwards
Instagram: @hollywoodawards
YouTube: youtube.com/HollywoodAwards

About Dick Clark Productions
Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified media company with divisions and strategic investments in premium television, wide release film, specialty film, live events and digital media. For additional information, visit www.dickclark.com.

About The Hollywood Film Awards
The Hollywood Film Awards, founded in 1997, were created to celebrate Hollywood and launch the awards season. The recipients of the awards are selected by an Advisory Team for their body of work and/or a film(s) that is to be released during the calendar year. For additional information, visit www.hollywoodawards.com.

2018 Hollywood Film Awards: Nicole Kidman, Timothée Chalamet, Rachel Weisz among honorees

October 11, 2018

Nicole Kidman at the 90th Annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo by Rick Rowell/ABC)

Rachel Weisz at Grey Goose’s Cocktails and Conversation event in Toronto on September 11, 2017. (Photo by Eric Charbonneau)

Timothée Chalamet at the 90th Annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo by Rick Rowell/ABC)

The following is a press release from Dick Clark Productions:

Dick Clark Productions announced that Nicole Kidman, a multi-award-winning actress known for her fearlessness and intelligence, will receive the Hollywood Career Achievement Award at the 22nd Annual Hollywood Film Awards. Her selection for this award is a tribute to the versatility of her performances over the years, with characters as diverse and extraordinary as an aspiring television personality with a dark motive in Gus Van Zant’s “To Die For” to the iconic and complicated Virginia Woolf in “The Hours”; from a wife who, with her husband, embarks on an odyssey of sexual and moral discovery in Kubrick’s “Eyes Wide Shut” to Satine, the singing and dancing courtesan in Baz Luhrmann’s “Moulin Rouge!”; and from the unguarded adoptive mother of an orphan boy longing to help others in need in Garth Davis’ “Lion” to a woman on the run who pays a huge price to be hidden in Lars von Triers’ controversial and thrilling “Dogville.” With three films coming out before the end of this year, Kidman has already received praise for her transformative performance in Karyn Kusama’s “Destroyer” and in Joel Edgerton’s “Boy Erased.”

In addition to her chameleonic performances, Kidman is also being recognized for her career-long support of independent filmmakers, particularly women. Through her production company, Blossom Films, she has taken this to a new level. Among the many projects she has produced, last year’s “Big Little Lies” was a phenomenon that entered not only the cultural, but the social zeitgeist.

In addition, critically acclaimed actors Timothée Chalamet and Rachel Weisz will receive the Hollywood Supporting Actor Award and Hollywood Supporting Actress Award, respectively, at the 22nd Annual Hollywood Film Awards. Chalamet will be honored for his exquisite work in Amazon Studio’s “Beautiful Boy,” while Weisz will be recognized for her role in Fox Searchlight’s “The Favourite,” a festival breakout. The 22nd Annual Hollywood Film Awards will take place on Sunday, November 4 at The Beverly Hilton.

The Hollywood Film Awards, honoring the most acclaimed films and actors while previewing highly anticipated films and talent for the upcoming year, also acknowledges artists in the categories of Cinematography, Visual Effects, Film Composing, Costume Design, Editing, Production Design, Sound and Makeup & Hairstyling. In its 22-year history, more than 320 of the world’s biggest stars and filmmakers have been highlighted at the Hollywood Film Awards and more than 130 of the honorees have gone on to garner Oscar nominations and/or wins.

ABOUT THE HONOREES

Nicole Kidman – Academy Award-winning actress Nicole Kidman first came to the attention of American audiences with her critically acclaimed performance in Phillip Noyce’s riveting Australian psychological thriller “Dead Calm.” Kidman has since become an internationally recognized actress known for her range, versatility and dedication to her craft.

In 2002, Kidman was honored with her first Oscar nomination for her performance in Baz Luhrmann’s innovative musical “Moulin Rouge!” For that role, and her performance in writer/director Alejandro Amenabar’s psychological thriller “The Others,” she received dual 2002 Golden Globe nominations, winning for Best Actress in a Musical. The following year, Kidman won an Academy Award, a Golden Globe Award, a BAFTA Award and a Berlin Silver Bear for her portrayal of Virginia Woolf in Stephen Daldry’s “The Hours.” She has since been nominated for a total of four Academy Awards – winning one – 12 Golden Globes – winning four.

This fall, Kidman can be seen starring in Karyn Kusama’s “Destroyer,” Joel Edgerton’s “Boy Erased,” opposite Lucas Hedges and Russell Crowe, and James Wan’s “Aquaman.” Most recently, Kidman gave an award-winning performance and produced the HBO limited series “Big Little Lies,” for which she received an Emmy Award, Golden Globe, Critics’ Choice Award and SAG Award. Big Little Lies also received an Emmy Award, Golden Globe and Critics’ Choice Award for Outstanding Limited Series. Kidman’s production company, Blossom Films, which she created with Per Saari, recently completed production on the second season of Big Little Lies, directed by Andrea Arnold.

In 2018, Kidman and Blossom signed a first-look deal with Amazon Studios. Under the agreement, she will develop theatrical and series content, the first of which being a new drama series, “The Expatriates,” based off the novel by Janice Y.K Lee. With their “Big Little Lies” co-producers Reese Witherspoon and Bruna Papandrea, Blossom Films is also adapting Liane Moriarty’s novel “Truly Madly Guilty” into a limited series. Kidman will also produce and star in Moriarty’s “Nine Perfect Strangers,” to which Blossom Films and Papandrea’s Made Up Stories acquired the rights for a film or TV series. Blossom’s next project is David E. Kelley’s limited series “The Undoing,” which will go into production in 2019 and star Kidman.

Kidman had four projects debut at Cannes Film Festival last year – Jane Campion’s Top of the Lake: China Girl, Yorgos Lanthimos’ “The Killing of a Sacred Deer,” Sofia Coppola’s “The Beguiled” and John Cameron Mitchell’s “How to Talk to Girls at Parties.” She will next be seen in “The Upside” and “The Goldfinch,” a movie adaptation of the Pulitzer Prize-winning novel. Kidman, who began her acting career in Australia, is the recipient of several awards, but one of her most rewarding roles has been her fearless work as a U.N. Women Goodwill Ambassador since 2006. Her efforts are geared toward raising awareness about women’s rights around the world, with a focus on violence against women.

Timothée Chalamet has received critical acclaim for his portrayal of Nic Sheff in “Beautiful Boy,” directed Felix Van Groeningen in select theaters this month. “Beautiful Boy,” based on the memoirs “Beautiful Boy” by David Sheff and “Tweak” by his son Nic Sheff, chronicles the heartbreaking and inspiring story of survival and recovery in a family coping with addition. Chalamet is currently filming “Little Women” with director Greta Gerwig, and this spring will star in “Dune,” directed by Denis Villeneuve. Chalamet recently wrapped production on “The King” which will be released in 2019.

Academy Award-winning actress Rachel Weisz will next star in Yorgos Lanthimos’ “The Favourite,” alongside Emma Stone, Olivia Colman and Nicholas Hoult. The film premiered to rave reviews at the 2018 Venice Film Festival, Telluride Film Festival and New York Film Festival and will be released by Fox Searchlight on November 23, 2018. She recently produced and starred in Sebastián Lelio’s “Disobedience,” alongside Rachel McAdams and Alessandro Nivola. The film, which is based on the novel by Naomi Alderman, premiered at the 2017 Toronto Film Festival to rave reviews, was released by Bleecker Street in April, and releases in the UK on November 30.

Additional honorees for the 22nd Annual Hollywood Film Awards will be announced in the coming weeks.

For the latest news, follow the Hollywood Film Awards on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.

Twitter: @HollywoodAwards
Facebook: Facebook.com/HollywoodAwards
Instagram: @hollywoodawards
YouTube: youtube.com/HollywoodAwards

About Dick Clark Productions

Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified media company with divisions and strategic investments in premium television, wide release film, specialty film, live events and digital media. For additional information, visit www.dickclark.com.

Saoirse Ronan and Greta Gerwig soar with the coming-of-age film ‘Lady Bird’

November 3, 2017

by Carla Hay

Saoirse Ronan and Greta Gerwig on the set of "Lady Bird" (Photo by Merie Wallace) — Saoirse Ronan and Greta Gerwig on the set of “Lady Bird” (Photo by Merie Wallace)

In “Lady Bird,” actress/screenwriter Greta Gerwig reveals herself to be a bold new cinematic voice with her directorial debut, excavating both the humor and pathos in the turbulent bond between a mother and her teenage daughter. Christine “Lady Bird” McPherson (played by Saoirse Ronan) fights against but is exactly like her wildly loving, deeply opinionated and strong-willed mom (played by Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird’s father (played by Tracy Letts) loses his job. Set in Sacramento, California in 2002, amidst a rapidly shifting American economic landscape, “Lady Bird” is an affecting look at the relationships that shape us, the beliefs that define us, and the unmatched beauty of a place called home. “Lady Bird” also stars Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Stephen McKinley Henderson, and Lois Smith.

Greta Gerwig at the 2017 New York Film Festival press conference for “Lady Bird” (Photo by Carla Hay)

“Lady Bird,” which is generating considerable Oscar buzz,” had its New York premiere at the 2017 New York Film Festival, where Gerwig sat down for a Q&A a press conference after a press screening and also did a Q&A as part of the main festival program.

Here are videos and photos from “Lady Bird”: