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      Mads Mikkelsen Added to 'Indiana Jones 5'

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      WENN

      The ‘Another Round’ actor becomes the latest addition to the cast ensemble of the upcoming fifth ‘Indiana Jones’ movie, joining Harrison Ford and Phoebe Waller-Bridge.

      Apr 16, 2021

      AceShowbiz –
      Mads Mikkelsen is stepping into another blockbuster role after signing on to join Harrison Ford and Phoebe Waller-Bridge in “Indiana Jones 5”.

      The “Another Round” star, who last year replaced Johnny Depp as “Fantastic Beasts” villain Gellert Grindelwald, has been added to the cast of James Mangold’s film but details of his role have not been disclosed.

      Mikkelsen also played a bad guy in James Bond film “Casino Royale”.

      Producers hope the film will start shooting this summer (21). The film is set to hit cinemas in July, 2022.

      The fifth movie has been in the works since its official announcement in 2016 and, after a series of delays last year (20), Disney chiefs finally set the movie’s release date for 2022.

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      The film will be the follow-up to 2008’s “Indiana Jones and the Kingdom of the Crystal Skull”, which earned over $790.6 million (£568.7 million) at the global box office.

      “Indiana Jones 5”, however, drew mixed reactions from movie fans and one criticism came from Patrick Schwarzenegger. “I love Indiana Jones but just not sure about this,” the son of Arnold Schwarzenegger tweeted following Phoebe Waller-Bridge’s casting.

      Fellow actor Elijah Wood disagreed, “Not sure about what exactly? the mighty force of Phoebe Waller-Bridge? the brilliant James Mangold?”

      Patrick then clarified he didn’t have issues with the casting or the director but was skeptical about the idea of making another “Indiana Jones” installment.

      The producers haven’t responded to the criticisms, but director James Mangold recently said, “I’m thrilled to be starting a new adventure, collaborating with a dream team of all-time great filmmakers.”

      “Steven, Harrison, Kathy, Frank, and John are all artistic heroes of mine. When you add Phoebe, a dazzling actor, brilliant creative voice and the chemistry she will undoubtedly bring to our set, I can’t help but feel as lucky as Indiana Jones himself.”

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      Pete Davidson, Regina King, David Fincher Among Winners at PETA's 2021 Oscats Awards

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      WENN

      The ‘Saturday Night Live’ star is feted for ‘The King of Staten Island’, the ‘Watchmen’ actress is lauded for ‘One Night in Miami…’, and the ‘Gone Girl’ helmer is celebrated for ‘Mank’.

      Apr 16, 2021

      AceShowbiz –
      Pete Davidson, Regina King, and director David Fincher have been honoured by animal rights group PETA at their annual Oscats Awards.

      The organisation’s Animals in Film and Television division has rewarded stars and filmmakers for their ethical choices and support for creatures onscreen, and Davidson has been handed the Best Costume prize for the “Hunt Mushrooms, Not Animals” T-shirt his character wore in “The King of Staten Island”.

      A “Meat Is Murder” sticker on Riz Ahmed’s refrigerator in “Sound of Metal” has landed him the Sticking It to Meat award while King has been honoured with the One to Watch trophy for “giving senior dogs a shout-out on the world stage and for not forcing a single animal onto the set for her feature film directorial debut, “One Night in Miami…”.

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      The organisation’s bosses have handed Fincher the Monkey Scene, Monkey Didn’t award for his use of “digitally rendered” monkeys, elephants, and giraffes instead of real wild animals in “Mank”, while the Best Bear Who Wasn’t There award has gone to “The Call of the Wild” for its “innovative use of CGI”, and Robert Downey Jr.’s “Dolittle” has been given the Tech, Not Terror honour for swapping the live-animal cast from the 1967 original with impressive “computerized graphics.”

      Other prizes have been awarded to director Mike White, who grabs the Best Adapted Screenplay for “The One and Only Ivan”, with PETA spokesperson Moira Colley telling WENN, “The film’s strong anti-captivity message was delivered without exploiting real wild animals. And I’m Thinking of Ending Things has nabbed the Meta Meat-Free Moment award for a scene in which a restaurant server talks about ‘the killing of sensitive cows for hamburgers.’ ”

      All the winners will receive a framed certificate.

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      ‘We Broke Up’ Review: Breaking Up Is Hard to Watch

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      A longtime couple tries to keep their fractured relationship a secret during a family wedding in this melancholic romantic comedy.When the melancholic romantic comedy “We Broke Up” opens, Lori (Aya Cash) and Doug (William Jackson Harper) have been a couple for 10 years. They live together, they still laugh at each other’s jokes. But when Doug asks Lori to marry him, she throws up on the spot. This is the beginning of their end as a couple.The problem for this pair — besides their suddenly strained communication, their differing expectations for a long-term future and the fact that their stable relationship has now reached its breaking point — is the timing of this heartbreak. Lori’s sister Bea is getting married in a few days, and both Lori and Doug are included in the wedding party. The pair agree to attend the wedding and keep their separation a secret from family and friends.The director Jeff Rosenberg tries to maintain a balance between the comedic shenanigans of bachelorette games and rehearsal dinners, and the pain of breaking up. But secondary characters, like Lori’s family members or the fellow wedding attendees, are sketched in a way that leaves them overly broad. Lori and Doug’s smiles through gritted teeth don’t exactly cue the audience to relax into a good time.The film is tense through scenes that might have been funny and maudlin when addressing the emotional stakes for the former couple. The overwhelming impression is that of shrillness. It’s a tone that might be familiar to those who have experienced a broken heart, but this shallow exercise offers meager opportunity for discomfort to transform into either entertainment or contemplation.We Broke UpNot rated. Running time: 1 hour 20 minutes. In theaters. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More

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      ‘Monday’ Review: A Year of Love and Its Hangovers

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      Fiery physical contact keeps an expat couple together in Greece, and the sex scenes are enough for a half-dozen movies.This movie’s first image is of a disco ball; the first song on its soundtrack is Donna Summer’s 1977 “I Feel Love.” But “Monday” isn’t a period piece.The director Argyris Papadimitropoulos, who co-wrote the movie with Rob Hayes, understands that for some partyers from the Balearic Islands to the Mediterranean — this movie’s English-speaking soon-to-be-lovers are introduced to each other while getting their freak on in the director’s native Greece — staying young involves nostalgia for a sybaritic era you didn’t actually live through.Mickey (Sebastian Stan), a D.J., and Chloe (Denise Gough), a lawyer, meet cute, and utterly smashed, on a Friday night, and wake up the next morning naked on a beach. They’re hauled off by cops to an embarrassed but not terribly traumatic reckoning with the law. These attractive characters are well past their 20s, which by some lights makes them a hair too old to be carrying on like this. Which is part of the film’s point, in fact.The movie chronicles more than one weekend — it follows the relationship over almost a year, but each sequence kicks off on a Friday and ends on a Monday. Movie enthusiasts who bemoan that contemporary film is bereft of both romance and sex take note: The glue that keeps these two together is fiery physical contact, and the sex scenes are enough for a half-dozen movies.Where their other affinities lie is something of a puzzle, but frequent intoxication can render such questions moot. The director’s semi-skewering of rom-com clichés, including the venerable race-to-the-airport bit, underscores their mutual unsuitability.While “Monday” is not quite as bracing as Papadimitropoulos’s prior feature, “Suntan,” it’s a sharply observed, well-acted picture with a lot of tart detail and a few real stings in its tail.MondayRated R for sexuality, and plenty of it. Language, too. In English and Greek, with subtitles. Running time: 1 hour 56 minutes. In theaters and available to rent or buy on Amazon, Google Play and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More

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      ‘Bill Traylor: Chasing Ghosts’ Review: He Made a ‘Pill for the Pain’

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      Blues, silhouettes, two-dimensional figures at play. This artist created mystical experiences from whatever scraps he could find.Many of the works by the Alabama artist Bill Traylor, stark silhouette drawings with striking, significant blocks of color, are drawn on scraps of paper, or someone else’s stationery — things like that. This wasn’t Traylor’s way of making a postmodern statement; he was just using the art supplies he had.Traylor was born into slavery in 1853 and died in 1949. His work is an enigmatic and vital part of the American art canon. This documentary, directed by Jeffrey Wolf, is a plain, sincere, nourishing account of the artist. Wolf makes excellent use of photo and film archives, laying out the territory that fed Traylor’s vision: dirt roads, railroad tracks, backwoods. These places, the critic and musician Greg Tate notes in the film, lay the ground for the “mystical realm” of Traylor’s work: The deliberately two-dimensional figures and the limited but bold colors have the transfixing power of a waking dream.In this realm the color blue is particularly significant. Tate waxes eloquent on embracing “the blues” in order to “keep the blues off.” The visual artist Radcliffe Bailey says of his own work, “That’s Traylor’s blue, not Yves Klein. I picked up that blue from him.”The evocations of Montgomery’s Monroe Street in the 1930s and ’40s — that era’s “city that never sleeps,” according to one interviewee — are vivid. Traylor set up shop there, outside a pool hall, drawing with his blunt instruments and available paper and sleeping in the coffin storage room of a nearby funeral home. His health problems eventually led to the amputation of one of his legs. In his drawings he often looked back — to moments of respite from the traumatic world he grew up in, such as afternoons at a local swimming hole.“I see his work as a pill for the pain,” Bailey says in the film. It remains powerful medicine today.Bill Traylor: Chasing GhostsNot rated. Running time: 1 hour 15 minutes. In theaters and on virtual cinemas. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More

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      ‘Downstream to Kinshasa’ Review: Sisyphean Persistence

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      Dieudo Hamadi’s documentary follows survivors of war as they demand long-overdue government compensation.The bow of a barge cuts through rippling water, carrying a boatload of people down the Congo River. Crammed in with barely any space to move, the passengers banter, dance, cook, eat, sleep and cling desperately to sheets of tarpaulin when the rain pours.The camera stays with a small group of disabled men and women within this jostling mass. These are the survivors of a bloody six-day conflict fought between Uganda and Rwanda in Kisangani, a city in the Democratic Republic of Congo, in 2000. They are on their way to Kinshasa, the Congolese capital, to demand their long-overdue government compensation, which the survivors say amounts to $1 billion.
      A documentary about Sisyphean persistence in the face of institutional indifference, “Downstream to Kinshasa” is riveting in these boat scenes. The director Dieudo Hamadi enters the fray with his subjects, his gaze neither voyeuristic nor ethnographic. As he threads through the boat with his hand-held phone camera, his lens is lashed by the wind and raindrops; later, when the survivors demonstrate at Congo’s parliament, the police repeatedly swat the director’s camera away.Hamadi intersperses these electric scenes of protest with quieter moments of the survivors fiddling with their cheap and uncomfortable prosthetic limbs, debating strategy and staging plays about their experiences. The film sometimes flags in energy as it cuts between these different strands, but its pace feels faithful to just how halting the fight for justice can be when democracy becomes impenetrable to those it serves. Watching the subjects of “Downstream to Kinshasa” — whose tenacity the movie honors but never romanticizes — it’s hard not to wonder: What good is the right to protest if it falls on deaf ears?Downstream to KinshasaNot rated. Running time: 1 hour 30 minutes. In Lingala and Swahili, with subtitles. On virtual cinemas. More

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      ‘Why Did You Kill Me?’ Review: To Catfish a Killer

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      In this Netflix true crime documentary, murder meets Myspace.“Why Did You Kill Me?” tells the story of a terrible and arbitrary killing: the death of a young woman named Crystal Theobald in Riverside, California, who was shot when a member of a neighborhood gang opened fire on her car. Theobald had no connection whatsoever to her killer, and indeed the murder seemed so random that investigators didn’t initially know how to proceed with the case.Theobald’s death was tragic. But the circumstances were not exactly sensational, or even particularly unique — a pretty meager basis, in other words, for a feature length true crime documentary, where the compelling details of a case are its entire appeal. “Why Did You Kill Me?” (streaming on Netflix) seizes on the one intriguing wrinkle to be found: the efforts of Belinda Lane, Crystal’s mother, to solve the murder herself, by creating a fake profile on the social media site Myspace and befriending possible suspects.The director, Fredrick Munk, dramatizes Belinda’s true-crime catfishing by showing us Myspace from the desktop-POV style of films like the thriller “Searching” and the horror movie “Unfriended.” But these virtual recreations, as well as Munk’s use of handcrafted miniatures and a pulsing electronic score that takes cues from Nicolas Winding Refn’s “Drive,” feel like vain attempts to invigorate limp material.Munk avoids grappling with anything serious or difficult — for instance, the socio-economic factors that produce these kinds of killings in the first place. Instead, the movie fixates on the case’s one novelty, its tangential connection to an outdated social media site. Just because a crime is true doesn’t mean it’s interesting. And as “Why Did You Kill Me?” makes clear, without substance, a dash of style won’t do.Why Did You Kill Me?Not rated. Running time: 1 hour 23 minutes. Watch on Netflix. More

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      ‘Beate’ Review: Bad Habits

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      Factory workers and nuns team up to make lingerie in this half-baked comedy from Italy.In “Beate,” (“Blessed”) lingerie factory workers and an order of nuns team up against a treacherous businesswoman threatening to outsource their jobs and remodel the convent into a hotel resort. It’s an intriguingly outlandish formula for a potentially empowering tale of female collaboration. Unfortunately, this half-baked comedy from Italy dozes off at the wheel.Spunky single mother Armida (Donatella Finocchiaro) rallies her crew of seamstresses into starting their own lingerie company when their employer abruptly gives them the boot via text message. Covertly using the factory’s equipment, they eventually hit the jackpot by designing luxury garments adorned with scraps of beaded embroidery procured from the nunnery.The director Samad Zarmadili cobbles together this underdog story like a slapdash sitcom episode. We’re supposed to be tickled at the notion of foul-mouthed working women laboring alongside brides of Christ (assembling racy intimates, no less!), but the film remains yawningly polite and prudish. The sole provocateur is Armida’s lover (Paolo Pierobon), a second-rate harlequin who winkingly delivers salacious sales pitches to potential buyers.Despite its attempts to deliver a message about collective power, the film hardly veers away from its leading lady, whose back story also feels random and perfunctory. Finocchiaro’s feisty performance is sabotaged by a script that scrambles her character’s motivations, while an out-of-left-field personal dilemma dulls the climactic fallout (and the entire point of the movie, really).At best “Beate” is a curious artifact that vaguely nods at the history of Italian fashion manufacturing, the country’s Catholic heritage, and the human consequences of rampant privatization. But maybe that’s giving it too much credit.BeateNot rated. In Italian, with subtitles. Running time: 1 hour 35 minutes. Watch through virtual cinemas. More