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      DMX Songs: Hear 10 Songs That Showed His Range

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      The gruff, evocative Yonkers rapper was a singular talent in hip-hop. He died on Friday after suffering what his family called “a catastrophic cardiac arrest” a week earlier.Earl Simmons, the gruff, evocative rapper from Yonkers, N.Y., better known as DMX, died on Friday at 50. He spent his final days on life support at White Plains Hospital in Westchester County after suffering a heart attack on April 2.DMX was one of the most recognizable M.C.s in the late 1990s and early 2000s, years when hardcore New York rap could still stake a claim as hip-hop’s central concern.Signed to Def Jam Recordings, his first five albums all debuted at No. 1, a feat no rapper has matched before or since. DMX cut a unique figure for a superstar rapper: He’d battle his inner demons using the horror-centric imagery beloved by heavy metal bands, but his albums reliably offered heartfelt, often a cappella, prayers to God. He made giant pop crossover hits, but they bubbled with wildly vivid threats better suited for a grindhouse theater. His shout-rap energy made him a favorite in the outwardly angsty era of Woodstock ’99 and the nü-metal band Korn’s Family Values Tour, but he was also a shirtless sex symbol moonlighting as an actor.Here’s a small sampling of an artist with a range that encompassed the shocking, the sincere and the simply incredible. (Listen on Spotify here.)‘Born Loser’ (1993)After years spent as a ruthless battle rapper, mixtape hustler and early beneficiary of The Source magazine’s Unsigned Hype column, DMX and the nascent Ruff Ryders label released the rarely heard “Born Loser” on a handful of 12-inch records. Soon after, “Born Loser” became the lone song released as part of DMX’s false start with Columbia Records. Both DMX and the rapper K-Solo had claimed a rhyme style where individual words in bars are spelled out. For example, on his 1990 hit “Spellbound,” K-Solo raps “I s-p-e-l-l very w-e-l-l/I only spell so all can t-e-l-l.” After the success of “Spellbound,” DMX wrote this track while fuming in a Westchester prison cell. “Born Loser” was not a hit, but as a punchline rap where DMX makes himself the punchline, it would foreshadow the self-eviscerating rhymes of rappers like Eminem and Fatlip: “They kicked me out the shelter because they said I smelled a/Little like the living dead and looked like Helter Skelter.”LL Cool J featuring Redman, Method Man, Canibus and DMX, ‘4, 3, 2, 1’ (1997)This single would be epochal for multiple reasons. It sparked the lyrical war between LL Cool J and Canibus, perhaps the last consequential wax battle held on actual vinyl — soon such things were fought in the fields of mixtapes and MP3s. And “4, 3, 2, 1” was the breakout single for DMX, then a new Def Jam signee, who holds his own against members of an elite tier of M.C.s. Here, he raps death threats with a filmmaker’s eye for detail: “Believe what I say when I tell you/Don’t make me put you somewhere where nobody can smell you.”DMX featuring Sheek Louch, ‘Get at Me Dog’ (1998)DMX recorded his debut Def Jam solo single amid the era of ’80s pop samples, big-budget videos and a general sentiment of getting “jiggy.” “I wasn’t down with all that pretty, happy-go-lucky [expletive],” DMX said in “E.A.R.L.: The Autobiography of DMX.” He added that Sean “Puffy” Combs “had the radio on lock, the clubs on fire, had people thinking that hip-hop was all about bright lights and shiny suits and smiled all the way to the bank — X, on the other hand, still lived in the dark.” “Get at Me Dog” is pure, unfiltered rhyming over a loop of the disco-funk band B.T. Express. If it sounds like a mixtape rap, that’s how it started: The beat and hook were part of a freestyle for DJ Clue. The song not only introduced DMX the solo artist, but introduced his trademark barking and growling, sounds inspired by his beloved pitbulls. The video — a black-and-white affair directed by Hype Williams — was filmed at New York’s hip-hop meeting ground the Tunnel, where Funkmaster Flex held court on Sunday nights. The song became one of the most beloved “Tunnel bangers.”‘Ruff Ryders’ Anthem’ (1998)The third single from DMX’s debut album, “It’s Dark and Hell Is Hot,” gleamed a little brighter than its predecessors. His rhymes were no less uncompromising and violent — “Had it, shoulda shot it/Now you’re dearly departed,” he raps. But the song heralded the blipping, pixelated debut of the producer Swizz Beatz, whose sound would ultimately define the next few years of the Ruff Ryders orbit: DMX, Eve, the Lox, Drag-On and Swizz Beatz’s own solo work. Swizz Beatz told Vibe it took a week to convince DMX to do the song: “He was like, ‘I don’t want those white-boy beats.’” Swizz would go on to produce Top 10 singles for Beyoncé, Lil Wayne, T.I. and Busta Rhymes, and to co-found the popular quarantine-era streaming battle Verzuz.‘Damien’ (1998)The rapper’s most famous storytelling rhyme involves him having a conversation with the devil — a play about fighting his own temptations. “At the time, X was in a really dark place as he was in and out of jail,” the producer Dame Grease told Okayplayer. “He told me he thought he was in hell, mentally, and could hear the devil speaking to him. He wanted to find a way to recreate that feeling.” Two sequels followed, including “The Omen (Damien II),” also in 1998, which featured a guest appearance from the shock-rocker Marilyn Manson, who would go on to have a notable impact on hip-hop, influencing modern goth-tinged artists like Travis Scott and Lil Uzi Vert, among others. The second sequel is “Damien III” (2001).‘Slippin’’ (1998)On this bloodletting, emotionally raw track, DMX confronts his troubled upbringing, his time in various institutions and his addictions with a sober eye. It was a personal and vulnerable look at his life and his struggles in the vein of diarist rappers like Tupac Shakur and Scarface. “X was writing ‘Slippin’’ for a while — six months, a year,” the Ruff Ryders founder Joaquin “Waah” Dean told The Fader. “He wanted this song to be impacting people’s lives.”‘Party Up (Up in Here)’ (2000)Perhaps the most indelible DMX song, “Party Up (Up in Here)” has a chantable, giddy chorus that belies the nimble, severe trash talk in the verses. (“Listen, your ass is about to be missin’/You know who gon’ find you? Some old man fishin’.”) “It’s called ‘Party Up,’ but it’s very disrespectful,” DMX told GQ, adding, “The beat is for the club, I just spit some real [expletive] to it.” The durable track has had a long life thanks to its use in movies like “Gone in 60 Seconds” and TV shows like “The Mindy Project.” Earl Simmons even has a writing credit in the era-defining musical “Hamilton” because of an interpolation used in “Meet Me Inside,” a song that details a conversation between Alexander Hamilton and George Washington.Aaliyah featuring DMX, ‘Come Back in One Piece’ (2000)The 2000 film “Romeo Must Die” was the first film for the R&B superstar Aaliyah and the second for DMX. Though they do not play love interests in the movie, they did team up for this song from the soundtrack, a tune in the mold of hip-hop-soul duets like Method Man and Mary J. Blige’s “I’ll Be There for You/You’re All I Need to Get By.” However, it is almost like DMX refuses to meet R&B halfway: He rhymes an unapologetic full-throated street narrative while Aaliyah plays a beleaguered partner who just wants him to be safe.‘Who We Be’ (2001)“Who We Be” is a plain-spoken list of ills both political and personal, delivered with the thudding fire of an AC/DC song. It was the third and final DMX song to be nominated for a Grammy, but he never ended up taking one home.‘X Gon’ Give It to Ya’ (2003)Though it was a moderate hit when released as a single from the “Cradle 2 the Grave” soundtrack in 2003, “X Gon’ Give It to Ya” has ultimately emerged as the most popular DMX song of the streaming era thanks to its use in the “Deadpool” films and on television’s “Rick and Morty.” DMX intended it for his fifth album, “Grand Champ,” but, seeing its potential, the “Cradle 2 the Grave” producer Joel Silver intervened. It was certified platinum in 2017, nearly 15 years after its release. More

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      'Justice League' Scribe Demanded His Name Be Removed From Joss Whedon's Version

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      Warner Bros. Pictures

      Chris Terrio doesn’t want to be associated with the ‘Justice League’ which underwent ‘a wholesale dismantling’ by the new director after after original helmer Zack Snyder left.

      Apr 10, 2021

      AceShowbiz –
      “Justice League” screenwriter Chris Terrio wanted his name removed from the “vandalised” film when it was changed after Zack Snyder’s exit.

      Terrio, who worked alongside Snyder on the 2017 movie before he stepped down due to a family tragedy and the helm was handed to Joss Whedon, admitted he had “no idea” how much “wholesale dismantling” there would be of Snyder’s version that he wishes his name wasn’t alongside it.

      “I was in Los Angeles at the time working on Star Wars (The Rise of Skywalker),” he told Vanity Fair. “I was on the west side of Los Angeles working with J.J. (Abrams) at the time, and I drove to the studio and I sat down and watched it a couple of weeks before release. I immediately called my lawyer and said, ‘I want to take my name off the film.’ ”

        See also…

      “(The lawyer) then called Warner Bros. and told them that I wanted to do that… I didn’t realise how much of the film was going to be changed – or vandalised, in my opinion. It became clear as I spoke to various actors that it was a wholesale dismantling of what had been there before. I did not hear from anyone who said it was a pleasant experience.”

      And Terrio admitted he went into “such a depression” after the film was rewritten.

      “But I didn’t even feel entitled to be depressed, because Zack and Debbie (Snyder, his wife and co-producer) were dealing with their family tragedy,” he explained. “Measured against that, losing the film that you wrote seems like nothing at all. But it did hurt. It hurts to think that I cared so much about these characters and worked on nothing else for a very long time.”

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      Horse Riders, a City Street and a History Now Captured on Film

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      The coming-of-age drama “Concrete Cowboy” is set amid the stables of Philadelphia’s Fletcher Street, a hub for Black equestrians for decades.On Fletcher Street one summer morning in 2019, Ricky Staub was asked to walk the plank.For decades, Fletcher Street — a slice of North Philadelphia’s Strawberry Mansion neighborhood — had been home to urban horse stables, and a hub for Black equestrians, and Staub had started spending time there after befriending a local rider.That’s how Staub found himself struggling to push a wheelbarrow up an angled wooden beam as a group of stable regulars watched his every wobble. Staub was eager to prove himself. He’d shown up for a day of dirty stable work wearing clean, bright sneakers (“like an idiot”) and couldn’t afford another rookie flub. Also, the wooden plank was teetering atop a colossal pile of horse manure.“I’m literally going to be thigh-deep if I fall,” Staub said.Lucky for him (and his sneakers), Staub kept his balance. And when he successfully finished his task, dumping the contents of the wheelbarrow — also full of manure — onto the growing pile, the spectators erupted in applause.That daring maneuver is one of several firsthand experiences that Staub, 37, recreated in “Concrete Cowboy,” his first feature, which is now streaming on Netflix. In this coming-of-age tale, a Detroit teenager (Caleb McLaughlin) is sent to Philadelphia to live with his estranged father (Idris Elba, also a producer of the film), who ekes out a modern-day cowboy existence on Fletcher Street, where small stables sit modestly among rowhouses.The movie, which Staub and Dan Walser adapted from the young-adult novel “Ghetto Cowboy,” by G. Neri, may follow a familiar Hollywood arc, but it is injected with extraordinary, sometimes surreal details drawn from Staub and Walser’s experiences hanging out with urban horse riders in Philadelphia for about two years.Idris Elba, left, and Caleb McLaughlin in “Concrete Cowboy.”Aaron Ricketts/NetflixConsider, for instance, the campfire scene early in the movie, when the riders gather around a fire at night, swapping stories by the light of flames, which spew from the belly of a metal barrel. It’s a tableau, complete with cowboy hats, taken straight from a classic western. It’s also something you might see offscreen today.“In the summertime, any given night that you want to, you go around to Fletcher Street stables and there will be at least three guys with a tin-can fire sitting outside, just relaxing,” said Ivannah-Mercedes, a rider who grew up caring for horses on Fletcher Street in the 2010s. Mercedes, who plays a fictional cowgirl in “Concrete Cowboy,” is one of a handful of riders — some still active there, others now based at different stables around the city — who got involved in the film, on both sides of the camera.The riders pointed to many details in the movie that were true to their own experiences, chief among them that riding has proved an indispensable form of healthy recreation in an environment where gun violence and other dangers can be difficult to avoid.Young people “need alternatives,” said Michael Upshur, 46, who began riding horses on Fletcher Street as a child in the early ’80s. “If they only see people on the street corner, that’s what they’re going to gravitate to.”Upshur said that he had boarded more than a dozen horses on Fletcher Street over the years. Like other riders there, he views the stables as more than a passion or a pastime.“Being with those horses taught me to have patience,” he said. “I found myself thinking a lot more before I act.”Upshur described methodically washing horses with a hose, watching as they playfully chomped at the stream of water. Over the decades, he has often ridden in Fairmount Park, about a 10-minute ride from the stables.“There’s something about you and that park,” Upshur said. “You can hear the sticks cracking while your horse is walking on those little twigs. You see the little squirrels running through, and the horse jumps a little bit — it calms you.”Michael Upshur on the set of “Concrete Cowboy.” He began riding horses on Fletcher Street in the 1980s.Aaron Ricketts/NetflixErin Brown, 37, remembers being told as a young rider that “your horse is a reflection of the type of person that you are.” Brown, who learned to ride on Fletcher Street in the early 1990s and later managed a barn there, said that caring for horses gave her a sense of responsibility when she was growing up. She said that for a period during her late teens, she “was headed down the wrong track,” but that the stables grounded her. She’s now a professional riding instructor.“I honestly don’t know where I would be today — and so many others can say the same thing — if it were not for the horses,” Brown said.Several Philadelphia riders teamed up with Staub and other members of the film’s creative team to create the Philadelphia Urban Riding Academy, a nonprofit that aims to maintain and preserve the history of Black riding in Philadelphia. (Brown is the organization’s executive director; Upshur and Mercedes are on its board of advisers.)Riders on Fletcher Street have long worried about the future of the stables, as gentrification and new development loom. Each stable in the cluster on Fletcher Street is individually owned and managed. There have been problems with conditions over the years, leading to run-ins with the city and the Pennsylvania Society for the Prevention of Cruelty to Animals. And the large, grassy field across from the stables — a set piece in the movie that has served as an open space for riders — is now being developed. The Philadelphia Urban Riding Academy’s goal is to create permanent stables where riders from Fletcher Street and elsewhere in the city can make a sustainable home for their horses.Brown, Upshur and Mercedes each emphasized that the history of urban ridership in Philadelphia should be preserved, and that the sense of empowerment and responsibility that horses offer riders is an invaluable — and irreplaceable — asset in the community. The Hollywood actors in “Concrete Cowboy” sensed that, too.Lorraine Toussaint, who plays one of the fictional riders, said she was struck by “the discipline involved with the care and maintenance and love of these extraordinary animals.”“I fell in love with horses so much,” she added, “that I actually went off and bought a horse farm after this film.”Elba himself felt the rush and grit that the real riders described.“These were really proud moments for me,” he said. “It felt very powerful jumping on a horse — you feel tall. You’re on this majestic beauty of a beast.”Elba was so committed to shining a light on the Philadelphia riding community that he signed on to produce “Concrete Cowboy” when it was still a script in search of financing and took up the challenge of playing opposite actual local riders. He even contributed a song to the film’s soundtrack.Elba did all of this despite an unchangeable, rather inconvenient truth: He’s allergic to horses. More

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      Five International Movies to Stream Right Now

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      Take a cinematic trip around the world with these fine options.In the age of streaming, the earth is flat — screen-sized, with travel to faraway destinations only a monthly subscription and a click away. But sifting the wheat from the chaff can be hard with so many options, and harder still if you don’t know what to look for in the bounties of different national cinemas and film industries.So let me be your travel agent each month: I’ll journey through the world of streaming and choose the best new international movies for you to watch. This month’s picks take you to Britain, India, Algeria (by way of France), Japan and Spain (by way of Germany). If you feel intimidated by the foreign languages, remember the wise words of Bong Joon Ho, the Oscar-winning director of “Parasite”: “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.”‘Rocks’Stream it on Netflix.We hear the boisterous teenage girls of “Rocks” before we see them. Their affectionate banter plays over the opening credits, which cut to a rooftop in London from which the girls gaze at the city’s skyline. A rousing, wonderfully specific film about a 15-year-old whose mother suddenly leaves, forcing her to fend for herself and her brother, “Rocks” uses voices, noises and languages to conjure up an absorbing portrait of Britain’s working-class immigrant community.Rocks (Bukky Bakray) is of Jamaican and Nigerian descent, and her friend group comprises diverse nationalities and ethnicities: Somali, Romany, Bangladeshi, white. The girls’ conversations grapple with their cultural differences while never losing the natural rhythms of adolescent chatter. When Rocks encounters speakers of other languages, their dialogue is unsubtitled, faithfully capturing the aural fabric of a cosmopolitan city where the familiar mixes with the unfamiliar.Most of the film’s young actors, including Bakray, are first-timers, but their ebullient performances convey multitudes: They switch effortlessly between rebellion, seriousness, and playfulness. Even as the director Sarah Gavron paints a wrenching portrait of abandonment and poverty, she makes no sweeping judgments about the film’s characters. Life, “Rocks” recognizes, can be messy and difficult, but the bonds of community can sustain us when all else fails.‘Eeb Allay Ooo!’Stream it on Netflix.In this clever satire from India, a rural youth newly arrived in Delhi lands a strange job: shooing away monkeys from the city’s grand government buildings by making shrill sounds. It might seem like a gag out of a Tim Burton film, but “Eeb Allay Ooo!” draws from real life — some supporting roles are even played by actual “monkey repellers,” experts at the guttural calls that give the film its onomatopoeic title.As one of these veterans warns our hero, Anjani (Shardul Bhardwaj), the job may seem like a lark but the stakes are high. The workers are caught between the demands of ruthless contractors, snooty bureaucrats, animal rights activists and Hindus who hold monkeys sacred. And as the director Prateek Vats emphasizes through bustling shots of Delhi’s thoroughfares, trains and cramped slums, Anjani is just one of many precarious migrants trying to eke out a living in an unsparing city.But what sets “Eeb Allay Ooo!” apart from run-of-the-mill poverty-porn dramas is the mix of comedy and rage it taps into. Though no good at monkey chasing, Anjani starts to find release in the performative aspects of the job, and the film’s serene tableaux of working-class life soon give way to pricklier evocations of working-class discontent. Bhardwaj nails his character’s outward spiral, giving it all in a frenzied denouement set within a religious procession.‘South Terminal’Stream it on Mubi.Time and space ripple like the ocean in “South Terminal,” directed by the Algerian-French filmmaker Rabah Ameur-Zaïmeche. The plot suggests that we’re in Algeria sometime in the 1990s, in the midst of a bloody civil war. But the film’s cobblestoned streets and sun-dappled coastlines are from southern France, and glimpses of cellphones and new car models scramble the period setting. Ameur-Zaïmeche never resolves these anachronisms, instead crafting an intentionally abstract film that powerfully evokes the repetitions of history and the troubling universality of violence.Even the characters are nameless. The protagonist is simply “the doctor” (played with gruff vulnerability by the French comedian Ramzy Bedia), a surgeon who stays put even as those around him flee the country’s growing sectarian conflict and surveillance. His mulish commitment to his lifesaving work lands him in trouble when he is kidnapped and forced to treat a rebel leader, which makes him a target of the army.The film is violent and fast-paced, and yet curiously spare, with stripped-down sound and languorous moments of mundanity. Ameur-Zaïmeche captures the resilience of ordinary lives caught in the cross-fires of war, while scenes of military checkpoints and oceanic escapes point to resonances with the contemporary crises of migration.‘Any Crybabies Around?’Stream it on Netflix.The title of Takuma Sato’s film is the chant of the Namahage: folkloric ogres that visit houses on Japan’s Oga Peninsula every New Year’s Eve to playfully scare children and teach them good values. Tasuku (Taiga Nakano) is one of the young men who don monstrous masks and straw capes to enact this annual ritual — until, on one of his runs, he drunkenly embarrasses himself on live TV. (I won’t spoil how; it’s a masterful exercise in straight-faced cringe comedy.)“Any Crybabies Around?” picks up a couple of years later when Tasuku is living in Tokyo, estranged from his wife and child. But when he hears that they’re struggling to make ends meet, he returns to his hometown to reconnect with his family and win his way back into his daughter’s life.Crisscrossing folklore with the classic movie trope of a man-child, Sato crafts a thoughtful meditation on alienation and masculinity, and the delusions of male saviors. Nakano pulls off a difficult balancing act with the piteous, whimpering Tasuku, who nevertheless invites our empathy with his sincere hope for change. It’s the Namahage that finally offer him some salvation, and the scenes featuring them are some of the movie’s best: gorgeous choreographies of color and slow motion, set to haunting beats of woodblock and drums.‘For the Time Being’Stream it on Mubi.Larissa, a German woman, arrives with her 9-year-old twins at her husband’s family home in the Spanish Sierra Morena mountains, where her mother-in-law and sister-in-law live a quiet, secluded life. Her husband is supposed to join them soon, but when his flight is delayed, the three women and two kids bide their time, waiting for his arrival.This is the entirety of what might be described as “plot” in Salka Tiziana’s “For the Time Being,” an atmospheric, slow-burning feature that turns uneventfulness into something thrilling. Larissa (Melanie Straub) and her in-laws communicate awkwardly across a language barrier, while the boys (Jon and Ole Bader) explore the lush outdoors with curiosity. The film’s growing sense of intrigue derives from sensory stimuli rather than narrative. Nearby wildfires make the air shimmer, and strange explosions from a military test punctuate the passing time. As days go by with no news of the father, Tiziana fills the characters’ uneasy limbo with thick, intoxicating natural sounds (whooshing winds, chirping cicadas) while alternating between drone shots and crackling, 16-millimeter images of the sun-faded landscape. It’s a lovely film to watch while at home during the pandemic, both for its transporting shots of the mountains and its charged depiction of stillness and anticipation. More

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      ‘Future People’ Review: Connected by Biology, Bonded by Love

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      This documentary chronicles eight years in the lives of a group of children who form a bond after discovering they were conceived by the same sperm donor.Discovering a legion of half siblings could be the springboard for a best-selling novel by Jodi Picoult. Yet such is the surreal story of “Future People: The Family of Donor 5114,” a documentary (streaming on Discovery+) in which dozens of children from around the country learn they were conceived using the same sperm donor.The siblings, many of whom once appeared in a New York Times Magazine photo essay, found one another online. As kids and preteens, they began messaging and video-chatting, comparing physical traits, hobbies and family structures. Many shared full lips. Some played soccer or ran track. Eventually, they began arranging group trips where the children, often alongside their moms, could hang out in person.The director Michael Rothman films the siblings over eight years, attending the periodic meet-ups to chronicle their evolving union. He focuses on a select few, including the eldest of the group, whose approaching 18th birthday marks the first time any of them can request contact with their mysterious shared donor.But these profiles of the children, built on casual interviews and at-home footage, sometimes feel surface-level. The subjects can seem remote, and especially in their trying teen years, tend to default to reticence or clichéd expressions. Rothman does not probe or engage with this awkwardness, nor does he include his own interview questions in the movie. His camera becomes an outsider — less a facilitator of understanding than a barrier to it.More revealing are the sequences self-recorded by the siblings on their computers, where they speak candidly and radiate emotion. Sharp insights also come from their mothers, many of whom are single parents or in lesbian partnerships. Although “Future People” struggles to break through to the kids, an engaging family portrait emerges nonetheless — of a group clustered by biology, but bonded by a singular shared experience.Future People: The Family of Donor 5114Not rated. Running time: 1 hour 38 minutes. Watch on Discovery+. More

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      Jamie Foxx Reunites With Dominique Fishback for Adaptation of 'Subverted'

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      Instagram

      The one-woman play, which has been staged at various venues across New York, was created by the ‘Judas and the Black Messiah’ actress as part of her college thesis at Pace University.

      Apr 9, 2021

      AceShowbiz –
      Jamie Foxx is reuniting with his “Project Power” co-star Dominique Fishback to take her one-woman play to the screen.

      The actress and playwright created and starred in her own show, “Subverted”, as part of her college thesis at New York’s Pace University, and it has since been staged at various venues across the Big Apple.

      Now Fishback is working with Foxx to adapt the stageshow into a new special, which she will executive produce with the Oscar winner and his business partner, Datari Turner.

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      “Subverted” features Fishback portraying more than 20 different characters, with the story centered on an 18-year-old woman and her experience of the “destruction of black identity”, reports Variety.

      Further details regarding the adaptation have yet to be released, but the news comes during a career high for the “Judas and the Black Messiah” star, who is nominated for Best Supporting Actress at this weekend’s (April 10 to 11) BAFTA Awards.

      She also picked up the supporting actress honor at the virtual African American Film Critics Association (AAFCA) Awards on Wednesday, April 7. Delivering her acceptance speech virtually, she said, “Playing Deborah Johnson changed my life in so many ways and to get this award is a cherry on top of a big, beautiful experience.”

      “I want to thank, Mama Akua, formerly known as Deborah Johnson and Chairman Fred [Hampton] Jr. for allowing us the opportunity to attach ourselves to their legacy,” the 30-year-old actress continued. She also gave a shout-out to co-star Daniel Kaluuya, whom she dubbed “the best Fred a girl could ask for.”

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      Tom Cruise, Simon Pegg, Rebecca Ferguson Cuddle Up in Adorable 'Mission: Impossible 7' Set Pic

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      Paramount Pictures

      The Benji Dunn depicter shares a candid behind-the-scenes snap from the upcoming movie, capturing a cute and sweet moment between the stars as opposed to the film’s intense plotline.

      Apr 9, 2021

      AceShowbiz –
      “Mission: Impossible 7” (“Mission: Impossible VII”) cast knows how to keep it warm despite the chilling weather wherever they are. Tom Cruise, Simon Pegg and Rebecca Ferguson (II) have been caught on camera cuddling up on the set of the action movie.

      Bringing forward the adorable snap that captured the candid behind-the-scenes moment is none other than Pegg himself. In the shot, Cruise was sandwiched between his two co-stars while he’s lying shirtless on a black mat that was rolled out on the muddy set. Not minding the space invasion, the 58-year-old hunk was all smiles while putting his arms around Pegg and Ferguson’s shoulders.

      It appears that Cruise and Ferguson had just filmed a scene which requires them to soak in the water and were warming themselves up on the floor under a white sheet when Pegg, who was fully clothed, jumped in and joined his two co-stars for a group hug. “Chilling between shots. Standard formation,” he quipped in the caption.

        See also…

      His post caught the eye of Michelle Monaghan, who portrays Ethan Hunt’s wife in several “Mission: Impossible” movies. She playfully responded, “Ok. We should probably have a family sit down about this.”

      Pegg has been sharing funny stories from the set of the seventh “Mission: Impossible” movie. Taking to his Instagram Story on Thursday, April 8, he described a scene in which he claimed that his character defeats Ethan in a running race.

      “Ethan and Benji have a running race and Ethan is really struggling with Benji and Benji is gonna win,” he began in a series of clips. “And Ethan can see that Benji is a faster runner than he is and so he trips him up! Benji goes down really hard and he bangs himself. And then there’s an inquiry. Benji goes to the head of the IMF and says I’m fine and I’m not worried. I’m not as fast as Ethan Hunt. And then Benji leaves the office and pulls his mask off and it’s Ethan, who has been lying because he knows Benji’s a faster runner than he is.”

      “Mission: Impossible 7” is currently in production under the direction of Christopher McQuarrie, who also wrote the script. Ving Rhames and Angela Bassett are among the returning actors, with Hayley Atwell, Pom Klementieff and Esai Morales being added to the cast in new roles. The movie is slated for November 19 release in the United States.

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      ‘Dance Moms’ Alum Kenzie Ziegler ‘Committed to Educating’ Herself Following Blackface Controversy

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      Amy Adams' Reality Questioned in New 'The Woman in the Window' Trailer

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      [embedded content]

      The Lois Lane of DCEU portrays an agoraphobic woman whose life is turned upside when she befriends a new neighbor and suspects a foul play in her neighbor’s disappearance.

      Apr 9, 2021

      AceShowbiz –
      “The Woman in the Window” is about to see the light of day after a long delay. A week prior to its scheduled release date, Netflix has released a new trailer for the psychological thriller starring Amy Adams.

      The movie, which is based on the 2018 novel of the same name by pseudonymous author A. J. Finn, centers on Adams’ character Anna Fox, a child psychologist who is unable to go outside and confined to her house due to her agoraphobia. Disconnected from the outside world, she has a sort of little euphoria when she befriends a neighbor (Julianne Moore) across the street from her New York City brownstone condo.

      Her life, however, is turned upside down when she inadvertently witnesses a brutal crime. Suspecting a foul play in her neighbor’s disappearance, she is faced with the question if what she’s seen is reality or her hallucination. Now it’s all up to her to solve the mystery and determine what’s real and what’s only in her head.

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      In a virtual press interview held on Thursday, April 8, Adams said she was attracted to the project because it offered her something new, allowing her to delve into the kind of “psychological thrillers [she’s enjoyed] throughout the years.” She also described her character as a rich person who is “struggling with so much darkness, and there’s a lot of shame, a lot of secrets.”

      “The Woman in the Window” is directed by Joe Wright, who previously helmed “Pride and Prejudice”, “Atonement” and “Darkest Hour”. The script is penned by Tracy Letts, with Scott Rudin, Eli Bush and Anthony Katagas producing. The cast, meanwhile, also includes Gary Oldman, Anthony Mackie, Fred Hechinger and Wyatt Russell among others.

      The movie was originally scheduled to be released theatrically by 20th Century Fox on October 4, 2019, but was delayed to May 15, 2020, due to re-editing after test screenings. The theatrical release was later canceled due to the COVID-19 pandemic and the pic was sold to Netflix. The streaming giant is now set to unleash the film on May 15.

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