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    ‘Saint Frances’ Review: What (Some) Women Want

    Vaginal bleeding plays a potent supporting role in Alex Thompson’s “Saint Frances,” unsurprising in a movie this deeply invested in the everyday joys and agonies of being a woman.Covering one difficult, transformative summer in the life of a dissatisfied waitress named Bridget (played by the film’s writer, Kelly O’Sullivan), the movie gently queries our assumptions about what constitutes female success. At 34, Bridget worries that time is running out on finding a career, landing a life partner and, especially, having children. She’s not sure she wants these things, she just knows she’s expected to want them. Her parents hint darkly about her aging uterus, and her younger, more relaxed lover (Max Lipchitz) wonders why she refuses to define their connection as a relationship.[embedded content]Then, almost simultaneously, she makes a momentous life decision and is hired by a mixed-race lesbian couple (Charin Alvarez and Lily Mojekwu) as a nanny to Frances (Ramona Edith-Williams), their precocious six-year-old. Initially a rather inept caregiver, Bridget gradually warms to her lively charge and her stressed-out employers. More important, she begins to make peace with herself.With a warm heart and a nonjudgmental mind, “Saint Frances” weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance. Some scenes can feel forced and even a little hectoring (as when a breastfeeding mother is verbally attacked in a public park). Others, though, are so modestly insightful — and the performers so appealingly natural — that we forgive the occasional heavy hand. Bridget’s bond with the family feels organic and restorative, the movie making the argument that family is wherever you find it. And if Bridget still lacks direction, it could be because she no longer needs one.Saint FrancesNot rated. Running time: 1 hour 46 minutes. More

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    ‘Greed’ Review: Millionaires at Their Best. Or Worst.

    Although Erich von Stroheim’s mauled 1924 masterpiece “Greed” is nearly 100 years old, it is sufficiently monumental that adopting its title can still seem like an attempted flex.In the case of Michael Winterbottom’s new movie, a satire starring a frequent collaborator, Steve Coogan, it’s less an allusion than a direct, blatant and bitter statement of theme.Coogan plays Sir Richard McCreadie, a coarse but not wholly dumb rag-trade millionaire micromanaging his own 60th birthday celebration. In this framework Winterbottom, who wrote the script with Sean Gray providing “additional material,” constructs a time-traveling, format-shifting biopic with a from-humble-beginnings hook. Some of the eat-the-rich barbs here are about a decade stale. If you think you’ve heard McCreadie’s “I don’t need drugs, I am drugs” boast, you have — from Salvador Dalí. But Coogan brings his usual comic reliability to his characterization, as does Isla Fisher as the rich man’s predictably estranged wife, and they wring laughs from the material.[embedded content]Like “Casino,” “The Big Short” and “The Laundromat,” this movie has a strong pedagogic component, to lay bare the most rank excesses of contemporary capitalism. Here, as it happens, “Greed” is at its strongest.The movie effectively demonstrates that the open markets pushed by Ronald Reagan and Margaret Thatcher were not constructed with the expectation, or even the hope, that a rapacious actor in the McCreadie mode would behave decently within them. “Greed” also features cogent explanations of debt restructuring: the way banks throw dumpsters full of cash to rich “entrepreneurs” while never offering so much as a rope ladder of credit to the poor who work for these characters. The final sequence detailing income inequality and sweatshop exploitation in the fashion industry is a powerful kick in the teeth.GreedRated R; these rich people are all kinds of vulgar. Running time: 1 hour 44 minutes. More

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    ‘Guns Akimbo’ Review: Put Down the Controller

    A satire of overamped gamer culture that is itself too overamped to be much fun, “Guns Akimbo” takes a while before it stops showing off its virtuosity — shots that turn cartwheels, frantic cutting, an onslaught of graphics — and finds a groove.Daniel Radcliffe plays Miles, a coding drone who spends his days glued to various devices. One night, he gets into an insult match on a site for Skizm, an underground fight club that selects random oddballs and criminals and pairs them against each other in mortal bouts. Spectators watch remotely, à la “The Truman Show.” Although there is a system of scoring points, the violence is real.[embedded content]So it goes that Skizm’s boss (Ned Dennehy) and his thugs, offended by Miles’s online commentary, slam in his door and bolt guns to his hands, turning him into a participant. The surgical alterations complicate almost any task (other than shooting). Miles’s opponent: Nix (Samara Weaving), a merciless high-scorer. Will this dorky asthmatic, unable to tap on his phone (“Everything looks so HD,” he remarks, finally paying attention to the world around him), summon his inner alpha from the virtual realm?The message — Miles’s nice-guy demeanor is both his weakness and his salvation — gets a little muddled. In a case of life imitating fiction, the writer-director, Jason Lei Howden, got into a Twitter skirmish shortly before the movie’s release. The distributor, Saban Films, said in a statement that it did not condone his “online behavior.” Considering what happens to his protagonist, that is a slap on the wrist.Guns AkimboRated R. Pervasive slaughter. Running time: 1 hour 35 minutes. More

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    James Mangold Likely to Replace Steven Spielberg as 'Indiana Jones 5' Director

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    The ‘Ford v Ferrari’ filmmaker is reportedly in early talks to helm the fifth installment about the famed archaeologist and adventurer which is expected to be Harrison Ford’s last.
    Feb 27, 2020
    AceShowbiz – “Ford v Ferrari” filmmaker James Mangold is in early talks to direct the fifth “Indiana Jones V” movie.
    Steven Spielberg has opted not to oversee his fifth “Indiana Jones” movie and Deadline sources claim Mangold is the favourite to step into his shoes.
    If he signs on, “Walk the Line” and “Logan” director will take over the project, in which Harrison Ford will star.
    This is expected to be his last outing as archaeologist and adventurer Jones – a role he first played in the “Raiders of the Lost Ark” in 1981.
    The new film is expected to hit theatres in July 2021.

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    Weinstein Is Convicted. Where Does #MeToo Go From Here?

    Three days before Harvey Weinstein was convicted of rape, Michael R. Bloomberg agreed to release three women from nondisclosure agreements so they could publicly describe complaints against him. Hours after the Weinstein jury adjourned, celebrities and fans packed a memorial for Kobe Bryant as questions lingered about the impact a 2003 rape case would have on his legacy. The next day, a $500,000 deal to settle sexual harassment allegations against the opera superstar Plácido Domingo collapsed when details of an investigation into his behavior toward over two dozen women became public.Those developments are all signs of how potent — and unresolved — #MeToo continues to be. This week, the man who ignited the movement was found guilty in New York, a victory many victims once considered unattainable. Now, the figures driving #MeToo say they are feeling a surge in momentum, but are grappling with how they can move beyond individual allegations and toward a concrete set of policy and legal goals.“The outcome of the Weinstein case should be seen as fuel to keep survivors and our allies motivated for change,” said Tarana Burke, the founder of the movement. “Moving close to the third year since the viral #MeToo moment, we have to be thinking about how we make big strategic moves that are beyond individual takedowns.”Melinda Gates, the philanthropist, recently pledged a billion dollars toward promoting gender equality, an enormous infusion. She wrote that her decision was spurred in part by #MeToo, and that she wanted to tackle issues like workplace harassment. “A window has been opened,” she said.But after more than two years of improvisation, there is growing consensus on the need for a more united front. Many of #MeToo’s leaders — including Ms. Burke, Time’s Up and the National Women’s Law Center, all backed by Ms. Gates — are considering how to form “a cohesive, common agenda,” said Fatima Goss Graves, the president of the center. They all say they want to act before the moment passes.The path ahead has been unclear in part because the movement is diffuse, a grass-roots chorus. Unlike, say, the fight for same-sex marriage, it does not have one landmark goal. Basic questions about fairness, the scope of scrutiny and accountability remain unsettled.At the same time, those trying to push #MeToo forward are brimming with priorities: Sex education in schools that emphasizes consent. Longer statutes of limitations and filing deadlines for lawsuits. A more expansive legal definition of sexual harassment, stronger federal laws to protect more workers, and other changes.The goal of Time’s Up, the organization started in Hollywood in the wake of the Weinstein accusations, is no less than “safe, dignified and respectful work for everyone,” said its president, Tina Tchen. She cited targets like equal pay and paid leave.One issue the movement continues to focus on, nondisclosure agreements, offers a look at what has and has not changed since the #MeToo era began. The restrictions — often imposed as part of settlements for sexual misconduct allegations — were rarely questioned three years ago. But then reporting on Harvey Weinstein and others showed how the agreements often silenced victims and enabled abusers.Since 2017, at least twelve states have passed laws restricting their use, according to the National Conference of State Legislatures. New Jersey has gone the furthest, making them unenforceable if victims break them. Google, Microsoft, Uber and Condé Nast have also sworn them off as a tool to conceal abuse.A small but growing contingent of women have broken their NDAs or worked to be released from them, paving the way for change. McKayla Maroney sued U.S.A. Gymnastics to be released from one she had signed involving Larry Nassar. She was later told by the organization that she would not be penalized. Several women who have accused the singer R. Kelly of sexual abuse have spoken out despite confidentiality agreements. At least four Weinstein accusers have done the same. So far, none appears to have faced legal consequences.Yet many still can’t speak — Mr. Bryant’s accuser signed a settlement deal in 2005. For the majority of women, especially those whose cases don’t wind up in the news, breaching an NDA can carry extraordinary risk, including the potential for significant financial penalties. And most of the state-level changes have been modest. A new law in California restricts confidentiality agreements once a lawsuit or formal complaint has been filed, but many settlements are signed earlier in the process.“Women are being silenced every day,” said Nancy Erika Smith, a lawyer who represented Gretchen Carlson in her sexual harassment lawsuit against Roger Ailes, the founding chairman of Fox News. “It is a hammer designed to shut women up.”Mr. Bloomberg’s move to rescind the confidentiality agreements was a high-profile victory for #MeToo, but the circumstances were unique. Senator Elizabeth Warren, his competitor for the Democratic nomination, had used a presidential debate stage to pummel him on the issue.Beyond that instance, it is not clear what or who will force further change on NDAs, or more broadly, the wide array of other #MeToo-related issues. Even though the movement has been fueled in part by sexual abuse allegations against President Trump, his challengers on the left have not discussed ending sexual abuse the way they discuss reforming health care or halting climate change. Beyond Ms. Warren’s moment, there has been almost no talk about a broad, transformative #MeToo agenda at the Democratic debates.“It’s largely missing from the political conversation, especially given the cultural conversation that’s happening,” Ms. Goss Graves said.The Weinstein verdict can spur further developments, said Jeff Goodwin, a professor at New York University focusing on social movements, but only if activists and politicians can find a meaningful way to follow up on what happened at the trial. “Court cases often galvanize protest and dissent by giving people a sense that their grievances will be taken seriously,” Dr. Goodwin said.Yet “without collective action aimed at legislation on the order of the Civil Rights Act, it’s hard for me to believe that a purely legal strategy is going to bring about a fundamental change in power,” he said.Ms. Goss Graves said that she and other activists were working on a common path forward. If Weinstein had not been held accountable, “I think there would have been a real loss of hope,” she said. “And now there’s an opportunity.”But that won’t last without investment and deep examination of the causes of the problem, Ms. Gates said in an email.“The window of opportunity is open,” she said, “but there is no guarantee it’s going to stay open.” More

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    Daniel Radcliffe Believes No One Will Copycat Gun Violence in 'Guns Akimbo'

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    Describing his new film as ‘a fun, crazy action movie,’ the former ‘Harry Potter’ star admits he did not worry about its violent themes until he got on the set.
    Feb 26, 2020
    AceShowbiz – Daniel Radcliffe isn’t worried about the impact of gun violence in his new film “Guns Akimbo”, insisting it is unlikely to incite “copycat” shootings.
    The “Harry Potter” star appears alongside Samara Weaving in the Jason Lei Howden-directed film, about a video game developer who becomes a participant in a real-life death match that streams online.
    Yet the actor insists he didn’t worry about the production’s violent themes because outside the U.S., mass shootings are uncommon.
    “I didn’t think about it until I was on set, which is maybe slightly a bad thing to say,” he tells Entertainment Weekly. “This film is made by Jason; he’s from New Zealand. Samara’s from Australia. I’m from the U.K., and this was before the mosque shooting in New Zealand as well.”
    The New Zealand shooting in March, 2019 left 51 dead after a gunman opened fire on a mosque. But Radcliffe insists that since gun violence isn’t as prevalent in Britain, or Weaving and Howden’s native countries, the film is unlikely to inspire shooting incidents.
    “All of us are from countries where it was not present enough in any of our minds,” he admits. “Nobody’s going to copycat this in England.”
    The 30-year-old also notes that many of the key scenes do not feature guns.
    “Look, there are some incredibly cool action sequences in it and fight sequences, some of which involve guns, but actually not all of them do,” he adds. “I very much want to emphasise that nobody should be taking their moral compass from this film. It’s just a fun, crazy action movie.”
    “Maybe I should have thought about it more, but then you can get into a larger conversation about culture informing art and all that stuff.”

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    Tom Holland: Spider-Man's Future Still 'Bright' If It's Out of MCU

    Sony Pictures

    Having been confirmed to return for another standalone movie and an appearance in a non-standalone movie, the ‘Far From Home’ actor says Sony had a ‘wonderful’ plan to take his character out of the MCU.
    Feb 26, 2020
    AceShowbiz – Before Tom Holland managed to convince Sony to sign off on a deal with Disney to co-produce another standalone movie for Spider-Man, the web-crawler was on the brink of exiting the Marvel Cinematic Universe. Though the superhero’s future is pretty much sealed for the time being, Sony was apparently prepared should it have to take out Spider-Man out of the MCU.
    In a new interview MTV News, Holland reveals that Sony had mapped out a plan to transition Spider-Man out of the MCU in case they weren’t able to reach an agreement with Disney and Marvel Studios. Gushing about the “wonderful” idea, the British actor says he was confident that the friendly neighborhood hero’s future was still “bright” even if he had to cut ties with other Marvel superheroes.
    “[The] future for Spider-Man was still very bright with Sony and we had a really, really wonderful idea how we could sort of transition into a Spider-Man without the MCU,” he shares. The “Avengers: Endgame” star goes on claiming, “and Tom Rothman and Amy Pascal were really confidant that they were gonna do justice and make a film of the calibre that Spider-Man requires.”
    Fortunately, Spider-Man isn’t leaving the MCU just yet. “But that said, I’m really glad to be back in the MCU and to have the team back together because I kind of feel like it’s where he belongs now,” Holland says.
    Bragging about his role in keeping Spider-Man within the MCU, the 23-year-old adds, “I’m really grateful that Bob Iger and Tom Rothman allowed me to be a part of the process of bringing him home, it was a pretty cool experience and also the best bragging rights ever, I saved Spider-Man.”
    [embedded content]
    Holland has been set to return for another standalone Spider-Man movie and make an appearance in a non-standalone Marvel film. The third Spider-Man movie is scheduled to start production in July.

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    Liam Neeson Not Fan of Modern Superhero Movies

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    Although he played Batman’s arch enemy Ra’s al Ghul in two Caped Crusader movies in the past, the ‘Taken’ actor rules out getting involved in any modern superhero franchise.
    Feb 26, 2020
    AceShowbiz – Liam Neeson has never understood the lure of starring in superhero movies because spending hours in the gym to “pump” up his muscles doesn’t appeal to him.
    The “Taken” star famously portrayed Batman’s arch enemy Ra’s al Ghul, also known as Henri Ducard, in 2005’s “Batman Begins” and “The Dark Knight Rises” in 2012, but modern superhero blockbusters aren’t top of his watch list.
    “I’m really not a huge fan of the genre,” he confessed to U.S. news show Entertainment Tonight.
    “I think it’s Hollywood with all the bells and whistles and the technical achievements and stuff – which I admire – but I have no desire to go into the gym for three hours every day to pump myself up to squeeze into a Velcro suit with a cape.”
    “I admire the actors and I know some of the actors who do it – and do it fantastically. It’s just not my genre, it really isn’t,” he added.
    Neeson admits he enjoyed experiencing the use of computer-generated imagery (CGI) when he portrayed Qui-Gon Jinn in “Star Wars: Episode One – The Phantom Menace”, and although it pushed him as an actor, he found the special effects work tiring.
    “The first Star Wars, I was in that, that was 22 years ago, and I enjoyed that, because it (CGI) was novel and that was new,” he shared.
    “I was acting to tennis balls, which were ultimately going to be little fuzzy furry creatures and stuff. That was interesting, acting-wise, to try and make that seem real, but that was the last. It’s quite exhausting.”
    Neeson did reprise the character for 2019’s “Star Wars: The Rise of Skywalker”, the final film in the latest franchise trilogy, but only returned for a small voiceover role.
    He recently revealed the money he earned for the recording was donated directly to the United Nations Children’s Fund (UNICEF), for which he serves as a Goodwill Ambassador.

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