Entertainment

Joe Cross, portrayed by Joaquin Phoenix as the sheriff of Eddington, isn’t as stable as he appears. He cares deeply for his wife, Louise (Emma Stone), but she has a hesitancy towards physical touch due to a troubling event in her past. Louise’s mother, Dawn (Deirdre O’Connell), resides with them and is a firm believer in conspiracy theories, often sharing her findings with Louise.

Joe dislikes wearing masks despite the mandate, citing general stubbornness and difficulty breathing due to his asthma. While he isn’t a denier of COVID-19, he seems to downplay its impact on his area, viewing it as not a pressing concern. His personal issues stem from Ted Garcia (Pedro Pascal), the local bar owner and mayor, who has a history with Louise, wears an N-95 mask, and emanates a liberal arrogance that Joe finds irritating.

The motives behind the French bee’s actions remain unclear, but an examination of its social media profiles suggests it was a fan of Lily Gladstone. Some experts speculate that the aggression could stem from lingering resentment over the 2024 Oscars, where Gladstone won Best Actress for “Poor Things,” overshadowing Gladstone’s performance in “Killers of the Flower Moon.” Notably, Gladstone is a bee enthusiast, self-proclaimed as a “bee nerd.” She has shared her affection for bees on talk shows, recounting how she saved a bee from her dog and kept it as a pet, feeding it honey and water mix, and naming it Bee-alzabub. While no definitive link has been established between Bee-alzabub and the French bee, the connection is currently under investigation. “Killers of the Flower Moon” debuted at Cannes in 2023, which could potentially mean that Gladstone interacted with the bee or someone from its hive during that year’s festival. “Eddington,” in which Stone will appear, hits theaters on July 18.

In an intriguing moment of Wes Anderson’s new movie, The Phoenician Scheme, the main character, the formidable global magnate Zsa-Zsa Korda (portrayed by Benicio del Toro), encounters a peculiar scene that resembles the afterlife. Fresh from a brush with mortality, Zsa-Zsa finds himself present at a monochrome funeral for a deceased boy, whose body is contained within a casket. Could this be someone he knew? Could it be him? Is this a dream? As he gazes upon his long-departed grandmother seated beside him, he queries her about their surroundings. However, she does not acknowledge him. Then, unexpectedly, the boy in the coffin stirs back to life — and so does Zsa-Zsa.

In terms of creativity and over-the-top death scenes, this new film impressively broadens the spectrum without deviating from the established pattern. The unique aspect of a new “Final Destination” installment is that the opening fatality is always the most spectacular. Previously, we’ve witnessed catastrophic events such as a racetrack fire, a roller-coaster accident, a plane crash, a collapsed bridge, and, needless to say, the most legendary highway pile-up in film history. This time, however, we encounter the unsettling demolition of an upscale restaurant named Skyview, perched atop a tower reminiscent of the Space Needle. The story is set in the late 1960s, and a young woman named Iris (Brec Bassinger) is on the verge of receiving a proposal from her boyfriend. Yet, she’s surrounded by mysterious warnings. Are these genuine portents or just her anxiety from the ’60s square mentality? The elevator appears unsteady, the chefs carelessly flame dishes, Iris pricks her finger on a rose thorn, a crystal chandelier piece falls off, a boisterous band encourages a crowded dance floor to synchronize their dancing to their cover of “Shout” by the Isley Brothers, and a mischievous child tosses coins from the 499-foot tower. Each of these elements will contribute in intricate ways to the gruesome spectacle of death that is soon to unfold.

The central theme of the movie “Hurry Up Tomorrow,” directed by Trey Edward Shults and featuring the artist Tesfaye, is explored in this film. It’s intended as a companion piece or extended advertisement for the album of the same name. The movie can be described as half “Sound of Metal” and half “Misery,” but unfortunately, those films already exist. In the first half of “Hurry Up Tomorrow,” Tesfaye grapples with his deteriorating voice during a demanding tour where he’s tormented by partying associates and a questionable manager, Lee (Barry Keoghan). He’s plagued by nightmares and regret over a damaged relationship, symbolized by an ex-girlfriend played by Riley Keough who appears mainly in old iPhone memories and voicemails. She hints at his wrongdoings without explicitly stating them, leaving the nature of his mistakes unclear. It seems Tesfaye avoids confronting his own, whether real or imagined.

Starting in 1993, numerous attempts have been made worldwide to replicate the success of the renowned American sketch comedy series for local audiences, with varying degrees of success. Out of the thirteen adaptations, only Saturday Night Live Korea is still running; most were terminated within two years. The specifics about how these adaptations are related to NBC and Broadway Video aren’t explicitly stated, as NBC chose not to disclose the details of their connection. The fact that so few adaptations have been successful highlights the special blend of timing, talent, and resources that have made Michaels’ original an improbable cultural sensation. As the U.K. prepares to attempt this feat next year, let’s take a look back at the countries that have previously tried to replicate this success.

The popular musician is at present exploring a significant shift towards film and television acting, venturing into live-action roles for the first time with “Overcompensating.” Regrettably, her performances won’t be gracing Imax screens as previously speculated, as Emma Mackey was cast instead as the White Witch in Greta Gerwig’s Narnia adaptations. In the meantime, Charli XCX has seven upcoming film projects lined up, details of which are provided below.

Here’s a breakdown of all acting projects that Charli XCX is involved with and what we currently know about them:

1. “Overcompensating” – Her debut live-action role
2. (Untitled) Greta Gerwig Project – Reportedly cast as the White Witch, but Emma Mackey landed the part in the Narnia adaptations
3. Unnamed Netflix project
4. Unnamed Amazon Studios project
5. Unnamed A24 film
6. “Freaky” – A horror-comedy film opposite Vince Vaughn and Kathryn Newton, set for release on November 13, 2020
7. “The Nowhere Inn” – A mockumentary co-starring St. Vincent, with a TBA release date

These movies skillfully play with the viewers’ emotions much like Death does with its targets. The camera moves stealthily around a room, and seemingly innocuous items become chilling in their purpose, as if they have been selected by the Grim Reaper himself: a flickering match, a sharp blade, an exposed electrical wire. Activities that are typically uneventful – like taking a shower or going on a road trip – all of a sudden carry the weight of life and death importance.

In summary, Layla and her beau, Cameron, share a kiss atop a Ferris wheel. He ponders venturing into his first beer, but given his father’s religious position as a bishop, Layla remarks that he can be quite traditional in certain aspects. This sets my guard up. He expresses a preference for trying weed gummies over smoking or drinking, which I find illogical. I can only hope they capture this experience on film. Layla 2.0 doesn’t appear to tolerate foolishness easily. However, it doesn’t seem like he’s sexually satisfying her in any way. On the contrary, she mentions that she might perish without experiencing an orgasm. Layla dear, I implore you to watch the captivating series Dying for Sex. It brims with creative orgasm suggestions, and barely any of them involve penetration. Farewell, Joseph Smith, I believe you would have appreciated that intriguing scene with the chastity device.

However, Gilroy openly acknowledges the challenging aspects of creating “Andor”. His affection and pride for the series are evident, yet he’s also candid about the hard work and fatigue that went into bringing it to life. He seems to guard the show too, adding backstory and incorporating the Force, despite initial reservations about using the universe’s magical elements. After all, “Star Wars” thrives on its vast history, and if he doesn’t do it, someone else will.