Monday, May 29, 2017
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Pamela Anderson 1 Back to her Baywatch roots! Pamela Anderson kicks off her heels for a dip in the ocean while wearing fancy gown at club opening

Splash: Pamela Anderson, 49, frolicked around in the ocean at the opening of a new beach club in Marbella on Saturday

She rose to fame as the original Baywatch babe.
And Pamela Anderson turned back the hands of time as she frolicked around in the ocean at the opening of a new beach club in Marbella on Saturday.
The 49-year-old TV sensation kicked off her heels but left her gorgeous gown on as she took an impromptu dip at Playa Padre.

The ageless beauty was seen splashing around in the tide wearing the glittery gold gown she donned for the red carpet walk.
She was seen kicking up her legs as she made her way through the low tide.
The Playboy bunny threw her arms in the air and posed her svelte body like she was on a photo shoot.

Pamela Anderson 2 Back to her Baywatch roots! Pamela Anderson kicks off her heels for a dip in the ocean while wearing fancy gown at club openingOceanside stunner: The ageless beauty was seen splashing around in the tide wearing the glittery gold gown she donned for the red carpet walk Pamela Anderson 3 Back to her Baywatch roots! Pamela Anderson kicks off her heels for a dip in the ocean while wearing fancy gown at club opening

Support: Pamela leaned on friend Maria Bravo as she left the ocean

She was seen laughing and enjoying her crazy adventure in the sea.
As she emerged from the sea, she channeled a Bond girl making her first appearance in the film.
The actress’s makeup was still in tact as well as the couture number.
Pamela made her way back to shore looking a little worse for wear, but still maintaining the movie star persona.
Her hair was slicked back from the ocean water and she had sand on her feet.
Before the Baywatch reboot scene, Pamela graced the red carpet for the opening of the luxury club.
Leaving little to the imagination, the Baywatch beauty showed off some serious skin with cutaways on her hips and chest covered in just delicate diamantes.

Pamela Anderson 4 Back to her Baywatch roots! Pamela Anderson kicks off her heels for a dip in the ocean while wearing fancy gown at club opening

Flawless: The actress’s makeup was still in tact as well as the couture number

The wet look: Pamela looked every bit as good as she did when she was on Baywatch
She proved her beauty was ageless, looking the spitting image of her younger self in her Baywatch days.
The actress styled her golden tresses in the same choppy layered style as she did on set years ago.
Accentuating her beautiful features, the Home Improvement star wore a slick of dark cherry lipstick and dark eyeliner.

Pamela Anderson 5 Back to her Baywatch roots! Pamela Anderson kicks off her heels for a dip in the ocean while wearing fancy gown at club opening

Braless Pamela showed off famous curves in sexy dress at the beach club opening of Playa Padre in Marbella on Saturday

The belle of the ball was seen laughing and smiling the whole evening as she soaked up the buzz of Marbella.
She enjoyed cutting the ribbon to mark the opening of the new Spanish party venue.
Her outing comes just days before Baywatch: The Movie will hit cinemas across the UK, on Sunday.
The new flick is a comedy adaptation of the NBC drama series which propelled her into the spotlight.

Kelly Rohrbach will slip into the role Pamela played from 1992 until 1997, alongside stars Dwayne Johnson, Zac Efron and Priyanka Chopra.
Both Baywatch beauty Pamela and David Hasselhoff have secured themselves cameo roles in the upcoming release.
Meanwhile in her personal life, Pamela has been romantically linked to the founder of WikiLeaks Julian Assange.

Pamela Anderson 6 Back to her Baywatch roots! Pamela Anderson kicks off her heels for a dip in the ocean while wearing fancy gown at club openingRacy! She recently put her eye-popping cleavage on display in a very raunchy dress when she was seen embracing Jackie Stewart at the Amber Lounge Fashion Monaco event in Cannes

Binky Felstead 1 Theyve gone against it: Binky Felstead decides not to name her unborn daughter India... because someone from the Only Way Is Essex considered the same name

Not having it: Made In Chelsea star Binky Felstead, 26, reportedly decided against a baby name for her daughter – because former TOWIE star Amy Childs considered it for her child

She’s due to welcome her little bundle of joy into the world in the next couple of weeks.
But Made In Chelsea star Binky Felstead, 26, has reportedly decided against a baby name she was considering for her unborn daughter – because former The Only Way Is Essex star Amy Childs considered it for her child.
Speaking to BANG showbiz, fellow MIC star – and friend of Binky – Ryan Libbey, 26, said that the mother-to-be and her beau Josh ‘JP’ Patterson, 27, had decided to

‘They did have a name in mind for the baby but then they realised that someone else in the public eye just had a baby called the same name,’ the beefcake began.

‘It was someone from The Only Way is Essex or something like that, I can’t remember but the baby was called India.
‘They’ve gone against it purely, because someone’s beat them to it. Which I don’t know if that’s just like reasons why you shouldn’t but…’

It’s thought that Ryan was referring to the reality star Amy Childs, who had penned in her column for new! magazine that she had considered ‘India’ for her own baby, but ‘went off it’.
The Essex native has named her little girl, who was born on April 30th this year, Polly.
Meanwhile, Ryan admitted that Binky’s pregnancy is making his own girlfriend Louise Thompson broody – but they’ve got things to do before they settle down.

Binky Felstead 2 Theyve gone against it: Binky Felstead decides not to name her unborn daughter India... because someone from the Only Way Is Essex considered the same nameMystery: It is unknwn what name Binky and JP have chosen for their unborn baby
When asked whether he feels any pressure from his girlfriend, Ryan said: ‘I mean not on a serious level, JP is forever sort of cracking jokes about how he wants me to be a father, so he can go through it with someone the same age!’
‘I think it would be great to have a baby – I just don’t think either of us are quite content to park the sort of ambitions that we’ve got just yet.
‘I mean we both love travelling, we’re flying off tomorrow we’ve got a nice trip planned to Greece and Mexico. Binky Felstead 3 Theyve gone against it: Binky Felstead decides not to name her unborn daughter India... because someone from the Only Way Is Essex considered the same name
No rush: When asked about whether he was considering having a baby with girlfriend Louise Thompson, Ryan said that they weren’t ready to ‘park their ambitions’ just yet
‘These things, you just can’t really do if you’ve got a little one.’
It was also confirmed that neither he nor Louise had been asked to be Godparents, despite their on-screen close friendship.
Ryan added: ‘I don’t even know who Binky has asked to be honest. I’m not entirely sure. It’s neither me or Louise I can say that much.’ Binky Felstead 4 Theyve gone against it: Binky Felstead decides not to name her unborn daughter India... because someone from the Only Way Is Essex considered the same name
Excitement: Binky and JP are due to welcome their bundle of joy into the world within the next couple of weeks

Perrie Edwards 1 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live set

Girl power: The girls of Little Mix commanded the stage at BBC Radio 1’s Big Weekend in Hull on Sunday

They are known for showing off their figures in an array of skimpy ensembles when they take to the stage.
And the girls of Little Mix certainly showed no signs of stopping on Sunday as they commanded the stage at BBC Radio 1’s Big Weekend in Hull.
Perrie Edwards, 23, first flaunted her enviable figure and peachy derriere in skimpy leather hot pants as she belted out their hits with her glamorous bandmates Jesy Nelson, Leigh-Anne Pinnock and Jade Thirlwall.
However, it wasn’t the only reason the beauty grabbed attention on Sunday – she prompted the performance to be cut during a live radio feed after swearing.

Perrie Edwards 2 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live set

No bum notes here! Perrie Edwards, 23, first flaunted her enviable figure and peachy derriere in skimpy leather hot pants – but shocked fans by swearing during a performance of their song Down and Dirty

While singing Down and Dirty, Perrie obviously forgot to sing the PG-rated lyrics, belting out: ‘F*** that, get down and dirty!’
Radio 1 host Matt Edmonson had to apologise to viewers listening on the radio after the slip-up, saying: ‘So…apologies there, sincere apologies for any bad language you might have heard.
‘Obviously that was not intended to go out on the radio.’

However, the blonde managed to win back the crowd as she proved why she has caught the attention of her footballer boyfriend Alex Oxlade-Chamberlain.
Pulling in at her petite waist and rising high at her thigh, the PVC briefs gave a large glimpse of her enviably peachy derriere as she writhed and danced for the crowd.
Only making her look saucier, she paired the shorts with a sexy pair of black fishnets and a cropped lime jumper – leaving her toned stomach on full display.

Perrie Edwards 3 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live setRevealing: Only making her look saucier, she paired the shorts with a sexy pair of black fishnets and a cropped lime jumper – leaving her toned stomach on full display Perrie Edwards 4 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live setLeggy lady: She further drew attention to her enviable figure with a pair of black fishnet tights Perrie Edwards 5 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live setAttitude: Perrie looked effortlessly cool as she performed their typically sassy tracks for the crowd Perrie Edwards 6 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live setSay cheese! Perrie beamed widely at fans as she sang up a storm onstage
Lengthening her leggy figure further, the beauty tied her look together with a risqué pair of thigh-high boots, which laced all the way up the front like a corset, as she performed a selection of fierce and feisty dance moves with her girls.
Proving her natural beauty, she pulled her tresses back into trendy braids to display her radiant complexion – accentuated with a dark smoky eye – and flashed a beaming smile at the crowds as she belted her heart out onstage.
Meanwhile bandmate Jade Thirlwall put on an equally sizzling display in grungy camo trousers and a saucy leather bralet, to tease at her cleavage and show off her taut abs for all to see. Perrie Edwards 7 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live set
Best foot forward: The beauty tied her look together with a risqué pair of thigh-high boots, which laced up the front, as she performed a selection of fierce and feisty dance moves
Perrie Edwards 8 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live setBlondes have more fun! Stealing the attention later on was Jesy Nelson, who dazzled with both her show-stopping figure and new blonde ‘do
Cascading down her back in loose curls, Jesy looked truly stunning as she crouched down onstage to chat to some of their adoring fans stood right at the front.
Finishing the fierce four-piece was Leigh-Anne Pinnock, who performed in nothing but an oversized neon T-shirt, tightened by a utility-style harness to cinch in at her impressively honed figure.
Accessorising with the same boots as Perrie, the beauty showed off her leggy figure as well as her killer vocals to all as she joined her girls onstage for another winning set. Perrie Edwards 9 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live set Perrie Edwards 10 Perrie Edwards puts on a cheeky display in saucy leather hot pants as Little Mix storm the stage at Radio 1s Big Weekend... before she SWEARS during live set
Transformed:Sporting hot pants to match Perrie’s to flaunt her long and lean legs, it was instead the Essex native’s new golden locks that took centre stage

pirates 5 carina Pirates of the Caribbean: Dead Men Tell No Tales (2017) Movie Review

A pickled Johnny Depp dons the eyeliner again, this time fleeing an immortal pirate-hunter played by Javier Bardem.

Looking quickly at the prospectus for Pirates of the Caribbean: Dead Men Tell No Tales, in which the son of the series’ Orlando Bloom and Keira Knightley characters joins forces with a mysterious orphan to master the sea’s arcane mysteries and do what his forebearers could not, you might well label it Pirates: The Next Generation. But unlike the Star Trek franchise-extender, this one is nowhere near bold enough to think it can dispense with its aging protagonist: Johnny Depp’s cartoonishly louche Keith Richards-meets-Hunter Thompson pirate Jack Sparrow, the globally recognized caricature who by now feels (appropriately) more like a theme-park mascot than a Hollywood swashbuckler.

Depp remains wholeheartedly the focus of this fifth Pirates film, and saying the character’s loopy novelty has faded is like complaining that there are maggots in the below-decks gruel: You knew what you were getting when you came aboard. Despite its limp zingers and a phoned-in star performance, this episode — directed with little distinction by Joachim Ronning and Espen Sandberg, of 2012’s Kon-Tiki — hits enough familiar notes to continue its predecessors’ commercial success, keeping a small city’s worth of VFX artists employed until Depp decides he can’t be bothered anymore.

Like the series’ heroes, who are always coping with malicious spells cast by ancient Aztecs, Davy Jones or overeager corporate executives, these films are saddled with an exotic curse: The first Pirates was simply much more fun than any movie based on a tarted-up kiddie ride should be, and attempts to recapture that sense of surprise are doomed to look desperate or hacky. The closest the sequels ever get is in their state-of-the-art imagining of storybook wonder, where a very high bar was set the first go-round. Remember those accursed sailors in the first pic who, when seen in moonlight, were revealed to be skeletons? Tell No Tales gives us a crew, led by Javier Bardem’s Captain Salazar, who look like you attacked each one indiscriminately with a digital eraser — turning an elbow and forearm to thin air, for instance, while a sword-wielding hand still moves out there where it should be. Some of his men lack jaws or cheekbones or even entire heads, but Salazar has his full set of mandibles, which he enthusiastically uses to chomp down on any nearby scenery.

Salazar is this film’s central antagonist, who at the start descends on a Royal Navy vessel that has sailed too close to the Devil’s Triangle. “Who are you?” a terrified sailor asks. “Deeeaaath,” Salazar croaks. Salazar kills all the crew but one: Henry (Brenton Thwaites), the now-grown son of Bloom’s Will Turner and Knightley’s Elizabeth Swann. And when it emerges that Henry has been seeking Dad’s old mate Jack Sparrow, Salazar gives him a message to carry to the man whose magic compass is somehow the key to his eternal imprisonment: I’ll be whole again someday, and when I am, you’re dead.

Not long after, we watch Captain Sparrow barter that magic compass for a bottle of booze on the island of Saint Martin. He has just suffered through a fairly ridiculous bank robbery-gone-wrong, a bombastic farce that appears to have cost him the few mates who’d remained loyal to him and introduced him to some new ones: Henry, who wants to help Sparrow find Poseidon’s trident — which has the power to “break any curse at sea,” including the one that condemned Will Turner to eternal duty on the Flying Dutchman; and Carina Smyth (Kaya Scodelario), a self-taught astronomer in possession of a magic book that might show the way.

Scodelario, of the Maze Runner films and Andrea Arnold’s Wuthering Heights, is just about the only member of the cast who seems to believe she’s expected to be more than a thin generic functionary or flamboyant scene-stealer. Which is unfortunate, given how Jeff Nathanson’s screenplay sometimes treats her. In her first scene, Carina is in prison awaiting execution (something about witchcraft, of course), and while she’s fully capable of picking the lock of her cell, she waits to do so until a priest comes to hear her last words. Why? Presumably because there’s no other way to show she’s a badass. When her escape thrusts her into the mayhem Sparrow’s creating outside, she insists to him that she’s not looking for trouble. “What a horrible way to live,” Depp quips soggily, and viewers will recall times at which the actor might have made that funny and charming.

Things proceed noisily from here, as the pursuit of the Trident attracts the attention of old Captain Hector Barbossa (Geoffrey Rush), who was practically choking on riches before Salazar escaped the Devil’s Triangle and started killing all the pirates he found. Whether he’s on Sparrow’s side or not is always in question. But Rush will wind up the focus of one of the picture’s more satisfying set-pieces, a fantastical escape evoking everything from The Ten Commandments to the endearingly cheesy blacklight decorations that turn cheap amusement-park attractions into spooky realms of mystery. However manipulative this climactic sequence may be, you can see how it might convince a better-than-this thespian to believe he can have some fun while earning that gigantic paycheck. As for what might draw Bloom and, briefly, Knightley back to the screen, doing nothing other than linking the first few movies to the ones Disney hopes will come? See the aforementioned paycheck.


Production companies: Walt Disney Pictures, Jerry Bruckheimer Films
Distributor: Walt Disney Pictures
Cast: Johnny Depp, Javier Bardem, Brenton Thwaites, Kaya Scodelario, Kevin R. McNally, Golshifteh Farahani, David Wenham, Stephen Graham, Orlando Bloom, Geoffrey Rush
Directors: Joachim Ronning, Espen Sandberg
Screenwriter: Jeff Nathanson
Producer: Jerry Bruckheimer
Executive producers: Mike Stenson, Chad Oman, Joe Caracciolo, Jr., Terry Rossio, Brigham Taylor
Director of photography: Paul Cameron
Production designer: Nigel Phelps
Costume designer: Penny Rose
Editors: Roger Barton, Leigh Folsom Boyd
Composer: Geoff Zanelli
Casting directors: Nikki Barrett, Susie Figgis, Ronna Kress

Rated PG-13, 129 minutes

baywatch Baywatch (2017) Movie Review

Dwayne Johnson and Zac Efron star in this big-screen adaptation of the hit television series about lifeguards.

Andy Warhol got it wrong. It’s not that everybody will be world-famous for 15 minutes; it’s that all moderately successful, mediocre television shows are destined to be reborn as feature films. The latest example of the distressing trend attempts to wink knowingly at its inspiration. But a character acknowledging that the proceedings resemble an “entertaining but far-fetched TV show” isn’t enough to make Baywatch anything more than the cynical cash grab that it is.

That the film’s guiding creative ethos was apparently to push the envelope and go for an “R” rating becomes painfully clear. The endless profusion of F-bombs seems to indicate that the screenwriters must have thought they would be paid per use. The raunchy humor extends to gay-panic gags strangely similar to the ones found in the recent, similarly misbegotten CHIPSBaywatch strains for a vulgarity that never comes remotely close to being funny. Unless, that is, you find the idea of Zac Efron manipulating a dead man’s genitals hysterical.

Dwayne Johnson plays Mitch (David Hasselhoff in the original series), the no-nonsense leader of the Baywatch team, which also includes two newbies: Matt Brody (Efron), a two-time Olympic gold medal-winning swimmer whose irresponsible, hedonistic ways instantly rub Mitch the wrong way; and Ronnie (Jon Bass), the pudgy lifeguard-in-training whose helpless crush on a gorgeous colleague becomes improbably reciprocated.

The plot, such as it is, concerns the Baywatch team springing into action to counter a wave of drugs sweeping the area, masterminded by resort owner/villainess Victoria Leeds (Quantico‘s Priyanka Chopra). That the lifeguards are not actually responsible for law enforcement, as they’re periodically reminded by an aggravated local cop (Yahya Abdul-Mateen II of The Get Down) proves little deterrent to their enthusiasm for crime-solving.

The fact that one of the film’s extended comic set-pieces involves Ronnie becoming involved in a “stuck junk” emergency when his genitals get trapped in a beach chair should tell you all you need to know about its level of humor. The causal throwaway gags are actually far funnier, such as Mitch’s belittlingly addressing Matt with a series of nicknames including “Malibu Ken” and, most amusingly, “High School Musical.”

Johnson and Efron possess impressive muscles, but the performers have never done as much heavy lifting as they do here. And to their credit, they succeed to some degree. Johnson employs his big toothy grin, effortless charm and surprising comic gifts to make the film almost watchable. And Efron — who has come to rely on his obnoxious frat-boy shtick far too often — takes off his shirt … a lot.

Of course, you would expect nothing else from this movie based on a TV series that became famous for slow-motion shots of star Pamela Anderson jiggling down a beach in her bikini. That naturally inspires one of the film’s running gags, with swimsuit model Kelly Rohrbach, playing CJ Parker, effectively filling in Anderson’s shoes (or lack thereof). But while the female form is on ample display here — courtesy of not only the comely Rohrbach, but also Alexandra Daddario (San Andreas) and Ilfenesh Hadera (Billions) as CJ’s female colleagues at Emerald Bay — Johnson’s massive physique and Efron’s washboards abs receive equally generous exposure.

Similarly, the film, directed by Seth Gordon (Horrible Bosses, Identity Thief), shows off its big budget with large-scale action sequences — including the team rescuing several scantily clad women from a burning yacht, a Jet Ski chase and Efron causing havoc on a pier while riding a motorcycle — but none of them has much impact.

Naturally, there are brief appearances by original stars Hasselhoff (who seems to be making ironic cameos his late-career specialty) and Anderson, but those, too, are underwhelming. Anderson’s is so fleeting, in fact, that you wonder why it was even included.

A big-screen reboot so lifeless and mechanical that even its end-credits outtakes are not amusing, Baywatch proves much less than the sum of its undeniably attractive body parts.

Production companies: Paramount Pictures, Flynn Pictures Company, Fremantle Productions, The Montecito Picture Company, Seven Bucks Productions, Skydance Media, Uncharte
Distributor: Paramount
Cast: Dwayne Johnson, Zac Efron, Priyanka Chopra, Alexandra Daddario, Kelly Rohrbach, Ilfenesh Hadera, Jon Bass, Yahya Abdul-Mateen II, Hannibal Buress, Rob Huebel, Oscar Nunez, David Hasselhoff, Pamela Anderson, Charlotte McKinney, Izabel Goulart
Director: Seth Gordon
Screenwriters: Damian Shannon, Mark Swift
Producers: Beau Flynn, Ivan Reitman, Michael Berk, Douglas Schwartz, Gregory J. Bonann
Executive producers: Michele Berk, Mary Rohlich, Louise Rosner-Meyer, Tom Pollock, Ali Bell, Dwayne Johnson, Dany Garcia, David Ellison, Dana Goldberg, Don Granger
Director of photography: Eric Steelberg
Production designer: Shepherd Frankel
Editor: Peter S. Elliot
Costume designer: Dayna Pink
Composer: Christopher Lennertz
Casting: John Papsidera

Rated R, 116 minutes

untitled lucy walker buena vista social club documentary Buena Vista Social Club: Adios (2017) Movie Review

Two decades after its unlikely revival, Lucy Walker’s doc bids goodbye to the Cuban all-star group.

Produced during the shocking success of 1997’s Buena Vista Social Club album — the phenomenally popular collection of newly recorded Cuban roots music — Wim Wenders’ documentary of the same name offered both fans and newcomers the joy of seeing brilliant elderly musicians rescued from obscurity. For most Americans, the record/film was both an introduction to a genre they hardly knew and a direct encounter with its progenitors — like discovering rockabilly just in time to see Johnny Cash and Jerry Lee Lewis give their last great concerts.

Two decades later, Lucy Walker’s Buena Vista Social Club: Adios offers a very different kind of experience: “a fond farewell,” supporters would say, “milking the last penny out of the brand,” cynics would snort. The truth is somewhere in the middle for this muddled outing. Though it offers new biographical tidbits about its charismatic stars, they are too few to justify returning to the well, with years of copycat docs — digging up everyone from Pakistani classical musicians to retired Motown session men for one last big concert — making this format much less of a sure thing than it once was. Familiarity will ensure some attention in limited theatrical bookings, but in the video marketplace, it shouldn’t compete much with the first film.

Walker joins recently shot interviews of the few core BVSC members who survive with copious footage shot during the first project, adding concert material and vintage clips as needed. She does tease out some enjoyable character-revealing stuff. During prep for the group’s first big concert — in 1998, when their megastardom wasn’t yet established — we catch a too-proud Compay Segundo arguing that no machine is going to tell him his guitar’s not in tune. (It isn’t.) In the present day, singer Omara Portuondo gets a stretch to talk about her long friendship with Ibrahim Ferrer, who was stuck singing backup for others while she made the leap to a solo career in the ’60s. We get to hear Barbarito Torres, “the Jimi Hendrix of laúd,” recall the 1996 recording sessions, when producer Ry Cooder gave him a cassette of an old song he loved and asked him to copy the solo on it; after listening, Torres explained that he didn’t have to copy it. The recording was of him.

Toward the end, though, the doc takes on a maudlin air. It shows us Segundo’s funeral, watches a very ill Ruben Gonzalez as he hobbles across a stage to receive some award, et cetera.

It may be true, as we’re told, that Ferrer insisted on singing what turned out to be his last show, despite suggestions that he cancel due to poor health. (He wound up needing to use an oxygen tank after every second song.) And those who saw that show may have felt an intimate connection with the faded star. But it’s a disservice to the memory of this graceful, seductive performer to offer footage of that sad concert here. After Adios, many longtime fans will want to chase the taste away with a stiff shot of the old stuff.buena vista social club adios 1 Buena Vista Social Club: Adios (2017) Movie Review

Production companies: Broad Green Pictures, Blink TV, Convergent Media
Distributor: Broad Green Pictures
Director: Lucy Walker
Producers: Julian Cautherley, Christine Cowin, Asher Goldstein, Zak Kilberg, Victor Moyers
Executive producers: Andrew Baker, Daniel Hammond, Gabriel Hammond, Bill Lord, Jason Lust, Russell Smith, Lucy Walker, Wim Wenders
Directors of photography: Enrique Chediak, Lucas Gath
Editors: Pablo Proenza, Tyler Temple Higgins

In Spanish and English

Rated PG, 110 minutes

it comes at night It Comes at Night (2017) Movie Review

Trey Edward Shults follows up his debut feature, ‘Krisha,’ with a minimalist deep dive into apocalyptic horror starring Joel Edgerton, Christopher Abbott, Carmen Ejogo and Riley Keough.

As he did in the stunner Krisha, Trey Edward Shults confines most of the action in his sophomore feature to the interiors of a private home. But in It Comes at Night, that house is not just a cauldron of domestic tensions, but a fortress against a dangerous world. Set in an unspecified very-near future, when a mysterious plague has apparently decimated the population, the story of a family defending itself against whatever’s out there grabs you by the throat from its first, wrenching moments and doesn’t let go.

The film confirms that Shults, working again with DP Drew Daniels, has a sure and fluent grasp of cinematic storytelling, his stripped-down narrative pulsing with dread and emotion. An outstanding ensemble gives life to every fraught word and anxious silence of the apocalyptic nightmare, with especially powerful performances from Joel Edgerton, as a family’s hyperalert patriarch, and Kelvin Harrison Jr., as the son who senses the limits of his family’s stand against disaster.

Seventeen and immersed in a struggle against death before he’s had a chance to live, the quietly watchful Travis (Harrison) is devastated by the killing that opens the film, an act of self-preservation as much as a mercy killing. After words of loving farewell from Travis’ mother, Sarah (Carmen Ejogo) — words muffled by the gas mask she’s wearing — his grandfather (David Pendleton), unable to speak, struggling to breathe and bearing the telltale lesions of the fatal sickness, is carted out to the woods by Paul (Edgerton), who shoots him and promptly incinerates his body.

Having plunged the viewer directly into the grip of crisis, Shults tightens the vise while expanding the number of characters. In a tense standoff that begins with the surreal edge of one of Travis’ chronic nightmares, the rural stronghold is invaded by Will (Christopher Abbott), who says he’s traveled 50 miles in search of water for his family. The ever-vigilant Paul’s effort to determine whether Will is lying briefly puts the two men on the road and demonstrates through a brutal, grippingly filmed encounter that there are other survivors in the vicinity. Compelled by self-interest more than compassion, Sarah convinces Paul that Will, Kim (Riley Keough) and their very young son, Andrew (Griffin Robert Faulkner) — not to mention their chickens and goats — should move in with them. Unless they join forces with the other family, she insists, they’ll be sitting ducks, targeted for their house and their water supply.

However carefully Paul articulates his and Sarah’s rules and expectations, the arrival of this younger, less-inhibited family upends the domestic order they’ve constructed to ward off madness and despair. For Travis, their arrival is a welcome vision of possibility. Since the death of the teen’s grandfather, his elderly dog, Stanley (played by Mikey), has been his only confidant in the household. The newcomers, Kim in particular, awaken and complicate his unexpressed adolescent longings. Eavesdropping on them, he finds a welcome spark of joy, but the things he sees and overhears eventually set off a decisive showdown — one that Shults and Daniels introduce with a remarkable pairing of close-ups across a tense kitchen table: on one side the sweet-faced, barely articulate Andrew, on the other, the skeptical Paul.

The mistrust that infects all the adults, as surely as the nameless sickness, grieves Travis, who’s at the center of it all, whether he’s rushing out into the woods after Stanley or silently watching from a corner of a dark room. With his riveting performance, Harrison wordlessly conveys how the boy is drawn to the instinctive, physical Will and repelled by his history-teacher father — a natural phase of his development that’s amplified by Paul’s edicts and mercy killings in their unspeakable comes at night ver2 It Comes at Night (2017) Movie Review

Working in upstate New York, Texas native Shults gives the rural setting a heart-pounding intensity. Daniels’ camera roves over a winding dirt road with the same foreboding that it conjures within the rustic house where most of the action unfolds. There’s a dreamlike, terrifying beauty to the cramped, lantern-lit nighttime interiors designed by Karen Murphy: the empty attic where Travis can listen unseen, the long nightmare of a corridor, the framed Brueghel (depicting a plague), the omen of a heavy red door. Brian McOmber’s tormented heartbeat of a score heightens the horror every step of the way.

With his fine cast and his gracefully restrained screenplay, Shults makes horror recognizable. The “It” of his title is no less a mystery at film’s end than when the story opens with the sound of an old man’s labored breath. But in the movie’s dark rooms, the director illuminates tough questions: What does it mean to be a “good person,” as Will calls Paul during their first, wary conversation? What does it mean to protect your family at all costs, and when does survival become meaningless?

Production company: Animal Kingdom
Distributor: A24
Cast: Joel Edgerton, Christopher Abbott, Carmen Ejogo, Riley Keough, Kelvin Harrison Jr., Griffin Robert Faulkner, David Pendleton
Director: Trey Edward Shults
Screenwriter: Trey Edward Shults
Producers: David Kaplan, Andrea Roa
Executive producer: Joel Edgerton
Director of photography: Drew Daniels
Production designer: Karen Murphy
Costume designer: Meghan Kasperlik
Trey Edward Shults, Matthew Hannam
Composer: Brian McOmber
Casting director: Avy Kaufman

Rated R, 97 minutes

war machine War Machine (2017) Movie Review

Brad Pitt plays a General McChrystal-like figure in David Michod’s satirical war film, co-starring Ben Kingsley and Tilda Swinton.

The latest addition to the gallery of darkly comic films designed to make the case for the absurdity of war, War Machine has trouble maintaining a steady tone, but its climactic, sobering assault ultimately hits the target. In his desire to simultaneously portray and mock the authority figures in charge of the American war effort in Afghanistan (now the longest armed conflict in American history), writer-director David Michod is clearly trying to channel the Stanley Kubrick of Dr. Strangelove, as well as other satiric works like M*A*S*H, Catch-22, Slaughterhouse-Five, Three Kings and Wag the Dog. Despite its troublesomely inconsistent tone, this Netflix presentation starring and co-produced by Brad Pitt, which will premiere Friday in theaters as well as on home screens, still discharges sufficient firepower to keep viewers pinned to their chairs.

After his striking debut with the ferocious Australian gangster tale Animal Kingdom and the bleak dystopian action drama The Rover, Michod employs his biggest canvas yet on behalf of this adaptation of the late Michael Hastings’ stinging 2012 book, The Operators: The Wild & Terrifying Inside Story of America’s War in Afghanistan. And how could the result be anything but a head-shaking lament for the way the best and the brightest, once again, think they have the answer for how to win a counterinsurgency war against enemies who aren’t going anywhere, while everyone knows the occupiers will one day pack up their tents and head home?

As have some of his august directorial forebears, Michod works in a muscular, vigorous style that attempts to merge black comedy with grim and violent realism. The former is rather too broadly insisted upon at the outset by the borderline outlandish smirking of Brad Pitt as General Glen McMahon, a Yale-educated, medal-festooned veteran who assures one and all that, after eight years of American involvement in the country, “We’ll win this thing!” Yee-haw! Yes, sir! Right away, sir!

The way a platinum-haired, ultra-buff Pitt plays him, McMahon comes off as something of a freak at first, a man who runs seven miles before breakfast, barely sleeps and insists that the U.S. will ultimately prevail, not thanks to immense firepower, but because of the “unassailable power of our ideals.” Although President Barack Obama has already stated that no more troops will be sent into the godforsaken conflict, McMahon insists upon 40,000 to do the job. The number the general eventually gets is a lot closer to his than to the president’s.

It helps to know that McMahon is all-but-in-name the very same as the outspoken four-star General Stanley A. McChrystal, who commanded U.S. forces in Afghanistan in 2009-10 until he was fired by Obama. First things first: McChrystal looks nothing like Brad Pitt. Second, fictionalizing a character you’re deriding helps avoids lawsuits. But it’s worth pondering whether Michod was constrained in perhaps less visible ways by a need to adhere to some degree to the truth of actual events, while the writers and directors of the war satires mentioned earlier were not, by virtue of their thoroughly fictional characters and stories.

Whatever the case, Pitt initially overdoes the man’s snide and cocky attitude; either that, or Michod fails to adequately match the tone of his storytelling to the actor’s performance. Either way, the director at times leaves his star (and producer) out there high and dry. As a result, even though the early going effectively plunges the viewer right into the hubristic mindset the general customarily projects, the film’s wavelength is initially hard to pin down.

Surrounding the boss is a full supply of sycophants and yes-men, most of whom are a hair too ridiculous at first to be fully credible as the most trusted aides of such an accomplished figure: There’s personal assistant Willy Dunne (Emory Cohen), marketing contractor Matt Little (Topher Grace), intel officer and the boss’ lone contemporary Greg Pulver (Anthony Michael Hall) and security guy Pete Duckman (Anthony Hayes), among numerous others.

To everyone’s astonishment, the general announces that the first and main thrust of his battle plan will be to “turn things around” in the Helmand province, a Taliban stronghold where there’s no known resistance; it’s the toughest corner of the country. Well, okay, his subordinates all figure, the good general must know something they don’t. He meets with Afghan President Karzai, who’s played by Ben Kingsley in such a broadly farcical manner that it looks like he’s channeling John Belushi. Karzai has seen and heard it all from the Americans a million times before; there’s no solution here, his attitude suggests, so he’s just going to take the money and run.

But after a lot of revving its engines and sometimes sputtering smoke, War Machine finally begins running on all cylinders. A spin through European capitals not only allows the general some rare time with his outwardly supportive wife (Meg Tilly) but provides sidelines on life among the top brass not normally dramatized, such as the awkward state dinners in edifices built by and for royalty — and, especially, a humorously dismaying interlude in which McMahon is tremendously inconvenienced and made to wait by Obama before being rudely snubbed by him. It’s the sort of wonderful detail you never read about in the news.

During the continental stay, the general also holds a news conference, at which he’s grilled and drilled by a skeptical German (Tilda Swinton, in just the one, highly effective scene). After all the wheel-spinning in Europe, it could almost come as a relief to be back on home ground, so to speak, in Afghanistan, where the general immediately announces it’s time to move in.

It’s here, finally, that the film entirely clicks. With Michod framing and editing the action superbly, the soldiers’ entry into a seemingly emptied-out town is tense and creepy. There are casualties, platitudes are dispensed, but the locals just want the Americans to leave.

And for McMahon, it all comes apart. As McChrystal did in real life, the man says too much, deriding Obama to a Rolling Stone reporter, and is canned after Hastings’ inflammatory article “The Runaway General” appears in July 2010. Both the general and the president get to move on, but what’s left behind is yet another frustrating, ill-advised and still-unresolved military adventure.

The film’s scabrous, sometimes-arch, other times spot-on critique ultimately comes together in an effective finale that retroactively puts a better light on the entire film than might have seemed possible during some of the earlier, rougher moments. There’s also constant pleasure to be taken from the way the film was made; it’s rough and bold, great to look at (cinematographer Dariusz Wolski is in top form) and enhanced by a varied, resourcefully thought-out soundtrack.

And, when all is said and done, it’s impossible to think of anyone as good as Pitt to play the off-the-leash general.

Production: Plan B Entertainment
Distributor: Netflix
Cast: Brad Pitt, Emory Cohen, RJ Cyler, Topher Grace, Anthony Michael Hall, Anthony Hayes, John Magaro, Scott McNairy, Will Poulter, Alan Ruck, Lakeith Stanfield, Josh Stewart, Meg Tilly, Tilda Swinton, Ben Kingsley, Griffin Dunne
Director-screenwriter: David Michod, based on the book
The Operators: The Wild & Terrifying Inside Story of America’s War in Afghanistan by Michael Hastings
: Brad Pitt, Dede Gardner, Jeremy Kleiner, Ted Sarandos, Ian Bryce
Executive producers: James W. Skotchdopole, Pauline Fischer, Sarah Bowen, Sarah Esberg
Director of photography: Dariusz Wolski
Production designer: Jo Ford
Costume designer: Jane Petrie
Editor: Peter Sciberras
Music: Nick Cave, Warren Ellis
Casting: Francine Maisler

122 minutes

The Square 1 The Square (2017) Movie Review

‘The Square’/Courtesy of Cannes Film Festival

Claes Bang and Elisabeth Moss star in Ruben Ostlund’s satire tackling Swedish art, commerce, politics and national identity.

Swedish writer-director Ruben Ostlund takes modern society’s temperature and finds it dangerously overheated in the madly ambitious and frequently disquieting The Square. Following his unnerving 2014 international hit Force Majeure with a work that addresses some of the world’s pressing ills with very dark and queasy comedy, Ostlund juggles quite a few balls here, arguably a few too many to keep them all airborne for nearly two-and-a-half hours; some significant cutting would unquestionably improve the film’s critical and commercial prospects. But it’s still a potent, disturbing work that explores the boundaries of political correctness, artistic liberty and free speech in provocative ways and should receive significant exposure internationally.

White liberal guilt is probably a relatively new phenomenon in historically all-white Sweden, but the local version of that concept is what drives much of the drama here. Waves of immigrants over the last couple of decades have altered the face and dynamics of the citizenry, giving rise to inequities, mistrust and fears more familiar to other countries in the West.

Ostlund digs into the matter through the perspective of a sophisticated, highly educated and instinctively liberal art museum curator. Tall, good looking and tolerant as a matter of course, and quite keen to remain on the cutting edge of artistic movements, the no doubt not-accidentally-named Christian (Claes Bang, from Swedish television’s The Bridge) is currently overseeing one project that reflects his social concerns: It’s a space called The Square, a sanctuary  where anyone entering it is supposed to abide by humanitarian values rooted in the Golden Rule and equal dignity for all.

But it takes no time for things to go haywire. A bizarre public incident in which he admirably protects a hysterical woman from an angry man concludes with Christian finding that he’s had his phone and wallet stolen in the process. Led to believe that the culprit resides at a particular address in a dodgy part of town, he leaves letters requesting his belongings’ return at each apartment in the building. Lo and behold, he soon gets them back intact, and his immediate reaction is to unload a lot of money on the first homeless beggar he encounters.

So far-out is some of the stuff that goes on at the X-Royal Museum that it momentarily looks as though the film will emerge as a full-fledged comedy, but it’s the mix of mordant humor and sulfurous weirdness that defines its true nature. Christian’s private life remains little explored for a long while, until he finally engages in a one-night stand with an American journalist (Elisabeth Moss), earlier seen conducting an inept interview with him, who later attempts to engage in a far more uncomfortable sort of probing; she also seems to have a chimpanzee as a flat-mate.

Similarly long undisclosed is the existence of Christian’s two daughters, who barely speak to him anyway once he’s forced to keep them for a spell. But it’s a couple of the man’s young, cutting edge-obsessed museum colleagues who end up causing him the most trouble with behavior that casts the discussion of freedom of expression versus social responsibility in the most vivid light.

Hovering over Christian throughout like a dark threatening cloud is the lingering aftermath of the early robbery incident, which also involves the spectre of racial and social prejudice. What’s perhaps most impressive about Ostlund’s evolving style as a filmmaker and social commentator is his compulsion to enrich every scene he creates with a multitude of tones and nuances across the serio-comic spectrum. He’s like a virtuoso chef driven to try increasingly wild combinations of spices and ingredients; often the result is terrific, once in a while it’s too much.

An arguable example of the latter is an out-of-nowhere set-piece, featuring almost none of the main characters, in which a gala dinner attended by mostly gray-haired crowd art patrons is theoretically entertained by a wild, bare-chested man (the notable stunt coordinator and “animal actor” Terry Notary) romping threateningly through the dining hall. Good humored about the act at first, the audience shortly comes to feel genuinely endangered, and the director, with Notary’s great help, really cranks up the suspense. But it goes on and on, to the point where you can only wonder what’s become of the security guards, or even the wait staff, for this elderly crowd.

Although there’s much about his character we don’t ever learn,  Bang carries the film capably and production values are rich.  Predominant Swedish dialogue is spiked with a good bit of English.

Venue: Cannes Film Festival (competing)

Production: Platform Produktion, Essential Films, Parisienne

Cast: Claes Bang, Elisabeth Moss, Dominic West, Terry Notary, Christopher Laesso

Director: Ruben Ostlund

Screenwriter: Ruben Ostlund

Producers: Erik Hemmendorff, Philippe Bober

Executive producers: Tomas Eskilsson Agneta Perman, Dan Friedkin, Bradley Thomas

Director of photography: Fredrik Wenzel

Production designer: Josefin Asberg

Costume designer: Sofie Krunegard

Editors: Ruben Ostlund, Jacob Secher Schulsinger

Casting: Pauline Hansson

148 minutes

box office 1 Box Office: Pirates 5 Sails for $77M U.S. Bow; Baywatch Belly Flops

Left, courtesy of Walt Disney Studios Motion Pictures; Right, courtesy of Paramount Pictures
‘Pirates of the Caribbean 5,’ ‘Baywatch’

Overseas, ‘Pirates of the Caribbean: Dead Men Tell No Tales’ found plenty of treasure with a huge $208 million debut for an estimated global launch of $285 million-plus; ‘Baywatch’ marks a rare miss for Dwayne Johnson.

The waters are choppy at the Memorial Day box office.

Disney’s Pirates of the Caribbean: Dead Men Tell No Tales is easily winning the four-day holiday regatta with an estimated $76.6 million from 4,276 theaters, while Baywatch is belly flopping with a projected $22 million in a rare miss for Dwayne Johnson, who stars alongside Zac Efron in Paramount’s R-rated adaptation of the classic TV show.

Pirates 5, returning Johnny Depp in the lead role as the zany Captain Jack Sparrow, is being billed as the final chapter in the storied franchise and is pacing behind the last three installments in the U.S. In terms of Memorial Day openings, it ranks No. 11, not adjusting for inflation. Pirates of the Caribbean 3: At World’s End (2007) remains the holiday record-holder with $139.8 million, while Pirates of the Caribbean 4: On Stranger Tides opened to $90.2 million over the May 20-22 weekend in 2011, a non-holiday.

Final Friday-Monday estimates for all films will be updated tomorrow.

Franchise fatigue among U.S. consumers is a huge concern for Hollywood, and Disney is counting on Pirates 5 doing huge business overseas to make up for any deficit closer to home. The movie, costing north of $200 million to make before a major marketing spend, is already finding plenty of treasure overseas with an  international opening of $208.4 million for an estimated global launch of $285 million through Monday, if not north of $300 million.

China — where the movie’s world premiere was held — leads with $67.8 million, more than the entire runs of the last two films in the franchise, based on the storied Disney theme park attraction. Imax theaters turned in $24 million globally, including $9 million in China.

“We’re making movies for a global audience. This is one of the most prolific franchises in history, and will cross $4 billion in combined box-office revenue today. That is extraordinary by any measure,” said Disney distribution chief Dave Hollis, whose studio is also celebrating crossing $1 billion in 2017 domestic ticket sales, the first studio to do so this year. Hollis added that Pirates 5‘s domestic opening will come in about 15 percent behind Pirates 4, a respectable drop.

Joachim Ronning and Espen Sandberg, who helmed the breakout international darling Kon-Tiki, directed Pirates 5. Starring alongside Depp are Javier Bardem, Brenton Thwaites, Kaya Scodelario, Kevin R. McNally, Golshifteh Farahani, David Wenham, Stephen Graham, Orlando Bloom and Geoffrey Rush.

The franchise has never been a favorite of critics, outside of the first film, with Dead Men Tell No Tales currently sporting a 32 percent fresh rating on Rotten Tomatoes, roughly on par with the last installment, 2011’s Pirates of the Caribbean: On Stranger Tides. Moviegoers liked it far more, giving the film an A- CinemaScore.

Baywatch, directed by Seth Gordon, fared even worse among reviewers, with an 18 percent rating on Rotten Tomatoes.

Paramount and Skydance decided to get a jump on the holiday weekend and launch Baywatch on Thursday. The movie is looking at a five-day debut of just $26.6 million from 3,647 theaters. Adding insult to injury, Disney and Marvel’s Guardians of the Galaxy Vol. 2 is expected to beat Baywatch for the four-day weekend with $26 million, compared to Baywatch‘s estimated $22 million.

Heading into the holiday, pre-release tracking had suggested the comedy would clear $42 million or more for the five days, although some services lowered their estimates to $37 million late last week. Audiences bestowed Baywatch with a B+ CinemaScore. The movie skewed slightly female (52 percent) on Thursday, while 45 percent of ticket buyers were under the age of 25.

“I think reviews did hurt the film, which scored great in test screenings. Maybe it is a brand that relied on a positive critical reaction more than we recognized. But we do feel bullish about the international marketplace, where Baywatch opened this weekend in Taiwan to great numbers and well ahead of 22 Jump Street and Central Intelligence,” Paramount marketing and domestic distribution president Megan Colligan said.

Baywatch opens in earnest overseas next week.

There is certainly precedent for programming Memorial Day with R-rated comedies; The Hangover Part II debuted to $103.4 million over the holiday in 2011, followed by $50.3 million for The Hangover Part III in 2013 and $36 million for Sex and the City 2 in 2010.

Baywatch, costing under than $70 million to produce before marketing, also stars Priyanka Chopra, Alexandra Daddario, Jon Bass, Kelly Rohrbach and Ilfenesh Hadera. It doesn’t debut overseas until June 2.

Last summer, PG-13 action comedy Central Intelligence, starring Johnson alongside Kevin Hart, opened to $35 million over the June 17-19 weekend. And in late May 2015, Johnson’s San Andreas posted a three-day debut of $54.6 million.

Elsewhere, Fox and Ridley Scott’s Alien: Covenant is falling to No. 4 in its second outing with an estimated four day gross of $13.1 million for a domestic total of $60 million.

The weekend wasn’t a complete wash out for Johnson as The Fate of the Furious became only the sixth movie in history to cross $1 billion at the international box office, fueled by a record-breaking $387.4 million in China. Globally, the Universal release has earned $1.22 billion globally.

Fate of the Furious wasn’t the only milestone. Disney’s Beauty and the Beast crossed $500 million domestically, while Disney and Marvel’s Guardians 2 has now eclipsed the first film with a global total of $783 million. Guardians of the Galaxy grossed $733.3 million.

The Square Cannes: The Square Wins the Palme dOr

‘The Square’/Courtesy of Cannes Film Festival

Sofia Coppola becomes the second woman to ever win for best director while Joaquin Phoenix and Diane Kruger earned acting honors.

The 70th annual Cannes Film Festival came to a close Sunday night with the main competition awards ceremony at the Palais des Festivals.

The Square, by Swedish writer-director Ruben Ostlund, won the top prize, the Palme d’Or. The satire, the follow-up to Ostlund’s 2014 international hit Force Majeure, explores Swedish art, commerce, politics and national identity stars Claes Bang and Elisabeth Moss.

The story centers on a man who is overseeing a new art installation called The Square, a sanctuary where anyone entering it is supposed to abide by humanitarian values — but things quickly go awry.

When he took the stage to accept his award, Ostlund led the crowd in a “scream of happiness” and told photographers to turn their cameras away from him and into the audience. He counted down, and the audience led out a massive scream. “I can direct you all now because I won this prize,” he said.

Sofia Coppola became only the second woman to win the prize for best director for her film The Beguiled, starring Nicole Kidman and Colin Farrell. Maren Ade accepted for Coppola, who was not present. She ended the speech by thanking director Jane Campion for being a role model.

The Grand Prix was awarded to 120 Beats per Minute by Robin Campillo, which follows “Eastern Boys” by mining his past as a member of AIDS activist group ACT UP in 1990s Paris.

Nicole Kidman was honored with a special prize for the festival’s 70th anniversary. The actress appeared in competition projects Killing of a Sacred Deer and The Beguiled, along with the second season of Jane Campion’s Top of the Lake, and the film How to Talk to Girls at Parties. Will Smith accepted the award in her absence, and a special video message from Kidman was presented.

Joaquin Phoenix was awarded the best actor prize for Lynne Ramsay’s You Were Never Really Here.The actor stars as a hitman trying to save a teen prostitute.

Diane Kruger was honored with the best actress award for her work in In the Fade. Fatih Akin’s courtroom and revenge drama saw the German actress doing a German-language film for the first time.

In her speech, Kruger dedicated her award to victims of terror. “Those trying to pick up the pieces and go on after having lost everything, please know you are not alone,” she said.

Loveless, helmed by Russian writer-director Andrey Zvyagintsev, took the jury prize.

In a surprise twist, best screenplay was awarded to both The Killing of a Sacred Deer (written by Yorgos Lanthimos and Efthimis Filippou) and Lynne Ramsay’s You Were Never Really Here.

The Palme d’Or for short film was given to A Gentle Night from Chinese director Qiu Yang. A special mention for short film was awarded to Teppo Airaksinen for Katto.

The Camera d’Or, given to any best first film that played in the festival regardless of section, went to Leonor Serraille for Jeune Femme (Montparnasse-Bienvenüe).

Nineteen movies screened in competition this year. The jury included president Pedro Almodovar and members Will Smith, Jessica Chastain,  Fan Bingbing, Agnès Jaoui, Park Chan-wook, Maren Ade, Paolo Sorrentino and Gabriel Yared.

spiderman homecoming ver2 Spider Man: Homecoming (2017) Movie TrailerSpider-Man: Homecoming (2017) Movie Trailer

Watch the Trailer of this Movie:

A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging super hero in Spider-Man: Homecoming. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

#SpiderMan #Homecoming is the new action movie by Jon Watts, starring Tom Holland, Robert Downey Jr. and Michael Keaton.