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The first stopping point on the Road is a Nancy Meyers fantasy that turns into a wine-fueled, tastefully neutral house of horrors, and when a sinkhole starts to claim Ruppâs handbag, she snaps, âThis is from Talbotâs, and you canât have it!â The mood is more referential and camp-adjacent than its franchise peers.
âWe are voting for Kamala Harris and Tim Walz because they are fighting to protect our reproductive freedom, our planet and our democracy,â Eilish says in a video reel.
The âIn Memoriamâ segment of the 75th Primetime Emmy Awards on Sunday paid tribute to a host of small-screen stars who have died in the past year, but users on social media were quick to point out the notable names that did not make the montage.
At first Wilson wasnât convinced the directorâs chair was for her, but when she chose to attempt a directorial debut, she looked for inspiration to Australian classic movies like Murielâs Wedding and The Adventures of Priscilla, Queen of the Desert.
This structural awkwardness stems from the film trying to portray every major event in its subjectsâ lives, even though the 2012 documentary on which itâs based, Faiza Ahmad Khanâs âSupermen of Malegaon,â only covers one specific parody production of âSuperman: The Movieâ shot in the late 2000s, after the far-flung friends are forced to reconcile.
The legendary composer rocked the stage for nearly three hours, proving that film scores can captivate audiences just as much as set lists from any other popular artist nowadays, be it Chappell Roan, Linkin Park or Sabrina Carpenter (though Zimmerâs fans skewed a bit more middle-aged â and left the glitter and eye shadow at home).
With an extensive supporting cast including Sonali Kulkarni, B Jayashree, Virginia Rodrigues, Sanjay Bhutiani, Tamara DâSouza, Rijul Ray among others, Love, Sitara is set to premiere on ZEE5 Global on September 27th.So, brace yourself for a rollercoaster of emotions as this heart-wrenching yet uplifting tale juggles between family dynamics, personal demons, and the courageous journey towards redemption.
As the secrets of the past catch up with a father and son, threatening to detail their new idyllic lives, the filmâs established ideas of love and family donât so much come into play as they simply hover out of focus, waiting to be deployed.
Thereâs ample room here for sentimental excesses, but this is an amazingly unblinkingly pragmatic avatar of storytelling that never falls for those lazy tricks like consciously working to eke out our emotions.
Americans Ben and Louise (Scoot McNairy and Mackenzie Davis, in a winning reunion of AMCâs âHalt and Catch Fireâ) are first seen listlessly vacationing in Italy with their 11-year-old daughter Agnes (Alix West Lefler), before an encounter with Paddy (McAvoy) and his wife Ciara (Aisling Franciosi) brightens up the trip.
The filmâs director, Thom Zimny (who co-directed, with Bruce, the intimate 2019 Springsteen performance documentary âWestern Starsâ), interviews each of them, and when they talk about how sluggishly paced the songs are at first, we think, âDonât worry about it.
Technically, the hunk of rock where âThe Wild Robotâ takes place is anything but uninhabited: Itâs teeming with life, from the crabs that teach Roz to scale cliffs in the filmâs opening minutes to the horde of evil-eyed raccoons determined to ransack her insides.