Indie News

‘Diego Maradona’ Review: A Gripping Saga of Soccer Legend’s Fall From Grace — Cannes

The five-minute opening montage of “Diego Maradona” recounts a dizzying history of the Argentine soccer player’s dramatic rise, and the story’s just getting started. As Barcelona’s breakout talent in the early ‘80s, Maradona was seen as a natural successor to Pelé’s stature as the greatest player in history, with ethos to boot: “I’m more interest in glory than money,” he says in one passing interview, as the prologue careens through his exuberant hard-partying lifestyle, local backlash, and a recovery from injury — until at long last he’s sold to less glamorous Napoli in 1984. It’s a dramatic shift, but only a starting point for this breathless and gripping saga of a soccer legend’s fall from grace.

While Maradona’s controversial “Hand of God” triumph in the 1986 World Cup has already been captured in an ESPN “30 for 30” installment, director Asif Kapadia folds that major chapter into a much wider tapestry.
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‘The Whistlers’: Corneliu Porumboiu Delivers A Witty Comedic Thriller For His Cannes-Competition Debut [Review]

Since the Palme d’Or win for “4 Months, 3 Weeks and 2 Days” in 2007, New Romanian Cinema has been a fixture at film festivals. The work of filmmakers like Cristian Mungiu, Calin Peter Netzer and Cristi Puiu has also picked up a reputation for being particularly dour in its realism; the exceptions to the rule are the dryly humorous films of Corneliu Porumboiu.

Continue reading ‘The Whistlers’: Corneliu Porumboiu Delivers A Witty Comedic Thriller For His Cannes-Competition Debut [Review] at The Playlist.
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How ‘Game of Thrones’ Ruined ‘John Wick: Chapter 3’ for a Conscientious Viewer

How ‘Game of Thrones’ Ruined ‘John Wick: Chapter 3’ for a Conscientious Viewer
If the mixed reviews and petition calling for the entire season to be remade are any indication, “The Bells” has the dubious honor of being the most divisive episode in “Game of Thrones” history. Depending on how tonight’s series finale turns out, it may also be remembered as the most definitive: the one in which the show’s heroes, villains, and everyone in between finally revealed who they truly are.

Some couldn’t be swayed by their better angels, others managed to turn away from the dark path they’d been walking, and others still were killed by their own creation. The tide had so strongly been in the good guys’ favor over the last few seasons that many fans have forgotten what this kind of devastation felt like — and perhaps even tricked themselves into believing that we were being guided toward a positive outcome. As the eminently hateable
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New ‘Once Upon a Time in Hollywood’ Posters Show Off Leonardo DiCaprio’s Aging Movie Star

New ‘Once Upon a Time in Hollywood’ Posters Show Off Leonardo DiCaprio’s Aging Movie Star
After months of speculation, “Once Upon a Time in Hollywood” was officially added to the Cannes lineup earlier this month. Ahead of its long-awaited premiere on the Croisette this week, the film has two new posters showing off Leonardo DiCaprio’s aging-movie-star character in all his glory.

The first of them announces, “Witness Rick Dalton and Margaret Lee together in Columbia-Euro’s latest motion picture, ‘Operazione Dyn-o-mite!'” Then there’s the second: “Straight from Italy comes ‘Kill Me Now Ringo, Said The Gringo,’ now showing in a multiplex near you.”

The Italian titles shown on the posters — not just “Operazione Dyn-o-Mite!” but also “Uccidimi Subito Ringo, Disse Il Gringo” — are likely a callback to the Spaghetti Westerns with which Tarantino and so many others are enamored, namely the “Dollars” trilogy comprised of “A Fistful of Dollars,” “For a Few Dollars More,” and “The Good, the Bad and the Ugly.
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‘John Wick 3’ Wins the Box Office, but Weekend Totals Dropped $60 Million from 2018

“John Wick: Chapter 3 – Parabellum” opened to a domestic total of $57 million; after “Us,” it’s the best opening for a non-Marvel release this year. That’s encouraging as we approach a summer that largely features sequels to previous hits, but — after three very strong weekends — it’s the first weekend in which the total gross lagged behind last year, when “Deadpool 2” debuted to $125 million.

In total, all films grossed around $150 million, for a $60 million shortfall against 2018. For the year so far, grosses are running $400 million short, or 9% below — a gap that would be much worse without “Endgame.” Memorial Day weekend lies ahead, with “Aladdin” leading the way. But advance predictions of its gross place it below what “Solo: A Star Wars Story” did last year, so we could see another falloff before some of June’s major openers come around.

In the meantime, there is nothing but positive vibes from “Parabellum.
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Emilia Clarke Says Goodbye to ‘Game of Thrones’: ‘And Now Our Watch Has Ended’

Emilia Clarke Says Goodbye to ‘Game of Thrones’: ‘And Now Our Watch Has Ended’
Ahead of tonight’s series finale, Emilia Clarke has shared a heartfelt goodbye to “Game of Thrones.” The actress, whose character’s actions in last week’s episode “The Bells” may go down as the most controversial in the show’s history, writes that Daenerys Targaryen “has taken up the whole of my heart” and that “Thrones” itself has “shaped me as a woman, as an actor and as a human being.”

Here’s her full statement:

“Finding the words to write this post has left me overwhelmed with how much I want to say but how small words feel in comparison to what this show and Dany have meant to me.

“The mother of dragons chapter has taken up the whole of my adult life. This woman has taken up the whole of my heart. I’ve sweated in the blaze of dragon fire, shed many tears at those who left our family early,
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‘John Wick 3’ Kills The Box Office With Franchise-Best Opening As ‘Endgame’ Continues To Creep On ‘Avatar’

The final kill count from “John Wick: Chapter 3 – Parabellum” is yet to be determined. However, the biggest, most important death at the hands of Keanu Reeves’ famous assassin character is perhaps “Avengers: Endgame.” After three weeks atop the box office, Mr. Wick is the first person that has been able to slay the Marvel Studios beast.

Honestly, ‘John Wick 3’ would have had to experience some sort of colossal failure at the box office to not gain the #1 spot this weekend.

Continue reading ‘John Wick 3’ Kills The Box Office With Franchise-Best Opening As ‘Endgame’ Continues To Creep On ‘Avatar’ at The Playlist.
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‘SNL’: Pete Davidson and Paul Rudd Rap About ‘Grace and Frankie,’ Their Favorite Show

‘SNL’: Pete Davidson and Paul Rudd Rap About ‘Grace and Frankie,’ Their Favorite Show
You may like “Grace and Frankie,” but you probably don’t love it as much as Pete Davidson and Paul Rudd. That became clear on last night’s episode of “Saturday Night Live,” which featured a “Game of Thrones” rap that quickly turned into a tribute to the Netflix comedy starring Jane Fonda and Lily Tomlin.

“Can’t believe it’s coming to an end. It’s like my favoritest show ever. HBO, here we go: Jon Snow, dragons, lotsa wolves, armor clothes, silver swords that extendo, prostitute houses, lotsa wine, and a big-ass wall — never miss an episode!” Davidson began, and yet he seemed to lack a certain enthusiasm. Kenan Thompson then interjected to point out that Davidson has never shared his affection for the show before. “I don’t really like to talk about my personal life,” Davidson replied to laughs from the audience. “I don’t like that kind of attention.
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‘A Hidden Life’: Terrence Malick’s Tremendous Return To Form Will Renew Your Faith In His Cinema Of Purity [Cannes Review]

The films of Terrence Malick search for wisps of purity in a turbulent, compromised world. The latter part of that practice regularly changes with each new project, from the plague-stricken heartland to an untamed America invaded by settlers to Austria under Nazism that sets the scene for the master’s latest, “A Hidden Life.” Malick is pretty consistent about the expressions of that purity, though; he sees innocence and decency in children, animals, and natural splendor.

Continue reading ‘A Hidden Life’: Terrence Malick’s Tremendous Return To Form Will Renew Your Faith In His Cinema Of Purity [Cannes Review] at The Playlist.
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‘The Souvenir’ Is the Top Specialized Opener as Business Remains Soft

‘The Souvenir’ Is the Top Specialized Opener as Business Remains Soft
As the Cannes Film Festival presents prospects for the next year of specialized releases, distributors at home are praying for better fortunes ahead: For titles in their third week or beyond, the best gross is under $250,000 for “The White Crow.” Ongoing releases traditionally form the bulk of art-house business, and that’s likely the lowest-ever best gross for a film in its third week.

Within this context, a decent opening — $20,000 in four top theaters — for Joanna Hogg’s highly praised “The Souvenir” is positive news. It’s good enough to serve as the basis for much wider play, but doesn’t suggest a strong prognosis for the business.

Meanwhile, documentaries continue to provide specialized releasing whatever good news there is: “The Biggest Little Farm” showed continued growth in its second weekend.

Opening

The Souvenir (A24) – Metacritic: 94; Festivals include: Sundance, Berlin 2019

$85,851 in 4 theaters; PTA (per theater average): $21,463

With “The Souvenir,
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‘Portrait of a Lady on Fire’ Review: Céline Sciamma Unveils a Painterly Masterpiece — Cannes

‘Portrait of a Lady on Fire’ Review: Céline Sciamma Unveils a Painterly Masterpiece — Cannes
Halfway through Céline Sciamma’s razor-sharp and shatteringly romantic “Portrait of a Lady Fire” — as perfect a film as any to have premiered this year — the three main characters sit around a candlelit dinner table and argue the meaning of what happened between Orpheus and Eurydice. More specifically, the point of contention hinges on what motivated Orpheus to ignore the instructions he was given and turn around to look at his love, even though he knew it would cause her to vanish from the world forever.

Sophie (Luàna Bajrami), a naïve young house servant, opts for the most literal interpretation of the ancient tale: She insists that Orpheus was an idiot. But Héloïse (a brilliant Adèle Haenel), the older, booksmart, but similarly inexperienced daughter of the absent widow who owns the place, awakens to a different understanding. To her mind, Orpheus was completely in control of his wits, he just
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‘A Hidden Life’ First Reactions: A Return to Form for Terrence Malick

  • Indiewire
‘A Hidden Life’ First Reactions: A Return to Form for Terrence Malick
A Hidden Life” comes to Cannes with high expectations. For one, it’s Terrence Malick’s most story-driven film since 2005’s “The New World.” For another, the true-life story of Franz Jägerstätter, an Austrian conscientious objector who refused to serve in the Nazi war effort, is the kind of powerful narrative that could even resonate with Academy Awards voters. But if the past decade has proven anything at this point, it’s that it’s hard to know what expect from Malick.

Malick won the Palme d’Or at Cannes 2011 for “The Tree of Life,” widely regarded by critics as one of the best films of the 21st century to date. Though they have their fans, his follow-ups haven’t earned the same level of acclaim and devotion. “To the Wonder,” “Knight of Cups,” and “Song to Song” were impressionistic reveries with little plot and lots of poetic voiceover. His
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‘A Hidden Life’ Review: Terrence Malick’s Best Movie Since ‘The Tree of Life’ — Cannes

‘A Hidden Life’ Review: Terrence Malick’s Best Movie Since ‘The Tree of Life’ — Cannes
Terrence Malick is back. Back from the present. Back from the twirling. Back from his battle with the boundlessness of digital technology, a neutral force that nevertheless has the power to seduce certain filmmakers away from their convictions. Malick has always been the cinema’s most devout searcher, his faith and uncertainty going hand-in-hand. But the work he’s made over the last few years hasn’t been searching so much as lost. 2011’s “The Tree of Life” found the auteur pivoting away from the past for the first time in his storied career, and that semi-autobiographical masterpiece came to serve as the auteur’s bridge from historical frescos to contemporary sketches – from profound awe to puzzled wonder.

If “Badlands” and “Days of Heaven” once proved that Malick’s impressionistic film language has the power to make myth feel like memory, the exasperating likes of “Knight of Cups” and “Song to Song
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‘SNL’: Leslie ‘Dracarys’ Jones Goes Off on Alabama’s Anti-Abortion Law

‘SNL’: Leslie ‘Dracarys’ Jones Goes Off on Alabama’s Anti-Abortion Law
Following the news of Alabama’s aggressive anti-abortion law, which does not make exceptions for cases of rape and incest, Leslie Jones has a declaration: “We are all handmaids. My name actually is OfJost.”

The outspoken “Saturday Night Live” cast member made that announcement on “Weekend Update,” where she was flanked by Colin Jost while wearing the signature outfit from Hulu’s “The Handmaid’s Tale.” She then removed the red robe to reveal a t-shirt with the word “Mine” and an arrow pointing down.

“The next thing you know, I’m at Starbucks and they won’t take my credit card because I’m a woman instead of the regular reason, which is I don’t have no money on me,” she said.

The bill, which was passed with unanimous support from its 25 white male members, was preceded by similar measures in Ohio and Georgia and has proven hugely controversial.
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Asif Kapadia Says ‘Diego Maradona’ Is Bigger Than ‘Senna’ and ‘Amy’ Combined

Asif Kapadia Says ‘Diego Maradona’ Is Bigger Than ‘Senna’ and ‘Amy’ Combined
Like most of the Cannes Film Festival’s strong documentary selections, Asif Kapida’s “Diego Maradona” will premiere in a non-competitive slot Sunday night. It’s also one of the best documentaries of the year so far. Kapadia, who won an Oscar for the 2015 Cannes-premiering music biodoc “Amy,” will have a second shot at an Academy Award with a qualifying run before it shows on HBO September 24.

Working from formats ranging from 8 mm video, early newsreel shot on 16 mm, and U-matic video, Kapadia’s team stitched together an astonishing drama. Because he’s covering a longer life, “we play with time in a different way,” he said. “Let’s take you on a mad journey.”

Asif Kapadia at Cannes

Kapadia said Argentinian football icon Diego Maradona is far bigger than the subjects of his last two films. “He is more well known than [Ayrton] Senna and Amy [Winehouse] put together,” Kapadia told
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Richard Madden Thinks the ‘Game of Thrones’ Cast Deserves a Medal

Richard Madden Thinks the ‘Game of Thrones’ Cast Deserves a Medal
Hear ye, hear ye: The King in the North has some thoughts on his former “Game of Thrones” castmates. Namely, that they’re all great performers who deserve medals for sticking with their characters for so long. It is known.

“It was such a hard thing to finish because from first pilot to my death was five years,” Madden told Variety of his experience. “And I think, five years to spend with any one character — ’cause you just kinda put them on the shelf for six months and then you take them back again.”

Madden, who played Robb Stark on the HBO drama for its first three seasons, won a Golden Globe for his performance in the Netflix miniseries “Bodyguard” earlier this year and co-stars in “Rocketman,” which just premiered to favorable reviews at Cannes — success that he attributes, at least in part, to his time on “Thrones.”

“I had the best time,
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‘The Climb’: Michael Angelo Covino’s Debut Is An Endearing, Relentlessly Funny Buddy Comedy [Cannes Review]

Comedies are few and far between in Cannes’ usually somber line-up, so for many festival-goers, “The Climb” is a refreshing change of pace. Compartmentalized into six tidy vignettes, sometimes spaced years apart, Michael Angelo Covino’s directorial debut follows two average joes Kyle (Kyle Marvin) and Mike (Covino himself) as they chart the rocky course of their friendship from one feud to the next.

Read More: 2019 Cannes Film Festival: The 21 Most Anticipated Movies

Unlike other buddy comedies of its genre, though, the plot structure of “The Climb” is more accurately charted as a series of sequential peaks, rather than building to one easily-defined climax.

Continue reading ‘The Climb’: Michael Angelo Covino’s Debut Is An Endearing, Relentlessly Funny Buddy Comedy [Cannes Review] at The Playlist.
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Bruno Dumont’s Absurd ‘Jeanne’ (‘Joan of Arc’) Is A War Of Attrition [Cannes Review]

In the history of her on-screen appearances, Joan of Arc has been largely silent. Interpretations by auteurs like Méliès, De Mille, and Dreyer have relied mostly on the expressive capabilities of the actresses depicting the young Catholic saint. But in “Jeanne” (“Joan of Arc”), which premiered in the Un Certain Regard section at the Cannes Film Festival, director Bruno Dumont lends Jeanne a voice, and a self-assured one at that.

Continue reading Bruno Dumont’s Absurd ‘Jeanne’ (‘Joan of Arc’) Is A War Of Attrition [Cannes Review] at The Playlist.
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‘The Lighthouse’: Robert Eggers’ Brilliant, Tempestuous Psychodrama With Robert Pattinson & Willem Dafoe [Cannes Review]

So who knew that Edgar Allan Poe and “Man of Aran” early cinema pioneer Robert Flaherty threw a Herman Melville-themed party for Ernest Hemingway which, under the influence of bathtub gin and barometric anomaly (and a late appearance by Samuel Beckett), became so raucous it angered the Greek Gods who visited mythically grotesque punishments on its revelers, gone blind with masculine rage and insane with isolation and bad hooch?

Continue reading ‘The Lighthouse’: Robert Eggers’ Brilliant, Tempestuous Psychodrama With Robert Pattinson & Willem Dafoe [Cannes Review] at The Playlist.
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Gaspar Noe’s Psychedelic Mockumentary ‘Lux Æterna’ Might Give You Seizures — Cannes Review

Gaspar Noe’s Psychedelic Mockumentary ‘Lux Æterna’ Might Give You Seizures — Cannes Review
Ever since Gaspar Noé cranked up his ambition with “Enter the Void” 10 years ago, the filmmaker has divided audiences with unruly, disorienting filmmaking techniques. Frames blink in and out, cameras float and speed through unexpected spaces, and neon palettes pulsate. His recent spate of movies often yield overwhelming experiences closer to the visceral terrain of avant-garde cinema than the narrative traditions he roots within the mayhem. His style can be a mixed bag of visual provocations, but his showmanship remains admirable for its bold swings each time out.

It’s hard to imagine that Noé could serve any master other than himself, and it comes as no great surprise that his recent assignment to make a 15-minute commercial for Yves Saint Laurent went awry when Noé turned it into his own weird thing: “Lux Æterna,” a 50-minute psychedelic mockumentary about a film shoot gone wrong, distills Noé’s talents to a more palatable serving size.
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