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"I don't know if I'd call him a "good" actor but he's definitely a unique actor; he's unlike anyone else I've ever seen on the screen." - MDA

"He's a favourite of mine, ever since Speed. He might not have the widest range as an actor but when he fits the part he can be perfect in a laid back zen kind of way." - LadyEdith

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Ritesh Batra on Photograph


Wanuri Kahiu (Rafiki)
Jia Zhang-ke (Ash is Purest White)
Christian Petzoldt (Transit)
Richard E Grant (Can You Ever Forgive Me?)
Rachel Weisz (The Favourite)
Toni Collette (Hereditary)
Glenn Close (The Wife)

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Entries in comedy (301)


Showbiz History: Valentino's Wedding, Shirley's Discovery, Frasier's Ending

Six random things to celebrate on this day (May 13th) in showbiz history...

1919 It's the centennial today of the silent film Broken Blossoms starring Lillian Gish (which you can watch in full on YouTube), an interracial weepie romance with Richard Barthelmess in "yellow face" as a Chinese Man that Gish falls for. Some critics consider it D.W. Griffith's best film

Valentino and Rambova

1922 Silent film superstar Rudoph Valentino, who made millions swoon all over the world, weds costume and set designer Natacha Rambova at the age of 27. Valentino would then be arrested for bigamy since he'd been divorced for less than a year at the time (which was legally a no-go back then in California)...

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"Wine Country" on Netflix

From new contributor Samantha Craggs

In theory, there's a lot to love about Wine Country. It's two whole hours devoted to women in their 40s and 50s, an often invisible demographic in film. What's more it's rarely about typical topics like marriage or children. It stars watchable and funny women. It passes the Beschdel Test in spades. 

But with Wine Country, sadly, the result is as bland as the biscuit and asparagus tones that permeate the backdrop...

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Stage Door: The musical adaptation of "Tootsie"

by Nathaniel R

“I was a better man with you as a woman than I ever was with a woman as a man.” So went the famous arc-completing line in Tootsie (1982) that resonates backwards through the movie, and carried you out of the theater, not just on a comic high but with zeitgeist capturing depth. Though it’s little remarked upon today in the now-now-now of popular culture, the early 80s were a cinematic time rife with the questioning of traditional gender roles just like our culture is today. Hit films like Victor/Victoria, Yentl, Mr. Mom,  and Tootsie all arrived in quick succession, though the then preferred vernacular was androgyny and gender-bending, as opposed to today’s non-binary and genderqueer designations.  It’s not surprising, then, to see Tootsie come round again to popular culture in 2019 in the form of a Tony-nominated musical comedy. What’s more surprising is that that resonant quotable capper is one of the few famous lines to be lifted directly from the movie.

As shocking as it is to type, they wrote new jokes!  This is, as you may have guessed given Broadway’s strange new role as a regurgitator of old movies, not the norm…. 

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Review: Dead to Me (Season 1) 

By Spencer Coile 

In recent years, Netflix has held the honor and burden of bringing to life countless TV series – giving a voice to talent previously under or unseen. While it has become impossible to keep up with everything the platform currently has to offer, it also allows its creators, writers, and directors to tell their stories on their terms. Gone are the days where television was situated comfortably in the binary of comedy and drama. Now we have space carved out for shows that subvert our expectations, make us uncomfortable, and if we’re lucky, invite us into the artist’s vision. 

Liz Feldman takes complete advantage of this genre fluidity. Her Netflix creation, Dead to Me (streaming now)is a darkly comic meditation on grief and the ways it manifests within our interpersonal relationships. Featuring especially remarkable turns from two typically underutilized actresses, Christina Applegate and Linda Cardellini, Dead to Me is a prickly, but surprisingly personal examination into how we process trauma... 

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Tribeca 2019: "Lucky Grandma"

And here is Jason Adams reporting from Tribeca again...

It's easy to recognize Grandma -- she's the one called Grandma. But if you're sitting about ten feet away from Chinatown NYC as I am as I type this review, it's even easier -- I could step out onto the street and see a dozen women who look just like Grandma. If I happened to walk just a little further away to the local movie theater, I wouldn't see a single Grandma, not one. And that is what makes Sasie Sealy's film Lucky Grandma feel so easily revolutionary. Grandmas are everywhere, but this is the one...

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Not exactly maternal

Let's drink to Senator Keeley's daughter and our Val. I'm afraid I haven't done much for him in these last 20 years...

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