Cannes at Home: Day 1 – When "Gatsby "opened the festival...

by Cláudio Alves

The 76th edition of the Cannes Film Festival has begun in a flurry of controversy. Jeanne Du Barry, Johnny Depp's return to the silver screen after a much-publicized trial, was selected to open the festivities, prompting reporters to swarm the Croisette with polemic on their minds. The situation wasn't helped by incidents earlier this year, when director Maïwenn spat on a journalist, making their film about much more than just Louis XV's last mistress. In giving such attention to the kerfuffle, we've all played into Thierry Frémaux's hands. Regardless of the picture's quality, everybody's eyes are on Cannes, whether looking for a redemption story, an immoral scandal, or secret fashion messages on the red carpet.

Then again, the Cannes opener is seldom an example of masterpiece cinema capable of accruing wide acclaim. More often than not, the titles blessed – or is it burdened? – with this honor tend to be mixed bags with big names attached, glossy stuff ready to act as attention magnets. Such was the case ten years ago when Baz Luhrmann's The Great Gatsby opened the festivities to various degrees of critical hostility. Looking back, one is enticed by the possibility of reappraisal…

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Review: Netflix's all star comedy "Don't Look Up"

Netflix's latest release, "Don't Look Up" sees a cast of A-listers staring down the apocalypse.by Christopher James

Satire is a precise tool, not a blunt object.

Adam McKay has led a polarizing, yet successful career trying to tackle tough topics with a sardonic edge. In The Big Short, he broke apart the 2008 financial crisis with some degree of success through raucous and audacious storytelling techniques. Vice, which received many Oscar nominations, took the “more is more” cinematic devices to dine out on anger towards the right. While I found it smug, it makes sense why some nodded their heads and found some shred of insight in a film confirming their own biases. That begs the question: what do we do with our anger towards people and movements that we believe are leading to the destruction of our world? 

Don’t Look Up is a disaster movie that bills itself on being a prescient allegory for our inability to deal with climate control (aka the big comet heading to destroy us). McKay presumes the world, and all of us who inhabit it, are doomed and good riddance because everyone sucks. It’s a nihilistic movie with many ill formed targets...

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Links: Eternals, First Ladies, and new Broadway Shows

• EW first photos from the miniseries The First Lady with Michelle Pfeiffer as Betty Ford, Viola Davis as Michelle Obama, and Gillian Anderson as Eleanor Roosevelt
• Awards Daily Kristen Stewart getting the Spotlight Best Actress treatment at Palm Springs this year
• Deadline Leonardo DiCaprio in final talks to play cult leader and mass murderer Jim Jones in a movie about the 1970s cult leader
• Variety Squid Game is getting a second season. Nobody will let any stories be!

Steve McQueen, Sutton Foster, Eternals and Spencer stuff, guns on set, and more after the jump...

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Actors Turned Producers @ the Oscars

by Cláudio Alves

We've already posted about many records broken with this year's Oscar nominations, but one particular achievement remained unmentioned. With her double nominations for Nomadland – for Best Picture and Best Actress – Frances McDormand became the first woman to earn an acting and a Best Picture nomination for the same project. This comes after a decade when this feat became incredibly common for male performers. Historically, ever since the 1950s, when AMPAs started to list producers with Best Picture nods, instead of merely the studios' name, actors have been producing their movies and earning added honors for those efforts. Still, it was only in the late 60s that someone scored the elusive double citation by the Academy…

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Almost There: Leonardo DiCaprio in "The Departed"

by Cláudio Alves

Many actors have long-lasting creative partnerships with their directors, bringing out the best in both artists. Unfortunately, when it comes to Oscar, not everyone gets recognized for these joint efforts. Many thespians don't get that golden recognition for their best work either, adding a tinge of bitterness to their triumph. Leonardo DiCaprio, Martin Scorsese's 21st-century muse, did get nominated for two of the director's pictures, 2004's The Aviator and 2013's The Wolf of Wall Street. However, I'd argue that the actor's best performance in a Scorsese flick got snubbed. In 2006, despite a lot of precursor attention, The Departed failed to secure an Oscar nod for its ill-fated protagonist…

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