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Results for “52-point 24-rebound”

Karen Bass and Nithya Raman in Tight Race for L.A. Mayor in Early Returns

Karen Bass and Nithya Raman are in a tight race for L.A. mayor in early returns, and the race may not be called for days. Bass was expected to speak at the Los Angeles County Democratic Party celebration. Bass held a narrow, 1-point lead in the initial ballots — which could be precarious given how […]

Variety · Nov 4
‘The Cat in the Hat’ Review: Bill Hader Leads an Animated Dr. Seuss Comedy So Overstuffed It’s Like a Marvel Movie for Tots

The new "Cat in the Hat," it goes without saying at this point, makes no attempt to be a faithful adaptation of Dr. Seuss’s most fabled books. That would simply be too quaint for our buzzy, mercurial, attention-crashing, video-games-on-Ritalin era. Yet even as the movie departs all too eagerly from the innocent wildness of the Seuss books, it devotes itself, with a corporate diligence that’s the opposite of free-spirited, to mimicking the scale and spirit and plot setups of too many familiar blockbusters. It’s a mish-mosh of pop recycling.

Variety · Nov 3
Cinemark Stock Pops On Record Q3 Revenue

Cinemark, the nation’s third largest exhibitor, saw revenue jump 23% to $1.1 billion for the three months ended in September, its best-ever third quarter amid a broad box office rebound. The shares are up about 4% in premarket trade. The company reported gains across categories including premium large format box office (XD, Imax) and ScreenX), […]

Deadline · Nov 3
‘The Mongoose’ Review: Liam Neeson Goes on the Run in a Bland Actioner

Since the days of “Vanishing Point” and Steven Spielberg’s “The Sugarland Express,” Hollywood has been making films about fugitives in fast cars who become media-sensation folk heroes. Companies like American International Pictures and Roger Corman’s New World Pictures would deliver movies like this a few times a year back in the 1970s, while simultaneously introducing […]

Variety · Nov 2
Alex Garland’s Elden Ring adaptation is on course to be Hollywood’s goriest ever fantasy movie

The expansive project has hype and money behind it – but how do you avoid it falling into the disappointment trap so many films end up stumbling into? If the history of failed Hollywood fantasy projects over the past 20 years has taught us anything, it is that transporting audiences to another world is only half the battle: you also have to give them a reason to spend several hours there. The Golden Compass diluted Philip Pullman’s theological bite, Warcraft thought that just explaining its world would make us care about it, and The Dark Tower compressed Stephen King’s sprawling mythology so ruthlessly that it scarcely left room for a story. All these films at one point had fans of the original source material quivering with anticipation at the prospect of seeing their beloved worlds on the big screen; all ended up disappointing. Which brings us to the forthcoming Alex Garland adaptation of the hugely popular high fantasy video game, Elden Ring. If there was ever a cinematic test of the phrase “too big to fail”, it is surely this. Elden Ring has sold more than 30m copies and is widely regarded as one of the greatest video games ever made. George RR Martin himself wrote the foundational mythology of warring demigods that underpins its gorgeous fantasy hellscape. And Garland as writer-director seems almost impossibly perfect: as the creative behind Dredd, Ex Machina and Annihilation, he has both the taste for beautiful nightmares and the geek credentials to deliver something extraordinary. Continue reading...

The Guardian · Nov 2
‘Ignorance towards immigration is horrible. It’s not British’: Skepta on his long-awaited return – and his anger at the racist right

Thirty-three months after it was announced, the grime legend’s new album is coming out. He explains how skinheads, fatherhood and rap history came to bear on its socially conscious contents ‘I can’t be perfect,” Skepta says, pulling a black Arc’tyrex beanie down over a furrowed brow with both hands. “But I can be conscious.” The self-proclaimed king of grime has always been a serious person, wary of fools and time-wasters. Focus is important to him, perhaps because he’s often multitasking: balancing his music career, his fashion label Mains, film-making and acting (his debut short, Tribal Mark, came out in 2024), his Big Smoke festival and a house music project, Más Tiempo. He coordinates them all from the scruffy but functional studio in London’s West End where we meet. At one point, he picks up a Rubik’s Cube from the cluttered coffee table, and, over the course of five minutes of conversation, solves it. “This album has been winding me up,” he admits, referring to The Fork and Knife, which is out next week, 33 months after it was first announced. “But I think I’ve actually made something here that is what the people want from me.” Continue reading...

The Guardian · Oct 30
​‘He buckled. I could hear his bass ringing out ...’ The luminous rise and tragic end of US alt heroes Morphine

​Fronted by Mark Sandman​,​ the group brought enigmatic, elegant rock to post-grunge America. As lost demos surface, those closest to Sandman remember a man who grabbed on to life’s joys It’s early 1998, and at Fort Apache recording studio in Massachusetts, Mark Sandman, the suave frontman of Morphine, is nearing breaking point. Morphine’s four enigmatic and blackly humorous albums have won critical acclaim and, lately, unexpected commercial success considering their uncompromising creative vision. After the excesses of grunge, Sandman considered their idiosyncratic blend of sophisticated storytelling, prowling slide-bass and Dana Colley’s atmospheric saxophone a kind of “palate cleanser”. In 1997 Morphine had signed to DreamWorks Records, founded by industry bigwigs David Geffen and Mo Ostin. Now, working on Morphine’s first LP for his new paymasters – a batch of songs finally seeing release almost three decades later – Sandman was consumed by doubt over their direction. “For the first time, Morphine were trying to please someone other than just ourselves,” remembers Colley. Continue reading...

The Guardian · Oct 29