Singer-songwriter Zayn Malik shared that he regrets not taking time to appreciate his time with the English-Irish pop boy band One Direction, which was formed in London in 2010, according to The Hollywood Reporter. "The main thing that I always feel bad about when I look back over my life is not enjoying the band enough," Malik said on the Zach Sang Show. "I feel like I just took things too seriously, you know? I'm grateful that I'm able to be happier now. I can enjoy things and own my perspective a bit, you know? Like, a glass half full versus it being half empty. That's my choice." Malik surprised the world by leaving the mega-popular British boy band in 2015. A year later, the group, which featured Niall Horan, Liam Payne, Harry Styles, and Louis Tomlinson, announced an extended break. "I had this, like, teen angst thing going on -- chip on my shoulder," he added. "I'm like, 'It's cool to be moody as fuck all the time....' It's not. Like, you're just a loser. Let's be honest, you know what I mean?" Since then, he said, he's learned, "You should be a nice person. You should be somebody that people want to be around and enjoy being in your presence, and you should bring light to peoples' day instead of being this fuck." Part of the growth, he added, came from becoming a father to his daughter Khai, whom he shares with ex-Gigi Hadid. "She just makes me happier," he said. "I have so much love in me that I didn't have before she was born. She laughs all day. She wants to do the silliest things, and she gains so much excitement from it, you know? She just has a wholly fresh perspective on life, [which] had somewhat become grey for me," he added, as per The Hollywood Reporter. This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
12 May,2024 03:35 PM IST | Washington | ANIParis Hilton and Nicole Richie, known for their reality show 'The Simple Life' in the early 2000s, are teaming up again. They're set to star in a new reality TV series, marking their reunion after more than 16 years since the original show ended. The Simple Life followed their adventures across the U.S., doing odd jobs and exploring the corporate world from 2003 to 2007. BFFs Paris Hilton and Nicole Richie reunite The new series, which hasn't been named yet, has apparently been in development for months. Paris Hilton and Nicole Richie have been brainstorming various ideas until they settled on one. However, filming hasn't begun yet as production is still in its early phases. Regardless, production companies became highly interested and engaged in a bidding war once they learned that Hilton, 43, and Richie, 42, were reuniting. How did this start? On May 8, Richie hinted at a possible reunion with Hilton by sharing a collage of photos of them on Instagram, capturing moments from the show and their friendship. "From Day 1: Sill and Bill 👭," she wrote in the caption. Hilton then reposted the collage on her Instagram Stories. "Sanasaaaa 💖💖💖," Hilton commented on Richie's post. In December, Hilton and Richie celebrated the 20th anniversary of "The Simple Life" premiere. Hilton referred to it as "the show that started it all" in an Instagram post. Sharing a carousel of photos from the show, she wrote, "Filming this series with @nicolerichie was one of the most special, hilarious, and iconic times in my life. 🥰 I'm so lucky to have these amazing memories!" In 2020, Hilton revealed to PEOPLE that the show wasn't always genuine for her. She admitted to playing a "character" on the show instead of being herself. She said, “I knew what I was doing but the whole world didn’t, so it was kind of frustrating to me to be perceived in that way because it’s not who I am at all.” “But it was such an amazing and entertaining show that I would just think of it as entertainment.” She continued, “Obviously, I’ve grown as a person. I’m an adult now, but just to be judged and have so many misconceptions based on a character that I had invented myself was frustrating.”
12 May,2024 01:40 PM IST | Los AngelesMarvel Cinematic Universe enthusiasts are abuzz with excitement as veteran actor John Malkovich officially joins the cast of 'The Fantastic Four.' Malkovich's addition to the highly anticipated superhero flick has been reported by Deadline. While details surrounding Malkovich's role remain tightly under wraps, his involvement in the project underscores the calibre of talent assembled for Marvel's latest venture. Joining Pedro Pascal, Vanessa Kirby, Joseph Quinn, and Ebon Moss-Bachrach in lead roles, Malkovich is poised to make his mark on the iconic superhero franchise. Directed by Matt Shakman, known for his work on the acclaimed series 'WandaVision,' and penned by a team of seasoned writers including Eric Pearson and Josh Friedman, 'The Fantastic Four' promises to deliver an exhilarating cinematic experience for fans worldwide. With Marvel Studios head Kevin Feige at the helm, anticipation continues to mount for the film's release, slated for July 25, 2025. Malkovich, a two-time Oscar nominee renowned for his versatility and depth as an actor, brings a wealth of experience to the MCU. Recent audiences may recognise him from his compelling portrayal of French fashion designer Lucien Lelong in Apple TV+'s drama series 'The New Look,' alongside an ensemble cast featuring Ben Mendelsohn and Juliette Binoche. In addition to his television ventures, Malkovich's diverse filmography includes appearances in Netflix's 'Ripley,' Showtime's 'Billions,' and Netflix's 'Space Force.' His upcoming projects include Julian Schnabel's 'Hand of Dante' and A24's horror film 'Opus.' As speculation swirls surrounding Malkovich's role in 'The Fantastic Four,' Marvel fans eagerly await further updates and glimpses into the highly anticipated superhero saga. This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
12 May,2024 11:29 AM IST | Washington | ANIActors Jeff Bridges and Dave Bautista will be seen in the live-action monster movie 'Grendel' by Jim Henson Company and director Robert D. Krzykowsk, according to The Hollywood Reporter. Dave Bautista is set to play Beowulf, with Bryan Cranston set as King Hrothgar, Sam Elliott as The Dragon, Thomasin McKenzie as Queen Wealhtheow and Aidan Turner as Unferth. T Bone Burnett will also star and provide original songs for the film. Krzykowski will direct from a script he adapted from John Gardner's novel of the same title. Brian Henson, Vince Raisa, Krzykowski, Jay Glazer, Dennis Berardi, and Jon D. Wagner will all produce for The Jim Henson Company. Bridges will executive produce alongside John Sayles, Tamara Birkemoe, and Joe Jenckes of Ashland Hill Media Finance, which will fund the film. "Grendel represents everything I love about the movies. John Gardner's mad masterpiece cleverly tackles what it is to be human through the wild-eyed lens of a monster," said Krzykowski. "It's an honour to work with such a remarkable group of storytellers, all of whom seek to bring something wonderful and unexpected to audiences now," as per The Hollywood Reporter. This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
12 May,2024 11:28 AM IST | Washington | ANIFilm: The Deep Dark ( Gueules Noires)Cast: Samuel Le Bihan, Amir El Kacem, Thomas Solivérès, Jean-Hughes AngladeDirector: Mathieu TuriRating: 2.5/5 Runtime: 103 min In 1856, in the historic coal mines of Northern France, Pas-de-Calais known as the Devil’s Island, a group of miners found themselves trapped after a cave-in. A hundred years later another group led by Roland Neville (Samuel Le Bihan), and including Louis (Thomas Solivérès), Miguel (Diego Martín), Polo (Marc Riso), Santini (Bruno Sanches) and Amir (Amir El Kacem), are tasked with taking Professor Berthier (Jean-Hugues Anglade) to those very deepest, darkest subterranean depths, to take samples and measurements and a sudden landslide prevents them from surfacing. Things get worse after that. They happen to awaken the restive Mok’Nor Roth, known as the Eater of Souls and a servant of Cthulu and mayhem ensues.This ancient mutant that terrorised earlier miners is still around and thirsting for blood. The setting obviously invokes claustrophobic which in turn gives vein to tension and a sense of urgency …but only for a brief while. It’s imperative that the miners be rescued but is that going to happen before the monster gets to them? The geologist is there for his own ends, the mining company wants to gain from this exploration and some of the miners themselves want to tidy away some gems to secure their own future. So most of the people caught up in the terror are morally ambiguous indicating an ‘each for his own’ motto that might prove detrimental to their survival. There’s infighting and the men find their trust in each other eroding. The men are also hostile towards their new crew member Amir, a Moroccan who sends all his earnings to his family in his home country. The narrative stays focused on the men in the deep dark domain. We are privy to their immediate concerns but not of their past. Turi’s screenplay expands on the degree of difficulty they experience while doing their thankless job but we barely get to know the men or their inner workings. It’s the monster who fails to evoke any scares. The practical effects look rather crude and inept. So what we assume as a bloodthirsty creature awakened from a crypt, seems a little too mild to be effectively fearsome. Director and writer Mathieu Turi tries his best to sustain the fear factor but once the monster comes into play, the fear and tension begins to dissipate considerably. Even the dark, dank, lamp lit cinematography is unable to make amends thereafter. We never get to feel a foreboding sense of atmosphere. The pacing is also too uneven to maintain tension. The screenplay is character-driven and strives to create terrifying confrontations for the old and the new generations. It’s the inept practical effects that fail this horror movie. Mirroring H.P. Lovecraft’s stories, and set in a French reality with appropriate social context, the director hopes to generate existential horror through the discovery of forbidden primordial knowledge. But it's all in vain once the laughable creature comes into play.
11 May,2024 03:58 PM IST | Mumbai | Johnson ThomasFormer Hollywood producer Harvey Weinstein, whose name became synonymous with the #MeToo movement, will continue to be detained in New York as he awaits a retrial for rape charges. According to The Hollywood Reporter, the decision was reached on Thursday, as the courts deliberate whether Weinstein should remain in New York or be extradited to California, where he faces another conviction. Weinstein's retrial, scheduled after Labor Day, is the result of the overturning of his 2020 conviction on rape charges by the New York State Court of Appeals on April 25. The court must now determine whether he should stay in New York or be transferred to California to serve his 16-year sentence for a separate conviction. During a brief court hearing, Weinstein's legal team denied consent for his extradition to California, effectively keeping him in New York for the time being. As per The Hollywood Reporter, Attorney Diana Fabi Samson stated that California must produce a warrant signed by the governor before any extradition can take place. Weinstein, who recently left a New York hospital, appeared in court in a wheelchair wearing a dark suit. Samson emphasized his need for medical care while in custody and underscored the procedural requirements for extradition.Following his conviction in 2022, Weinstein was initially sent to an upstate New York prison but was transferred to the Rikers Island jail complex after the recent appellate court decision. His next court appearance in New York is scheduled for May 29, with another appearance related to the Los Angeles case set for August 7. This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
11 May,2024 10:44 AM IST | New York | IANSAfter the widespread acclaim of 'Baby Reindeer' and its recognition as one of Netflix's top titles this year, the real-life Martha aka Fiona Harvey, has come forward with allegations against the show's creator and lead actor, Richard Gadd. She accuses him of distorting events to portray her as a stalker and labels him as "psychotic." The series depicted Martha's story, culminating in her incarceration for stalking and sexual assault against a man. Gadd, a stand-up comedian, both created and starred in the miniseries, which was adapted from his autobiographical one-man show with the same title. Real-life Martha aka Fiona Harvey denies stalking During an interview with Piers Morgan, Fiona Harvey mentioned that apart from the media and "stalkers on social media," no one has reached out to her after the Netflix show premiered, a show she claims she hasn't watched. When asked about her opinion on Richard Gadd, Fiona described him as "psychotic" and criticized his behavior, "“I think he is psychotic. Anyone going along being in that play, doing this to somebody, I find this behaviour outrageous.” In response to Gadd's perspective of her character possibly needing help rather than being portrayed as a villain, she suggested that he should reflect on himself and his own mental well-being. “Well, maybe he should look a bit closer to home, at himself as someone who needs help. He is mentally unwell, always was.” When confronted with her past tweets, which were seen as evidence of her excessive communication, she expressed surprise, stating that she never considered the person she was communicating with to be capable of behaving like a "complete psychopath" and attacking her in such a manner. “My view is, it is all about the money. His preview play wasn’t making any money, he had failed as a comedian, failed as an actor and therefore (he thought), ‘Let’s make some money sell this to Netflix.’ He is making money out of untrue events. He has been the ultimate misogynist.” Fiona Harvey announced her intention to pursue legal action against Netflix and Richard Gadd. She mentioned that she's presently in a relationship with a lawyer, but clarified that neither she nor her partner will be directly filing the case. Instead, they've engaged lawyers to explore their options and identify potential defendants.
11 May,2024 08:53 AM IST | MumbaiIt has been over a month since Monkey Man opened in US theatres, and subsequently was available on video-on-demand platforms internationally. But Dev Patel’s maiden directorial venture has yet to arrive in Indian theatres. Now, it has come to light that after the initial plan of April 19 India release did not materialise, an application was filed under the Right to Information (RTI) Act, seeking that the decision of Central Board of Film Certification’s (CBFC) Examining Committee and Revising Committee be made public. On May 9, the request was dismissed, with the CBFC stating in its reply, “There is no larger public interest that warrants the disclosure of such information, and hence the requested information cannot be provided.” A copy of the CBFC’s response to the RTI application has been doing the rounds of social media since Thursday. As soon as the news reached the film industry, trade circles were abuzz with how Patel’s action thriller won’t see the light of day here. A trade insider, on condition of anonymity, told mid-day, “Since its theatrical release is in dispute, a CBFC clearance will be required to even stream it on OTT platforms in India. So, in all likelihood, Indian viewers might not even be able to catch it online. One way ahead could be to take the matter to court, but since India is not its main market, it’s highly unlikely that Universal Pictures and Warner Bros will take that step.” The film, fronted by Patel and also starring Sobhita Dhulipala, examines corruption in India.
11 May,2024 07:04 AM IST | Mumbai | Mohar BasuBoonie Bears: Guardian CodeCast ( voices): Patrick Freeman, Joseph S Lambert, Paul Rhinehart, Kally Khourshid, Chris Boike, Olivia Seaton-HillDirectors: Yongchang Lin, Heqi ShaoRating: 2.5/5Runtime: 96 min The first-ever 'Boonie Bears' film from the universally loved global animation franchise to be released in India, and the 11th overall, Guardian Code is about an android-based mom of two baby bears, whose corrupted memory when rectified shows her up as a deeply loving mother to her two bear-kids. The dominant theme here is appropriate for ‘Mother’s Day’ celebrations for those who think going for a movie is befitting the occasion. The story begins with the two baby bears Briar (Patrick Freeman) and Bramble (Joseph S Lambert) being left behind when the mother goes to investigate what looks like a fire and doesn’t return. Thereafter it gets way too complicated for the young minds it is targeted at. With themes of eco-friendliness and surrogate love at the centre of it, the narrative flounders quite a bit before it can make sense of what it wants to say. The abandoned orphans who miss the idyllic life in the Pine Tree Mountain forest that they shared in the care of their loving, lullaby-singing mother Barbara (Kally Khourshid), never give up hope of seeing her again. But it’s only when they’ve grown up considerably that they get the chance to encounter a bear that looks very much like their mother. Long-winding and mysterious, the narrative is replete with underdeveloped characters and themes. The plot highlights how technology can replace humans - even a mother, with an android mom pre-programmed to be loving and caring. Basically, the story builds on assumptions that AI can replace humans. Characters like Charlotte (Olivia Seaton-Hill) who possesses a necklace that belonged to the orphaned bear cubs’ mother and the cubs’ logger friend Vick (Paul Rhinehart) have little to do here. Then there’s the villain, leader of the scrap-Rebel gang, the maniacal Leonard and a Dr. Roland (Chris Boike), a famed roboticist who is in awe of Charlotte’s equally famous, late mother Dr. Sue ( Nicola Vincent). The storyline is not exactly kid-friendly and the treatment save for a round of mechanical throws of pastries by a robot, doesn’t have anything to really laugh about. The animation though is well rounded, distinctively Chinese looking and eye-pleasing. The flashback midway through the narration destroys coherence. Thereafter everything seems a little bizarre. The pace is pretty frenetic and the narrative gets relentlessly inventive but it’s certainly not suited for young kids whose attention span is suspect. The film is enjoyable if one can overlook all the storytelling faults and concentrate only on the eye-thrilling character dynamics.
10 May,2024 06:00 PM IST | Los Angeles | Johnson ThomasFilm: The Boy and the Heron (Japanese with English Subtitles)Cast (Voices): Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Takuya Kimura, Shōhei Hino, Ko Shibasaki, Kaoru Kobayashi, Juin KunimuraWriter/Director: Hayao MiyazakiRating: 3.5/5Runtime: 124 min Japanese Master animator Hayao Miyazaki’s (Spirited Away, Princess Mononoke) latest, The Boy and the Heron, is yet another great work that is both visually impressive and emotionally resonant. Among the greatest artists alive, director Hayao Miyazaki, already has an impeccable legacy that the world appreciates. The Boy and the Heron marks Miyazaki’s return after a ten-year hiatus, ostensibly, to make a film for his grandchildren to remember him by.The story which appears to have autobiographical components, is a little too deep for the regular animation film target groups. The complicated narrative seamlessly delves on childhood issues dealing with loss of a parent, other familial bonds, and adapting to a major displacement. Set during World War II, we see in the opening minutes itself, a fire engulfing the hospital where Mahito’s mother works as a nurse. We then see the young Mahito racing through the Tokyo streets, ignoring the words of his father, in hopes of getting to the hospital in time to save his mother. But it’s too late. Mahito, thereafter has to deal with his father getting married to his mother’s sister, Natsuko and their consequent move to her estate out in the country. Out there, Mahito is heckled by a grey heron that keeps poking at him incessantly. The heron speaks to the young Mahito, telling him that he knows that his mother is still alive. He follows the bird into the woods and discovers an abandoned, sealed tower. Then one fine day, Natsuko goes missing. Mahito suspects the heron is in the know of her disappearance. He decides to go into the forbidden tower to seek answers. It’s not a straightforward narrative. The fantasy elements in the telling are typical of a Miyazaki picture. When Mahito enters the tower he finds himself in an alternate universe that is both extraordinary and freakish. Bubble-like spirits, Warawara, that become souls of newborns, Giant parakeets who are enemies of humans, and many other strange discoveries confront him. This imaginative story about acceptance, redemption and healing has Miyazaki’s trademark elements of magic, folklore, stoic characters, spirits and guides, flying elements and characters running through claustrophobia inducing spaces. This insightful film about human copability may not be as epic as his earlier works but it still manages to fascinate and entertain. For the audience, the alternate world may seem a little confusing but for the curious Mahito it’s a magical, enthralling place to get lost in. Mahito’s journey exemplifies the experience of loneliness and pain through heavy symbolism and abstract ideas. The lesson here is that no matter how much pain you are going through or how lost you feel, there is always family to help us embrace it all and make us stronger. It’s these bonds that make us stronger and help us achieve our potential as a human being. Miyazaki’s film heralds the resilience of children and how despite great odds, Mahito learns to cope with distress that even mature adults find difficult to manage. Mahito may not be developmentally equipped but his imagination allows him the levity to think up scenarios that help him adapt to the great loss and displacement while experiencing the stages of grief. The creatures we see represent the difficulties he experiences in expressing his emotions. With The Boy and the Heron, Miyazaki is basically paying stirring tribute to a child’s ability to come up with coping mechanisms that help him spiritually and emotionally while grieving. This is an unusual profound adventure that is both bewitching and informative.
10 May,2024 05:11 PM IST | Los Angeles | Johnson ThomasFilm: Kingdom of the Planet of the ApesCast: Owen Teague, Freya Allan, Peter Macon, William H. Macy, Kevin Durand, Dichen LachmanDirector: Wes BallRating: 3/5Runtime: 145 min This fourth instalment in the newly rebooted franchise has a brand new cast of characters with a timeline that has moved several decades ahead. The modern world is in ruins, reclaimed by nature, and the intelligent talking apes are now the dominant species, living in clans and tribes scattered across the new world. The theme though remains the same - ‘Ape. Together Strong.’ It’s been carried through several sequels and this one too has an obligatory reference to the prophetic words signed off by Andy Serkis’ Caesar in 2011’s hit prequel ‘Rise of the Planet of the Apes.’ This current instalment that continues the trend of putting primates front and centre, brings renewed life to the franchise with its perfect craft, intelligent sub-plots and entertaining action. The film has emotional depth and moral complexity too but the path it treads feels familiar and repetitive. The story begins with the coming-of-age, rites-of-passage task of chimpanzee Noa of the Eagle Clan (Owen Teague) who along with his friends Soona (Lydia Peckham) and Anaya (Travis Jeffery) are out in the mountains searching for eagle eggs to bond with and nurture as their own. But just before the ceremony, his clan is attacked by rival apes and taken to a new location for enslavement. Noa, who narrowly misses out on being taken, sets out on a journey to rescue them, and, along the way, encounters a wise Orangutan, Raka (Peter Macon) and a strangely intelligent, scavenging human, Mia (Freya Allan), and the three join hands to stay safe from the predators en route. The narrative takes giant leaps ahead in time with a new setting and characters. Josh Friedman’s script has some new ideas fuelling its storyline but it largely feels like a revisit to the same old ‘Apes Versus Humans’ conundrum. The world-building though is exemplary and there are a few themes here that keep the interest going. At 145 min, this is the longest instalment and even though there is a fair amount of balance in the action beats and the plotting, the narrative does feel as though some of the ideas and themes had to be cropped for the story to move forward. The theme that finds greatest fluency here though is the idea that Caesar’s teachings have now been twisted way beyond recognition, over time, to suit the new world order. It’s a fairly clever reference to current politicians twisting and misusing old-world values as institutionalised by our forefathers. The narrative strength lies not in the story beats but in the character development and creation. Every simian individual who inhabits this post-apocalyptic world looks distinctive and well-realised through impeccable motion capture performances. The high-on-detail textured visual effects and exquisite design is the best we’ve experienced so far. While the film is not exactly action heavy, the visual effects still look a cut above those of other CGI heavy film experiences. The focus here is on character and plot and the action merely appears when there’s some major conflict. Wes Ball’s direction never allows the plotting to get dull and even the low-key moments feel necessary. When action kicks in gradually, it’s beautiful to watch. The action choreography is masterful and the camerawork, simply breathtaking. We see flashes of beauty in the post-apocalyptic ruins and the images thereof are quite haunting. The attention to detail in creating the ape characters is amazing. The visual effects bring to life the Ape dominant world with stunning realism. Some of the deeper themes may not be fully explored but they hint at complex dynamics that might find fruit in future installments. Kevin Durand’s Proximus Caesar is imposing but we never get to know much about him. Quite a few key characters are introduced and dispatched without any development to speak of. We also don’t experience much tension or edge as the narrative plays out. The final act also doesn’t rise up to the occasion. It’s the technical specs that fascinate here. The seamless, impeccable imagery and the exacting finishing craft are an unparalleled experience to behold. Wes Ball might not have been able to sharpen the tension here but he manages to compensate with stunning visual effects, and emotional heft. The setting, characters, and themes are resplendent and the tech aspects are terrific.This film may not garner an adrenaline gush but it definitely is as entertaining and immersive as its predecessors.
10 May,2024 04:48 PM IST | Mumbai | Johnson ThomasADVERTISEMENT
