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‘Ink’: Danny Boyle Confirms AI Was Used to Generate Margaret Thatcher, The Kray Brothers and Mice

Danny Boyle tells Vanity Fair that AI was used to animate old photographs—which means Margaret Thatcher and the Kray brothers—and to create mice running around the newsroom.

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John Malkovich Heads to Israel for ‘The Music Critic’ as ‘Wild Horse Nine’ Puts Him in the Oscar Race: “Closeness and Solidarity”

John Malkovich is set to star in a production of “The Music Critic” in Israel next year, just 24 hours after entering the best actor race for his “Wild Horse Nine” performance. I gather he won’t be getting Mark Ruffalo’s vote.

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‘Primetime’: Robert Pattinson Delivers in Entertaining, Visually Striking, Surface-Level Movie — Reviews Are Good, Not Great

“Primetime” doesn’t really go beyond being a good movie. For all of its outrageous entertainment value, it ultimately feels like a stylishly conceived riff on a ridiculous show and its even more ridiculous host.

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Venice Has One Female Director in Comp. Maggie Gyllenhaal Says “Systemic Problem”; Former Amazon Exec: “Maybe ‘The Bride’ Just Wasn’t That Good”

Gyllenhaal says women face systemic barriers in an industry that may not value the kinds of films they want to make. Roy Price’s response? Watch “The Bride.”

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Andrew Scott Surges Into the Best Actor Oscar Race for ‘Elsinore’ After Telluride Premiere

And just like that, after Venice and Telluride, the Best Actor race is taking shape, with Andrew Scott (“Elsinore”) and John Malkovich (“Wild Horse Nine”) emerging as major contenders.

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August 19, 2019
3-Hour ‘Midsommar' Director's Cut Screened in NYC
August 19, 2019

This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

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August 19, 2019

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‘Succession’ Delivered A Brutally Operatic Finale [Review]

May 29, 2023 Jordan Ruimy

“Succession” climaxed last night in a fitting way — how else could Jesse Armstrong’s HBO series end than with a final backstabbing?

This last season, much like the prior ones, was an immaculate display of Shakespearean chutzpah on the part of Armstrong. An air of deception loomed vast and wide during the season, as the Roy family, a clan of clandestine one-percenters, had to maneuver around issues that managed to feel both relatable and completely distanced from a country slowly losing its grip on reality.

The series delivered individualized episodes, heavily relying on confined spaces, each building upon the show’s myth-making of greed and deceit. And yet, like the very best of The Bard’s genius, every character was given his and her time to shine.

As offended as we seem to be about the “one percent”, what “Succession” proved, once again, was our unadorned obsession with the wealthy. The inevitable Shakespearean duel between father and son, family, associates, bigwigs gathered as they point the finger at each other’s weaknesses and make the case for betrayal.

In the “Succession” series finale, the Roy siblings have a half-assed unison before the board vote swings against Kendall and in favor of Matsson’s tech takeover.

Was Kendall capable of running the company? Maybe. Just don’t tell Shiv who had the last word, even if it meant having to ultimately play second fiddle to now-CEO husband Tom. Earlier in the week, there was a fascinating theory about Tom that went viral, it was proved to be correct.

In the end, Shiv did Kendall in, went with Tom, the father of her baby, although, I suspect, she doesn’t really love him. Then again, did anybody actually love anybody in this series? I don’t think so.

I was wondering where this fourth season was going. The first nine episodes were highly entertaining, but you weren’t entirely sure how it would end and, more importantly, if the ending would be worth it. It turns out, it most definitely was.

Kendall, much like Michael Corleone in the second ‘Godfather,’ wound up alone. It was an operatic way for the show to go out on. Now, some very dark days await Kendall, he’ll maybe go back into his druggie habits, and have a major downward spiral.

The writing in this episode was top-notch. It was still unpredictable to see Shiv backing out at the last second, fleeing from the conference room, and stunning us all.

Despite being betrayed by Mattsson, Shiv couldn’t care less about her family’s legacy. “You can’t be in charge,” she tells Kendall. “You killed someone.” Ouch. It didn’t help that Roman then tells Kendall that his children aren’t even his.

I know there are some struggling with what they perceive as the ambiguity, or lack of any strong conclusions, in this final episode, but it seems pretty clear to me what the future holds for Kendall, Roy and Shiv. They have all the money in the world, but, as Roman says late in this episode, they are absolutely “nothing.”

And just like that, this toxic family has been disemboweled. We will likely not see more of them again.

← John Cleese Refuses to Cut ‘Life Of Brian’ Scene Due to “Modern Sensitivities”Lisandro Alonso Was Told by Cannes to Further Edit ‘Eureka’ if He Wanted to be in Competition →

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Critics Polls

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Fritz Lang’s ‘M’ Tops the Best Films of the 1930s, According to 100+ Critics

We’ve gone through the decades. The ‘40s ‘50s, ‘60s, ‘70s, ‘80s, ‘90s, ‘2000s, and ‘2010s. — all revisited, argued over. Now, here are the results for the best films of the 1930s.

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Critics Poll: ‘Citizen Kane' Named Best Film of the 1940s

The results are in, and according to critics, this decade filled with cinematic riches did not have a better film than Orson Welles’ “Citizen Kane.” Nobody should be surprised by this result. “Citizen Kane” changed cinema forever.

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Critics Poll: ‘Vertigo’ Named Best Film of the 1950s, Over 120 Participants

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Critics Poll: Kubrick’s ‘2001: A Space Odyssey’ Tops Our 1960s Critics Poll

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