Category: Movies

Jennifer Aniston’s Indian look in a custom Manish Malhotra lehenga might have stunned many. The actor was seen wearing the white and silver embellished lehenga in the trailer of Murder Mystery 2 in which she stars alongside Adam Sandler.

Many praised the look as the actor looked ravishing in the Indian design with her hair tied up in a messy bun while Adam Sandler wore a sherwani. However, Jennifer Aniston is not the only Hollywood star to don an Indian designer.

Here is a list of Hollywood celebrities who have rocked Indian labels:

Jennifer Lopez

Jennifer Lopez has picked Indian designers multiple times, including in 2013, when she wore a Bibhu Mohapatra design on the red carpet at an event. She wore a white and green printed tube dress with a black waist belt. She also has a thing for Indian bags, as she was seen holding a Suneet Varma clutch in 2010.

Beyonce

Coldplay’s Hymn for the Weekend became widely popular in India not just because it was shot entirely in India but also because it starred Sonam Kapoor and Beyonce. Beyonce, in the song, plays a Bollywood actor and wore an elaborate embroidered and sequined outfit created by Indian designers Abu Jani and Sandeep Khosla.

Sara Jessica Parker

Sara Jessica Parker was spotted in a Falguni and Shane Peacock lehenga with flowers as her hair accessories in an episode in the revival season of Sex and the City. Her look was, however, criticized for being poorly done.

Katy Perry

Katy Perry chose a fancy merry-go-round outfit by Manish Arora during MTV Europe music awards in 2008. She wore a Manish Arora design again, soon after he took over as the creative director of Paco Rabanne.

Megan Thee Stallion

Megan Thee Stallion made a stunning appearance at Oscars 2022 dressed in a gown by Gaurav Gupta. The gown was inspired by a mystical sea creature that transports the red carpet into a fantasy realm. It was encrusted with crystals-the strapless gown features a side cutout at the torso, a leg-baring slit, and a skirt that flows out in larger than life fins that are engineered with the brand’s indigenous sculpting.

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Netflix and Wit Studio, the animation production company behind Spy x Family and Attack on Titan, have released a new short film. Titled “The Dog & The Boy,” the short follows a boy who discovers a robotic dog before they’re separated by a great tragedy. It’s emotional and cute, but the most noteworthy thing about this short isn’t the storyline — it’s the fact that the backgrounds were generated by artificial intelligence.

The Netflix Japan tweet about the short explains that this method is “an experimental effort to help the anime industry, which has a labor shortage.” A blog post on the Netflix Japan site goes into more detail about the process.

Using AI to create art has become a very controversial topic in the past few months. With tools like DALL-E, Midjourney, and Free AI Art Generator rising in popularity over the past year, many artists have spoken out about how these programs utilize their art without consent and how their specific art styles can be replicated with just a string of words typed into one of these programs. Tea #SupportHumanArtists movement started to call attention to the ethical issues that come with AI usage.

On Twitter, many users have called out Netflix and WIT Studio for this short film and for the possibility of using AI tools to replace background artists. The animation industry in Japan, in particular, already faces a lot of issues, chief among them the fact that many animators are underpaid.

EXCLUSIVE: There’s more star power on board for Guy Ritchie and Jerry Bruckheimer’s new war movie, The Ministry Of Ungentlemanly Warfarewe can reveal, ahead of its February 13 start date in Turkey.

Joining Henry Cavill and Eiza González are Alan Ritchson (Fast X, Reacher), Henry Golding (Crazy Rich Asians, The Gentlemen), Henry Zaga (Beyond The Universe)Alex Pettyfer (Magic Mike, The Butler), Cary Elwes (Operation Fortune: Cunning War), Hero Fiennes Tiffin (After franchise), Babs Olusanmokun (Dune,”Star Trek: Strange New Worlds”) and Til Schweiger (Inglourious Basterds, Atomic Blonde).

Black Bear International arranged financing The Ministry of Ungentlemanly Warfare and is handling world sales on the film.

The true story covers UK Prime Minister Winston Churchill’s and Ian Fleming’s secret WWII combat organization. The clandestine squad’s unconventional and ‘ungentlemanly’ fighting techniques against the Nazis helped change the course of the war and gave birth to the modern Black Ops unit.

The script by Paul Tamasy and Eric Johnson, Arash Amel and Ritchie is based on war correspondent and military historian Damien Lewis’ best-selling book of the same name. Tamasy and Johnson initiated the project and sold it as a pitch to Bruckheimer and Paramount in 2015.

On the heels of his Best Picture Oscar name for Top Gun: MaverickBruckheimer (Bad Boys for Life, Pirates of the Caribbean franchise) is producing alongside Chad Oman, Ritchie’s producing partner Ivan Atkinson, and John Friedberg for Black Bear International. Executive producers include Scott Lastaiti, Olga Filipuk, Damien Lewis, and Tamasy and Johnson.

Ritchson is the star of the Amazon series Reacher, which ranks among Prime Video’s top five most-watched series ever in the US and globally. He will next star in Universal’s Fast X, the 10th installment of the blockbuster Fast and Furious franchise, and the Lionsgate drama Ordinary Angels opposite Hilary Swank.

Golding reunites with Guy Ritchie following The Gentlemen and is currently in post on The Old Guard 2 starring Charlize Theron for Netflix, the Paramount animated film The Tiger’s Apprenticeand Lily Rabe and Hamish Linklater’s drama Downtown Owl for Sony.

Zaga recently starred in Beyond the Universe for Netflix and The New Mutants for 20th Century Studios. He also just finished shooting the Apple limited series The Crowded Room.

Pettyfer is best known for starring in Steven Soderbergh’s magic mikemost historical drama The Butler and Back Roads. He will next be seen in the upcoming film 5Lbs of Pressure.

Elwes’ career included starring roles in The Princess Bride and Saw. He will next star in several films, including Paramount’s Mission: Impossible – Dead Reckoning Part OneGuy Ritchie’s Operation Fortune: Cunning Warand the Zack Snyder-directed Rebel Moon for Netflix. He also stars in the indie film BlackBerrywhich is in competition at this year’s Berlinale.

Fiennes Tiffin got his start playing Tom Riddle in Harry Potter and the Half-Blood Prince, and has since starred in the After franchise, and most recently The Woman King alongside Viola Davis.

Olusanmokun’s recent credits include Dunes and “Star Trek: Strange New Worlds” for Paramount+ and he has previously worked with Guy Ritchie on Wrath of Man for MGM.

Schweiger is known for roles in Inglorious Basterds and Atomic Blondeamong others, and is also an extremely successful director in Germany, known for films including Berlin, I Love You and Honig Im Kopf (Head Full of Honey).

Ritchson is represented by WME, Dan Spilo of Industry Entertainment, and Hansen, Jacobson, Teller. Golding is repped by CAA and Megan Silverman Management. Zaga is repped by WME and Circle of Confusion. Pettyfer is represented by Independent Talent Group, Black Bear Management and Dark Dreams Entertainment. Elwes by APA, The Artists Partnership, LINK Entertainment and Ginsburg Daniels Kallis.

Fiennes Tiffin is repped by CAA, The Artists Partnership and Vybe Trybe. Olusanmokun by CAA and Goodman, Genow, Schenkman, Smelkinson + Christopher, LLP. Schweiger by APA and Framework Entertainment.

It is not uncommon for critics to worry that a film looks too much like a theater piece. Martin McDonagh’s The Banshees of Inisherin and Sarah Polley’s Women Talking, current nominees for best picture at the Oscars, have had that accusation gently levered in their direction. They can take it.

That nagging whiff is, however, impossible to shake off throughout Darren Aronofsky’s largely dreadful translation (can we allow even that noun?) of Samuel D Hunter’s play about a bereaved English teacher eating himself to death.

Never mind that the action barely escapes one room. You could say the same of a dozen cinematic classics. The worry is that the film deals in the worst, most jaded conventions of bourgeois middlebrow dinner theater from the 1950s. In moments of introspection, characters actually walk “downstage” to puzzle at an imagined dress circle. When they go out to the porch, one can imagine the lights dimming on the main set and coming up on a hitherto unnoticed bit of carpentry abutting the wings. No sooner have we settled back down after our gin and tonic at the interval than a new character is announcing the beginning of act two by knocking at the front door. Will it be Lady Peggy Ashcroft? No, it’s Samantha Morton.

None of this hokey stagecraft would much matter if the script were not draped in such mawkish sentiment and such cheap gotcha reveals. Yet the thing does begin well enough. We first hear Brendan Fraser’s mellifluous voice as Charlie, reclusive academic, addresses a class of students in an online seminar with his webcam off. (First produced in 2012, the play proves accidentally appropriate for a post-lockdown era.) They are not aware of what we soon learn. Now weighing in at 43 stone, Charlie has eaten himself into a state of terminally ill immobility. Initially, a stroppy nurse, played with Oscar-nominated vim by Hong Chau, proves his only source of human contact, but, this being a drama mired in mid-century theatrical convention, we know others will soon come calling. Sadie Sink easily masters a one-note strop as his estranged daughter. Ty Simpkins is almost defeated by the absurd role of a visiting Christian missionary just yearning to spice up the closing action with conveniently appropriate secrets of his own.

If you thought no writer dealing with such material would dare hang Charlie’s teaching around something so on-the-nose as Moby Dick then I have not yet conveyed quite how cacophonous are the machine’s clunks. Every now and then we do get a moment of properly cinematic unease, but even those successes are tainted by the film’s unseemly disgust at Charlie’s body. Ranking up the droning minor chords on Rob Simonsen’s orchestral score as the protagonist tucks into another pizza succeeds in making something mortally sinister of an everyday act. Yet that only heightens the sense that The Whale – alert to every crease of Fraser’s simulated fat – is dealing in incongruously maudlin body horror. Cronenberg for saps. Or do we just mean Aronofsky for saps? The director of shockers such as Requiem for a Dream and Mother! has had his mainstream moments, but he has never before been quite so at home to tawdry soap opera.

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Ever since the premiere at Venice, Fraser’s performance has been touted as the film’s saving grace. After a few years in the near wilderness, the sometime matinee idol does indeed bring gentle desperation to dialogue that demands to be spoken with heart thumping on sleeve. His pleading is not just to the characters around him but to a wider audience largely on the actor’s side. Sadly, not even someone so warm as Fraser can win us over to the most jaw-droppingly daft final shot in recent cinema. I have been fanning my armpits ever since a first viewing.

The Whale is in cinemas from Friday, February 3rd

Anderson, 55, turned heads at the premiere of her new Netflix documentary.

Pamela Anderson gave a nod to the iconic swimsuit that helped launch her career at the premiere of her new Netflix documentary Pamela, A Love Story.

The 55-year-old sex symbol and newly-minted author gave a fiery red Naeem Khan gown to the event, evoking the bouncy one-piece swimsuit associated with the character she played on Baywatch, lifeguard CJ Parker.

Christian Louboutin sandals, Cicada diamond earrings and a Delfina Delettrez ring rounded out the ensemble, the New York Post notes.

“Pamela Anderson is ready to tell her story in a new documentary,” reads a statement from Netflix about the new doc, which is streaming now.

“The film, which has been in the making for several years, will feature the pop culture icon setting the record straight as she looks back on her professional path and her personal journey. In her own words, through personal video and diaries. Pamela Anderson shares the story of her rise to fame, rocky romances and infamous sex tape scandal.”