Charles Bramesco Biography
At the Golden Globes on Sunday night, both Jenna Bush and Michael Keaton made the embarrassing faux pas of conflating new releases Hidden Figures and Fences into the single title Hidden Fences. It’s an easy enough mistake to make — when there are a whopping two movies featuring black ensembles in theaters at the same time, who can expect anyone to keep them straight, least of all people whose one job revolves around the ability to keep them straight? It was a real foot-in-mouth moment for both celebrities, reflective of the minimal attention that white audiences pay to film championing black performers and creators.
Truly, there is no greater type of entertainment industry news story than “bizarre legal proceedings.” Strange and ill-fated court cases pepper the world of showbiz, and today brought a long-awaited conclusion to one of the weirdest and most nonsensical in recent memory.
J.J. Abrams made his bed, stuffed it with money and gold bricks, but now he‘d rather not lie in it. The director has risen to the top of Hollywood’s most-wanted list in recent years as a serviceable conductor of franchise pictures; he did right by the Mission: Impossible series, then moved on to mount the massive Star Trek resurgence, and brought Star Wars back to the grateful people of Earth with Episode VII. But this whole money-in-the-bank reputation comes with its downsides. Speaking with People, Abrams indicated that he‘s had his fill of franchise pictures and would prefer to explore some original concepts in the years to come.
Before Scarlett Johansson launched a thousand essays by taking on the role of Motoko Kusanagi, the cybernetic crimefighter was nothing more than a drawing. The original Ghost in the Shell anime debuted in 1995 and blew audiences away with its futuristic cyberpunk aesthetic, influencing everything from The Matrix to the Star Wars prequels. In the film, the robotic government agent cuts through the dystopian world of 2029 in search of the Puppet Master, a sentient computer virus taking over human hosts and causing havoc. The film’s flashy Hollywood remake is only a couple months away on March 31, but before that, the original will infiltrate theaters in a special engagement.
Now that falsehoods have become almost entirely indistinguishable from fact in the American news media, the staffers of satirical publication The Onion can sit back and relax, having effectively taken over the industry they set out to spoof. (Full disclosure: I contribute to the A.V. Club, a division of the Onion media empire.) But instead of resting on their laurels, the originators of ‘fake news’ have set out to conquer new frontiers, having already moved into publishing and the untamed wilds of television. A new exclusive from the Hollywood Reporter indicates that not even the movie theaters of this great nation will be safe from the increasingly plausible absurdities of America’s self-proclaimed ‘finest news source.’
It was only a matter of time. The long string of biographical depictions of troubled geniuses, an ignominious tradition more recently carried on by the likes of The Imitation Game and The Theory of Everything, had to inevitably yield an Albert...
The Emma Watson-led Beauty and the Beast will come to theaters in a couple months’ time, but the cover version of the song as old as time needs to keep anticipation high until then. Watson did her part on Twitter earlier today by posting the first look at the latest theatrical poster for the live-action adaptation of Disney’s landmark animated film, perhaps the high-water mark of the Second Coming in the ‘90s. The new poster acts as an informal roll call for the new faces of this classic tale, including all the famous faces lending their likenesses to the film in one splashy design.
Vin Diesel is a pro when it comes to doing awesome things in places where they should not be done. He drove a muscle car out of a skyscraper in the most recent installment of the Fastly Furious franchise. In 2005 family comedy The Pacifier, Diesel brought white-knuckle secret agent action to a sleepy suburban neighborhood. And in a newly revealed clip from the upcoming xXx sequel Return of Xander Cage, he straps on a pair of skis and speeds through the jungle like it’s an Alpine black diamond trail. This is the poetry and pain of Vin Diesel, always pulling the raddest of stunts in the unlikeliest of spots — unstuck in time and place, an innovator unappreciated in his era, the Van Gogh of shredding the gnar.
It’s only logical: after cleaning up across the board with city-specific critics’ groups far and wide (ceding the occasional prize to La La Land, its closest awards-season competitor), Moonlight was awarded the distinction of 2016’s finest film from the National Society of Film Critics. In a decision stunning exactly nobody, Barry Jenkins’ heartfelt triptych about a young gay man’s coming-of-age in Miami took the Best Picture prize as well as the Best Director for Jenkins. Left in the runners-up column were all-but-certain Oscar nominees La La Land and Manchester by the Sea. In fact, Damien Chazelle’s crowd-pleasing musical got kind of skunked by the NSFC; Chazelle landed the runner-up Best Director spot behind Jenkins, the film shared the runner-up spot for Best Cinematography with Silence, and star Emma Stone was shut out entirely.
A few days from now, January 10 will mark the one-year anniversary of David Bowie’s surprising death and the beginning of the unending parade of horrors that was 2016. The tributes poured out in the wake of the announcement with commemorative parades and parties taking place in cities across the globe. But while the flow of memorials to the musical pioneer may have ebbed, it hasn’t stopped completely. A new report from Variety indicates that later this year, Bowie’s spirit will continue to live on at cineplexes across Europe with what is now the closest a person can get to attending an actual David Bowie concert.