Peter Debruge: Celebs Rumors

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‘Mission: Impossible – Dead Reckoning Part One’ Review: A Stunt-Loving Tom Cruise Takes on AI … and Big-Screen CG Rivals
Peter Debruge Chief Film Critic Sooner or later, Ethan Hunt will face a mission he really ought not to accept. But for the time being, he remains the one man on earth willing to attempt the impossible without questioning the motives of those who require his services. That’s the deal with America’s most dutiful boy scout, Tom Cruise, who’s carried the billion-dollar “Mission: Impossible” franchise across 27 years without losing steam. Compare that with Indiana Jones, who’s failed to connect with a younger generation, or the Fast and Furious movies, which aren’t running out of gas so much as guzzling the laughing sort. “Mission: Impossible – Dead Reckoning Part One” finds Cruise, now in his sixties, still running from one side of a very big, very wide screen to the other as if his life — and the lives of all 8 billion people on earth — depended on it. This is Hunt’s seventh blockbuster outing, with a last franchise-capper set to release next summer, and while it can’t eclipse what came before (“Fallout” was the series high), director Christopher McQuarrie delivers a formidable concept and several hall-of-fame set-pieces while somehow also managing to tie the storylines back into these movies’ core mythology.
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‘Nimona’ Review: Pink Hair, Punk Spirit and a Formula-Thrashing Story Set This Rebel Toon Apart
Peter Debruge Chief Film Critic Once upon a time, animated movies made it easy to tell the heroes apart from the villains. Now, the trend is for princesses to remain happily unmarried (“Frozen”), for kids to know better than their elders (“Encanto”) and for monsters to be revealed as misunderstood allies (“Luca”). For a while, those twists on the Disney fairy-tale formula felt surprising to audiences, aligning nicely with where the cultural conversation was headed. Through repetition, however, such enlightenment has become its own cliché. Enter Nimona, who brings a fresh dose of attitude to such inclusive messaging. She’s a monster, but doesn’t like to be called that. (And who can blame her?) Apparently the only one of her kind in a fictional kingdom where medieval customs and flying cars aren’t mutually exclusive, Nimona is capable of shape-shifting into practically any species — be it a shark, a rhinoceros or a ginormous dragon — though her hot pink hair/fur/skin makes it kind of hard to blend in. When she first appears in the rowdy Netflix animated feature that bears her name, Nimona is sporting a pixie-punk haircut, piercings and an insatiable desire to do maximum damage to the society that’s been demonizing her for roughly a millennium. She is not what anyone would call a good girl, and that makes her a far more interesting character than practically any princess.
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‘Ruby Gillman, Teenage Kraken’ Review: DreamWorks Wrestles With How to Train Its Kraken Concept
Peter Debruge Chief Film Critic If you’re going to make a movie about a kraken — those giant multi-tentacled sea monsters believed to wrestle ships from below — then computer animation is hands down the way to go. The trouble with doing so at a major American studio is that it comes with the imperative to turn these fantastical creatures into cutesy-wootsy kid-movie fodder, which is precisely what DreamWorks Animation does with the reasonably clever myth-twisting toon “Ruby Gillman, Teenage Kraken.” The creative team’s high-concept take suggests “Twilight” as a (literal) fish-out-of-water comedy, wherein a family of blue-skinned squid-things attempt to pass as human. Fifteen years ago, Flora (voiced by Toni Collette) and Peter (Colman Domingo) abandoned the ocean to raise their kids on land. Despite the obvious hurdles — their conspicuous cerulean tint, floppy limbs and invertebrate status — they’ve been reasonably successful at blending in. Anytime someone looks suspicious, Ruby (Lana Condor) just says she’s from Canada, and that does the trick. But Ruby’s not nearly as comfortable with her own otherness, which she’s spent her entire life trying to disguise. All of that gets a lot more difficult a few days before prom, when she dives into the sea to save her crush, Connor (Jaboukie Young-White). Contact with water awakens something deep within Ruby and releases her inner kraken.
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‘Rock Hudson: All That Heaven Allowed’ Review: Doc Twists Classic Clips to Illuminate Closeted Star’s Private Life
Peter Debruge Chief Film Critic During his lifetime, Rock Hudson was a model for American masculinity. That changed after his death, when the strapping, straight-acting (but occasionally sensitive) hunk from Winnetka became the poster boy for Hollywood homophobia: a closeted star who’d been forced to play a role his entire career that wasn’t true to himself, on screen and off. “Rock Hudson: All That Heaven Allowed” treats that compromise as a tragedy, leaning on the fact Hudson died of AIDS to underscore the injustice, but Stephen Kijak’s documentary does him a disservice, reducing Hudson’s career — in exactly the way he went so far out of his way to avoid — to the dimension of his sexuality. Built around interviews with a handful of former lovers and friends, Kijak spills private details from Hudson’s personal life, ranging from whom he shagged to how he arranged such trysts in the first place. A secretly recorded phone call reveals Hudson to be a “size queen,” audibly excited by the prospect of meeting a tall, well-endowed stranger. The whopper — which underscores the kind of salacious gossip Kijak gravitates toward in the film — comes from Joe Carberry, who recalls, “Rock had a sizable dick, but he tried to put that thing up my ass, and I couldn’t do it.”
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