Ridley Scott: Celebs Rumors

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Brian Cox says the Bible is “one of the worst books ever”

Brian Cox has expressed his opinions on religion in a new interview, and has criticised the Bible as being “one of the worst books ever”.The Succession star spoke with Rich Leigh on the latest episode of The Starting Line Podcast, where he opened up about the impacts of religion on politics and humanity.On whether religion holds humanity back, the 77-year-old actor responded: “Oh considerably, yes – I think religion does hold us back because it’s belief systems which are outside ourselves.”He explained: “They’re not dealing with who we are, we’re dealing with, ‘Oh if God says this and God does that’, and you go, ‘Well what is God?’ We’ve created that idea of God, and we’ve created it as a control issue, and it’s also a patriarchal issue … and it’s essentially patriarchal – we haven’t given enough scope to the matriarchy.”He went onto explain why he disapproves of the Bible, referencing its representation of arguably patriarchal narratives.“It’s Adam and Eve, I mean the propaganda goes right way back – the Bible is one of the worst books ever, for me, from my point of view,” he shared.“Because it starts with the idea that Adam’s rib – you know that [from] Adam’s rib, this woman was created, and they’ll believe it cause they’re stupid enough.”He continued: “They need it, but they don’t need to be told lies, they need some kind of truth, and that is not the truth.
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‘Napoleon’ conquers French box office despite vicious reviews
Napoleon has made a strong start at the French box office despite some scathing reviews from French critics.The film – which stars Joaquin Phoenix as the famed French emperor – has received largely positive reviews internationally, though some French critics have slated the film.French GQ called it “deeply clumsy, unnatural and unintentionally funny”, while Le Figaro compared it to “Barbie and Ken under the Empire”.Nevertheless, it took $1.019million (£810,000) during its opening day in France last week (via Variety) – accounting for nearly a third of international takings – before making a total $5.6million (£4.44million) over its first five days.Its weekend takings also make France one of the biggest international markets for Napoleon, second behind the UK with $6.6million (£5.23million), according to ScreenDaily.Last week, director Ridley Scott hit back at French critics of the film, telling the BBC: “The French don’t even like themselves”.He added: “The audience that I showed it to in Paris, they loved it.”Scott also previously hit back at historian Dan Snow’s criticism of the film, after the latter broke down Napoleon‘s historical inaccuracies.“Get a life,” the director said. “I tend to be visual above all things, before the written word.”Napoleon focuses on the emperor’s rise to power and his relationship with Empress Joséphine (Vanessa Kirby).
metroweekly.com
‘Napoleon’ Review: French Dip
Ridley Scott’s Napoleon marches into cinematic battle with the bluster and confidence that comes with a reported $200-million budget and Sir Ridley’s decades-deep track record of well-mounted action epics.All that money and prestige is visible onscreen in the film’s far-flung locations, hundreds of extras, delectable period costumes and decor, and, as advertised, several massively-scaled scenes of battle, on land and sea, circa 1789 to 1815.Legions of infantry and cavalry clash on various rolling hills of Europe, shot in icy, desaturated blues and grays by Dariusz Wolski, Scott’s cinematographer on his last nine films (though not his next one, Gladiator 2, being lensed by Gladiator d.p. John Mathieson).Against vast fields of green or snow-covered grasses, and CGI-enhanced masses of combatants, soldiers’ coats flash a red that’s many shades brighter than the blood that flows and bursts violently across the screen.The filmmakers spare no visual detail in depicting the bodily devastation of hand-to-hand armed combat — death by bayonet, point-blank gunfire, horse hooves, or long-range artillery.Death here is bloody, disgusting, and woefully unnecessary, but it’s also the main currency of war, and this movie revels in the loud, explosive spectacle of war far more enthusiastically than it casts its feebly critical eye at the men who clamor for it.Above all else, the film renders tribute to Napoleon Bonaparte, portrayed by Oscar-winner Joaquin Phoenix as a shrewd but coarse, fearless, petulant, glowering egomaniac who rises to imperial power fighting and winning wars.
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