Oscar: Celebs Rumors


'I studied at a Cheshire college with Oscar winner Michelle Yeoh - this is what she was like'

Michelle Yeoh made history when she became the first Asian woman to win the Best Actress Oscar at the Academy Awards earlier this month. The Malaysian film star told millions of watchers as she held the award for her stunning performance in the highly acclaimed film Everything Everywhere All At Once: "This is a beacon of hope and possibilities."

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‘John Wick’ Franchise Director Chad Stahelski On Permanently Retiring Keanu Reeves’ Hitman & Why Academy Must Add Stunts To Oscars Categories
Chad Stahelski and then partner David Leitch came from the area of martial arts and stunts, and made their mark choreographing huge stunt sequences and directed second unit for many films before getting the shot at steering a franchise with John Wick. Leitch went his own way and Stahelski remained welded to Keanu Reeves in one of most fascinating director-star relationships that concludes with John Wick 4, the final installment of a sleeper action-heavy hit that grew into blockbuster status as each film grew in ambition and box office grosses. The most fantastical gun violence Hollywood has brought since The Matrix films has only been part of it, as are the close combat brawls, knife, sword fights and car crashes that left Wick bloodied but undaunted. For their fourth and likely final time out, Stahelski and Reeves added iconic Asian action heroes Donnie Yen and Hiroyuki Sanada to ramp things up even further. Here, Stahelski breaks down why the franchise’s mythological underpinnings was its secret weapon, how they pulled off an endless string of eye-popping action sequences — 14 in the finale — for much less than a pricey romcom and why stunt professionals deserve Oscar recognition as much as any other category. Getting that recognition for his bruised and battered brethren might be his next production.
‘Bad Cinderella’ Review: Andrew Lloyd Webber’s Muddled, Sexed-Up, Broadway Spin on the Fairy Tale Is True to Its Name
Naveen Kumar The addition of “bad” to the title of Andrew Lloyd Webber’s latest maximalist spectacle, formerly known simply as “Cinderella” when it premiered for a short-lived run on the West End in 2021, would seem like a cleverly self-conscious move. Was it preemptive self-defense against Broadway reviews like this one, that would apply aesthetic judgment to the musical’s gauche bonanza of too-muchness? Would its version of Cinderella be — you know, a bad girl, but in a sexually liberated (and feminist!) way? Or was it a rare bit of truth in advertising? To clear up the obvious question, “Bad Cinderella,” which opened at the Imperial Theater Thursday night, isn’t good. Composed by Webber and with lyrics by David Zippel, it is a muddled and momentum-less retooling of the familiar fairy tale in search of a coherent point of view as if it were a glass-slippered foot. The book, originally written by Emerald Fennell, the Oscar winning screenwriter of “Promising Young Woman,” and adapted for Broadway by the playwright Alexis Scheer, is an illogical head-scratcher, despite being based on a story most everyone knows. “Bad Cinderella,” directed here by Laurence Connor (“School of Rock”), even manages to gleefully reinforce the chronic social fixations — on beauty, vanity and wealth — that it purports to deem toxic.