‘The Lost King’ Review: Sally Hawkins Has One of Her Greatest Roles as the Amateur Historian Who Found Richard III

At least heartbreak can provide some good material for future songs. Singer Miguel’s wife, model Nazanin Mandi, has filed for divorce.

Marcus Mumford was the musical guest on The Late Late Show With James Corden this week – watch him perform new single ‘Grace’ below.The track appears the Mumford & Sons frontman’s debut solo album ‘(self-titled)’, which came out last month.In a new interview about the album with NME, Mumford spoke of how ‘Grace’ was written about the moment he told his mother of the sexual abuse he experienced as a child, which is explored on debut single and album opener ‘Cannibal’.Mumford started to write more songs over lockdown, which he spent in Devon with his wife, the actor Carey Mulligan, their children and his parents. Mumford’s mum heard the early workings of ‘Cannibal’ through the walls of their house and asked her son what it was about.

Frasier reboot series is officially going ahead, having been picked up by Paramount+.On Wednesday (October 5), Deadline reported that a single season had been greenlit by the US streaming service. The length of the series is yet to be confirmed, but the publication reports that it is likely to be a 10-episode run.The reboot series will see Kelsey Grammar reprise his role as the psychiatrist-turned-radio host Frasier Crane.

Maisie Smith is currently starring as Fran in a reimagining of Baz Luhrmann's Strictly Ballroom in a nationwide tour, and on Tuesday the cast celebrated its Gala night.MORE: Loved-up Maisie Smith and Max George make first public appearance at HELLO!'s Inspiration AwardsTaking to Instagram, the former Strictly Come Dancing star shared several photos of her on stage showing off her dancing alongside Kevin Clifton, who plays protagonist Scott Hastings – and friends and fans went wild.WATCH: Kevin Clifton and Maisie Smith are starring in a new musicalOne of the first to comment was her new boyfriend, The Wanted's Max George, who praised her performance and revealed the adorable nickname he has for Maisie.LOOK: Frankie Bridge, Rochelle Humes and Carol Vorderman exude glamour at the HELLO! Inspiration AwardsMORE: Strictly lovebirds Maisie Smith and Max George makes their relationship Instagram official"You're incredible princess," he wrote.A post shared by Maisie Louise Collender Smith (@maisiesmithofficial)Maisie shared photos from gala nightMaisie also received the support of her former Strictly colleagues, such as Jowita Przystal, who wrote: "You were amazing !!!! go Chicken !!!!!Nancy Chui added: "GIRLLLLL" alongside several fire emojis.Maisie, who appeared alongside Max at HELLO!'s Inspiration Awards just hours before the Gala show, previously spoke of her new role, revealing it "the best thing" she's ever done.The 21-year-old appeared alongside Kevin on Good Morning Britain this week and was asked if the show was the best thing she's ever done. "It absolutely is!" replied Maisie.

Donald Trump, David Cameron, Brexit and even Die Hard‘s status as a Christmas film.The new spoof sees the pair taking aim at Truss’ highly divisive recent economic policies, splicing together quotes from her recent speeches and interviews.“The damage is done, and I’ve just begun,” Truss says during the spoof. “65 billion to get back to square one / A worst first budget is inconceivable.”Later in the track she says: “They say our policies increase inequalities / No shit Sherlock.”Watch the full ‘Nu Tax Plan’ video below.New! Cassetteboy vs Liz Truss – Nu Tax PlanYou can support us at https://t.co/o7kwE1h2gy , we appreciate it now more than ever.

WOODZ will be parting ways with longtime label Yuehua Entertainment following the expiration of his contract.The Beijing-based entertainment company published a statement today (October 5) through WOODZ’s official fancafe page announcing the singer’s – who is also known as Cho Seung-youn – departure from its ranks once his exclusive contract concludes on October 19.“We have closely watched WOODZ’s passion for music from the day he debuted in a group to the present where he is partaking in activities as a solo artist,” wrote Yuehua Entertainment in its brief statement, as translated by Soompi. “It was a meaningful time to be together with WOODZ as he grew into an all-rounder through constant challenges and effort.”Yuehua then concluded its statement by expressing gratitude towards the musician for “embarking on this long journey with us”.

EXCLUSIVE: Former MGM and Sony Pictures exec Eric Paquette’s film and TV company Meridian Pictures has struck a partnership deal with Saudi Arabian production house and literary management company Hakawati Entertainment.

Nick Cave has shared a previously-unseen performance of ‘Earthlings’ – you can watch the video below.The track, an outtake from the Bad Seeds‘ ‘Ghosteen’ era, was originally released last year as a preview of the band’s ‘B-Sides & Rarities Part II’ album.“‘Earthlings’ is the missing link that binds ‘Ghosteen’ together,” Cave explained of the cut. “A lovely song that just got away.

Drake has announced announced a small theatre show in New York for next month.The Canadian artist, who released his seventh album ‘Honestly, Nevermind’ in June, will take to the stage at the 1,500-capacity Apollo Theater in Harlem on November 11 as part of SiriusXM’s Small Stages series.As Spin notes, Drake has only played four live shows so far this year.Tickets for the star’s intimate NYC gig are available for free to SiriusXM subscribers. Alternatively, non-subscribers can download the station’s app, subscribe and then can be entered to the prize draw.Fans have until 11pm ET on October 26 to enter – you can find more information here, and see Drake’s announcement below.A post shared by champagnepapi (@champagnepapi)SiriusXM’s Small Stages series has recently hosted special shows from the likes of Pearl Jam and Red Hot Chili Peppers at the Apollo Theater.Last month, Drake posted screenshots showing hateful Instagram messages he’d sent to Needle Drop music critic Anthony Fantano.

Star Mum award, which is sponsored by luxury childrenswear retailer Childsplay Clothing, honours mothers who, while raising their family, still find the time to help others in need. It also focuses on women who may have overcome remarkable personal challenges.MORE: Meet the #HelloToKindness winners at the HELLO! Inspiration Awards 2022And on Tuesday, mum-of-one Kelly Stevens was presented with the Star Mum winner of the Year award at HELLO!'s Inspiration Awards 2022.WATCH: Rochelle Humes talks close bond with Emma WillisOne year after tragically losing her mother at the age of 50, Kelly adopted her aunt's son, Thomas, after she was unable to parent him.READ: Davina McCall and Dame Kelly Holmes among the winners of HELLO!'s Inspiration Awards 2022MORE: Meet the celebrity judges at this year's Inspiration AwardsUnwilling to let Thomas be fostered, the 34-year-old from Southport, Merseyside, gained full guardianship of him as a single mum while working full-time at her own hair salon.In between work and taking trips with Thomas in her caravan, she also recently found the time to run the London marathon in memory of her mum.

Owen Gleiberman Chief Film Critic If you’re someone who considers themself a foodie (and I totally am), chances are there was a moment in the last few years when you had The Awakening. It may have been when the waiter was describing the veal marrow with beat foam served with baby lettuces from New Zealand. It may have been when you were eating the red snapper that was cooked halfway through, like a rare steak, and you thought, “I love sushi, I love cooked fish, but I’m not sure this is really the best of both worlds.” It may have been when you saw the bill. Whatever the trigger, that was the moment you looked up from your plate and realized that high-end foodie culture has become a serious annoyance. It’s gotten too fussy, too pricey, too full of itself, too not filling (of yourself), too avant-garde and conceptual, too tied to The Salvation of the Planet, too much of an ordeal. Did I mention too pricey? It used to be that if you wanted to ridicule culinary mania, you mocked someone like Guy Fieri. But he has risen from the ashes of infamy to a kind of born-again respectability (and yes, “Diners, Drive-Ins and Dives” was always a great show). Now, if you want to ridicule culinary mania, the most natural targets are restaurants like The French Laundry in Napa Valley or Bros’ in Southern Italy, places where the 12-course “tasting menu” can inspire you to think, as one blogger put it, that “there was nothing even close to an actual meal served.”

TORONTO – There once was a noble King whose reputation was slandered following his death. His enemies made sure that his name was equated with the worst rulers of his land.

Sam Mendes was writing the screenplay for what would become Empire of Light and he’d hit a wall.

Owen Gleiberman Chief Film Critic Like an ice-cream shop that offers you the choice of pistachio or strawberry and nothing else, the movies Tyler Perry has been churning out for 20 years come in just two flavors: comedy and soap opera. It’s worth noting, in this case, how the flavors blend. Most often, they’re stacked right next to each other, as when Perry’s great sass-mouth frump Madea suddenly plops into the middle of a dramatic scene. Yet there’s a way that the antic, ribald broadness of Perry’s comedy bends the drama into being more over-the-top. That’s why his movies are all of a piece even when they’re all over the place. They feed you pistachio and strawberry, and by the time that’s all melted together you’re tasting one flavor. Call it Tyler Perry with Nuts.

Owen Gleiberman Chief Film Critic “Causeway,” starring Jennifer Lawrence as a U.S. Army soldier recovering from injuries that are physical, mental, and spiritual, is the furthest thing from a genre film. Yet it belongs to what I’ve come to think of as a genre: the slow-burn non-verbal indie gloomfest. In saying that, I don’t mean to make light of the subject. Lawrence plays Lynsey, a member of the U.S. Army Corps of Engineers who returns from Afghanistan after riding in a vehicle that was struck by a bomb, which caused her to have a cerebral hemorrhage. At the start, she’s seated in a wheelchair, waiting for the home health-care worker (Jayne Houdyshell) who’s going to look after her as she undergoes rehab. Tentatively, Lynsey starts to walk, but for a while she struggles to bathe, drive, remember things. The brain injury has smashed and weakened her; she’s a person in fragments.

Toronto International Film Festival.Unless, of course, you holler, “Allelujah! It’s time to go home!”That’s because the dinky drama, about a struggling hospital for the elderly in England, gets steadily more depressing as it plods along. There’s nothing wrong with some silver screen sorrow, but not when it amounts to indecisive mush. Sure, it is a pleasure to see the boffo acting talent together — Jennifer Saunders, Judi Dench, Derek Jacobi and more — but they deserve so much better than hospital Jell-O. The creaky film began as a play at London’s Bridge Theatre by writer Alan Bennett, who also penned “The History Boys,” and much like the 2006 screen version of that show, “Allelujah,” directed by Richard Eyre, doesn’t comfortably make the leap to cinema.

TORONTO – Sometimes films with the best intentions just doesn’t come together. A great cast, a notable filmmaker, and fine source material don’t always coalesce.

Owen Gleiberman Chief Film Critic It’s in the nature of cinema that when a hugely popular and beloved movie is grand enough, the sequel to it almost has to try to top it in a go-big-or-go-home way. For a long time, each new James Bond adventure was more lavishly scaled, baroque, and stunt-tastic than the last. “The Godfather Part II” was darker and longer than “The Godfather,” “The Empire Strikes Back” enlarged the awesomeness of “Star Wars,” and “Terminator 2: Judgement Day” made the first “Terminator” look like a minimalist trinket. So how does that apply to “Glass Onion: A Knives Out Mystery”? Three years ago, Rian Johnson’s “Knives Out” was a seamlessly debonair retro whodunit, set in the mansion of a murdered mystery novelist, that not only evoked the edge-of-your-brain storytelling panache of Agatha Christie but expanded the Christie genre into something delectable in its meta cleverness. At a time when comic-book films, action films, and other forms of kinetic fantasy appeared to be in the final stages of killing off everything else, “Knives Out” was a cathartic reminder that a movie mode we associate with vintage Hollywood — dialogue of airy density and wit, characters who pop with all-too-human flaws and foibles, a plot that zigs and zags until you’ll follow it anywhere — could still make a righteous stand at the megaplex. Holding it all together was Daniel Craig as Benoit Blanc, the film’s Southern-gentleman re-imagining of a Hercule Poirot/Sherlock Holmes sleuth, whose wryly deceptive genius made him, for some of us, more super than any superhero.

“The Lost King” will be released in the U.S. by IFC Films.

William Shakespeare rather definitively defined Richard the Third as a deformed, conniving, duplicitous and altogether unsavory monarch in his 1485 play, and the man’s image as such has persisted ever since.

Owen Gleiberman Chief Film Critic In “Weird: The Al Yankovic Story,” the winningly daffy-droll postmodern satirical biopic about the beloved cult song parodist of the MTV era, Al (Daniel Radcliffe), weird but not yet “Weird,” is sitting around with his roommates when lightning strikes — or, at least, bologna. One of the roommates asks Al to name the thing he’d most like to do in the world. Al, speaking with a fervor bigger than mere desire — he’s talking about nothing less than a dream — replies, with stoic conviction, “Make up the words to a song that already exists.” Moments later, the Knack’s “My Sharona” is blasting away on the radio, and just after he’s taken a package of bologna out of the fridge, he has his a-ha moment. The lyrics come to him in a flash: “Oo my little hungry one! Hungry one! Open up a package of MY bologna…” An irresistible parasitical fake star is born.  

Owen Gleiberman Chief Film Critic A good biopic invites the audience to experience, from the inside out, who the subject really was. That’s the level that “Blonde,” Andrew Dominik’s film about Marilyn Monroe, operates on for most of its 2 hours and 46 minutes. Based on Joyce Carol Oates’ 2000 novel, the movie is a hushed and floating psychodramatic Klieg-light fantasia, shot in color and black-and-white, that presents a fusion of reality and fiction. But most of it is torn from reality. In “Blonde,” we glimpse Monroe’s cataclysmic childhood, watch her shoot key scenes from her movies or stare up at them from the audience of a Hollywood premiere (where the red-carpet flashbulbs sound like guns), see her turn the incandescent Marilyn wiggle and pizzazz on and off, see her caught in a maelstrom of drugs, gossip, self-hate, and unfair studio contracts, and watch her melt into the glow of pregnancy only to lose one baby after the next. Mostly, we eavesdrop on her relationships with men (Joe DiMaggio, Arthur Miller, JFK) who become, for Marilyn, a dysfunctional daisy chain of honeymoon-turned-nightmares.

Owen Gleiberman Chief Film Critic The title of Walter Hill’s “Dead for a Dollar” makes it sound like a spaghetti Western, and the picture opens with stunning vistas and a wistfully valorous neo-Morricone score that gives you the impression — maybe the hope — that it will be. It ends on a very different note: a series of titles explaining, with precise dates and details, what happened to each of the main characters, as if the film were based on a true story. It’s the “American Graffiti” gambit of treating fictional characters as though they were real, only in this case it ends up revealing something essential about the drama we’ve been watching. Namely, how it could be so avid, specific, and scrupulously carpentered…yet remote.

Owen Gleiberman Chief Film Critic Olivia Wilde’s “Don’t Worry Darling” is a movie that, in recent weeks, has been besieged and consumed by offscreen dramas, none of which I’ll recount here, except to note that when a film’s lead actress seems actively reluctant to publicize the film in question, that’s a sign of some serious discord. Yet it would be hugely unfair to allow this tempest in a teapot of gossipy turmoil to influence one’s feelings about the movie. If you want to talk about problems related to “Don’t Worry Darling,” you need look no further than at what’s onscreen. The film, written by Katie Silberman, with the brilliant production design of Katie Byron, is a kind of candy-colored “Stepford Wives” in the Twilight Zone meets “The Handmaid’s Tale” for the age of torn-at-the-seams democracy. In theory, this should add up to a juicy watch. Wilde, whose first feature was the witty and vivacious 2019 girls-on-a-bender comedy “Booksmart” (this is her second film), is a gifted director who knows how to set a mood. In “Don’t Worry Darling,” she does that to the max, and for a while you get caught up in it (or, at least, I did). Between the pop ambition, the tasty dream visuals, and the presence of Harry Styles in his first lead role, “Don’t Worry Darling” should have no trouble finding an audience. But the movie takes you on a ride that gets progressively less scintillating as it goes along.

Owen Gleiberman Chief Film Critic The return of Brendan Fraser — not that he ever really went away — has been a reminder of how much affection so many of us had for him back in the ’90s, when he had his moment in movies like “School Ties” and “Encino Man” and “Gods and Monsters” and “The Mummy.” Yet let’s be honest: This is not the comeback of John Travolta or Mickey Rourke. Fraser was always, in the best way, a lightweight actor: the clear blue eyes, the pin-up sexiness, the shaggy warm boyish innocence. The fact that, at 53, he’s no longer as beautiful as he once was is part of the Brendanaissance. He can no longer hold the screen as a cutie-pie hunk; he has to do it in other ways. And in “The Whale,” directed by Darren Aronofsky (who shepherded Rourke’s return in “The Wrestler”), Fraser is a better actor — slyer, subtler, more haunting — than he has ever been.

Supergrass helped pay tribute to Taylor Hawkins at today’s (September 3) special memorial concert at Wembley Stadium.The British band are one of numerous iconic acts taking part in the gig tonight, including Liam Gallagher, Mark Ronson, Queens Of The Stone Age’s Josh Homme, Supergrass, Queen’s Brian May and Roger Taylor, The Pretenders’ Chrissie Hynde, Blink-182’s Travis Barker, AC/DC’s Brian Johnson, Kesha, Metallica’s Lars Ulrich and more.Before Supergrass took to the stage, an old video played from their time on tour with Foo Fighters back in the ‘90s in which they reflected on Hawkins’ support. “Taylor’s always been a bit of a fan of the band and he was side of stage watching us, and I just sort of beckoned him to come and play ‘Caught By The Fuzz’ at the end, and he played it at about 500 mph,” drummer Danny Goffey said in the clip.After the video finished playing, actor Jason Sudeikis shared his own reflections of seeing Supergrass support Foo Fighters.

Owen Gleiberman Chief Film Critic In “All the Beauty and the Bloodshed,” the photographer Nan Goldin tells a woeful, revealing, and in its way rather funny anecdote about how in the 1980s, when she first gathered up her photographs — casually transgressive images of her and her friends, who were often drag queens and addicts, along with shots of the assorted other people and situations she experienced as part of the hummingly squalid East Village New York subculture — and tried to shop them around to galleries and museums, they were roundly rejected, because the arbiters of taste, who were inevitably men, favored photographs that were black-and-white and composed in elegant meticulous ways. Goldin’s photographs were in garish verité color, set in environments that were so scruffy (messy bohemian apartments, ordinary people just lolling around) that it looked, to the gallery mavens, like there was no visual organization to them, no art.

Owen Gleiberman Chief Film Critic In vampire movies, from “Nosferatu” to the “Twilight” films to “Only Lovers Left Alive,” bloodsucking is usually more than just bloodsucking — it’s about sex, addiction, power — and that’s why the main event in a vampire movie doesn’t have to be the literal spectacle of watching fangs tear into human flesh. The elegance of the genre is that it has a built-in metaphorical sweep. “Bones and All,” Luca Guadagnino’s YA road movie about a couple of lost souls who happen to be cannibals (it’s adapted from the novel by Camille DeAngelis), is a film in which the characters behave very much like vampires. They blend into society, but they’re really a breed apart, with the ability to smell fresh meat (and one another) and a consuming desire to “feed.”