Streaming picks: Diddy doco exposes ‘lurid details' while Angelina Jolie stars in Maria
TRAINWRECK: BALLOON BOY (M)
****1/2
Netflix
Netflix's annual rollout of fascinating feature documentaries under the Trainwreck banner remains a true highlight of the streaming behemoth's often-erratic release calendar. This latest instalment is the best of the bunch so far: a staggering account of the Balloon Boy affair, a fiasco that initially gripped and then totally appalled the world back in 2009. If you've forgotten the finer details of what went down, all the better. Even now, there are elements of mystery, subterfuge and dark humour to the Balloon Boy yarn that defy all conventional belief. (How has this bonkers tale never been turned into a Hollywood movie?) It all started one July afternoon in a small town in Texas, when a helium balloon shaped like a flying saucer took an unplanned flight after breaking free of its moorings in the backyard of amateur inventor-adventurer Richard Heene. As the craft rapidly picked up speed and altitude, widespread panic ensued after Heene notified authorities his 6-year-old son Falcon had sneaked aboard shortly before launch. What follows is still amazing to this day, and the doco enhances the unworldly strangeness of the notorious incident with both incredible live TV footage taken at the time and present-day interviews with all involved. Brilliant stuff.
Trainwreck: Balloon Boy is now streaming on Netflix.
HEADS OF STATE (M)
***1/2
In an earlier era, this admirably absurd action-buddy affair would have been a sure-fire hit in cinemas. What gives the production its lively point of difference is exactly who those buddies are. The action heroes fighting for survival while getting the better of a Russian crime lord just happen to be the Prime Minister of the UK (played by Idris Elba) and the President of the USA (John Cena). They were aboard Air Force One when it was shot down over a remote stretch of badlands in Belarus. Now they're on the run from a rich psychopath (Moblands' Paddy Considine) who needs these world leaders dead ASAP. The core premise is undeniably dumb, yet clever writing, inspired direction (from the same team behind Bob Odenkirk's excellent hit Nobody) and the chemistry of the two leads is a winning combo throughout.
JAWS AT 50 (PG)
****
Disney+
A truly superb documentary journeying back in time to the making of a movie that changed the face of cinema forever. Against all odds in 1975, a young filmmaker named Steven Spielberg took a malfunctioning mechanical shark, a problematic coastal location and a mercurial cast, and transformed the lot into what then became the highest-grossing movie in Hollywood history. This well-resourced and impeccably researched production bills itself as 'the definitive account' of how Jaws put the bite on movie audiences (and beach goers) all over the world, and for once, the tag is well and truly justified. Trust me: you'll be itching to watch Jaws again immediately afterwards (and you'll currently find it sitting prominently on Binge, Foxtel and Netflix).
MARIA (M)
***1/2
Foxtel, Binge or Rent
For a variety of reasons, Angelina Jolie's magnificent work as the late, great opera diva Maria Callas was unfairly overlooked last awards season. In fact, Jolie's nuanced portrayal of Callas as the troubled singer navigates the final week of her short life stands as one of her finest performances. The only hurdle that viewers must clear is the angular direction of Pablo Larrain, who uses the same cryptically atmospheric approach deployed in his biopics of Jacqueline Kennedy and Princess Diana. Much treasure to savour here if you're up for a challenge.
VERDICT: THE DIDDY TRIAL (M)
**1/2
Disney+
This no-frills recap of the Sean 'Diddy' Combs trial has been rushed to market to beat similar product still being prepped by a number of major streamers.
While is a functional enough primer for those who didn't go down all of the seedier side-alleys mapped out by this salacious case, it is noticeably limited in what it can and can't say (largely because Combs remains in custody awaiting sentencing later in the year).
There will splashier and deeper dives on the subject to come. However, if you need a quick fix of all the lurid details associated with the deserved downfall of the hip-hop impresario, look no further.
TUESDAY (M)
***
Foxtel, Binge or Rent
In recent years, the American independent movie studio A24 has built a powerful and surprisingly popular brand as a home for all that is strange, brave and genuinely unique. While this odd modern fairy tale doesn't quite reach the heights of recent A24 hits such as The Brutalist, Babygirl or Bring Her Back, it is still worth the track-down for those fancying a swim outside the mainstream. Julia Louis-Dreyfus stars as an understandably disoriented mother of the title character (Lola Petticrew), a terminally ill young woman who is being paid regular visits by Death himself. If that's not weird enough for you, perhaps it is worth knowing that Death is played here by a rather talkative and deep-thinking parrot (voiced by gifted British actor Arinze Kene). One of those movies guaranteed to divide audiences, but will mean the world to those who fall under its surreal spell.
BECOMING LED ZEPPELIN (PG)
****
Foxtel, Binge or Rent
Music doco tragics who missed this when it played for a limited season in cinemas are compelled to whack it on their must-see list right away. Made with the active participation of the Zep's three surviving members, the focus here is exclusively on the formative phase of the legendarily heavy rockers' career. Despite this narrow brief, there is plenty of great material (include rare and incendiary live footage) to fill the two-hour running time with ease. Be sure to turn up the volume to ensure the sonic thunder really rumbles.
THE OLD GUARD 2 (MA15+)
Netflix
The world was hardly crying out for a sequel to Charlize Theron's Covid-era streaming hit The Old Guard. Nevertheless, it still comes as quite a jot to see how little life remains in what initially seemed to be such a vibrant fantasy-action concept. Theron listlessly reprises the role of Andy, the leader of a band of immortal warriors continually saving the world on a century-by-century basis. The combat sequences (a highlight of the original) are a particular let-down, as is the herky-jerky storytelling in play. If it wasn't for the cast's MVP Matthias Schoenaerts, you'd be bailing out well before the finish.
THE NIGHT OF THE 12TH (MA15+)
****1/2
SBS ON DEMAND
This unrelentingly compelling true-crime drama from France has been hard to find on Australian streaming platforms until now, and deserves a wider audience. The screenplay closely tracks an investigative unit who have just commenced work on a particularly challenging murder case in the mountain region near the city of Grenoble. A 21-year-old woman named Clara was killed in the middle of the night, while walking down a supposedly safe street after a small party with friends. The killer has not left a single shred of evidence. All the detectives initially have to go on is a series of messages left on a mobile phone, and cryptic rumours of a tangled love/sex life that will take some considerable time to decode. A sobering and unforgettable experience.
****1/2
MAX or Rent
Now that Superman has gone from kryptonite to dynamite with the general public once again, there's no better time to catch this exemplary documentary (one of 2024's better cinema releases) about the actor most will forever associate with the Man of Steel. Anyone expecting a simple, sanitised celebration of the late Christopher Reeve – either for his iconic screen deeds as Superman, or for his dedicated campaigning for disabled rights in the wake of a terrible accident – will be truly surprised and engaged by the complex human being revealed here. The filmmakers were given full licence to approach their complicated subject without glossing over his many intriguing (and telling) flaws. Docos as refreshingly honest, transparent and insightful as this rarely happen along these days. Highly recommended.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
News.com.au
37 minutes ago
- News.com.au
Music legend Connie Francis dead at 87
Iconic singer Connie Francis, known for hits Pretty Little Baby and Everybody's Somebody's Fool, has died at age 87. Francis' death was confirmed on social media by her friend and copyright manager, Ron Roberts on Thursday — two weeks after she was hospitalised due to 'extreme pain', reports the New York Post. 'It is with a heavy heart and extreme sadness that I inform you of the passing of my dear friend Connie Francis last night,' Roberts wrote on Facebook. 'I know that Connie would approve that her fans are among the first to learn of this sad news.' The chart-topping vocalist, who earned her stripes as one of the most successful female singers in the 1950s and 1960s, was rushed to the hospital in Florida on July 2. 'I am back in hospital where I have been undergoing tests and checks to determine the cause(s) of the extreme pain I have been experiencing,' Francis wrote. In a series of posts on July 3 and 4, Francis said that she was 'feeling much better' during her hospital stay. The following week, the singer — born Concetta Rosa Maria Franconero — told fans she remained under the watchful eye of doctors and nurses as they determined the cause of her pain. The Stupid Cupid songstress revealed in May that a recent hip injury had temporarily landed her in a wheelchair. Despite retiring from the music industry in 2018, Francis' track Pretty Little Baby had recently gone viral on TikTok — over six decades after she released the song as part of her 1962 album Connie Francis Sings. 'To tell you the truth, I didn't even remember the song!' Francis said about the track's resurgence in popularity. 'I had to listen to it to remember.' 'To think that a song I recorded 63 years ago is touching the hearts of millions of people is truly awesome. It is an amazing feeling,' the J amboree actress shared. 'It's an honour. To see that they're paying homage to me is just breathtaking.' 'It's truly awesome. I never thought it was possible. It's a dream come true. To think that kindergarten kids now know my name and my music? It's just thrilling,' she added. In her final social media post before her death, Francis thanked various celebrities — including the Kardashian-Jenner clan, Timothée Chalamet, Ariana Grande and Taylor Swift — who had listened to her viral track on social media. 'There have been many wonderful artists who have paid tribute to me by singing Pretty Little Baby,' the singer said in a TikTok video shared on June 26. Born in Newark, New Jersey, in 1937, Francis' love affair with music kickstarted at the young age of 4 after she took part in various talent contests and pageants in her neighbourhood. She later dipped her toes in TV work, landing a prominent spot on NBC's Startime Kids during which she assumed her stage name, Connie Francis. Her glittering music career boasts a slew of hit tracks, including Top 10 singles Who's Sorry Now?, My Heart Has A Mind Of Its Own, Where the Boys Are and Don't Break The Heart That Loves You. She was the first female singer to reach the number one spot on the Billboard Hot 100 charts with her 1960 song, Everybody's Somebody's Fool. In 1955, she signed a recording contract with MGM Records, however, the partnership proved to be unsuccessful, as most of Francis' songs didn't get traction. Just as the label was gearing up to drop her in 1957, her father — who had been her biggest fan and supporter — convinced her to record a version of Who's Sorry Now? as a last-ditch attempt to salvage her music career. Luckily, the singer's career took great strides in the years that followed, as she was able to propel to stardom through hits like My Happiness, Lipstick on Your Collar and Among My Souvenirs. What's more, her 1959 album, Connie Francis Sings Italian Favorites went down a treat with her fans, paving the way for her hit 1960 track, Everybody's Somebody's Fool, to top the newly established charts. As the 1970s hit, Francis' music career appeared to wane after she suffered several personal setbacks. In addition to becoming a survivor of rape, Francis temporarily lost her voice in 1977 following nasal surgery. On top of that, her brother George had been murdered by the mafia in 1981. Still, she attempted to channel her hardships through new songs at the time, though these were unsuccessful. Her mental health took a hit, prompting her father to commit her to multiple psychiatric hospitals. After surviving a suicide attempt in 1984, Francis released a tell-all memoir titled, Who's Sorry Now? Following her personal struggles, the musician had partnered with Ronald Reagan's presidential administration on a task force on violent crime. She was also a voice for rape victims. Francis further raised awareness of the effects of trauma through her partnership with Mental Health America in 2010. As for her private life, Francis had dated singer Bobby Darin in the early years of her career — much to her father's dismay. She considered Darin, who died in 1973 at age 37, the love of her life, though her father had kept them apart for reasons unknown. 'My personal life is a regret from A to Z,' Francis told People in 1984. 'I realised I had allowed my father to exert too much influence over me.' Francis was married a total of four times, tying the knot with her first husband, Dick Kanellis, in 1964 and divorcing just five months later. She later married Izzy Marion in 1971, but the pair parted ways 10 months later. In 1973, she tied the knot with Joseph Garzilli, with whom she adopted a son, Joseph Jr. the following year. The pair ultimately split in 1977. Her final marriage was to Bob Parkinson in 1985, however, the pair called it quits after just a few months of married life. Francis is survived by her son.
The Advertiser
an hour ago
- The Advertiser
Man, friendship has its challenges - just ask adult blokes
Friendship (M, 100 minutes) 4 stars It's not breaking news to say men don't always do friendship very well. I've heard it said that while female friendship is largely face to face - communicating - male friendship tends to be side by side - doing an activity together. Emotional vulnerability is not necessarily what men are good at, but sometimes they're not even very adroit at the basic social rituals and dynamics of maleness. This is a film about something that will be painfully familiar to many men. Making new friends can be hard, especially as you get older, and closeness is even harder. If you're not a natural joiner or someone who's gregarious and prepossessing, it's tough to break into established friendship groups or ingratiate yourself with individuals, isn't it? Asking for a friend. Many scenes from this dark comedy feel like they could have been skits in Netflix's I Think You Should Leave With Tim Robinson. There's the same blend of cringiness and deft exaggeration seen in that show's best bits, and its eponymous star and co-creator plays the lead role here. He was an obvious choice, but he's not the movie's primary creative force. Friendship is the feature film debut of writer-director Andrew DeYoung, who's worked extensively in TV. And very impressive it is too, a comedy that's not entirely predictable and that has something to say. Craig (Robinson) is a suburban husband and father whose life isn't going too well. His marriage to cancer survivor Tami (Kate Mara) is shaky - he's emotionally distant and clumsy, not even terribly supportive of the flower business she runs from home. And things aren't great with his teenage son Steven (Jack Dylan Glazer) either: mother and son have a close bond that eludes him. Craig is not evil, just clueless and a bit insensitive, a square peg in life's round hole. It's not surprising his wife is reconnecting with her ex (as friends, she says) and also not surprising that Craig feels threatened by this but doesn't know how to deal with it. The arrival of a new neighbour seems it will be just the thing to reinvigorate Craig and his connection to life. Austin (Paul Rudd) is a local celebrity, a popular TV weatherman who's very personable. He and Craig quickly hit it off and do things. Austin takes Craig exploring in the town's aqueduct, Craig goes to see Austin's punk rock band perform. This new friendship even helps Craig forge better relationships with his wife and son. It seems too good to be true, and, of course, it is. Craig is maladroit and so desperate he acts inappropriately. He crashes Austin's studio during a broadcast and, invited to a guys' night with Austin and his friends, he injures his host. What he does to try to atone for it is bizarre and offputting. Exasperated, Austin tells him bluntly that the friendship is over. Being ostracised really stings and seeing Austin and his friends - who manage to be both blokey and sensitive - hanging out only gnaws at Craig more. His actions become increasingly obsessive and unhinged. The script contrives ways to bring the men together in the latter stages that occasionally jar but it's easy to just go with things. This is a comedy, but its serious undercurrent and measured tone and pace - this isn't a manic gagfest - might take getting used to, as might the unusual choice of ecclesiastical music on the soundtrack alongside tribal chants and pop songs. But it's the product of a distinctive talent behind the camera working with an excellent cast. DeYoung doesn't make the mistake of making Craig a monster or Austin a saint. Even when Craig is self-sabotaging and behaving badly, you can feel for him: a lot of it is borne of loneliness and desperation and not knowing how to fit in. Mara and Glazer don't get many comic opportunities but play off Robinson well. Although Austin is played by the likeable Rudd, there's something just a tiny bit offputting about him: if Craig is one of life's losers, Austin is a slick winner with a charmed life: even when the two are arrested for trespassing, the cops ask the weatherman for selfies. Austin has one vulnerability that Craig discovers: what will he do with it? Side note, it's interesting how many of the (male) characters casually smoke cigarettes, going against the trend in recent decades both on screen and off. It will be interesting to see what comes next from DeYoung. Friendship (M, 100 minutes) 4 stars It's not breaking news to say men don't always do friendship very well. I've heard it said that while female friendship is largely face to face - communicating - male friendship tends to be side by side - doing an activity together. Emotional vulnerability is not necessarily what men are good at, but sometimes they're not even very adroit at the basic social rituals and dynamics of maleness. This is a film about something that will be painfully familiar to many men. Making new friends can be hard, especially as you get older, and closeness is even harder. If you're not a natural joiner or someone who's gregarious and prepossessing, it's tough to break into established friendship groups or ingratiate yourself with individuals, isn't it? Asking for a friend. Many scenes from this dark comedy feel like they could have been skits in Netflix's I Think You Should Leave With Tim Robinson. There's the same blend of cringiness and deft exaggeration seen in that show's best bits, and its eponymous star and co-creator plays the lead role here. He was an obvious choice, but he's not the movie's primary creative force. Friendship is the feature film debut of writer-director Andrew DeYoung, who's worked extensively in TV. And very impressive it is too, a comedy that's not entirely predictable and that has something to say. Craig (Robinson) is a suburban husband and father whose life isn't going too well. His marriage to cancer survivor Tami (Kate Mara) is shaky - he's emotionally distant and clumsy, not even terribly supportive of the flower business she runs from home. And things aren't great with his teenage son Steven (Jack Dylan Glazer) either: mother and son have a close bond that eludes him. Craig is not evil, just clueless and a bit insensitive, a square peg in life's round hole. It's not surprising his wife is reconnecting with her ex (as friends, she says) and also not surprising that Craig feels threatened by this but doesn't know how to deal with it. The arrival of a new neighbour seems it will be just the thing to reinvigorate Craig and his connection to life. Austin (Paul Rudd) is a local celebrity, a popular TV weatherman who's very personable. He and Craig quickly hit it off and do things. Austin takes Craig exploring in the town's aqueduct, Craig goes to see Austin's punk rock band perform. This new friendship even helps Craig forge better relationships with his wife and son. It seems too good to be true, and, of course, it is. Craig is maladroit and so desperate he acts inappropriately. He crashes Austin's studio during a broadcast and, invited to a guys' night with Austin and his friends, he injures his host. What he does to try to atone for it is bizarre and offputting. Exasperated, Austin tells him bluntly that the friendship is over. Being ostracised really stings and seeing Austin and his friends - who manage to be both blokey and sensitive - hanging out only gnaws at Craig more. His actions become increasingly obsessive and unhinged. The script contrives ways to bring the men together in the latter stages that occasionally jar but it's easy to just go with things. This is a comedy, but its serious undercurrent and measured tone and pace - this isn't a manic gagfest - might take getting used to, as might the unusual choice of ecclesiastical music on the soundtrack alongside tribal chants and pop songs. But it's the product of a distinctive talent behind the camera working with an excellent cast. DeYoung doesn't make the mistake of making Craig a monster or Austin a saint. Even when Craig is self-sabotaging and behaving badly, you can feel for him: a lot of it is borne of loneliness and desperation and not knowing how to fit in. Mara and Glazer don't get many comic opportunities but play off Robinson well. Although Austin is played by the likeable Rudd, there's something just a tiny bit offputting about him: if Craig is one of life's losers, Austin is a slick winner with a charmed life: even when the two are arrested for trespassing, the cops ask the weatherman for selfies. Austin has one vulnerability that Craig discovers: what will he do with it? Side note, it's interesting how many of the (male) characters casually smoke cigarettes, going against the trend in recent decades both on screen and off. It will be interesting to see what comes next from DeYoung. Friendship (M, 100 minutes) 4 stars It's not breaking news to say men don't always do friendship very well. I've heard it said that while female friendship is largely face to face - communicating - male friendship tends to be side by side - doing an activity together. Emotional vulnerability is not necessarily what men are good at, but sometimes they're not even very adroit at the basic social rituals and dynamics of maleness. This is a film about something that will be painfully familiar to many men. Making new friends can be hard, especially as you get older, and closeness is even harder. If you're not a natural joiner or someone who's gregarious and prepossessing, it's tough to break into established friendship groups or ingratiate yourself with individuals, isn't it? Asking for a friend. Many scenes from this dark comedy feel like they could have been skits in Netflix's I Think You Should Leave With Tim Robinson. There's the same blend of cringiness and deft exaggeration seen in that show's best bits, and its eponymous star and co-creator plays the lead role here. He was an obvious choice, but he's not the movie's primary creative force. Friendship is the feature film debut of writer-director Andrew DeYoung, who's worked extensively in TV. And very impressive it is too, a comedy that's not entirely predictable and that has something to say. Craig (Robinson) is a suburban husband and father whose life isn't going too well. His marriage to cancer survivor Tami (Kate Mara) is shaky - he's emotionally distant and clumsy, not even terribly supportive of the flower business she runs from home. And things aren't great with his teenage son Steven (Jack Dylan Glazer) either: mother and son have a close bond that eludes him. Craig is not evil, just clueless and a bit insensitive, a square peg in life's round hole. It's not surprising his wife is reconnecting with her ex (as friends, she says) and also not surprising that Craig feels threatened by this but doesn't know how to deal with it. The arrival of a new neighbour seems it will be just the thing to reinvigorate Craig and his connection to life. Austin (Paul Rudd) is a local celebrity, a popular TV weatherman who's very personable. He and Craig quickly hit it off and do things. Austin takes Craig exploring in the town's aqueduct, Craig goes to see Austin's punk rock band perform. This new friendship even helps Craig forge better relationships with his wife and son. It seems too good to be true, and, of course, it is. Craig is maladroit and so desperate he acts inappropriately. He crashes Austin's studio during a broadcast and, invited to a guys' night with Austin and his friends, he injures his host. What he does to try to atone for it is bizarre and offputting. Exasperated, Austin tells him bluntly that the friendship is over. Being ostracised really stings and seeing Austin and his friends - who manage to be both blokey and sensitive - hanging out only gnaws at Craig more. His actions become increasingly obsessive and unhinged. The script contrives ways to bring the men together in the latter stages that occasionally jar but it's easy to just go with things. This is a comedy, but its serious undercurrent and measured tone and pace - this isn't a manic gagfest - might take getting used to, as might the unusual choice of ecclesiastical music on the soundtrack alongside tribal chants and pop songs. But it's the product of a distinctive talent behind the camera working with an excellent cast. DeYoung doesn't make the mistake of making Craig a monster or Austin a saint. Even when Craig is self-sabotaging and behaving badly, you can feel for him: a lot of it is borne of loneliness and desperation and not knowing how to fit in. Mara and Glazer don't get many comic opportunities but play off Robinson well. Although Austin is played by the likeable Rudd, there's something just a tiny bit offputting about him: if Craig is one of life's losers, Austin is a slick winner with a charmed life: even when the two are arrested for trespassing, the cops ask the weatherman for selfies. Austin has one vulnerability that Craig discovers: what will he do with it? Side note, it's interesting how many of the (male) characters casually smoke cigarettes, going against the trend in recent decades both on screen and off. It will be interesting to see what comes next from DeYoung. Friendship (M, 100 minutes) 4 stars It's not breaking news to say men don't always do friendship very well. I've heard it said that while female friendship is largely face to face - communicating - male friendship tends to be side by side - doing an activity together. Emotional vulnerability is not necessarily what men are good at, but sometimes they're not even very adroit at the basic social rituals and dynamics of maleness. This is a film about something that will be painfully familiar to many men. Making new friends can be hard, especially as you get older, and closeness is even harder. If you're not a natural joiner or someone who's gregarious and prepossessing, it's tough to break into established friendship groups or ingratiate yourself with individuals, isn't it? Asking for a friend. Many scenes from this dark comedy feel like they could have been skits in Netflix's I Think You Should Leave With Tim Robinson. There's the same blend of cringiness and deft exaggeration seen in that show's best bits, and its eponymous star and co-creator plays the lead role here. He was an obvious choice, but he's not the movie's primary creative force. Friendship is the feature film debut of writer-director Andrew DeYoung, who's worked extensively in TV. And very impressive it is too, a comedy that's not entirely predictable and that has something to say. Craig (Robinson) is a suburban husband and father whose life isn't going too well. His marriage to cancer survivor Tami (Kate Mara) is shaky - he's emotionally distant and clumsy, not even terribly supportive of the flower business she runs from home. And things aren't great with his teenage son Steven (Jack Dylan Glazer) either: mother and son have a close bond that eludes him. Craig is not evil, just clueless and a bit insensitive, a square peg in life's round hole. It's not surprising his wife is reconnecting with her ex (as friends, she says) and also not surprising that Craig feels threatened by this but doesn't know how to deal with it. The arrival of a new neighbour seems it will be just the thing to reinvigorate Craig and his connection to life. Austin (Paul Rudd) is a local celebrity, a popular TV weatherman who's very personable. He and Craig quickly hit it off and do things. Austin takes Craig exploring in the town's aqueduct, Craig goes to see Austin's punk rock band perform. This new friendship even helps Craig forge better relationships with his wife and son. It seems too good to be true, and, of course, it is. Craig is maladroit and so desperate he acts inappropriately. He crashes Austin's studio during a broadcast and, invited to a guys' night with Austin and his friends, he injures his host. What he does to try to atone for it is bizarre and offputting. Exasperated, Austin tells him bluntly that the friendship is over. Being ostracised really stings and seeing Austin and his friends - who manage to be both blokey and sensitive - hanging out only gnaws at Craig more. His actions become increasingly obsessive and unhinged. The script contrives ways to bring the men together in the latter stages that occasionally jar but it's easy to just go with things. This is a comedy, but its serious undercurrent and measured tone and pace - this isn't a manic gagfest - might take getting used to, as might the unusual choice of ecclesiastical music on the soundtrack alongside tribal chants and pop songs. But it's the product of a distinctive talent behind the camera working with an excellent cast. DeYoung doesn't make the mistake of making Craig a monster or Austin a saint. Even when Craig is self-sabotaging and behaving badly, you can feel for him: a lot of it is borne of loneliness and desperation and not knowing how to fit in. Mara and Glazer don't get many comic opportunities but play off Robinson well. Although Austin is played by the likeable Rudd, there's something just a tiny bit offputting about him: if Craig is one of life's losers, Austin is a slick winner with a charmed life: even when the two are arrested for trespassing, the cops ask the weatherman for selfies. Austin has one vulnerability that Craig discovers: what will he do with it? Side note, it's interesting how many of the (male) characters casually smoke cigarettes, going against the trend in recent decades both on screen and off. It will be interesting to see what comes next from DeYoung.
ABC News
2 hours ago
- ABC News
Citizen Kane's iconic Rosebud sled sells at auction for more than $22 million
Hollywood history has gone under the hammer, with the more than $22 million sale of Citizen Kane's famous Rosebud sled. The once-thought-to-be-lost sled from Orson Welles's 1941 film was sold at a Texas auction on Thursday for $US 14,750,000 ($22.8 million) — becoming the second most-valuable piece of movie memorabilia ever sold. The sled is one of only three known to survive and was miraculously saved from disposal by director Joe Dante in 1984 while filming on a Paramount set that was once a RKO lot. The Gremlins director recognised the sled's importance, and preserved it for decades, even planting it as an Easter egg in four of his own films, including Gremlins 2: The New Batch. Scientific testing confirmed the sled's period authenticity, and like the others, the sled bore the signs of production use, including original paint, wear, Heritage Auctions said in a statement. "I've had the honor of protecting this piece of cinematic history for decades," Dante said. "To see Rosebud find a new home — and make history in the process — is both surreal and deeply gratifying. Only a few versions of the sled were produced for the 1941 production — with one being sold to producer-director Steven Spielberg in 1982, and an anonymous buyer in 1996. Thursday's buyer is unknown. Citizen Kane is frequently cited as the greatest film ever made, and the sled symbolises the film's theme of innocence lost. In 2024, the sale of Dorothy's ruby red slippers from Wizard of Oz made history when they sold for $US 32.5 million ($50.3 million) at auction. This week's auction also boasted a slew of other infamous film props including the inscribed tablets from Cecil B DeMille's epic The Ten Commandments, Indiana Jones's bull whip from The Last Crusade and Luke Skywalker's Red Five X-wing from The Empire Strikes Back.
