Latest news with #RachelSennott
Irish Independent
10-06-2025
- Entertainment
- Irish Independent
Everyone's talking about: Beta blockers – but are they a good idea to manage anxiety?
Anyone who has a fear of performing or speaking in public will know the familiar feeling of palms sweating, heart racing, and legs turning to jelly. Even celebrities aren't immune to performance anxiety, or 'stage fright.' When American actress Rachel Sennott was asked on the Oscars red carpet how she prepares for such a big event, she said she takes a beta blocker, and quipped, 'numb is in!'
Perth Now
30-05-2025
- Entertainment
- Perth Now
Charli XCX wants to make a Final Destination movie with 'It girls'
Charli XCX wants to make a 'Final Destination' movie featuring "It girls". The 32-year-old pop star is a huge fan of the horror franchise - which focuses on people who cheat death before their destiny catches up with them - and she's been rewatching the the first five movies before heading to the cinema to see the sixth installment 'Final Destination Bloodlines' - and it's given Charli an idea for her own 'Final Destination' film. In a post on TikTok, she explained: "I'm rewatching all of the 'Final Destination' movies, in preparation to see 'Final Destination Bloodlines', which I'm really excited to see. "The reason I love these movies is that they really just are about hot people getting killed. You know, there's no moral backbone to the story, it really is just, 'they're hot, they're cursed and they deserve to die." Charli went on to add: "I was thinking, well, shouldn't there be a sort of It Girl version of this franchise. You know like, a 'Final Destination' with It girls. "Kind of like, Rachel Sennott, Alex Consani, Gabbriette, Romy Mars, Me, Quenlin Blackwell, Devon Lee Carlson … maybe there's like a Scream Queen in there like Jenna [Ortega]. "Maybe there's an OG Scream Queen like Sissy Spacek. And then it's also directed by like a horror auteur." She went on to insist her idea for the next movie would stick to the franchise's "formula". Charli said: "The films wouldn't have to change their formula, I think the whole point is that they play into the lore. "They kind of make fun of their own lore, and I don't think this one would have to be any different, like I think that's the point. "It's really not trying to do anything other than have hot people die in the most brutal ways and play with some unbelievable dialogue." Actress Rachel Sennott - who was one of Charli's top picks for her movie idea - was along those who commented on the post and she told the singer she's up for taking part. Rachel wrote: "Ok I'm in." Charli has already started dabbling in the movie business and has a number of film projects in the works including Takashi Miike's film 'Audition' which she is producing and starring in, as well as roles in 'The Moment' and 'The Gallerist'.
Yahoo
30-05-2025
- Entertainment
- Yahoo
'Just hot people getting killed!' Charli XCX 's puts herself forward to produce Final Destination
If you thought Final Destination was just about gruesome deaths and wild set pieces, Charli XCX is here to shake things up. The Grammy-winning pop sensation recently revealed her vision for the next chapter in the cult horror series and it's exactly what you'd expect from a self-proclaimed horror fan with an ear for pop culture. In a recent TikTok video, the Grammy-winning singer shared her enthusiasm for the Final Destination franchise ahead of the release of its latest installment, Bloodlines. She explained why the series has remained a favourite: 'It's about attractive people being killed off. There's no moralising, no deeper message. They're cursed and they deserve to die.' Her idea? To inject the series with a fresh twist by casting a group of 'It Girls', including Rachel Sennott, Alex Consani, Gabbriette, Romy Mars and Charli herself, alongside scream queen Jenna Ortega and original horror icon Sissy Spacek. Charli said: 'I think a Final Destination with this kind of cast would stay true to the franchise's formula, which plays with its own lore. It's not trying to do anything new other than have hot people die in brutal ways, with some sharp dialogue.' The Final Destination films, known for their inventive and often elaborate death sequences, have been a staple of supernatural horror since the first movie in 2000. The latest release, Bloodlines, performed strongly at the box office, achieving a franchise-best domestic opening of $51.7 million. Rachel Sennott, known for her recent breakout roles, appeared keen on the concept, responding in the comments of Charli's video with 'Ok, I'm in.' The proposal to cast a lineup of stylish young women alongside scream queens represents an intriguing evolution for the series, blending glamour and horror. Bringing in Sissy Spacek, famous for her role in Carrie, would serve as a fitting nod to horror history, bridging generations. Charli also suggested the film be directed by a horror auteur capable of balancing style and scares, ensuring the franchise's trademark inventive deaths remain front and centre. While no official project has been announced, Charli's pitch highlights a growing trend to combine fashion and genre filmmaking, and the popularity of horror among younger audiences. Whether this vision will come to fruition remains uncertain. For now, it offers a tantalising glimpse of what could be a stylish, high-profile new chapter for the Final Destination franchise.
Daily Mirror
16-05-2025
- Entertainment
- Daily Mirror
'Masterpiece' horror movie with 'best plot twist ever' is streaming on iPlayer
The film has an impressive 86% on Rotten Tomatoes and has been described as "impeccably cast and smartly written". A chilling horror movie that's been dubbed a '10/10' must-watch by fans is now streaming at no charge. The film has garnered accolades for featuring the 'best plot twist ever' - and it's hitting BBC iPlayer for free this weekend. Bodies, Bodies, Bodies boasts an impressive 86% on Rotten Tomatoes and has earned glowing reviews for being "impeccably cast and smartly written", as well as "an uncommonly well-done whodunit". The plot centres around: "When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong." With a young and talented cast, the film features stars like Amandla Stenberg from The Hate U Give, Rachel Sennott from Shiva Baby, and the comedian Pete Davidson. Horror enthusiasts believe this film is grossly underrated, with many voices on Rotten Tomatoes comments section singing its praises, reports Surrey Live. One fan remarked: "What initially seemed like a typical teen horror flick turns out to be a fun and surprisingly well-crafted film." Another added their voice stating: "Bodies Bodies Bodies is a sharp, satirical take on Gen Z culture wrapped in a murder mystery. "The dialogue is witty and self-aware, capturing the internet-fueled language of the TikTok generation. It's not your typical slasher flick; it's more of a psychological whodunit with a cheeky twist." Several viewers found themselves entirely gripped by the "insane" twist of the tale, with one confessing: "Best plot twist ever. Be prepared to be amazed." One viewer enthused: "A well done fun guilty pleasure murder mystery film with sure some cheesy lines but some good acting and scenes that hooks you in with twists and a wow of an ending." Another fan raved: "Another A24 masterpiece, insane plot twist, hilarious, it just has it all." However, some viewers were left unimpressed, with one dismissing it as "pure dribble" and another criticising: "Highly annoying, unlikeable characters. I regret watching this." In contrast, professional critics were largely full of praise, with The Times' Edward Porter noting: "In general the film crackles with life. It has a caustic script, a stormy atmosphere and a talented cast." The Independent's Clarisse Loughrey observed: "It's peak nihilistic entertainment, watching these souls try, in vain, to keep their fragile reputations intact while they're drenched head to toe in blood." Empire Magazine's Ella Kemp concluded: "Tense when it needs to be and awfully good fun throughout. Stupidity reigns supreme for these rich kids, but the filmmakers are smart enough to make Bodies Bodies Bodies stick the landing." The Financial Times' Danny Leigh also commented: "The title could hint at either sex or death, and both end up with roles to play in a movie carefully stuffed with rising stars du jour." Bodies Bodies Bodies is streaming tonight at 11.30pm on BBC One and will be available on BBC iPlayer after broadcast.
Geek Vibes Nation
16-05-2025
- Entertainment
- Geek Vibes Nation
‘Hurry Up Tomorrow' Review - The Weeknd's Life Unravels In A Tedious Music Video Disguised As A Terrible Movie
Remember The Idol? Of course you don't. Anyone who watched HBO's second collaboration with Sam Levinson has rightly gone to extensive lengths in hopes of ensuring that the show's existence has been scrubbed from their memories. The show, which followed a pop icon named Jocelyn (Lily-Rose Depp) as she pursued the proverbial title of 'America's Sexiest Pop Star,' while her new collaborator, Tedros (Abel 'The Weeknd' Tesfaye), dramatically influenced the direction of her career and thus that of her idealistic celebrity life. It had raw star power – Da'Vine Joy Randolph, Troye Sivan, Hank Azaria, Rachel Sennott, and others were all mainstays in the cast – but its 'plot' was a clogged, disastrous mechanism that said nothing new and seemed only to exist for the sake of jaws agape and furious social media reactions. It barely resembled a television series; it barely resembled anything at all. If you do happen to remember something about The Idol, it's probably the show's willingness to step over the line with its depictions of sexuality and sex itself, especially when it came to Jocelyn's newest single, 'World Class Sinner,' a crappy tune that the rattailed Tedros felt needed some reworking. The remix he helps Jocelyn record made her feel freer than ever as an artist, yet left everyone on her team baffled, uncomfortable, and even a bit frightened. That's because much of the song is sung in breathy tones, seemingly indicating that Jocelyn was having sex while recording it, and chock-full of moans, squeals, and well, sex noises. It's a dreadful ditty, but one that fit perfectly inside the show: With all of its faults, The Idol succeeded in its primary goal of showing how fame, fortune, and father issues can drive even the biggest stars toward self-inflicted supernovae. There's absolutely no doubt that both Levinson and Tesfaye, two of the three show's co-creators, felt they'd caught lightning in a bottle, becoming masterminds of the melodramatic in real time. Of course, critics and audiences couldn't disagree more, as the show was widely panned and ultimately cancelled before the first season's body was cold. In many ways, Tesfaye's new project, Hurry Up Tomorrow, reminded me of that horrible tune, and not just because the artist still predominantly known as The Weeknd – though he's toyed with dropping the stage name altogether – spends most of its runtime breathing quite heavily and all but moaning through the motions as it speedwalks its way toward nothing in particular. More so, the film (which shares its name with the singer's newest album and runs a music video for the titular track before the movie actually starts) has more in common with Jocelyn's reception of her new sound than anything else. The only thing that differentiates Levinson and Tesfaye's creation and the latter's perception of his own stardom – Hurry Up Tomorrow illustrates him as an insomniac whose music has a deeper, darker significance than even he is willing to acknowledge – is that Jocelyn is a fictional character, and thus easier to dismiss. Not much, on the other hand, separates The Weeknd and co-writer/director Trey Edward Shults' brainchild from being an ad for an album that has been slow to gain traction on pop music charts that are being dominated by a new wave of artists. An ad for the album, which was released on Jan. 31, 2025, literally appears after the conclusion of the aforementioned music video and reads 'OUT NOW,' as if the whole purpose of releasing a Lionsgate-backed thriller was to reach audiences that may not have had any idea that The Weeknd had some new-ish music to offer the world. That music is the soundtrack to Hurry Up Tomorrow, which makes it even harder to buy anything that this self-described 'existential odyssey' is attempting to sell. Tesfaye plays himself in the film, an insomniac musician on the verge of a mental breakdown who drinks and performs and broods and performs and drinks some more. Much of the movie's first act is spent watching The Weeknd as he stares into a dressing room mirror, contemplating the very idea that he has to go on stage in a matter of moments to share his gift with the world. And to be fair, Tesfaye is a remarkable performer; just look at the Super Bowl LV halftime show, which featured plenty of The Weeknd's hits like 'Can't Feel My Face' and 'Blinding Lights,' just months before that second song became the star of a Tik Tok trend at the onset of the COVID-19 pandemic. Yet in the years since 2016's 'Starboy,' the album on which 'Blinding Lights' was the biggest banger, the star's music has been less effective and thus less streamed. Blame the pandemic, or blame the artist's 'reinvention,' as critics have called the two albums that followed, or blame new faces. Whatever the case may be, The Idol is probably the biggest thing that The Weeknd has been a part of in close to a decade. Perhaps that is a signature pillar in his own changing direction, the first effort in a potentially long line of moves that could see Tesfaye turning his pop stardom into a broader artistic career. But if his future endeavors are anything like Hurry Up Tomorrow, said career could be short and not all that sweet, as the film is, plainly put, a pompous, ludicrous, self-indulgent, ambling excuse for a movie that only seemed survivable due to the presence of Shults, and even his talents seem to have been washed away by the impulses and interests of his more powerful, famous collaborator. The auteur behind Krisha, It Comes At Night, and Waves has long been criticized for some of his narrative tendencies – heavy on brutality, light on the humanity he convinced audiences he was prioritizing – but there are elements in each of his three previous features that indicated real promise. Shults has made it known that he formerly served an apprenticeship under Terrence Malick, and qualities (like a distinct vision of how to portray colors on film, for one) have often been seen in his work. They're nowhere to be found here. The colors that appear on screen are meaningless bursts of blue and red, as if to show the foggy essences of good and evil that are battling within The Weeknd's psyche; the dialogue between characters tends to be reduced to screaming matches that end with someone, primarily Barry Keoghan's Lee (playing Tesfaye's manager), telling his damaged client that he's one of one, a brilliant and untouchable talent whose dark thoughts don't define him; and Shults' now-signature move, a spinning camera in the backseat of a car, is used so frequently here that a motion sickness warning should have come before the film. If you don't typically get sick from furious oscillation and flashing lights, you will, thanks to this barrage, a crash course in an interesting technique that is used to little effect, if not none at all. It's the kind of film that would tank the career of a burgeoning auteur who didn't already have three audacious, ambitious features to his name, all before the age of 40. And it still might, given how poorly his body of work – namely 2019's Waves – holds up on rewatches. But the problems here go far beyond pure filmmaking decisions. This is meant to be the tale of a singer whose life is thrown into chaos as he deals with that of an internal variety at the same time, yet what actually unfolds is nothing short of a lazy Misery riff with The Weeknd's songs as its soundtrack. Hurry Up Tomorrow's Annie Wilkes is played by Jenna Ortega, continuing the star of Netflix's Wednesday's lousy run of parts that sit in devastating contrast to the actor's apparent cinephilic interests. She plays Anima, a tortured soul unto herself, a fan of The Weeknd who spends a lonely night with the singer, during which he feels seen by her and begs her to never leave him. When morning comes and he's all too eager to head out, Anima feels betrayed, but not as though she was used as a prop in Abel's healing journey. Her anger is derived from a place of being needed for greater discovery. She feels that her idol's discography is more profound than the artist himself lets on, and itches to convince him to admit it. Given the Misery of it all, it's only a matter of time before he's tied to the bed, their hotel room is trashed, and a series of tunes are played through a speaker in an effort to get The Weeknd to be vulnerable again. This is a movie that is so desperate to be a kaleidoscopic trip that it forgets the basics of storytelling, as if that was ever really its goal to begin with. What is more likely is that The Weeknd and Shults bought into its star's self-mythology and felt it worthy of a feature film, one in which a pop star feels abandoned by his loved ones and misunderstood by everyone who remains in his orbit. Shults deserves some credit for being the anti-Levinson – that is, attempting to be a provocative storyteller as opposed to defining his filmmaking ideals by provocations themselves – but he's similarly over-reliant on making cool-looking images that would fit far better in a music video, where a real plot is less of a non-negotiable, than in a real movie. In hindsight, it's no wonder that Lionsgate was desperate to only show press the film at an advanced 'fan event' screening put on by AMC Theatres, and that the film's embargo was only lifted as soon as the first Thursday, May 15, showtimes were underway. That's not enough to bury a film that feels so keen to bury itself in the process of its story unfolding, as there really isn't much beyond the presence of Ortega and Keoghan to keep anyone with a pulse invested. Even those actors, gifted by all accounts, are blown off the screen by Tesfaye's naked performance, but not in the way that up-and-coming actors tend to in their breakout roles. No, The Weeknd is simply terrible as himself, ironically, exhibiting no understanding of what it means to portray even a lightly fictionalized character. But that might have more to do with there being nothing to really play: Abel Tesfaye may be an extremely talented singer with demons, but that doesn't mean he's any good at embodying them on screen, nor that they were worth putting on screen for damn-near two hours. Kudos to him for getting a major movie studio to back his own vanity project, I guess, but as the lyrics of 'Hurry Up Tomorrow' state, they'll likely have to be the ones to pay for his sins in the end. Hurry Up Tomorrow is currently playing in theaters courtesy of Lionsgate.
