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The Golden Globes 2018 choose ‘Three Billboards’ and ‘Lady Bird’ as the best films of 2017

Charmaine Blake

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Three Billboards Outside Ebbing, Missouri and Lady Bird

Image: Fox Searchlight / A24 / Mashable Composite

The votes are in, and Three Billboards Outside Ebbing, Missouri and Lady Bird are the best films of 2017. Well, according to the Hollywood Foreign Press Association, anyway.

The two pictures took home Best Picture prizes at the 2018 Golden Globe awards ceremony tonight.

Lady Bird‘s win for Best Musical or Comedy was announced first. Earlier in the night, star Saoirse Ronan had picked up a Best Actress statue for her lead role in the movie.

Also nominated from the film were Greta Gerwig for Best Screenplay and Laurie Metcalf for Best Supporting Actress, but they lost out to Three Billboards Outside Ebbing Missouri‘s Martin McDonagh and I, Tonya‘s Allison Janney, respectively.

Oddly, Gerwig was not up for Best Director. This year’s field in that category turned out to be all male, as presenter Natalie Portman pointed out.

Three Billboards‘ Best Drama victory was announced at the end of the night, and it was one of several for the film.

Martin McDonagh lost Best Director to The Shape of Water‘s Guillermo del Toro, as mentioned above, and composer Carter Burwell lost Best Original Score to The Shape of Water‘s Alexandre Desplat.

But McDonagh did win Best Screenplay, as mentioned above. Star Frances McDormand scored Best Actress, and star Sam Rockwell got Best Supporting Actor.

Read more: http://mashable.com/2018/01/07/golden-globes-2018-best-picture/

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Brawn again: why Hollywood’s muscle heroes are bigger than ever

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From Mark Wahlberg to The Rock, Americas cinema strongmen have increasingly big biceps is it something to do with waning power?

“If global politics had left you in any doubt, the commotion caused by Mark Wahlberg last week confirmed that we are truly in the age of the strongman. The publication of the actors daily routine which includes two gym sessions, six meals and one hour cultivating his torso in a cryogenic recovery chamber confirmed what many of us had suspected for some time: a mans cultural worth these days can be accurately gauged by the circumference of his biceps.

Telltale evidence had already arrived last year, when the eighth film in the Fast and Furious series shattered the global box-office record for an opening weekend, taking an absurd half a billion dollars in three days. That would be the Fast and Furious series fronted by Dwayne The Rock Johnson and Vin Diesel, two men whose pre-Hollywood years were spent as pro wrestler and nightclub bouncer respectively, and whose current whey-powered incarnations make pipsqueaks of their former selves.

Together, this trinity of weights-room warriors have racked up nearly $10bn worth of ticket sales in the US alone. If you were feeling unsure about a society that chooses a showbiz star as its president, how about one whose cultural icons look more like cartoon characters than people? Strange times indeed made even stranger by the fact that weve been here before.

Back in the 80s, as former film star President Ronald Reagan was decrying the Soviets as an evil empire, cinema screens were similarly teeming with inflated male flesh. Within a year of Reagans election, Sylvester Stallone had made his first appearance as the machete-wielding John Rambo and Arnold Schwarzenegger had made the transition from body builder to action star with Conan the Barbarian. By the time the credits rolled on Reagans presidency in 1989, Jean-Claude Van Damme and Dolph Lundgren had piled aboard an increasingly cramped bandwagon and between them, the four had rattled out two dozen or so movies about vengeful vigilantes (Rambos I-III), killer robots (The Terminator) and wannabe arm-wrestling champions (Over the Top).

If the 70s action icons were Clint Eastwood, Gene Hackman and Charles Bronson hard-drinking, normal-looking guys whose morals were strewn with shades of grey the following decade flipped the formula: you may have rightly wondered how Arnie and co got so pumped, but you never had reason to question their cause. And they were well-oiled in only the most literal sense.

Muscle
Muscle memory Sylvester Stallone as John Rambo. Photograph: Allstar/Tristar Pictures

A cursory scan of some video-box taglines from the era (samples include Crime is a disease. Meet the cure………………..”

Read more: https://www.theguardian.com/film/2018/sep/18/hollywoods-heroes-more-muscular-mark-wahlberg-the-rock

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Lin-Manuel Miranda Talks About starring in ‘Mary Poppins Returns’

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Lin-Manuel Miranda as Jack and Emily Blunt as Mary Poppins in the upcoming ‘Mary Poppins Returns’.

Image: Jay Maidment

“Half a century ago, back in 1964, a film came out that would shape the childhoods of not just one generation, but pretty much every generation that came thereafter.

Mary Poppins, since first it graced cinema screens, became a firm fixture on family television sets. I recall my grandmother posting me a card with a pound coin taped to it with the strict instruction to rent Mary Poppins from the video shop. For my father, the film marks his very first trip to the cinema, age six.

But mine was not the only home filled with the sounds of “chim chimney chim chimney” being played on a loop. Lin-Manuel Miranda, star of Mary Poppins Returns — the upcoming sequel to the beloved original film — says the movie was “on regular rotation” in his childhood home.

“I wore out ‘Supercalifragilisticexpialidocious’ and I wore out ‘Jolly Holiday,’ Miranda tells Mashable during a set visit at Shepperton Studios, where filming took place. “I didn’t see the end for many years because I would burst into tears at ‘The Birds,’ and I was like, ‘Turn it off! Turn it off!'”

To be starring in the sequel is, understandably, something of a dream for Miranda, given his childhood obsession with the original. Miranda plays Jack, a lamplighter who “apprenticed under Bert [Dick Van Dyke] from the original films.”

Miranda plays Jack, a lamplighter.

Image: Jay Maidment

“I started writing musicals because I didn’t see a path for myself in musical theatre.”

“There are dreams that are too audacious to dream,” says Miranda. “Like, you could dream of maybe being on Broadway someday, you could dream of writing a show.

“Then there are dreams that you didn’t even have the audacity to have, like that there would be a sequel to Mary Poppins and you could be dancing with Mary Poppins someday. Who would have the audacity to………………..”

Read more: https://mashable.com/article/lin-manuel-miranda-mary-poppins-returns/

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‘A Star is Born,’ ‘First Man’ And ‘Widows’ Are This Year’s Early Oscar Front-Runners

Charmaine Blake

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“On the first day of the Toronto International Film Festival last week, the Academy of Motion Picture Arts and Sciences announced that the Oscars will table the polarizing new category meant to honor the year’s “outstanding achievement in popular film.” Good. The award isn’t only misguided what makes a film popular, and why reward something on those grounds? but also quite unnecessary, as the festival itself made clear.

Many of the movies that premiered and screened in Toronto are crowd-pleasers destined to earn piles of cash and offer the sort of skillful prestige the Oscars favor. Already I can pinpoint three awards front-runners with solid shots at revenue exceeding the coveted $100 million mark: “A Star Is Born,” “First Man” and “Widows.”

All three have obvious selling points that could vault them into blockbuster territory. “A Star Is Born” is a beloved story exquisitely reimagined by the uberfamous Bradley Cooper and Lady Gaga; “Widows” is an electrifying thriller featuring an all-star cast led by Viola Davis; “First Man,” which reunites Ryan Gosling with “La La Land” director Damien Chazelle, depicts Neil Armstrong’s 1969 lunar journey imagery that’s seared into the American consciousness.

If all goes well, these movies will hit the sweet spot between commercial success and artistic merit that the academy seems to think eludes its grasp. (Never mind that “The Shape of Water,” a dreamy sci-fi romance with $195 million in worldwide grosses, scored this year’s Best Picture trophy.) “Star,” “Widows” and “First Man” are major studio releases distributed by Warner Bros., Fox and Universal, respectively, giving them the leverage needed to sail into the national zeitgeist long before fall’s top awards are announced. ……………………….”

Read the rest of the story here: http://www.huffingtonpost.com/entry/a-star-is-born-oscar-race-2018_us_5b9bf101e4b013b0977a7d0c

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