French Exit says goodbye to all that - The Martha s Vineyard Times mvtimes.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from mvtimes.com Daily Mail and Mail on Sunday newspapers.
Film Shorts // April 7-13, 2021
The Man Who Sold His Skin (NR) Nominated for the Oscar for Best International Film, this Tunisian drama is about a Syrian refugee (Yahya Mahyani) who becomes a living art exhibit in a museum. Also with Dea Liane, Koen de Bouw, Saad Lostan, Christian Vadim, Darina al-Joundi, and Monica Bellucci. (Opens Friday in Dallas)
Photo courtesy of YouTube.com.
OPENING
Held (NR) Jill Awbrey and Bart Johnson star in this horror film as a couple trying to repair their marriage when a disembodied voice at their vacation house takes control. Also with Rez Kempton, Zack Gold, Jener Dasilva, and Tessa Munro. (Opens Friday)
GODZILLA VS. KONG
(in theaters and on HBO Max)
These monsters aka the alpha Titans somehow remain immortal, even after being attacked by every weapon mankind has to bear during many decades in moviedom. Nonetheless, they are back.
In filmmaker Adam Wingardâs sequel to âGodzilla: King of the Monstersâ (2019), Kong resides in an artificially created jungle, âthe Kong Containment Domeâ on Skull Island where he is watched over by Dr. Ilene Andrews (Rebecca Hall) and her deaf adopted daughter Jia (Kaylee Hottle), who can communicate with Kong.
While Kong gets affection, olâ spikey Godzilla lacks a winning personality and just shows up to create mayhem.
A haughty Michelle Pfeiffer can t quite save eccentric French Exit culturemap.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from culturemap.com Daily Mail and Mail on Sunday newspapers.
Is there any living actor better at the disdainful eye roll than Michelle Pfeiffer? Her latest turn in “ French Exit ” should end all debate on the matter. The film itself is a bit of an odd duckling. It’s arch, cold and self-consciously contrived, works more often than it doesn’t. Pfeiffer is flawless in her most delicious performance in years as a New York society woman who has, much to her aloof annoyance, run out of money.
Pfeiffer’s Frances Price is a dying breed, literally and figuratively, a refined and caustic socialite who Slim Aarons probably photographed a few times over the years. She’s the kind who would never lower herself to something as uncouth as a certain reality show franchise. Even the word socialite is probably vile to someone like Frances. She’s been coasting through her own life in the 12 years since her husband’s death. And now she’s found herself living out a cliché she wasn’t prepared for: Her money is so old, it’s gone.