‘Picture This' Review: Five Dates Away From Love
There's Jay (Luke Fetherston), her 'gay bestie,' he says by way of an introduction, the co-owner of the 9th Mandala portrait studio; cardigan-wearing Akshay (Nikesh Patel) who works for Pia's mother (Sindhu Vee) and Pia's ex, Charlie (Hero Fiennes Tiffin). The former couple meets again when Charlie is included in the wedding party of Pia's sister, Sonal (Anoushka Chadha).
Written by the novelist Nikita Lalwani and based on the Australian movie 'Five Blind Dates,' this twisty film finds Pia navigating her wish for independence and her business' need for a cash infusion. Her mother promises a safety box of jewels for when she gets married, but Pia wasn't planning on that possibility. The transactional and the traditional are wed when a jolly medium prophesies Pia will meet the love of her life in her next five dates.
The title asks us to consider the film's visuals. The palette here is vivid. Screens split — sometimes vertically, other times horizontally — all in the spirit of playfulness, while the music is a mix of international pop grooves. For all the potentially crushing challenges Pia faces — losing her business, not living out her dream of being a photographer, alienating her beloved younger sister — 'Picture This,' keeps it light, never letting the sharp edges of potential failure come into focus.
Picture This
Not rated. Running time: 1 hour 39 minutes. Watch on Prime Video.
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Chicago Tribune
27 minutes ago
- Chicago Tribune
Today in Chicago History: The Beatles play two shows at Comiskey Park, and scarcely a note was heard
Here's a look back at what happened in the Chicago area on Aug. 20, according to the Tribune's archives. Is an important event missing from this date? Email us. Weather records (from the National Weather Service, Chicago) How George Halas' columns for the Chicago Tribune, a field goal and a charity game helped the Chicago Bears prove their legitimacy in 19351948: The National League champion Chicago Cardinals beat the College All-Stars 28-0 in front of 101,220 fans at Soldier Field. Chicago White Sox pitchers have thrown 20 no-hitters since 1902 — including 3 perfect games. Relive them all here.1957: Bob Keegan — at 37 — became the oldest player to throw a no-hitter for the Chicago White Sox. The Sox beat the Washington Senators 6-0 in the second game of a doubleheader at Comiskey Park. 1961: The international press called it 'a stunning upset.' Three American teenagers scored a Wightman Cup victory at Saddle & Cycle Club over veteran British tennis stars Ann Haydon, Cristine Truman, Angela Mortimer and Deidre Catt. Billie Jean King on today's tennis, the media and a new play at Chicago Shakespeare about her lifeThe American teens were Karen Hantze and Justina Bricka, both 18, and bouncy 17-year-old Billie Jean Moffitt, who spurred on her own game by muttering 'Come on, baby' to herself. Moffitt later played under her married name, King. The American teens had lost to the same Britons at Wimbledon earlier in the year. They said that playing the established British stars before huge crowds helped them gain experience and confidence for the Wightman matches in Chicago. 1965: After arriving quietly at Chicago's Midway Airport, the Beatles played a day-night doubleheader at Comiskey Park. More than 50,000 incessantly screaming fans drowned out the Beatles during the 3 p.m. and 8 p.m. shows. John Lennon, then 24, was not annoyed. 'They pay good prices to get in (top tickets, $5.50). Who are we to say whether or not they should scream?' A solid line of officers sat shoulder to shoulder, with their backs to the infield, to prevent teens from taking second base, where the Beatles performed on a plywood bandstand. Paul McCartney singing 'I'm Down' pumped up the volume of the screamfest. Based on that alone, Tribune reviewer Will Leonard surmised that this was 'easily the artistic success of the evening.' The take at the Comiskey gate was an estimated $150,000 to $160,000, compared with the year before at the Chicago Amphitheatre, when the Beatles had a reported $30,000 in ticket sales. After the concert the Beatles stopped at Margie's Candies in Bucktown for ice cream, recalled owner Peter Poulos Jr. 'They sat at the back booth and ordered Atomic Busters (banana splits standing up). They began singing, John was standing on the table. The place was packed. They stayed about an hour.' 1976: Polish Cardinal Karol Wojtyla led a group of bishops on a tour of the United States that included Chicago. He returned in October 1979 — then known as Pope John Paul II. 2014: The Chicago Cubs won 2-0 over the San Francisco Giants after 4½ innings and a 4-hour, 34-minute rain delay when the grounds crew mishandled the tarp. The Giants appealed the ruling, won, but lost 2-1 a day later. Subscribe to the free Vintage Chicago Tribune newsletter, join our Chicagoland history Facebook group, stay current with Today in Chicago History and follow us on Instagram for more from Chicago's past.
Newsweek
2 hours ago
- Newsweek
Olivia Colman and Benedict Cumberbatch's War of Wit in 'The Roses'
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The new film follows Ivy (Colman) and Theo (Cumberbatch), a witty British couple whose marriage is so rooted in sharp-edged banter that they can no longer turn it off and it almost becomes their personalities. After relocating to America, their professional lives pivot—his fails while hers skyrockets—igniting a domestic war to end all domestic wars. Their once humorous jabs morph into devastating weapons used at an epic dinner party and far beyond, and their dream home becomes the battle arena where their marriage may be the biggest casualty. "At first, I said, 'I'm not doing a remake,'" admits writer McNamara. "What I do want to write is a movie about marriage [instead]. Two people trying to stay together who don't have the skill set." Director Roach had a similar reaction, captivated by the emotional core of the story. "The comedy and the drama and the pain and the joy are not separate. They're all overlaid all the time," Roach says. "In Tony's script, the hope is kept alive till the very last second of the film." For Colman and Cumberbatch, one key difference between their version of this story and the original is how the couple treats each other. "I think they [Ivy and Theo] love each other," Cumberbatch states, contrasting the new film's slow burn with the immediate animosity the characters show in the original. "They love each other more," Colman says, adding, "There's more silliness." McNamara built the story around the dynamics that many modern couples have to grapple with. "Most people I know, both partners work," he says. "I felt like sometimes ambition is the enemy of marriage." In the hands of Colman and Cumberbatch, the depiction of these nuanced dynamics was natural. "They're so self-driven, self-motivated, and in a way, you could just have the cameras be in the right place and trust the great script," Roach says about their talent. 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During the course of our conversation below, lightly edited and condensed for publication, their talent and charm are on full display. Before any question was asked, Colman said: "Your lips are beautiful and juicy. I'm so sorry, I just have to say," complimenting this reporter's mouth. While we assure you this did not interfere with our professionalism, it also wasn't exactly a bad way to start a conversation. This story is so well-known. Was it intimidating to take on a modern version? Benedict Cumberbatch: We had wanted to work together for a long time, and Searchlight had it as a property in their back catalog. My memory of the [original] film is a great one, and I thought, yes, that would be a very juicy relationship to play—so much drama and fun and comedy and tragedy. Little did we know that Tony [McNamara] would write that good a script. It was one of those things that was laughed out loud. Olivia Colman: We had Tony doing all the heavy lifting for us. It takes nothing away from the original film. It's a beautiful piece, a seminal piece that we all remember. But ours is with a sort of respectful nod to it and has taken it in a slightly different direction. What feels fresh about this take on the story? Cumberbatch: Well, I think they love each other. Colman: Yes, they do. They love each other more. Yeah, I think that's right. Cumberbatch: There's a little bit more humor, dare I say it. The first one is funny, but it's very, very dark. Colman: There's more silliness. Cumberbatch: Yeah, I think so. And I feel that Tony's very smart. He kept us English in an American context. You have that kind of cultural clash and misunderstanding. I think it means that they then become even more English, and their invective and humor and wit that's celebrated by friends becomes even more mean without them really knowing what damage it's doing. The humorous joshing and teasing that came out of their initial love just gets worse and worse. I loved how the very particular British sensibility of "taking the p***" out of someone you love can sometimes be misinterpreted. Did you enjoy playing with that cultural friction? Colman: Oh, well, that's great. I'm pleased you love it. American audiences have really taken to it. And it's also such a lovely foil for the incredible American talent we have in the film—Kate McKinnon, Andy Samberg, Zoë Chao. I love watching their reaction to us, and I think maybe that's why Tony's such a genius and he knew that that would work. Cumberbatch: We can sound a bit sharp and knowing and snide even when we're trying to be terribly cuddly and lovely. If you say, "Are you all right?" Americans go, "What? I've been to my therapist. What are you talking about?" Colman: A director I worked with once said, "Get some rest." And I thought, "Do I look tired?" I've heard other people saying it and it's genuinely a nice, "Go and have a nice sleep." But, "Get some rest?" B*****. What do I look like? 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He moves his obsession from architecture to his children and her career takes off, and they just start to miss each other. They don't hold each other and look at each other, collaborate on what unites them. And that can happen in any dynamic. Colman: It would be lovely, one day, when people don't [see it as a gender issue]. Cumberbatch: Sadly, this is still [that] world. We shouldn't have to imagine, it should actually be the reality, and I think it's coming up a lot [in interviews about the film], sadly, because it still isn't the case. We have to keep working, people, to make that not the case. Director Jay Roach with Olivia Colman and Benedict Cumberbatch on the set of THE ROSES. Director Jay Roach with Olivia Colman and Benedict Cumberbatch on the set of THE ROSES. Jaap Buitendijk, Courtesy of Searchlight Pictures You're surrounded by comedy legends like Kate McKinnon and Andy Samberg. How did working with them elevate the process? Colman: It did up the ante. We had front-row seats to McKinnon and Samberg. Cumberbatch: And when she [McKinnon] gets going on a line that she hasn't yet tested and starts laughing because she knows what's ahead, then you are all in trouble. But our director, Jay, is very patient. He lets that run a little bit, and we all end up going, "Sorry, sorry, sorry." But it's to foster a moment that's rare to get, where the fifth or sixth take is as alive as it would be if it was the first. Colman: Yes, absolutely. It was exciting. You didn't want to let them down. But also, I think what's really nice is being in the presence of such comedy greatness, genuinely. You can show a little humility. Cumberbatch: Yeah, give them the floor and just, "Oh my God. That's it!" Colman: "Oh my God, we're not worthy!" We'd be paid to sit that close to those people, watch them do their thing. It was really... Cumberbatch: Free entertainment. Got paid for it. Paid for the pleasure.
New York Post
8 hours ago
- New York Post
Memoir from Oct. 7 hostage Eli Sharabi will reveal shocking abuse — and unimaginable news he learned after his release
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