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Netflix rom-com star joins cast of eye-opening WWII thriller as sinister new trailer drops

Netflix rom-com star joins cast of eye-opening WWII thriller as sinister new trailer drops

Daily Mirror5 days ago
A new teaser trailer for upcoming historical thriller Nuremberg has left film fans with chills as they're all saying the same thing about the upcoming World War II drama
Film enthusiasts have been left spellbound by the debut trailer for an eagerly awaited World War II drama that promises to be utterly compelling.

Boasting a stellar ensemble of British and Hollywood stars, this gripping thriller will delve into one of the most pivotal post-war moments in unprecedented detail.

No Time to Die and Oppenheimer actor Rami Malek takes on the role of American psychiatrist Douglas Kelley in the Sky Original production Nuremberg, the specialist charged with evaluating one of Adolf Hitler's most loyal Nazi associates.

Prior to the landmark Nuremberg Trials, Kelley was given the responsibility of assessing the psychological state of senior Nazi officials before proceedings could commence.
Gladiator legend Russell Crowe transforms into Hermann Göring, the Nazi military commander and Hitler's most devoted aide, reports the Express.

The historical drama's synopsis states: "The film unfolds as a gripping cat-and-mouse drama.
"Nuremberg features a stellar ensemble cast, including Michael Shannon, Richard E. Grant, and Leo Woodall as translator Howard Triest.
"Set in the shadow of the unimaginable crimes committed during the war, Nuremberg explores the human mind at its most chilling and complex."

Viewers will undoubtedly be thrilled to witness One Day heartthrob Woodall tackle his most demanding performance to date, appearing dramatically different from his charming romantic comedy persona.
With Nuremberg set to hit UK cinemas this November, cinema-goers have been expressing their excitement, with one particular element of the production capturing widespread attention. Russell Crowe's latest role as Hermann Göring has certainly caught the attention of movie buffs, with one YouTube user expressing surprise: "I never thought I will see Russell 'Maximus' Crowe as Hermann Göring.
"But here we go. Packed with great actors. I put on my watchlist 4 sure."

Another viewer anticipates the release, replying: "What a great cast, and original storyline. Looking forward to it."
A third chimes in with praise for the star-studded lineup: "So many excellent actors, it's going to be awesome," and adds, "This is how movies should be made."

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Echoing the enthusiasm, another comments on the film's visual appeal: "Cast and cinematography look stunning."
However, not everyone on Reddit shared the same excitement, with some critical of the trailer.

One user didn't mince words: "I can't think of anything worse that a bombastic movie about the Nuremberg trial featuring Russell Crowe butchering another accent," and sarcastically remarked, "Jesus what the hell was this trailer? Bwaaaaaah."
Another Reddit user was unimpressed by the teaser: "This trailer kinda sucks lol I know it's a teaser but is it really going to have this weird a** style with that subject matter?"
Yet, even the critics acknowledged the intriguing casting choices: "Very interesting cast though."
With opinions divided, are you eager to see Nuremberg when it hits cinemas, or will you be skipping this WWII drama?
Nuremberg will be released in UK cinemas on 14th November, 2025.
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Rattigan's films are as important as his plays
Rattigan's films are as important as his plays

Spectator

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  • Spectator

Rattigan's films are as important as his plays

A campaign is under way to rename the West End's Duchess Theatre after the playwright Terence Rattigan. Supported as it is by the likes of Judi Dench and Rattigan Society president David Suchet, there's evidently a desire to right a historical wrong. Author of classics such as The Browning Version, The Winslow Boy and Separate Tables, Rattigan was known for his poise, melancholy and restraint, all of which put him at odds with the coterie of upstart writers of the 1950s – still amusingly known as the Angry Young Men. It's an oft-repeated chapter of theatre history that arch-kitchen-sinkers such as John Osborne made the environment virtually impossible for Rattigan to work in. Rattigan joked about it at the 1956 opening of Look Back in Anger. It was as if Osborne were saying, 'Look, Ma, I'm not Terence Rattigan!' he quipped. However, the Rattigan-bashing was always an empty indulgence. Osborne himself admitted as much on these very pages in 1993, writing: 'I have been intrigued by the success of the current revival of Terence Rattigan's The Deep Blue Sea. Rattigan was under the general frown when I first joined the Royal Court Theatre in 1956, and both George Devine and Tony Richardson were appalled when I confessed to being moved by the play.' Perhaps a Rattigan Theatre would indeed lay some of the ghosts to rest. But on first hearing news of the campaign, another thought occurred: Rattigan deserves a cinema as well. Film was arguably much kinder to him than theatre ever was in the low ebbs of his career. It supplied him with constant work, saw some of his best adaptations, and allowed his writing to weather the storm. Without his breakout play French Without Tears (1936), British cinema wouldn't have acquired one of its classic rogues, Rex Harrison, whose name it thrust into the spotlight. But French Without Tears was chiefly important because its adaptation in 1940 was Rattigan's first collaboration with director Anthony Asquith – and the first success of his screen career. Few could match Asquith's ability to adapt stage classics for film. The son of liberal prime minister Herbert, Asquith junior had directed an Oscar-nominated Pygmalion (1938), with Leslie Howard and Wendy Hiller, as well as the most celebrated version of The Importance of Being Earnest (1952), with Edith Evans as the definitive Lady Bracknell. Like so many British artists, Rattigan and Asquith were drafted into propaganda duties during the war. And it resulted in their first truly great work, The Way to the Stars (1945). The film had a Who's Who cast – Michael Redgrave, John Mills and Trevor Howard, all of whom would return to work with Asquith and Rattigan – and in its quieter moments, observing the grin-and-bear-it times of a British bomber base, hinted at their true creative potential. Postwar, Asquith returned to Rattigan's stage work with an adaptation of The Winslow Boy in 1948. It perfectly captured the it's-just-not-cricket mentality of the original play with its story of a boy unjustly expelled from naval college. Rattigan would take up these themes again (to lesser effect) in The Final Test (1953), but The Winslow Boy had the advantage of Robert Donat in the lead role at the height of his powers. Asquith's take on The Browning Version was another great example of his refusal to follow the growing spectacle – albeit much of it magnificent – of contemporaries such as David Lean and Michael Powell. Refraining from visual tricks or even much of a musical score, Asquith allows Rattigan's poise and melancholy to speak for itself. It may be one of the most quietly devastating English films ever made. And as the retiring classics teacher who may or may not be missed by his pupils, Michael Redgrave gives one of his most heart-wrenching performances as Crocker-Harris. Rattigan was not tied to Asquith, and pursued multiple projects outside of his preoccupation with upper-middle-class England. He created the original screenplay for Brighton Rock (1948), for example, Graham Greene's story of wide-boy knife gangs directed by John Boulting. It was reworked before reaching the screen but Greene crucially retained Rattigan's vision of the work as a thriller rather than an intellectual treatise. The Boultings kept Rattigan's change of ending, too, in which a gramophone recording of Pinkie (Richard Attenborough) jams on 'I love you…' before he lays into his love interest. Rattigan didn't generally shy away from the brutality of romantic relationships. The Deep Blue Sea (1955) is testament to that. Influenced by the relationship between Rattigan and actor Kenneth Morgan, the play's curtain-twitching portrait of a squalid postwar London is still one of his most unflinching of love stories. Vivien Leigh was cast as Hester, the spurned lover of RAF pilot Freddie, played by Kenneth More, who had transferred from the original play. More suggested that Leigh brought too much glamour to the part. Yet with Leigh's mental health deteriorating and her personal life crumbling, she appears in hindsight to have been all too right for The Deep Blue Sea. Rattigan then teamed up with Leigh's husband Laurence Olivier on The Prince and the Showgirl (1957), but Rattigan's last great screen work was his collaboration a year later with Delbert Mann on the Oscar-nominated Separate Tables. Another of his tragic ensemble pieces, the film saw a wealth of stars gathered in a run-down Bournemouth hotel, all forced to examine their lives after the revelation of a scandal involving the retired Major Pollock played by David Niven. Niven has the film to thank for the only Oscar win of his career, and Rattigan for his second nomination. (He received his first in 1952 for scripting David Lean's The Sound Barrier.) What happened next might have been the apex of Rattigan's screen career yet turned out to be the beginning of the end. In 1960 he had started working with the Rank Organisation to adapt his T.E. Lawrence play Ross. It was to star Dirk Bogarde and Asquith was slated to direct. But there was a problem: another Lawrence film was already in the works. Out of respect to David Lean – and under some pressure from Lawrence of Arabia producer Sam Spiegel – the studio pulled the plug on the project. Bogarde called it his 'bitterest disappointment'. Rattigan and Asquith ploughed on, assembling star-studded casts for two further movies, The V.I.P.s (1963) and The Yellow Rolls-Royce (1964), with all favours from friends called in. But even with Rattigan's work finding new audiences on television, the 1960s were relentlessly unforgiving. His last screenplay of note was the wonderful musical adaptation of Goodbye, Mr Chips (1969), with Peter O'Toole, before he fled into creative (and tax) exile to Bermuda. A knighthood in 1971 and a minor reconciliation with the theatre industry before his death in 1977 did little to remedy his unhappiness. The West End rediscovers Rattigan's work almost every decade. But the screen never forgot him. Terence Davies's hypnotic version of The Deep Blue Sea (2011) with Rachel Weisz and Tom Hiddleston converted a whole new generation. Rattigan no doubt deserves a theatre. His contribution continues to enrich the British stage – especially in its deeply English themes, its styling and restraint. But his dedication to the screen suggests a Rattigan cinema wouldn't go amiss either.

Tommy Fury cosies up to Molly-Mae and Bambi on family holiday after she revealed reason they don't film together
Tommy Fury cosies up to Molly-Mae and Bambi on family holiday after she revealed reason they don't film together

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Tommy Fury cosies up to Molly-Mae and Bambi on family holiday after she revealed reason they don't film together

Tommy and Molly-Mae recently confirmed their reunion after splitting last year Tommy Fury cosies up to Molly-Mae and Bambi on family holiday after she revealed reason they don't film together Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) TOMMY Fury cosied up for a family snap on holiday - after Molly-Mae revealed the reason they don't film together. The couple met and got together while appearing on Love Island in 2019. Sign up for the Entertainment newsletter Sign up 3 Tommy Fury shared snaps of his sunny holiday in Turkey Credit: Instagram 3 It includes a sweet photo with Molly-Mae and daughter Bambi Credit: Instagram 3 The couple welcomed Bambi back in 2023 Credit: Instagram In 2023, the pair welcomed a new addition - daughter Bambi - into the world. Taking to Instagram, Tommy shared a series of snaps from the trio's sunny holiday in Turkey - including one of them all cosied up. He captioned: "One of the best trips ever." One follower commented: "These photos are so special." Another added: "Bambi looks sooo happy as do you all, lovely pics." A third shared: "Good seeing you back where you belong lad." It comes as Molly-Mae revealed why Tommy doesn't feature in her YouTube vlogs. Fans had claimed that Molly's sister Zoe, 28, is more of a father figure due to her regular appearance in the videos. Molly-Mae explained: "I've seen so many comments saying 'Zoe is more the dad' I only vlog when I am not with Tommy, I am with Tommy literally 80% of the week and he is with Bambi majority of the week. "But I vlog when we are here and he is at his because it's just something that I am not ready to like open up with yet and like flinging the camera around like when we're a family. Molly-Mae admits real reason she's not filming with Tommy Fury after breaking down in tears on camera "I just think like we're not there yet and still figuring out life and living situations. I'm not ready to vlog like we used to." The couple only recently confirmed their reunion after splitting last August. Their relationship story featured in Molly's recent Amazon documentary where she talked about their New Year's Eve kiss, which began feverish speculation that they were back together. They are now working hard to put past cheating allegations and Tommy's alcohol-fuelled partying problems behind them. A source previously told us: 'It sounds extreme, but Molly feels much more reassured when Tommy checks in. "It all helps with trust, honesty and transparency between the two of them. 'Tommy dutifully phones Molly the minute that he arrives anywhere. 'And then she likes him to also show her where he is. 'This has been going on for months now, and Tommy's friends are impressed that he has agreed to it whole-heartedly.'

Yes, New York now has a tomato ketchup smoothie to try
Yes, New York now has a tomato ketchup smoothie to try

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Yes, New York now has a tomato ketchup smoothie to try

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