Latest news with #NataliePortman
Arab News
2 days ago
- Entertainment
- Arab News
REVIEW: Guy Ritchie's ‘Fountain of Youth' — ‘Indiana Jones' wannabe fails miserably
DUBAI: You know those fake films you see in TV shows like '30 Rock' or, more recently, 'The Studio'? Guy Ritchie's latest misfire, 'Fountain of Youth,' captures that vibe perfectly. For the latest updates, follow us on Instagram @ A chaotic, charmless attempt at action-adventure, 'Fountain of Youth' clearly takes its inspiration from 'Indiana Jones,' but ends up as a muddled mess of clichés, clunky dialogue, and a lead who never quite convinces. The latter is John Krasinski as Luke Purdue, an archaeologist-turned-art thief racing to uncover the location of the legendary Fountain of Youth — believed to be capable of bestowing eternal life — with the help of rich benefactor Owen Carver (Domhnall Gleeson), a billionaire with a fatal illness who's ready to throw all his money into the quest. When things go awry, Luke reaches out to his younger sister Charlotte (a resplendent Natalie Portman) for help. The squabbling siblings then set off on a globetrotting adventure, while being chased by shadowy organizations and Interpol. The problem? Krasinski brings all the gravitas of a put-upon history teacher on a school field trip. There's a stiffness to him that means you never quite shake off the sense that he's just playing dress-up. Portman and Gleeson fare better. Portman, playing a sharp-tongued art curator and a mother on the brink of divorce, injects moments of tension and vulnerability that almost make you care about the story. Gleeson, meanwhile, steals every scene he's in as he descends into villainy. But even their combined charisma fails to inject life into the limp script. Other noteworthy performances come from Eiza Gonzales, who plays Esme, just one of the many people trying to stop the siblings from uncovering the Fountain of Youth; and Arian Moayed, who plays Interpol's Inspector Abbas. Ritchie's signature snappy style is drowned under a deluge of poorly choreographed chase sequences, same-y set pieces and exposition-heavy dialogue. The film looks expensive but feels lazy, with international locations reduced to postcard backgrounds. 'Fountain of Youth' wants to be thrilling, funny and smart. Instead, it's repetitive, cringey and talks down to its viewers.
Wales Online
2 days ago
- Entertainment
- Wales Online
Natalie Portman still feels like people 'treat her like a child' on set
Natalie Portman still feels like people 'treat her like a child' on set The 43-year-old actress - who rose to fame as a child in 1999's 'Star Wars: Episode I - The Phantom Menace' - insisted that despite growing up in the spotlight and developing a "serious persona" to combat people's perceptions of her, she is still fighting against it (Image: Getty Images ) Natalie Portman thinks people still "treat her like a child". The 43-year-old actress - who rose to fame as a child in 1999's 'Star Wars: Episode I - The Phantom Menace' - insisted that despite growing up in the spotlight and developing a "serious persona" to combat people's perceptions of her, she is still fighting against it. During a conversation about Jenna Ortega, Natalie told Harper's Bazaar magazine: "We're both physically tiny, so people will often treat you like a child forever. "I'm 43 now, and people kind of pat me on the head. I don't look like a child, but I often feel like I'm treated like a kid. "Child actors often cultivate a serious persona because otherwise they'll get treated like kids forever. "When you start working as a kid, you kind of always feel like a kid in the workplace. Having some of that seriousness helps remind people, 'I'm a grown-up.' " Natalie and Jenna have worked together in new comedy thriller 'The Gallerist', and the 'Fountain of Youth' actress noticed they have a similar process in between takes. She explained: "We don't sit in a chair; we just kind of squat in the corner. "Catherine Zeta-Jones, who was also a child actress, said she did it too - that it's a way of grounding yourself. "There'd be all these chairs, but we'd just squat and look at each other and be like, 'Wow, this is weird.' " Meanwhile, Jenna opened up on how much it's helped her becoming friends with the likes of Natalie, Winona Ryder and Natasha Lyonne, who all understand the journey she's on. She said: "It's been so beneficial and so cozy. They've seen it all, and, honestly, during a much darker time in Hollywood. Article continues below "We've all got this jaded way about us that I don't think we'd have if we hadn't started so young and had so many brutal realisations and experiences... "But they turned out all right."
Daily Mail
3 days ago
- Entertainment
- Daily Mail
Dior annual cruise show fashion verdict by SHANE WATSON: Stars embrace the lace as dress code goes all doily
The dress code last night in Rome at Dior's annual cruise show – where it unveils summery holiday wear – was white for women, black for men. If you want to go out with a bang – the rumour is the show may be star designer Maria Grazia Chiuri's swansong – this is the way to do it. Who knows how it was decided who would get to model the ribbon ruffled gauzy confection that Natalie Portman glided in wearing, but her dress was the classic showstopper of the night. Grounded with a long, tailored tailcoat, this was elegant with a hint of The Greatest Showman. Lace was a big theme in the collection – Rosamund Pike's short-sleeved top and matching skirt, with a silver belt and the brand's Naughtily-D heeled black ankle boots, were less princess and more bohemian Victorian lady of letters. This was probably the coolest look of the night. White Lotus actress Alexandra Daddario wore a sheer lace two piece that was messy in comparison with her fellow actresses' outfits. Fellow White Lotus star Sarah Catherine Hook, meanwhile, wore a scoop neck lace dress that was as simple and demure as a peasant's dirndl – and made us think she's a dead ringer for Princess Charlotte.
New York Times
3 days ago
- Entertainment
- New York Times
Farewell to the New Look. Or Ghosts of Dior Past
The fog drifted in over the manicured lawns of the Villa Albani Torlonia in Rome just as the Dior cruise show began, lending what was already a somewhat surreal moment an extra-otherworldly air. All the female guests wore white, even Natalie Portman and Rosamund Pike; the men, black. As they entered the verdant inner courtyard of the private manse, with its collection of Greco-Roman antiquities, they walked past dancers posed like moving statuary. When the first models appeared, to the strains of a live orchestra, light rain began to fall. Along with the mist, it made the clothes, almost all ivory and often so light as to be practically transparent, seem ghostly (even for someone like me, watching through the computer screen): an ethereal stew of references in lace, silk and velvet — with the occasional tailcoat — to different periods in history and imagination. In a video call before the show, the designer, Maria Grazia Chiuri, said she had been after what she called 'beautiful confusion,' the phrase Ennio Flaiano originally suggested as a title for Fellini's '8½.' It was an apt description, not just of the collection itself, which seemed made for phantoms slipping from one era into the next, but also of the question mark surrounding her own situation. Ms. Chiuri had nominally brought Dior back to her home city to celebrate the romantic spirits that formed her (and helped shape fashion), from La Cinecittà to the director Pier Paolo Pasolini and Mimì Pecci-Blunt, an early 20th-century patroness of the arts who built a private theater Ms. Chuiri recently restored. But she also brought herself and her audience full circle, back to the place she began. To do so, she enlisted a host of collaborators: the Tirelli costume house, the director Matteo Garrone (who made a short film in honor of the collection), the artist Pietro Ruffo, the Dutch choreographers Imre and Marne van Opstal. If that sounds like a lot to cram into what was essentially a 20-minute fashion experience, it was on purpose. It is widely accepted in fashion that this was Ms. Chiuri's last show for Dior. That in a matter of days the house will announce she is leaving after nine years and will be replaced by Jonathan Anderson, who recently joined Dior as artistic director of men's wear. LVMH, which owns the house, has not addressed the rumors, and when asked directly, Ms. Chiuri simply said, 'Oh, I don't answer this question.' It's too bad. The lack of clarity about her future, combined with the actual fog, gave an ambiguous edge to what could have been a triumphant farewell. Instead it seemed like a vaguely elegiac swan song. Maybe they are hedging for legal reasons. Maybe Ms. Chiuri, who has the thick skin and stubbornness of many pioneers, didn't want it to be nostalgic or sentimental. But while the collection was lovely and she got a standing ovation, it could have been so much more. It could have been an exclamation point at the end of what will surely be seen as a meaningful era in the life span of a major brand. A celebration of the contribution of the first woman to run the house. Such a farewell is not unheard-of in fashion, even if designers now turn over so often and so brusquely that it seems rarer than not. Tom Ford ended his Gucci period with a shower of pink rose petals, a standing ovation and 'Nothing Compares 2 U.' Dries Van Noten went out on a silver foil runway with a giant disco ball to commemorate the moment. There's nothing wrong with designers being recognized for what they brought to a brand, even if, as in this case, the decision to part ways doesn't seem to be entirely mutual. Especially a designer like Ms. Chiuri, who both helped grow Dior to what is estimated to be close to $9 billion in revenue and expanded its identity more than anyone may have realized. She is quoted in the documentary 'Her Dior' — a study of Ms. Chiuri's work with female artists directed by Loïc Prigent and released in March (an early sign, perhaps, of legacy building) — saying she knew what she was doing. She did. She used her power and position, the financial might of her company, not just to assert a somewhat hackneyed feminism (who could forget the slogan tees or the weird playsuits under princess dresses?), but also to support a variety of female artists as well as a panoply of artisans. To insist on the radical idea that craft belonged on the same level as couture. And, perhaps most significantly of all, to break the stranglehold of the New Look. Indeed, in 'Her Dior,' Ms. Chiuri said she told the Dior executives when she was hired that the brand's most signature silhouette, with its cinching and constriction of the female figure, was not for her. To look back at her collections is to see her methodically dismantling it. She did so first by going through the motions of loosening the stays — figuring out how to preserve the shape without the restrictive underpinnings — and then by eschewing it entirely. Her strength as a designer wasn't in the giant productions that surrounded her collections but in the internal magic she worked with construction and material. It's why her work often seemed more enticing in previews, experienced up close, than on the runway, where it could look banal. It is worth noting that there was not a single bar jacket in the whole cruise show. Or a high heel. Instead it was strewed with Easter eggs that suggested a finale: references to Chiuri-isms past (to the short film she and Mr. Garrone made during Covid and to the dancers she had included in other shows); to a possible future (her work with the Roman theater); to the goodbye of her colleague, the former Dior men's wear designer Kim Jones, who resigned after his January show. (As in that show, some of Ms. Chiuri's models were wearing blindfolds.) Even the inclusion of 31 couture looks among the ready-to-wear seemed a last word of sorts. Couture is the next season on the women's wear schedule, and it would have been Ms. Chiuri's next collection, if there actually were one. For now there was just the cruise show's closing look: an extraordinary gown micro-beaded to resemble a trompe l'oeil heroic torso. Or a relic, perhaps, of a time gone by.
Daily Mirror
4 days ago
- Business
- Daily Mirror
Award-winning gut health brand cuts 25% off 'life changing' IBS sachet
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more Gut Wealth has received praise from shoppers who suffer from IBS and those with post-meal bloating (Image: undefined via Getty Images) Digestive discomfort is a silent struggle for many, whether it's sporadic bloating after meals, unpredictable bowel movements, or persistent digestive unease. These symptoms can disrupt daily life, sap energy, and impact overall well-being. For those grappling with Irritable Bowel Syndrome (IBS), the symptoms can be incapacitating: severe cramping, bloating, diarrhoea, constipation and other effects can drastically alter one's lifestyle. Gut Wealth, crowned Medtech and Healthtech StartUp of the Year 2024, is a brand dedicated to addressing everyone's gut issues - including those suffering from IBS. They are currently offering a 25% discount on their Gut Wealth daily liquid supplement for new customers, reducing the price of a 56 pack from £119.96 to just £89.97. READ MORE: Natalie Portman's makeup artist takes anti-ageing gadget 'on every job' to shrink wrinkles READ MORE: Weight loss method backed by Dr Michael Mosley and loved by Davina McCall A 42 pack is now £67.47, down from £89.97, while 24 packs have a 20% discount, bringing the price down to £47.98 from £59.98. The deal also includes free UK delivery on 42 or 56 packs and is valid until May 31. To get the discount, no code is needed; shoppers simply need to follow the link. The Gut Wealth liquid supplement is a daily sachet designed to bolster digestive health and make gut symptoms more manageable. With a mix of seven carefully chosen ingredients, including a clinically-backed postbiotic, it aids in improving bowel regularity, reducing bloating, and alleviating digestive discomfort - particularly beneficial for those dealing with urgency or irregular movements. Gut Wealth's 25% off sale £119.96 £89.97 Gut Wealth Buy Here Gut Wealth have a 25% offer on their Gut Wealth daily liquid supplement for new customers, with prices down to £89.97 from £119.96 for a 56 pack and £67.47 down from £89.97 for a 42 pack. Each citrus-flavoured sachet is convenient for on-the-go use - no need for refrigeration - and suits most dietary lifestyles, being gluten-free, vegetarian-friendly, low in sugar and low FODMAP - a type of carbohydrate that can resist digestion. In addition to supporting gut health, it also provides a daily boost of essential vitamins and minerals, including B vitamins, Vitamin C, and Zinc. According to the brand, while everyone is unique and each gut is different, people typically see results within the first four weeks. However, it's recommended to try four to eight weeks of sachets to fully understand the changes. For those looking to try something different, they could opt for the Boots Good Gut Live Friendly Bacteria 30 Capsules for £10.50. These are suitable for a vegan diet, and for adults and children over the age of 12. Users need to take two capsules a day with plenty of liquid, one with lunch and one with dinner. Another alternative could be the Biomel Complete Gut for £30, which comes in flavours Belgian Chocolate, Pure Vanilla and Unflavoured and offers up to 30 servings. The powder for digestive and immune health contains a blend of fibres, digestive enzymes and vitamins and minerals. The Gut Wealth liquid supplement is designed to improve bowel regularity, reduce urgency and improve overall gut health – and it's currently 25% off (Image: Gut Wealth) Customers have reported significant improvements in bowel regularity, reduced urgency and better overall gut health after incorporating the Gut Wealth citrus sachets into their daily routine. One IBS sufferer shared her journey on social media, attracting over 50,000 views. "Before Gut Wealth, I'd literally spent years of my life in pain because of my IBS," she confessed. "I'd be constantly bloated and had such severe, debilitating cramps and pains sometimes something completely random would set me off. "I'd be fortunate if I could even sit through a meal without having to dash to the loo. There's absolutely no chance of leaving the house on those days; you're a slave to your bowels. I'd be worried about having an accident. I'd be stuck at home all day and sent to bed early with intense cramps. I'd often feel quite lonely." However, she noticed a change after just four days of using Gut Wealth, stating she "wasn't going to the toilet as much". "I noticed after two weeks I wasn't having to rush to the toilet at all and the painful cramps almost completely disappeared," she revealed. "I've been taking Gut Wealth for two and a half months now and I can eat whatever I want. I never thought I'd see the day when I could drink my morning coffee and have spicy noodles for dinner." Another customer shared: "This is the best product for after lunch bloating. Hang on in there as it does take a month or so to work though. Thank you. Life changing!" "No more panic about getting to the toilet. Urgency was reduced and gut health improved. A true positive change to my life," praised another user. However, some users didn't experience the full benefits, with one person admitting: "Good for regularity not so much with the bloating yet." One reviewer shared: "So for years I've been travelling places and taking Imodium. But since I've been on these gut wealth sachets I don't take anything which has changed my life." Considering the 25% discount for new customers, the Gut Wealth daily liquid supplement appears to be a worthwhile option to consider.
