Latest news with #PaperTowns
Daily Mirror
22-05-2025
- Entertainment
- Daily Mirror
Cara Delevingne unrecognisable as she debuts dramatic new look at Cannes
Cara Delevingne keeps fans on their toes with her ever changing styles - and they were treated to two very different looks during her Cannes Film Festival appearances Cara Delevingne wowed with her Cannes Film Festival looks, but fans were left double taking as she did a whole 180 with her red carpet hairstyles. The 32-year-old walked down numerous red carpets during the 78th edition of Cannes Film Festival, and fans were left in awe earlier in the week when she looked almost unrecognisable as she debuted a whole new hairstyle. The star ditched her signature blonde locks and instead opted for a dark wet-look fringed hairstyle. However, it wasn't just Cara Delevingne 's hair that turned heads - it was her outfit too. Matching the colour scheme of the carpet, the Paper Towns star wore a deep red gown with a princess-style skirt. However, the look lasted less than 24 hours as Cara reverted back to her blonde locks the very next day. The star also did a complete 180 with her gown, this time donning a floor-length black satin gown. Adding to the look, the model accessorised with long black gloves and statement silver jewellery. Cara pulled out the stunning look for the Colours of Time premiere. The 2025 period coming-of-age drama, directed by Cédric Klapisch follows the lives of the cousins who inherit an old house in rural Normandy and retrace their steps of their ancestors in 19th century Paris. The actress is no stranger to keeping fans on their toes. Earlier this year, she left fans stunned when she shared a photo of herself with a huge pregnant belly. Adding to the mystery, Cara gave no context to the picture which was included in a 2024 photo dump. In the caption, she wrote: "Too hard to choose so I went random." Confused fans flooded the comments, as one questioned: "Is she pregnant??" Another added: "Pregnant!?" as someone else asked: "The bump?!" However, dedicated fans were quick to put a stop to any rumours floating around s they flagged the baby bump wasn't real. She wore the incredibly realistic pregnancy stomach for her role in TV series American Horror Story. In a trailer for the show, Cara once again looked unrecognisable as she wore a black wig in American Horror Story: Delicate, alongside Kim Kardashian and Emma Roberts. The supermodel has been in a relationship with musician Leah Mason, also known as Minke, since 2022. In 2024, the couple celebrated two years together with an adorable post on Instagram. 'I am so lucky to have found the perfect person to ride life's ups and downs with. I cannot imagine living life without you,' Delevingne wrote. 'I spent so long looking for my partner in crime, little did I know that it would be someone I went to school with (and had a baby gay crush on).'
NDTV
22-05-2025
- Entertainment
- NDTV
Cara Delevingne Is A Gothic Queen At Cannes 2025 In A Burgundy Gown And Grunge Hair
Cara Delevingne just made a stunning appearance at the ongoing Cannes Film Festival 2025. The actress strutted down the red carpet for The History of Sound screening, while embracing a gothic charm, quite unlike her previous sartorial picks. The standout feature of the avatar was Cara trading her signature blonde tresses for an edgier jet black wave. Also Read: Jaws Fell To The Floor With Cara Delevingne Arrived On The L'Oreal Paris Fashion Week Ramp In A Bright Trench Red Trench Coat Cara Delevingne, in a demure burgundy ball gown, seemed ready to twirl like a princess at the Cannes red carpet. The broad straps cascaded into a deep-scooped neckline, giving a bold spin to the monochrome silhouette. A fitted, corseted bodice, cinched at the waist, hugged her frame in all the right places. The A-line skirt featured structured pleats which plunged in length forming a floor-grazing train. The skirt came with the perfect volume, which was neither too dramatic nor too understated. View this post on Instagram A post shared by Festival de Cannes (@festivaldecannes) Coming to her hairdo, Cara Delevingne proved that she is a master of experimentation. Her wet and wavy, jet-black locks went past her shoulders, framing her face. The forehead covering bangs, created a drippy, bob-look, felt like a grunge dream come true. Cara's unconventional hairstyle felt like a departure from her quintessential butter blonde into something moodier and more intense. Who needs accessories when you look as good as Cara Delevingne? The Paper Towns actress adorned multiple diamond studded cocktail rings and earrings. They sparkled like stars and offered the much-needed contrast. For makeup, Cara Delevingne opted for a dewy base, dabbing little blush and contour on the high points of her cheeks. Smokey eyes comprising a brilliant fusion of kajal and eyeliner served the drama. On the other hand, mascara-coated fluttery lashes and a matte-hued dark eyeshadow sealed her gothic allure. To tone it down, she applied a glossy nude lipstick, which worked like magic on her complexion. Cara Delevingne's Cannes 2025 avatar stands as a testament to her impeccable fashion choices. She is a genius at pulling off versatile looks, inspiring many. We were only happy to witness it all.
Daily Record
14-05-2025
- Entertainment
- Daily Record
MOVIE REVIEW: We discover if darkness prevails with 'MCU' anti-heroes 'Thunderbolts*'
Cleverly uses human emotions and psychological issues to grand effect while setting up a terrific, turbulent team. The Marvel Cinematic Universe ( MCU) embraces its dark side with a team-up of the titular anti-heroes. The unconventional and troubled group are forced to embark on a dangerous mission against an all-powerful enemy who threatens the entire planet. Perhaps reflecting its rockier road over the past few years, a few lesser known directors have been taking on MCU flicks and this time it's Jake Schreier ( Paper Towns, Robot & Frank) who finds his name up in lights. He proves a steady and sturdy hand for a film that ends up being much more than the Marvel take on Suicide Squad a lot of us were expecting. Other than Florence Pugh ( Yelena) and Sebastian Stan ( Bucky) the cast lacks big name big screen star power but this helps the ensemble to create a realistic bond amid horrible histories that weigh on all of their minds. I loved how mental health was the overriding theme, even with the main villain, and Schreier makes use of literal and figurative darkness to ram this home; the thoroughly desaturated colours are a long way from the usual MCU day-glow palette. Much of the excellent musical score by Son Lux seems to sample Pixies' 1988 hit Where Is My Mind?, which is a very appropriate choice given the subject matter. Pugh is at the flick's core; the Oxford-born star manifests sadness, pain, rage and heroism aplenty. Humour comes from David Harbour ( Alexei), Wyatt Russell ( John) builds on his Falcon and the Winter Soldier role and Lewis Pullman ( Bob) is a sheepish, puzzled revelation. Julia Louis-Dreyfus ( Valentina) isn't quite as nasty as she could be, and her character and motivations feel lifted from TV's The Boys. The film takes a while to get going too, with the team trapped underground for much of the first third. Darkness prevails overall, however, as Thunderbolts* cleverly uses human emotions and psychological issues to grand effect while setting up a terrific, turbulent team to create MCU magic. ● What are your favourite Marvel movies? Do you prefer flicks from Marvel or DC? Pop me an email at and I will pass on your comments – and any movie or TV show recommendations you have – to your fellow readers. ● Thunderbolts* is showing in cinemas now. *Don't miss the latest headlines from around Lanarkshire. Sign up to our newsletters here. And did you know Lanarkshire Live had its own app? Download yours for free here.
Geek Culture
06-05-2025
- Entertainment
- Geek Culture
Marvel's 'Thunderbolts*' Post-Credits Scene Directed By Russo Brothers
As Phase Five of the Marvel Cinematic Universe (MCU) closes out with Thunderbolts* , now rebranded as The New Avengers , director Jake Schreier has shed light on an interesting tidbit of behind-the-scenes proceedings. Speaking to Variety, the filmmaker, whose portfolio includes Beef and Paper Towns , revealed that Joe and Anthony Russo, collectively known as the Russo Brothers, were in the director's seat for the movie's post-credits scene. 'That was shot maybe four weeks ago, and I did not direct that. That's the Russos on the set of Avengers: Doomsday . I got to be there, which was very fun, to watch your buddies go on to this grander scale,' he said. The news shouldn't be too surprising, considering that the post-credits scene serves as a setup for The Fantastic Four: First Steps , which is set to kick off Phase Six. Set 14 months after the ensemble film, it shows the eclectic team of misfits gathered inside their new headquarters (aka the Avengers Tower), with Bucky explaining that Anthony Mackie's Sam Wilson, or Captain America, is suing them for using the Avengers name. Shortly after, the sound of an alarm cuts through the air, and a retro-styled spaceship bearing the iconic '4' logo comes into sight, heralding the arrival of The Fantastic Four. With the positive reception and box office success that Thunderbolts* is enjoying, it remains to be seen if the upcoming superhero flick can keep the momentum going. One thing's for certain, though: the New Avengers (and Bob, of course) will be back, and with a big role to play in saving the universe. Thunderbolts* assembles Florence Pugh ( We Live in Time ) as Yelena Belova, Sebastian Stan's ( The Apprentice ) Bucky Barnes, Wyatt Russell's ( Night Swim ) John Walker, David Harbour's ( Hellboy ) Red Guardian, Hannah John-Kamen's ( Black Mirror ) Ghost, Lewis Pullman's ( Lessons in Chemistry ) Sentry, with Valentina Allegra de Fontaine (Julia Louis-Dreyfus, Veep ) leading the orchestration. The big-screen pic is out now, while The Fantastic Four: First Steps opens in theatres on 25 July. Si Jia is a casual geek at heart – or as casual as someone with Sephiroth's theme on her Spotify playlist can get. A fan of movies, games, and Japanese culture, Si Jia's greatest weakness is the Steam Summer Sale. Or any Steam sale, really.
Los Angeles Times
01-05-2025
- Entertainment
- Los Angeles Times
Marvel's losers-only spin-off ‘Thunderbolts*' sets expectations low and meets them
Marvel's jokey, moody and middling 'Thunderbolts*' returns the blockbuster franchise to the geeks. Only audiences caught up with the Cinematic Universe's 35 films (plus a dozen miniseries) will recognize every face in this new supergroup of misfits, each previously introduced in stories starring more famous heroes that have now taken their paychecks and gone home. Directed by Jake Schreier ('Paper Towns') from a script by Eric Pearson and Joanna Calo, it elevates the following supporting players: Yelena (Florence Pugh), Black Widow's sarcastic Slavic sister, and her dejected dad Alexei (David Harbour); Ava Starr (Hannah John-Kamen), the unstable science experiment of 'Ant-Man and the Wasp'; John Walker (Wyatt Russell), a flawed soldier demoted from being Captain America; and Bucky Barnes (Sebastian Stan), Captain America's formerly brainwashed frenemy who is now a freshman member of Congress. The film doesn't offer any backstory, but the plot is simple enough that you get the idea. These oddball side characters have been rewarded with their own quest: a team-up against corrupt CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus), who calls them 'defective losers.' Valentina is trying to genetically modify human test subjects to create her own fighter dubbed the 'Golden Guardian of Good.' (Yes, her ideal is white, male and blond.) Marvel's actual goal is to scuff up the brand with some punk-rock snark. The Thunderbolts, so named for Yelena's childhood soccer team, are encouraged to curse and murder more than you'd expect in a PG-13 film. I tend to loathe the way these four-quadrant movies invent subhuman villains — robots, aliens, bug-things and the like — so that the good guys can bash their brains in without a moral tizzy. Turns out it's hard to cheer for human carnage too. Here, Yelena, a dour Russian assassin, kills two seemingly decent dorky scientists in the first few minutes and quips, 'You guys can never aim for s—.' Art films would be rated R for less. But a sense of unseriousness shields 'Thunderbolts*' like protective armor. It gets hearty laughs by flattening Russell's Walker — a tragic Afghanistan veteran confused by the government's inconsistency about when he's allowed to kill — into a spoof of bossy, paternalistic privilege. For 17 years, Marvel movies have dominated the box office and this is the first one to feel truly teenaged. Messy, depressive and defiant, it even appears to have told the hair team to throw away their combs. It's mostly Pugh's tale, a smart move as she delivers one of the better performances I've seen in a super suit. Technically, her sullen Yelena opens the film in a hoodie — call it detention-room chic. To set the tenor, she destroys an entire medical laboratory in Kuala Lumpur while bemoaning her ennui. 'Maybe I'm just bored,' she sighs, parachuting off the top of a skyscraper. Pugh, with her droll line readings and smudgy blue eyeliner, plays apathy better than anyone; she's compelling even with all the passion drained from her body. Most of the movie is in drab, lint-ball tones that match Yelena's mood. ('Your light inside is dim even by Eastern European standards,' her father tuts.) I'm not sure what percentage of her own stunts Pugh is actually executing, but it would fit the tone fine if she rolled her eyes at the camera and said she wasn't doing any of them. Her niftiest fight sequence looks like abstract art: a stark black-and-white aerial pan of her shadow battling minions down a hallway. There will be a few other moments of visual awe — say, a limousine standing on its nose — but only that one shot aspires to beauty. Dreyfus' Valentina has popped up intermittently in the franchise over the years and now sports a swoop of white hair that makes her resemble Tulsi Gabbard. (Gabbard inadvertently returned the compliment, showing up to her confirmation hearing in a white suit that resembled teaser footage of Dreyfus, which Reddit users joked looked like a game of spot-the-difference.) A tough-talking, fear-stoking political animal who claims that she alone can declare who is a criminal, Valentina starts the film at her own impeachment hearing with her assistant (Geraldine Viswanathan) grimly tasked to destroy any negative evidence against her, including freelance mercenaries like Yelena. Meanwhile, Valentina's inquisitor (Wendell Pierce) is smirky and ineffectual, gloating about his ability to write the perfect memo, while congressman Bucky tells reporters he's 'very concerned.' It's debatable whether he's doing a burlesque of Susan Collins or is simply out of his depth. The events take place over two days and are fairly contained. The first half of the film finds our riffraff joining forces to escape Valentina's death trap; the second is a parable about mental illness where the metaphors take command over the plot. Between jokes, there's talk about trust and trauma. Sometimes the jokes are about trauma, as when Yelena tells a fragile ex-meth addict named Bob (Lewis Pullman) to handle his dark thoughts by shoving them all the way down, advice so gloomy she giggles. The movie feels more inspired by the nightmare fuel of after-school PSAs than it is by comic books, like in a neat sequence where the characters enter a maze-like chamber of their own miserable memories. It plays uncannily close to a knock-off of 'Everything Everywhere All at Once' — there's even a similar sign twirler — but it's easy to imagine a kid out there who is moved by this literalization of fighting past your own despair. Longtime Marvel fans will know Bob by his two other identities: the Sentry, a quasi-good guy, and the Void, a bleakness that takes him over in ways he describes like a bipolar episode. In his great and powerful doominess, he can destroy everything around him, smearing civilians into shadows as easily as a windshield defeats a moth. This is Hasbro nihilism, but it works because Pullman wears his strength loosely; he's able to show us that a broken guy like Bob needs therapy more than the ability to throw a nuclear right hook. There's a plainness to the fights. As one character notes, none of the protagonists fly, they all just punch and shoot. But the banter is quick and Yelena and Alexei's Russian accents are enjoyably hammy. 'Thunderbolts*' barely wins only by its own playground rules. It mocks itself before we can, adding an asterisk to its title — a hint they'd rather call the movie something grander but don't feel worthy. Really, the whole movie feels like an asterisk. Don't expect too much of me, it says. We're just killing time until next summer's all-star 'Avengers: Doomsday.'
