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Yahoo
7 hours ago
- Entertainment
- Yahoo
'Ballerina' and 'The Phoenician Scheme' are among the new movies in Milwaukee this week
Assassins and Wes Anderson should keep you on your, well, toes at the movies this weekend. Here's what's new in Milwaukee-area theaters starting June 6, as well as some of the new movies available on streaming and on demand this week. Short version: Ana de Armas plays a dancer who sets out to become a master assassin to get revenge for her father's death in this violent 'John Wick' spinoff, set between the third and fourth movies in the franchise. Keanu Reeves, Ian McShane, Anjelica Huston and the late Lance Reddick (in his final movie) return from the 'John Wick' realm, and are joined by a supporting cast including Norman Reedus, Gabriel Byrne and Catalina Sandino Moreno. Where you can see it: ACX Cinema/Bayshore; AMC Mayfair Mall; Marcus Theatres' Bistroplex Southridge, Hillside, Majestic, Menomonee Falls, Movie Tavern Brookfield Square, North Shore, Ridge, South Shore cinemas; Silverspot Cinema; Times Cinema. Short version: In Wes Anderson's latest confection, a wealthy tycoon (Benicio Del Toro) appoints his only daughter, a nun (Mia Threapleton), as his sole heir — making both of them the target of terrorists, assassins and plotting business rivals. Anderson has lined up his usual stellar supporting cast — including Scarlett Johansson, Bryan Cranston, Jeffrey Wright, Benedict Cumberbatch, Tom Hanks, Bill Murray, Michael Cera and Appleton native Willem Dafoe — as well as frequent collaborator and Brookfield native Adam Stockhausen, the director's go-to production designer who won an Oscar for his work on 'The Grand Budapest Hotel.' Where you can see it: AMC Mayfair Mall; Avalon Theater; Marcus Theatres' Majestic, Menomonee Falls, North Shore, Ridge, South Shore cinemas; Oriental Theatre. Short version: A surfer (Hassie Harrison) must figure out how to free herself from the boat of a shark-obsessed serial killer (Jai Courtney), who plans to feed her to the sharks as part of a ritual in this horror thriller. Where you can see it: AMC Mayfair Mall; Marcus Theatres' Hillside, Menomonee Falls, Ridge, South Shore cinemas. Short version: Dan Stevens and Al Pacino play priests called on to perform a series of exorcisms to save a young woman's soul in this horror thriller. It's based on the true story of Emma Schmidt, the Milwaukee native who survived a series of exorcisms in the 1920s — and whose story inspired 'The Exorcist.' Where you can see it: AMC Mayfair Mall; Marcus Theatres' Menomonee Falls, Ridge, South Shore cinemas. Short version: A couple (Nick Kroll, Andrew Rannells) about to adopt their first child take a pre-adoption trip to Italy, but their disastrous journey could ruin everything in this dark comedy. Where you can see it: Marcus Theatres' South Shore Cinema. Short version: A pair of friends — one believes in ghosts but not aliens, and the other believes the opposite — have more adventures in the first three episodes of the second season of the popular anime series, shown as a feature film. Where you can see it: AMC Mayfair Mall; Marcus Theatres' Hillside, Majestic, Menomonee Falls, Ridge, South Shore cinemas. Pop star Miley Cyrus co-wrote and directed 'Miley Cyrus: Something Beautiful,' a pop-opera version of her latest album. It's showing in theaters, including Marcus Theatres' Majestic and South Shore cinemas, at 6:30 p.m. June 12. Tickets are $18. Info: Two music documentaries from past Milwaukee Film Festivals return to the Oriental Theatre. "Swamp Dogg Gets His Pool Painted," which recounts cult R&B star Swamp Dogg's efforts to turn his suburban home into an artistic playground, comes back after showing at the 2024 film festival. It's screening at 10 p.m. June 6, 6 p.m. June 8, 7:30 p.m. June 10 and 7 p.m. June 10. Tickets are $13. Info: 'Pavements,' the mashup documentary about the popular alt-rock band Pavement, returns to the Oriental after screening at the 2025 film fest. It's showing at 3:30 p.m. June 6, 9:15 p.m. June 7, noon June 8, and 7:30 p.m. June 9 and 11. Tickets are $11. Info: Milwaukee Film celebrates the returns of both summer and Pride Month with a series of movies that (mostly) embrace the spirit of camp. Showing this week: John Waters' 'Polyester,' 7:30 p.m. June 6; 'Xanadu,' 3 p.m. June 7-8; and 'Grease 2,' 9:30 p.m. June 12. Tickets are $13. Info: The Milky Way Drive-In — the outdoor theater in the parking lot at Franklin's Ballpark Commons, 7035 S. Ballpark Drive — is showing a double feature of 'Herbie: Fully Loaded' and 'Talladega Nights: The Ballad of Ricky Bobby' at 6:30 p.m. June 12. Admission is $35 per carload. Info: RELATED: Milky Way Drive-In in Franklin is returning for the 2025 season. Here's what to know Elm Grove: The village's Friday Flicks series is showing 'Lady and the Tramp' at 8:30 p.m. June 6 at the Elm Grove Village Park Pavilion, 13600 Juneau Blvd. Info: Glendale/Bayshore: The Glendale retail complex at 5800 N. Bayshore Drive kicks off its Family Flicks series with 'Wicked,' showing at 5:30 p.m. June 11 in The Yard, the center's outdoor expanse. Info: Greendale: The village's movie series, organized by Gift of Wings, is screening 'Inside Out 2' at dusk on June 7 in Greendale Gazebo Park, 5710 Broad St. Info: Milwaukee/Deer District: The plaza outside Fiserv Forum at 1111 N. Phillips Ave. is joining forces with Milwaukee Film for a series of family-friendly movies in the plaza's Beer Garden. The first movie: 'Moana 2' at 7:30 p.m. June 12. Info: Oconomowoc/Moonlit Movies: The Moonlit Movies series starts its 2025 run with 'Moana 2' at dusk on June 12 in Fowler Park. Info: West Milwaukee/West Allis: The West Allis/West Milwaukee Recreation & Community Services Department starts its Summer Movie Nights with a screening (movie to be announced) at 6:30 p.m. June 12 in West Milwaukee Park, 5000 W. Burnham St. Info: West Allis-West Milwaukee Recreation & Community Services Facebook page. RELATED: Where you can find free outdoor movies in the Milwaukee area this summer Once a month, Neighborhood Theater Group's theaters go 'classic' with a perennial favorite. Showing this week: 'Spaceballs,' 7 p.m. June 12 at the Avalon Theater; 'Caddyshack,' 7 p.m. June 12 at the Rosebud Cinema; and 'Twister,' 7 p.m. June 11 at the Times Cinema. Tickets are $10. Info: Marcus Theatres starts its Kids Dream summer series — $3 screenings of family-friendly movies at all eight area Marcus theaters — June 8-12 with 'Despicable Me 4.' Info: Let's Dig In, a series of movies on environmental issues, continues with '32 Sounds' at noon June 7. Screenings in the series include post-movie discussions and even a farmers market in the lobby of the Oriental Theatre, where it's taking place. Tickets are $13. Info: 'Sew Torn': A struggling seamstress stumbles on a drug deal gone bad has three options — and we see them play out, one at a time, in this dark, 'Run Lola Run'-style caper comedy. Available June 13. Recent releases newly available on demand: "Hurry Up Tomorrow," June 6; "The Amateur," June 10; 'When Fall Is Coming,' June 10; "Things Like This," June 10. 'Tyler Perry's Straw': Taraji P. Henson plays a single mother who, after a series of personal disasters, takes an unexpected way out — holding up a bank — in this drama written and directed by Tyler Perry. Sherri Shepherd, Teyana Taylor, Rockmond Dunbar and Sinbad co-star. On Netflix June 6. 'Predator: Killer of Killers': Three ultimate human warriors find the tables turned when one of those master hunter-killer monsters begins pursuing them in this animated installment in the 'Predator' series. On Hulu June 6. 'Deep Cover': A police detective (Sean Bean) recruits a trio of hapless improv actors (Bryce Dallas Howard, Orlando Bloom, Nick Mohammed) to infiltrate London's criminal underworld in this crime comedy. On Prime Video June 12. 'Titan: The OceanGate Disaster': This new documentary explores the doomed underwater voyage of the submersible vessel Titan, which imploded on its first trip killing all five on board. On Netflix June 11. Recent releases newly available on streaming services: 'The Alto Knights,' Max June 6; 'Parthenope,' Max June 6; 'Piece by Piece,' Netflix June 7; 'Drive-Away Dolls,' Peacock June 12. This article originally appeared on Milwaukee Journal Sentinel: New movies in Milwaukee: 'Ballerina,' 'The Phoenician Scheme,' more
Straits Times
2 days ago
- Entertainment
- Straits Times
Less searching, more waiting: The Phoenician Scheme director Wes Anderson's formula for creativity
Director Wes Anderson (in green) with (from far left) Mathieu Amalric, Mia Threapleton and Benicio del Toro on the set of The Phoenician Scheme. PHOTO: UIP Less searching, more waiting: The Phoenician Scheme director Wes Anderson's formula for creativity NEW YORK – Opening in Singapore cinemas on June 5, American writer-director Wes Anderson's new film The Phoenician Scheme is a black comedy starring Benicio del Toro as Zsa-zsa Korda, a ruthless tycoon and arms dealer whose adversaries keep trying to kill him. After narrowly escaping death, he sets out to convince his estranged daughter Liesl (Mia Threapleton), a nun, to become his heir and, if need be, avenge his death. But as the pair embark on a globetrotting journey to secure funding for Korda's infrastructure project in the fictional nation of Phoenicia, they are pursued by rivals determined to sabotage his plans. Anderson, 56, brings his signature style – eccentric, stylised and ornate, with whimsical characters played by a large ensemble cast – to a story about a dysfunctional family, one of his pet themes. And as with movies such as comedy-drama The Grand Budapest Hotel (2014) – which was nominated for Best Picture, Best Director and Best Original Screenplay Oscars – he directed this from an original screenplay he wrote himself. But, asked how he comes up with these ideas, Anderson confesses it is a mystery even to him. Wes Anderson at The Phoenician Scheme's New York City premiere on May 28. PHOTO: AFP 'I don't know the answer to that,' the film-maker says at a recent New York screening of The Phoenician Scheme. 'Usually, when I'm finishing a movie, there's something else that comes along and that I start to get drawn to,' explains Anderson, who was also Oscar-nominated for the family comedy The Royal Tenenbaums (2001) and animated feature Isle Of Dogs (2018). 'I don't so much experience the act of searching for a new thing. It's usually, somehow, kind of waiting. Director Wes Anderson on the set of The Phoenician Scheme. PHOTO: UIP 'I think your brain is doing work that you're not totally aware of – something's kind of brewing and suddenly it clicks, and it can tell when you're ready for it,' says Anderson, who won a Best Live Action Short Film Oscar for The Wonderful Story Of Henry Sugar (2023), a fantasy based on a story by author Roald Dahl. 'But I do think the more you're reading and watching movies and sort of studying, the more it comes to you,' he adds. Puerto Rican actor del Toro, 58, who took home the Best Supporting Actor Oscar for crime drama Traffic (2000), agrees this is part of the formula for creativity. 'You have to study for the rest of your life forever, and be a student forever,' says the star, who picked up a Best Actor Oscar nomination for the crime thriller 21 Grams (2003). Anderson is known for attracting big names to his projects and working repeatedly with a handful of actors – notably Bill Murray, Owen Wilson, Willem Dafoe and Adrien Brody. Del Toro, who also starred in the film-maker's 2021 comedy The French Dispatch, says it is a singular experience acting with Murray, who appears in The Phoenician Scheme – his 11th collaboration with Anderson – as God. Puerto Rican actor Benicio del Toro (left) and US actor-comedian Bill Murray at a photo call for The Phoenician Scheme at the Cannes Film Festival on May 19. PHOTO: AFP 'I've always wanted to work with Bill Murray,' del Toro says of the 74-year-old American actor best known for his role in the Ghostbusters supernatural comedies (1984 to 2024). 'And I think I've seen everything – I've seen an actor show up with his own script, his own wardrobe, his own everything – but I've never seen an actor show up with his own soundtrack.' Murray, he reveals, walked onto the set one day blasting English singer-musician Eric Clapton's hit 1991 song Tears In Heaven from a Bluetooth device. 'It was very sad and everyone's attitude on set changed. 'And then Wes, who was very far away, screamed , 'Bill, classical music only!' And Bill went straight from Eric Clapton to Bartok or something. And everybody went back to work,' del Toro recalls, laughing. Benicio del Toro (left) and Mia Threapleton in The Phoenician Scheme. PHOTO: UIP The Phoenician Scheme marks English actress Threapleton's first lead role in a feature film . And even though she is no stranger to celebrities – being the daughter of English actress Kate Winslet, 49 – she was often starstruck on set, especially with American actor Tom Hanks, who plays Korda's business associate. 'I grew up watching all of those people, and the voice of Tom Hanks was my childhood,' says Threapleton, 24, who appeared in the period drama series Dangerous Liaisons (2022) and The Buccaneers (2023 to present). 'I sat down and was, like, 'Oh my god, he's talking to me. And he's telling stories about (the 1998 war film) Saving Private Ryan.' Director Wes Anderson (centre) with The Phoenician Scheme actors (from far left) Jeffrey Wright, Michael Cera, Benicio del Toro, Mia Threapleton and Rupert Friend at the Cannes Film Festival on May 18. PHOTO: REUTERS But she decided her best strategy was to take a deep breath and collect herself. 'I went, 'I'm just going to sit here and try not to have some sort of panic attack.'' The Phoenician Scheme opens in Singapore cinemas on June 5. Join ST's Telegram channel and get the latest breaking news delivered to you.
Elle
2 days ago
- Entertainment
- Elle
Mia Threapleton Says She Manifested Working With Wes Anderson Aged Just 13
Start as you mean to go on, they say - and Mia Threapleton's start, has set a high. In her biggest role to date, the actor stars alongside the likes of Tom Hanks and Michael Cera as Benicio del Toro's daughter in The Phoenician Scheme – a veritable who's who of global Hollywood talent. There is only one director who can pull this calibre of actor together, and that is Wes Anderson. The film has just shown at Cannes Film Festival, and Threapleton touched down days later in London where ELLE UK caught up with the star. SEE MORE AT ELLE COLLECTIVE 'The Cannes carpet was… terrifying,' Threapleton confessed. 'The stairs are very tall and very red, and I was just thinking, don't fall over. Everything is fine. Pull down your dress at the front. Don't let anyone tread on the back of it. That was the first red carpet that I'd ever done, and being there with everybody really made me feel a hell of a lot calmer because firstly, they'd all done it before, and secondly, it was the same people that felt like a family when I was working with them. I knew that we were all going to have a giggle. And then I got into the cinema, and I felt like the room was vibrating. I couldn't hear anything, because my heart was thumping so loud in my ears. And then I sat down, the film started, and I just thought - here we go.' Threapleton's excitement in joining Anderson's iconic legacy is effervescent. With total gratitude and a slight sense of disbelief, she recalls watching Anderson's work as a teen and aspiring to be like the actors she has just worked with. Needless to say, she has done her homework, quoting lines from The Grand Budapest Hotel and confessing that aged thirteen, when watching Moonrise Kingdom, she wrote in her journal: 'I really wish I can work with Wes Anderson one day.' In Mia's case, manifestation truly works. Anderson's cinematic world far transcends what is only seen on screen, case in point: the social media account Accidentally Wes Anderson. With its instantly recognisable aesthetic, Anderson's films – and the impeccably dressed characters that come with them – have been replicated by legions of cinephiles time and time again. For Threapleton's character Liesl, there are no Adidas tracksuits nor Peter Pan collars. Playing a nun, her costume evolves from conservative and clean to pipe-smoking and red-lipped. 'She is a blank canvas, and then paint gets added. It was very informative to who Liesl is. The eyeshadow goes on and it feels different. It is incredibly indicative of the internal journey that she is going on when we see her. And I really miss those green stockings.' Showing affection towards the bolder aesthetics Liesl adopts, it is then unsurprising that Mia takes sartorial inspiration from style icons Iris Apfel and Isabella Blow. Be it fashion or film, Threapleton's enthusiasm is infectious. Watch our interview with Mia to hear more about her wardrobe essentials, Scarlett Johansson's big sister energy, hiding in plant pots on set and the lessons she learnt from her star studded The Phoenician Scheme cast. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.
Los Angeles Times
5 days ago
- Entertainment
- Los Angeles Times
The return of ‘Bleak Week,' plus the best films in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Following its recent premiere at the Cannes Film Festival, 'The Phoenician Scheme,' the new film by Wes Anderson, opens in Los Angeles this weekend. Each new Anderson picture still feels like something of an event, simply because it is so fun to see what he is up to this time, what idiosyncratic subset of the world will he explore and make his own. Personally, I have been taken with how densely packed his last few films have become. 'The French Dispatch' and 'Asteroid City' had a layered approach to storytelling that took some time to fully unpack. So it is likely 'The Phoenician Scheme' has yet to reveal itself, in need of some extended unraveling of its energetic story of an ambitious 1950s international businessman, Anatole 'Zsa-zsa' Korda (Benicio del Toro, who we spoke to for our summer preview), and his estranged daughter, Liesl (Mia Threapleton), on an a series of business deals. The cast, typical for Anderson, is packed, also including Michael Cera, Scarlett Johansson, Jeffrey Wright, Mathieu Amalric, Tom Hanks, Bryan Cranston, Richard Aoyade, Riz Ahmed, Charlotte Gainsbourg and many more. (Never fear, Willem Dafoe and Bill Murray are in there somewhere.) In a review of the film, Amy Nicholson wrote, 'Lately, Anderson has been on a tear of using his perfectionist aesthetic to defend the act of ambition itself — to honor artisans who create masterpieces in a world of philistines. The only thing he loves more than a carved credenza (and here, they're decorated with hieroglyphics) is the craftsperson who made it and the aesthete who bought it, instead of settling for something disposable. I was never a fan of Anderson's until 'The Grand Budapest Hotel' clicked him into focus. It was hard to believe he knew what he was talking about when his earlier movies tried to sell us on love between human beings. But a hotelier's love of his linens? That I'll buy.' Amy added, 'It's not that you have to believe that there is a force out there more powerful than Zsa-zsa, or heck, even money itself. But if that doesn't move you, at least Anderson deserves reverence for negotiating how to get all these A-list talents to act in his movie for peanuts. He's managed to build yet another dazzler, a shrine to his own ambition and craft. And while it sometimes feels a bit drafty in the corners, the accomplishment itself is plenty.' The fourth edition of the American Cinematheque's 'Bleak Week: Cinema of Despair' program begins Sunday with screenings at all three of its local venues through Saturday, June 7. Having already expanded to the Paris Theatre in New York last year, Bleak Week is now spreading to several more cities and venues: the Hollywood Theatre in Portland, Ore.; the Music Box Theatre in Chicago; the Texas Theatre in Dallas; Trylon Cinema in Minneapolis; Coolidge Corner Theatre in Boston; and the Prince Charles Cinema in London. 'We look to expand our never-ending film festival whenever possible,' said Grant Moninger, artistic director of the American Cinematheque, via email, of the program's ongoing expansion. This year's series will open with a 35mm screening of Akira Kurosawa's 1952 'Ikiru' at the Egyptian Theatre introduced by Bill Hader. French filmmaker Claire Denis will be present for screenings of a handful of her titles, including a 35mm presentation of 2001's 'Trouble Every Day' with a Q&A moderated by Barry Jenkins. Brady Corbet and Mona Fastvold will be present for a tribute, including films they have made together and Corbet's separate acting work. To be screened: Michael Haneke's 'Funny Games,' Lars von Trier's 'Melancholia,' Fastvold's 'The World to Come' and Corbet's 'The Childhood of a Leader' and 'Vox Lux.' Other Bleak Week highlights include John Hillcoat's 2005 'The Proposition' with a Q&A with the filmmaker and cast, Michael Curtiz's 1950 'The Breaking Point' in 35mm and Carl Theodor Dreyer's 1943 'Day of Wrath' screened from a nitrate print. What may once have seemed a slightly cracked idea has grown into one of the Cinematheque's signature programs. And there is no end in sight. 'After year one, which had 33 films, we had the worry that maybe we would have no titles left for next year — if there even was a second edition,' said Chris LeMaire, senior film programmer, via email. 'But each time we start programming the next Bleak Week, there seem to be endless possibilities.' 'Our lineup this year in L.A. has 55 films and we probably cut another 50 titles from our initial list,' added LeMaire. 'Across all the venues, Bleak Week includes over 100 titles this year, from all corners of the world and all eras of cinema history, from as early as 1919 to 2025. We're never going to run out because many of the greatest films deal with the human condition, which naturally leads to some difficult truths.' Alan Arkin's 1971 'Little Murders' will screen in 35mm with a Q&A with star Elliott Gould moderated by screenwriter Larry Karaszewski. A screening of the black-and-white director's cut of 2007's 'The Mist' will be followed by a Q&A with filmmaker Frank Darabont and actor Thomas Jane. Filmmaker Costa-Gavras and producer Michèle Ray-Gavras will be present for a double-bill of 1982's 'Missing' and 1970's 'The Confession.' Actor Gabriel Byrne will be at a 35th anniversary screening of Joel and Ethan Coen's 1990 'Miller's Crossing.' I will be moderating a Q&A with Gus Van Sant following a screening of 'Last Days.' There will also be the U.S. premiere of a 4K restoration of 'Christiane F.' and the West Coast premieres of 4K restorations of 'Withnail and I,' 'Forbidden Games,' 'The Sweet Hereafter' and 'Happiness.' (A Q&A for 'Happiness' will feature performers Lara Flynn Boyle and Camryn Manheim, moderated by Vera Drew.) Where downbeat entries like Mark Romanek's 'Never Let Me Go,' Ryan Coogler's 'Fruitvale Station,' Narcisco Ibáñez Serrador's 'Who Can Kill A Child?' or Elem Klimov's 'Come and See' more obviously fall within the thematic concept of 'Bleak Week,' titles such as Bennett Miller's 'Moneyball' or Boaz Davidson's 'The Last American Virgin' do not make such an apparent fit. 'We work outside of academic and algorithmic models,' said Moninger. 'This allows for an emotional reaction to films and a more expansive Bleak Week program. The festival is a tapestry of bleak moments and feelings that can be presented in all types of cinema, including the occasional comedy. We are not measuring the hopelessness of each film but creating something by bonding together a wide variety of challenging, unpromising cinema, which I hope builds to something positive.' This weekend the UCLA Film & Television Archive will be hosting ''Going My Own Way' Celebrating Ivan Dixon,' a tribute to the actor and filmmaker, including the local premiere tonight of a new 35mm print of the restoration of his 1973 film, 'The Spook Who Sat by the Door.' The film tells the story of the first Black CIA officer (Lawrence Cook), who leaves his token position at the organization to use what he learned there to train a Black guerrilla fighting force in Chicago. 'The Spook Who Sat by the Door,' which was added to the National Film Registry in 2012, had a truncated release with it first came out due to its revolutionary politics, with some accounts that the FBI became involved in suppressing it. 'It's just one of the most powerful meditations on the meaning of freedom that I've ever seen,' said UCLA programmer Beandrea July. 'It's so nice to see a movie that really knows what it is and doesn't apologize for it. It doesn't equivocate, it's not trying to explain itself to people who aren't interested in really understanding. It's so satisfying to watch because it's like finally someone actually speaks to the thing with the same oomph that the thing demands.' On Saturday, along with the second screening of the film, there will be a showing of Christine Acham and Clifford Ward's 2011 documentary 'Infiltrating Hollywood: The Rise and Fall of 'The Spook Who Sat by the Door,'' which examines the long saga of the film, its reception and release. Acham will be present at screenings throughout the weekend as will Nomathande Dixon, Ivan Dixon's daughter, as well as Natiki Hope Pressley, daughter of Sam Greenlee, author of the book on which the film is based. Dixon, who died in 2008 at age 76, was best known for his role as Sgt. James Kinchloe on TV's 'Hogan's Heroes,' a part he left before the show had ended to move behind the camera and begin a prolific career directing for television. Also screening will be the 1964 film 'Nothing but a Man' starring Dixon and directed by Michael Roemer, who died just last week at age 97. The film tells the story of racial tension in a small town; Dixon considered the film his favorite of his performances. The film will be paired with a 1960 episode of 'The Twilight Zone' starring Dixon and Kim Hamilton. The series will conclude Sunday with two pieces Dixon directed for television, 1983's 'Frederick Douglass: Slave and Statesman,' starring 'Blacula's' William Marshall, and an adaptation of Philip Hayes Dean's 'The Sty of the Blind Pig' starring Mary Alice and Scatman Crothers. The Dixon family lived for many years in Altadena. What was once their home was destroyed in the January fires, a circumstance that gives the weekend an even greater emotional resonance. 'It's special for the family because his wishes were never to have a memorial,' said Nomathande Dixon. 'And this is something that feels like a tribute to him in our hometown of L.A. So we're very appreciative of that. And I think he would've been thrilled.' 'Michael Clayton' in 35mm At Vidiots on Saturday will be a 35mm screening of 2007's 'Michael Clayton' with writer-director Tony Gilroy in person. The film marked the feature directing debut for Gilroy, who previously had a successful career as a screenwriter and has gone on to be showrunner of the recent series 'Andor.' George Clooney stars in the film as a fixer for a powerful New York City law firm. He finds himself drawn into an already complicated situation involving defending an agricultural conglomerate in a class-action lawsuit when one of the firm's top lawyers (Tom Wilkinson) has a nervous breakdown. The film was nominated for seven Academy Awards, with Tilda Swinton winning for supporting actress for her role as the conglomerate's chief counsel. In his original review of the film, Kenneth Turan wrote, 'Watching this film makes you feel that Gilroy, best known for writing credits on all three 'Bourne' films, has poured the energy pent up during a decade and a half in Hollywood into this strong and confident directorial debut about desperate men searching for redemption in a cold and ruthless world. … As a director, Gilroy has an unmistakable instinct for the emotional jugular and a breakneck storytelling style that pulls you through his movie, no stragglers allowed.' Sofia Coppola and Kirsten Dunst with 'The Virgin Suicides' On Sunday afternoon, the Academy Museum will screen Sofia Coppola's 1999 feature debut, 'The Virgin Suicides' with the filmmaker and star Kirsten Dunst in person. (There will also be a signing for Coppola's new book of Corinne Day's on-set photos from the film.) The story of five sisters in 1970s Michigan who all die by suicide, the film set the stage for Coppola's gently incisive explorations of female interiority and a recurring collaboration with Dunst. In his original review of the film, Kevin Thomas wrote, 'Sofia Coppola shows an impressive maturity and an assured skill in adapting Jeffrey Eugenides' novel 'The Virgin Suicides' to the screen for her directorial debut. As the title suggests, it's a challenging undertaking that requires a smooth passage from pitch-dark humor to a stark finish. The result is a highly affecting film unafraid to exact an emotional toll. … While subtle in the utmost, Coppola leaves us with an understanding of how things could turn out as they did.' 'Frances Ha' and 'Girlfriends' The New Beverly will host a double feature of Noah Baumbach's 2012 'Frances Ha' and Claudia Weil's 1978 'Girlfriends,' two sharply insightful portraits of female friendship, on Friday, Saturday and Sunday. 'Frances Ha' was the first screenplay co-written by Baumbach and Greta Gerwig, both who would (of course) go on to collaborate on the script for the mega-successful 'Barbie,' directed by Gerwig. In 'Frances Ha,' Gerwig plays a 20-something woman coming to grips with life as an adult while struggling to accept the end of a friendship by which she has long defined herself. In his original review of the film, Kenneth Turan declared it 'Effortless and effervescent, 'Frances Ha' is a small miracle of a movie, honest and funny with an aim that's true.' Of Gerwig and Bambach's collaboration, he noted, 'For the actress, a quicksilver presence with a fluid face who couldn't be more natural on screen, 'Frances' is an opportunity to build a character of unexpected complexity. For the director, having a gifted collaborator able to be so completely present adds a lightness his films have not always had and has made possible an irresistible command of the moment.' I spoke to Baumbach and Gerwig about the film when it was premiering at film festivals in Telluride and Toronto. 'The writing of it and the acting of it were separate for me,' Gerwig said at the time. 'The writing of it was such a huge thing, but the acting of it was scary. I really was worried I wouldn't be right for it.... It didn't feel like, 'I wrote this great part, and I'm perfect for it.'' 'I can say I totally had Greta in my head,' Baumbach said. 'I always thought, 'I can't wait for Greta to play this part.'' 'Girlfriends' stars Melanie Mayron as Susan Weinblatt, a young photographer in New York City, who finds her life starting to unravel when her best friend (Anita Skinner) moves out of the apartment they share together. The supporting cast also includes Christopher Guest, Bob Balaban and Eli Wallach. Selected for the National Film Registry in 2019, the film was praised by Stanley Kubrick when it was originally released; he declared it 'one of the very rare American films that I would compare with the serious, intelligent, sensitive writing and filmmaking that you find in the best directors in Europe.' Lena Dunham likewise sparked to the film, once recalling of her first viewing, 'It felt eerie, in the true sense of the word, how familiar this film was to me. … I almost thought, 'Have I seen this and been gently ripping it off for the last five years?''
Extra.ie
5 days ago
- Entertainment
- Extra.ie
Wes Anderson on The Phoenician Scheme: 'In a way, it's the kind of America I am drawn to, something that's so optimistic'
As the director of the iconic likes of Rushmore, The Royal Tenenbaums and The Grand Budapest Hotel, every film from Wes Anderson is a bona fide cinematic event, and that's most definitely the case with his new espionage black comedy, The Phoenician Scheme. Set in 1950, the action focuses on Anatole 'Zsa-zsa' Korda (Benicio del Toro), one of Europe's richest industrialists, who appoints his only daughter, Liesl (Mia Threapleton) – a nun – as the heir to his estate. As Korda embarks on a new enterprise, they become the target of scheming tycoons, foreign terrorists and lethal assassins. For good measure, along the way, Liesl also investigates the murder of her mother, Korda's first wife. Boasting Anderson's trademark visual flair, The Phoenician Scheme – which he co-wrote with Roman Coppola – also features the director's customary deft mix of humour and pathos. Adding to the appeal, meanwhile, is a truly extraordinary ensemble cast. As one of Hollywood's premier filmmakers, Anderson has worked with his fair share of major stars, but this time he has outdone himself. In addition to del Toro and newcomer Threapleton – whose mum is one Kate Winslet – the third lead is Michael Cera, who plays Zsa-zsa's Norwegian tutor, Bjorn. Thereafter, it might actually be quicker to list the A-listers who aren't in the movie, with those making appearances including – deep breath – Riz Ahmed, Tom Hanks, Bryan Cranston, Jeffrey Wright and Scarlett Johansson. Not to mention Richard Ayoade and Benedict Cumberbatch. Phew! And having had the third act of his career, as the doyen of US indie cinema, launched by Anderson in Rushmore way back in'999, Bill Murray again returns to cameo in the role he may have been born to play: God. But front and centre is del Toro as Zsa-zsa, who instantly takes his place in the pantheon of great Anderson anti-heroes. Wheeling and dealing on the post-war continent, Zsa-zsa is the archetypal European business tycoon, who perhaps enjoys even more mythical status than his American equivalents. (L to R) Actor Mathieu Amalric, director Wes Anderson, actors Mia Threapleton and Benicio Del Toro during the production of THE PHOENICIAN SCHEME. Credit: Roger Do Minh/TPS Productions/Focus Features © 2025 All Rights Reserved 'A certain type of businessman who can always pivot, ' suggests Anderson,' and has very little obligation to honour the truth' With his enigmatic demeanour, meanwhile, Zsa-zsa's cinematic antecedents include Charles Foster Kane. 'The beginning of the story was to try to invent something about one of these 1950s Euro tycoons, like an Onassis or Niarchos,' says Anderson. 'I had read about Árpád Plesch and Calouste Gulbenkian, or Gianni Agnelli as well' Korda's epic project represents the culmination of a decades-long, career-defining venture, which involves the realisation of Phoenicia's full socio-economic potential. As he looks to escape the clutches of the many enemies plotting his demise, Korda, Liesl, and their assorted partners must close The Gap (a rapidly expanding financial shortfall), which Zsa-zsa summarises as 'everything that we got – plus a little more'. With The Phoenician Scheme laid out – in an elaborate set of shoeboxes, no less – the three amigos attempt to enlist the help of their various business partners. There's a summit with Prince Farouk (Riz Ahmed), and then there's an underground – literally, they meet in a tunnel – encounter with the duo Leland and Reagan, played respectively by Tom Hanks and Bryan Cranston. 'With the railroad men, even though it is a later era,' says Anderson, 'we still wanted something coming from the robber baron period, a JP Morgan-type railway man, though being Californian. That led us to Tom Hanks and Bryan Cranston. Roman and I had spent time with them together, and I just knew they had a very special character, and something totally American that you don't find anywhere else. 'In a way, it's the kind of America I am drawn to, something that's so optimistic. So we dreamed up this whole thing that's very West Coast America – the older West Coast, Sacramento – that I associate with that, which maybe comes out of Joan Didion somehow. But I am also thinking of Ronald Reagan. It's not the movie business, it's more Pasadena.' (L to R) Mia Threapleton as Liesl, Benicio Del Toro as Zsa-Zsa Korda and Michael Cera as Bjorn in director Wes Anderson's THE PHOENICIAN SCHEME, a Focus Features release. Credit: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved. One of the comedic highlights of The Phoenician Scheme is Benedict Cumberbatch as Uncle Nubar, an homage in name and look to Nubar Gulbenkian, the magnificently bearded and famously litigious son of Armenian businessman and philanthropist Calouste Gulbenkian. 'We had the great, good fortune that Benedict could come to do the part,' says Anderson.' It's one of those kinds of characters that people in the story keep talking about all along, but who doesn't enter until much later… It is such a familiar story that these men totally neglect their children, who also expect them to achieve more than their peers.' It's remarkable that one of Cumberbatch's most notable early roles came alongside Richard Ayoade in Chris Morris and Charlie Brooker's cult 2005 sitcom Nathan Barley – and now, 20 years later, here they are starring in The Phoenician Scheme, where Ayoade plays terrorist leader Sergio. 'Richard is an old friend now,' says Anderson. 'It is like that Buñuel thing as well, having a group of terrorists like The Discreet Charm Of The Bourgeoisie. Buñuel has anarchy deep in his personality. I am sure the guerrillas come out of that; this idea that one of the most erudite people you will meet is also the leader of the jungle unit of this militia'. For all of The Phoenician Scheme's picaresque qualities and witty humour, at the heart of the tale is a recurring theme in Anderson's stories: the attempt to repair damaged family relationships, as Zsa-zsa looks to reconnect with his daughter Liesl. It's an aspect of the story del Toro handles beautifully, and as the director notes, he was always the actor he had in mind. 'The interest for me in writing a story about a character like that was the visual in my mind of Benicio playing the character,' says Anderson. 'The idea for the movie was to write a part specifically for Benicio del Toro. I first brought this up with Benicio in 2021, at Cannes for The French Dispatch. I told him then that something was coming his way if he was interested. 'Benicio and I started working on it very early. As soon as there were 15 pages of the script, he'd seen that. There was never a moment in the process when Benicio was not involved.' Indeed, as the director further notes, del Toro was the only actor he ever envisioned in the part, at least in the modern era. 'The kind of character who might have been played by Anthony Quinn, or maybe Lino Ventura, or Jean Gabin,' says Anderson. 'If Benicio didn't want to do it, I don't know who would have been a viable option. You'd have to go back into the history of cinema for that.'
