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Chicago Tribune
17-06-2025
- Entertainment
- Chicago Tribune
Review: Going to Japan by way of Glen Ellyn in ‘Hokusai & Ukiyo-e: The Floating World'
For those who can't make it to Japan this summer, there is always Glen Ellyn. 'Hokusai & Ukiyo-e: The Floating World,' a multimedia extravaganza inspired by the art of 18th- and 19th-century Japan, is on view through September at the Cleve Carney Museum, on the campus of the College of DuPage. At its core are 70 exquisite examples of woodblock prints, painted scrolls and lacquerware from the Edo Period. The museum has also taken over the entirety of the MAC, the arts center that houses it, and filled theaters and ancillary spaces with interactive exhibits including a walk-through set of traditional Japanese row houses, a display of costumes from the Tom Cruise vehicle 'The Last Samurai,' a children's area for folding origami, and a patio newly tricked out with potted red maples, bonsai, and a wee bridge. Visitors can even collect eki stamps in a free passport booklet, just like at Japanese train stations. I thought this was all a bit much, then I worried I was being a killjoy, then I learned of 'Hokusai: Another Story,' a high-tech immersive spectacle currently on view in Tokyo, which involves 3D texture image processing, a floor-based haptic system, and airflow control technology, whatever any of that means. By contrast, the MAC's outreach feels amiable and old-school. Ukiyo-e was basically the pop culture of Edo Japan. The era lasted from 1603 to 1868 and was marked by stability, prosperity and isolationism, brought about by the military reign of the Tokugawa Shogunate. The city of Edo, today called Tokyo, became the country's civic and economic center, and with its growth rose the status of merchants and craftspeople. These newly ascendent urban classes could afford to buy art and they did, becoming the primary audience for ukiyo-e, literally 'pictures of the floating world.' Perennially popular subjects included female beauties, theater stars, famous sites and the voyeuristically exciting red-light districts. 'Hokusai & Ukiyo-e: The Floating World' samples them all. Ukiyo-e artists might paint unique portraits of famous courtesans or charming everyday tableaux on silk, to be mounted on scrolls for richer clients, and there are plenty of such stunners on display. Don't miss Utagawa Toyoshige's elegant young woman swatting at flies or Miyagawa Choshun's behind-the-scenes look at a kabuki theater. The latter, like the other elaborate handscrolls on display, warrants microscopic examination, so engrossing are the endless tiny details. My favorite section, hidden to the right — handscrolls can only be viewed one section at a time — illustrates a breastfeeding woman in the audience. But the truly defining medium of ukiyo-e was the woodblock print. This was the art form of the middle class. At the MAC, a small demonstration area explains the collaborative nature of the technique, which arrived from China in the late 1600s: an artist lays down the preparatory design, an engraver transfers it to a slab of cherrywood, a printer does the inking and paper pressing, a publisher oversees and distributes the result. As many as hundreds of copies of an image could be generated. The most famous woodblock artist, indeed one of the most famous artists of all time, period, is Katsushika Hokusai. The creator of the iconic print known as 'The Great Wave,' he was born in 1760 and over the course of his 88 years produced over 30,000 paintings, sketches, prints and book illustrations. An unusual monochromatic blue version of the wave is on view, as are a handful of other splendid vistas he composed. His biography, detailed at length, includes some zingers. He used over 30 pseudonyms throughout his life and hated cleaning so much he'd simply move to a new home studio when the current one became intolerable. Hokusai was even a forerunner of the contemporary genre of performance painting: at a festival in 1804, he used a broom to render a 600-foot-long portrait of a Buddhist monk. A later event involved a live chicken and red paint. Hokusai is considered by many to be an early predecessor of manga, the wildly popular graphic novels of Japan, for his 'Hokusai Manga,' a collection of sketches first published in 1814. It's still in print today. Cue the most inspired of the MAC's offshoots: a showcase on the history of manga and anime, from Hokusai through 'Demon Slayer,' staged like a walk-in black-and-white comic book. Exhibition designer Vanessa Thanh Vu runs 2d, a similarly decorated eatery in Lakeview, serving mochi donuts and Taiwanese-style fried chicken sandwiches. For all that, 'Hokusai & Ukiyo-e: The Floating World' is hardly limited to Hokusai. There are over a dozen artists represented, including the estimable Utagawa Hiroshige. A half-dozen images from his 'One Hundred Famous Views of Edo' reveal a wild sense of color, radical ideas about framing, and a daring ability to combine Japanese and European perspectives. His many series dedicated to meisho, or famous places, partook in a domestic travel boom and helped shape a cohesive idea of Japan as a unified country. Not all ukiyo-e would have been so acceptable to the government. Political critique was generally censored, and at one point depictions of the theater world were even banned. Artists got around these limitations creatively, even hilariously, as in Utagawa Kuniyoshi's character portraits, with their faces composed of tiny naked figures, interwoven. It didn't always work, though: Kitagawa Utamaro, among others, was arrested for depicting the decadent lifestyle of a long-dead military ruler. Those images are not on view here, only his elegant tripartite scene of women in the latest fashions, practicing the four arts of stringed instruments, strategy games, calligraphy, and painting. Nearby are cases displaying elaborately crafted versions of related objects, including an exquisitely refined writing box with pens, a gilded deck of poetry playing cards, and a type of three-stringed lute called a shamisen. The man who collected all of these artworks was Edoardo Chiossone. An Italian engraver born in 1833, he moved to Tokyo in 1875 at the behest of the new Japanese government to help modernize their banknotes. He spent the rest of his life there, working for the Printing Bureau of the Ministry of Finance, being granted the extraordinary honor of producing an official portrait of the Emperor, and amassing a collection of some 15,000 art and artifacts that was bequeathed, upon his death, to the Academy of Arts of Genoa, his alma matter. And here it is today, in Glen Ellyn.
Yahoo
16-05-2025
- Entertainment
- Yahoo
Tom Cruise Hints at Life After ‘Mission' as He Whips Cannes Into a Frenzy at ‘Final Reckoning' Premiere
As the world's leading movie star, Tom Cruise accomplished a pretty easy mission by touching down at the Cannes Film Festival Wednesday night and whipping the city into a frenzy ahead of the Palais premiere of Mission: Impossible — The Final Reckoning. Joined by his close friend and franchise collaborator, filmmaker Christopher McQuarrie, Cruise walked the red carpet after signing a slew of autographs and posing for selfies with fans lining the barricades on the Croisette. Fans held Cruise memorabilia, from posters of The Last Samurai to a DVD of Mission: Impossible II. One fan set up a shrine to Val Kilmer, the late co-star of Cruise's Top Gun. More from The Hollywood Reporter 'Mission: Impossible' Director Christopher McQuarrie Was Ready to Quit the Business When He Met Tom Cruise Cannes Film Market, CES Join Forces for Film Innovation Award Hollywood Flashback: When Cannes First Fell in Love With Juliette Binoche Cruise and the cast arrived to a musical group performing the famous Mission: Impossible theme. They walked up the carpet, with orchestra players positioned up the red carpet steps of the Palais. McQuarrie took numerous selfies with the cast on an otherwise phone-free carpet. Cruise profusely thanked the crowd over and over, and embraced festival boss Thierry Frémaux. He even made sure to applaud the orchestra and express his gratitude for their performance, which gave way to a deejay as the cast made its way to the top of the steps. The screening included multiple applause breaks, particularly when key characters had triumphant moments, and in the end it was greeted with a standing ovation of just under five minutes. Cruise has been cagey when asked if this will be his final Mission movie, saying earlier in the day he wanted people to just enjoy the movie at hand. But after the screening, he had this to say while praising McQuarrie for expanding the franchise since taking over directing duties in 2015: 'It went beyond our expectations,' Cruise said. 'It's been a real privilege and a pleasure. I look forward to making a bunch of other kinds of movies with you. I can't wait.' Then addressing the crowd, Cruise said to applause, 'We just want to thank you all. Thank you so much for everything, for allowing us to entertain you. It's very special.' McQuarrie, meanwhile, noted he was a bit of an outsider as a kid, and with Cruise, discovered his own 'action figure' who would do anything he asked in a movie. He singled out many of his key behind-the-scenes talent, such as editor Eddie Hamilton, and also thanked Paramount boss Brian Robbins for supporting the effort. The scene delivered by Paramount Pictures marked a triumphant return to the festival for both the studio and Cruise, last in town for the premiere of Top Gun: Maverick in May 2022. The film, which fueled a massive revitalization at the global box office in the wake of the pandemic, received an enthusiastic six-minute standing ovation after the final credits rolled. But before that, Cruise got a hero's welcome to the Palais where he received a surprise honorary Palme d'Or after eight fighter jets lit up the sky, literally, by expelling smoke dyed to match the colors of the French flag. Much like with Top Gun: Maverick, Cruise is doing a Cannes flyby with Mission: Impossible 8, with the whistle-stop on the Croisette followed up by press touchdowns in London, Korea and Japan. While some in the press corps have complained about the lack of access to the film's headliner — it was raised during the press conference with Cannes festival director Thierry Frémaux on Monday — Cruise has been doing his best to generate content while he's here. In the afternoon, he made a surprise appearance at a master class event celebrating McQuarrie. Cruise, who has made 11 movies with the filmmaker, either as Cruise's director or one of his writers, praised McQuarrie for 'understanding every single piece' of a Mission movie. 'It's a Swiss watch,' he said. For his part, McQuarrie credits his star with restoring his faith in moviemaking. 'When I met him, I was going to quit the business,' he said. Final Reckoning picks up the action a few months after the events of the prior installment, Dead Reckoning, as Ethan Hunt (Cruise) and the IMF team struggle to stop a ruthless assassin named Gabriel (Esai Morales) from gaining control of the world-ending rogue artificial intelligence known as 'The Entity.' The cast for Final Reckoning is rounded out by returning Mission: Impossible stars Ving Rhames, Simon Pegg, Angela Bassett, Hayley Atwell, Henry Czerny and Pom Klementieff. The Final Reckoning team's showing in Cannes comes amid a buzzy international press tour that kicked off in Tokyo, Japan, on May 5. Days ago, Paramount rolled out a series of press screenings after which first reactions hit the internet. A sampling of the breathless reactions: 'Tom Cruise has done it again!'; 'Every stunt, every set piece, every second is designed to blow your mind.'; 'A PULSE-POUNDING THRILL RIDE, and Cruise remains the king of spectacle.'; 'Absolutely astonishing action moments meet a sprawling story w/many nods to past MI films. It's the biggest, wildest and most consequential Mission movie yet.'; and 'The Final Reckoning is a thrilling, emotional & satisfying conclusion to one of cinema's greatest sagas.' The eighth film in Paramount's spy action franchise has a lot riding on it. In November 2024, The Hollywood Reporter detailed the project's long journey to the screen, with a budget approaching a hefty $400 million amid production delays — partly due to the 2023 Hollywood strikes — making it one of the most expensive films ever made. Final Reckoning hits theaters worldwide May 23. The 2025 Cannes Film Festival continues through May 24. Cruise's appearance punctuates what has already been a starry festival so far. Tuesday night's opening ceremony featured Robert De Niro, who picked up an honorary Palme d'Or presented to him by Leonardo DiCaprio, Quentin Tarantino and jury members Halle Berry, Jeremy Strong and president Juliette Binoche, among others. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
NDTV
15-05-2025
- Entertainment
- NDTV
Cannes 2025: Tom Cruise's Mission: Impossible - Final Reckoning Gets 5-Minute Standing Ovation. See Pics From The Night
Cannes: Hollywood star Tom Cruise landed at the Cannes Film Festival in style on Wednesday night, leaving fans excited as he arrived for the premiere of his upcoming film ' Mission: Impossible -- The Final Reckoning,' reported The Hollywood Reporter. The 61-year-old actor was joined by his longtime collaborator and director Christopher McQuarrie as they walked the red carpet. The actor was seen clicking selfies with fans and signing autographs for them. Fans, upon seeing the actor, were also spotted waving posters and memorabilia from Cruise's earlier films like The Last Samurai and Mission: Impossible II. Some even created a small tribute to Val Kilmer, Cruise's co-star from Top Gun, reported The Hollywood Reporter. See pictures from last night: This time, Tom Cruise's film has received a roaring 5-minute standing ovation following the premiere at the Grand Theatre Lumiere on Wednesday. 'MISSION IMPOSSIBLE: THE FINAL RECKONING' received a 5-minute standing ovation at #Cannes2025 — Film Updates (@FilmUpdates) May 14, 2025 The Hollywood superstar was seen expressing his gratitude to the festival audience. 'I'm very grateful to be a part of this franchise,' he said, recollecting his 30-year journey as the face of Mission: Impossible. The actor also praised the director who has helmed four films in the franchise. 'Every step of the way, what you've done, how you've expanded it, how you just went beyond our expectations,' Tom Cruise said, calling the director 'absolutely brilliant.' 'To be here in Cannes and have these moments—as a kid, I couldn't have dreamed of something like this,' he said. 'I'm very grateful to have been able to entertain you with this franchise for 30 years.' Tom Cruise also hinted at more collaborations to come. Tom Cruise gives a speech after the standing ovation following the premiere of #MissionImpossibleTheFinalReckoning at #Cannes2025 — Tom Cruise Fan News (@TomCruiseFanCom) May 14, 2025 Cruise last attended the festival in 2022 for the premiere of Top Gun: Maverick, which had received a six-minute standing ovation and earned him an honorary Palme d'Or. Fighter jets even lit up the sky in the colors of the French flag during that visit. Apart from Cruise, the cast of Mission: Impossible -- The Final Reckoning also includes Simon Pegg as Benji Dunn, Ving Rhames as Luther Stickell, Vanessa Kirby as Alanna Mitsopolis, Hayley Atwell as Grace, Esai Morales as the antagonist Gabriel, Shea Whigham as Jasper Briggs, Greg Tarzan Davis as Degas, and Pom Klementieff as the assassin Paris. Meanwhile, the film is set to hit theaters on May 23. Indian fans will get to see it early, with a release date of May 17, a full six days before its global release.
News18
14-05-2025
- Entertainment
- News18
Tom Cruise Gets Hero's Welcome At Cannes 2025 For Mission: Impossible 8 Premiere
Last Updated: Tom Cruise's red carpet return was a major moment for Paramount Pictures, which last premiered Top Gun: Maverick at Cannes in 2022. Tom Cruise returned to the Cannes Film Festival in grand style on Wednesday night for the premiere of Mission: Impossible – The Final Reckoning, turning the Croisette into a full-blown fan frenzy. With memorabilia-toting fans, an orchestra, and a dazzling red carpet walk, the evening marked another triumphant Cannes outing for Cruise and the Mission franchise. Cruise arrived with longtime collaborator Christopher McQuarrie, who has directed or written 11 of his films. The duo greeted fans, signed autographs, and posed for selfies. Among the crowd were posters of The Last Samurai, DVDs of Mission: Impossible II, and even a shrine dedicated to Cruise's Top Gun co-star, Val Kilmer. The cast's arrival was accompanied by a live orchestra playing the iconic Mission: Impossible theme. Musicians lined the staircase leading into the Palais, where Cruise waved, thanked the crowd, and embraced Cannes boss Thierry Frémaux. He also took time to applaud the orchestra before a DJ took over at the top of the steps. Cruise's red carpet return was a major moment for Paramount Pictures, which last premiered Top Gun: Maverick at Cannes in 2022. That film, which revitalised box office returns post-pandemic, earned a six-minute standing ovation and saw Cruise honoured with a surprise Palme d'Or, presented after fighter jets streaked the sky in the colours of the French flag. This time, Cruise once again made a quick but impactful stop in Cannes, part of a whirlwind global promo tour that will also include London, Korea, and Japan. Earlier in the day, he surprised fans with an appearance at a master class event honoring McQuarrie, calling him a creative force who 'understand[s] every single piece" of a Mission film. 'It's a Swiss watch," he said. Mission: Impossible – The Final Reckoning picks up after the events of Dead Reckoning, with Ethan Hunt (Cruise) facing off against Gabriel (Esai Morales), an assassin trying to control a rogue AI called The Entity. The cast also features returning stars Ving Rhames, Simon Pegg, Angela Bassett, Hayley Atwell, Henry Czerny, and Pom Klementieff. The film will release in India on May 17, six days before its global premiere on May 23. First Published:
Forbes
21-03-2025
- Entertainment
- Forbes
It's Abundantly Clear The ‘Assassin's Creed Shadows' Controversies Are Nothing
AC Shadows Now that Assassin's Creed Shadows has launched and players and critics have gotten their hands on the game, they've discovered something: This is an Assassin's Creed game. It's fine, even pretty good, but this is simply nothing out of the ordinary for the series, even if many would have you believe otherwise. The narrative about the game was drowned by social media accusations of it being 'woke' by using black samurai Yasuke as one of its two leads, and while that drama farming was always ridiculous, it is even more so when you play the game and realize that there's nothing remotely controversial about any of this, his inclusion, how he's portrayed, or what liberties may have been taken with the character in a series where Leonardo Da Vinci builds you a hang glider and you fist-fight the Pope. This story is not all that dissimilar to what we saw years ago with Tom Cruise's The Last Samurai or more recently, our good friend the Anjin in Shogun, two characters that drew far less controversy because well, you know. I'd argue that Yasuke's story is more interesting because of his race and the dynamic that creates within Japanese society, and his place and ascension within it. Assassin's Creed Shadows If Assassin's Creed Shadows has a Yasuke problem, it may just be that the story is not exactly split evenly between him and Naoe, as there is much of the game he cannot interact with, nor is he granted her level of stealth powers that are a series trademark. But that's a design problem, and has nothing to do with who he is and the character's inclusion in the game. FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder I've seen some pivots to other 'woke' aspects, which are things like the option to form non-straight romances with characters, an optional path. To me, this speaks not to how games have gotten more 'woke,' but how weird and nonsensical this sort of pushback has become. Remember Mass Effect, the nearly 20 year old series everyone likes that has been doing this kind of thing for eons? Games haven't changed, these commentators and fans have, which have become a pit of rage-baiting Twitter users and YouTubers and their audiences making something out of literally nothing time and time again. And while this happens all the time, this time, now that the game is here, it's just so clear how this has been beyond manufactured when Shadows' worst sin is perhaps being too similar to other Assassin's Creed games, not taking enough risks. You can say 'well none of this matters,' but it does matter. Ubisoft is taking steps to protect its employees from harassment due to the hostility surrounding this release that can target not just the company, but individual developers. Again, for what? Because Ubisoft is using a historical figure to tell a story that has already been told similarly in other media with white guys? That the Japanese representation is a woman, not a Jin Sakai Tsushima samurai? This is utter nonsense, and discourse about practically any new game on the market has become so toxic that staying off the internet entirely is the only wait avoid it. But good luck with that. Follow me on Twitter, YouTube, Bluesky and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.
