Latest news with #TheTalentedMrRipley
Yahoo
4 days ago
- Entertainment
- Yahoo
Hit film starring Matt Damon and Jude Law to be adapted for Brighton stage
Theatre Royal Brighton is gearing up to welcome the first-ever UK tour of The Talented Mr Ripley. The show is a stage adaptation of Patricia Highsmith's gripping novel, which was also the source material for the 2000 Oscar-nominated film starring Matt Damon, Jude Law, and Gwyneth Paltrow and the 2024 Netflix adaptation starring Andrew Scott. This new production will make its stop at Theatre Royal Brighton from Monday, October 27, to Saturday, November 1, 2025. Adapted and directed by Mark Leipacher, known for his work on Mary Stuart and A Midsummer Night's Dream, The Talented Mr Ripley is produced by Jack Maple and Thomas Hopkins. The story follows Tom Ripley, a man who transforms from a nobody to someone caught in a web of lies, identity theft, and murder, after being invited into the privileged world of Dickie Greenleaf. Set in the 1950s Italy and featuring a chillingly charismatic antihero, this adaptation is set to bring a fresh take on the classic tale, promising audiences a thrilling experience. The Talented Mr Ripley is a production by The Faction, with set and costume design by Holly Piggott, known for her work on Fleabag, and associate set and costume design by Ellen Farrell. The lighting design is by Zeynep Kepekli (The Little Mermaid, Bristol Old Vic), sound design by Max Pappenheim (The Night of the Iguana, Noel Coward Theatre), and casting by Marc Frankum CDG (The Woman in Black, Fortune Theatre). Casting is yet to be announced. Tickets for the Brighton shows will go on general sale at 12pm on May 23 and can be purchased via The Talented Mr Ripley is set to be a major highlight in Theatre Royal Brighton's 2025 calendar, bringing a gripping tale of deception, desire, and deadly ambition to the stage. This is a unique opportunity for audience members to witness a classic novel come to life in a fresh, thrilling production. With a combination of razor-sharp dialogue and psychological intensity, this is Ripley as you've never seen him before. The Theatre Royal Brighton is renowned for bringing high-quality productions to the city, and The Talented Mr Ripley is shaping up to be no exception.
Telegraph
23-04-2025
- Entertainment
- Telegraph
Gwyneth Paltrow: I've started eating bread and pasta again
Gwyneth Paltrow has revealed she has relaxed her once super-strict paleo diet and is eating bread and pasta again. For a number of years Paltrow, 52, adhered to a high-protein, low-carb regime – which supporters say has a range of health benefits including improved cholesterol and lower blood pressure. Now the lifestyle guru, whose movies include Shakespeare in Love, The Talented Mr Ripley, The Royal Tenenbaums and Shallow Hal, has said she and her husband, television producer Brad Falchuk, 54, have broadened their culinary horizons. Speaking this week on her Goop podcast, she said: 'I went into hardcore macrobiotic for a certain time, that was an interesting chapter where I got obsessed with eating very, very healthily.' She added: 'I was just so amazed that we had this power in our hands that if we treated ourselves well and hydrated and ate whole foods that we could just feel so much better. I was sort of intoxicated by that idea and I still feel that way to this day.' Although she admitted that she was now 'a little bit sick of it, if I'm honest'. Paltrow, who has two children, has been posting images on social media showing meals of pizza and burgers. 'I'm getting back into eating sourdough bread, cheese – there I said it. A little pasta after being strict with it for so long,' she said. 'But again I think it's a good template, eating foods that are as whole and fresh as possible. I don't think there are any doctor or nutritionist that would refute that.' In the episode, Paltrow who was married to Coldplay's Chris Martin from 2003 to 2016, talks about her experiences with food and its role in relationships, including those with a person's family. 'As I sit down to record this, I am in preparation for big Easter brunch, and so I started taking note about how much joy I was feeling with this upcoming holiday and gathering,' she says. 'It filled me with so much joy to think about everybody coming together and bringing their children…We need those social connections, and so often, at the epicentre of those things, those meaningful moments, is food.' She explained that for many years her diet was 'lots of fish, vegetables, rice, no dairy, no sugar etcetera. I think that period of time I might have got a little didactical about it'.
Yahoo
31-01-2025
- Entertainment
- Yahoo
Lurker review – deviously entertaining Hollywood hanger-on thriller
There's something remarkably assured about Alex Russell's attention-demanding thriller Lurker, a buzzy Sundance debut that's made with an unusual amount of self-awareness. The majority of this year's first-time narrative films have been cursed with an overabundance of either in-your-face style or precariously stacked ideas (or, even worse, both) and a frantic need to show how much one can do, often showcasing how little can be done well. But Russell, a TV writer whose credits include Beef and The Bear, is the rare freshman who knows exactly the right balance, often choosing less when others choose too much, his film a relatively simple yet extremely confident introduction. It's a contemporary pop-culture riff on an obsessive psycho-thriller, the kind we were flooded with in the 90s in which an outlier enters the life of someone who has something they want, recalling Single White Female and The Talented Mr Ripley as well as something more recent and comedic like Ingrid Goes West. Russell takes this formula and extracts most, if not all, of the heightened genre elements to give us something a little more grounded, dialogue more rooted in reality and a canny realisation that murder isn't always needed to create menace. The lurker is Matthew (Théodore Pellerin), a twentysomething retail worker who insinuates himself into the inner circle of rising music star Oliver (Saltburn survivor Archie Madekwe) by pretending not to be a fawning superfan. Matthew, living with his grandmother and seemingly lacking a social life of his own, has to work hard to make his way deeper inside, cleaning dishes and putting up with insults from Oliver's entourage of laddish yes men, a believably off-putting and juvenile world new to some of us. Many would tap out but Matthew persists, and his refusal to fall at the many hurdles laid out nabs him a job as unofficial documentarian. Much of Russell's film then swerves among forms of video, as Matthew films more and more of Oliver's life, but he avoids stylistic overkill and, for a film that revolves around people of this age, keeps plot-reliant on-screen texts and social media posts to a bare minimum. Unlike, say, Ingrid in Ingrid Goes West or Tom in The Talented Mr Ripley, there's nothing likable or tragic about Matthew (a tender scene of him dancing with his grandmother is quickly followed by him hilariously scolding her for talking while he's on the phone). He's a parasite, perfectly played by an uncomfortably on-point Pellerin, lacking the social ease and innate coolness that he sees around him, always lingering longer than he should, the kind of person who makes you want to leave a room as soon as they enter. His welcome is inevitably outstayed but Lurker isn't just content with the well-trodden downfall of someone who is embraced and then rejected. It's smarter than that, examining what a person would actually need to do to impress and then control someone so vulnerable yet so fickle, the learned portioning of tough love in a world where people are afraid to give it. What if Matthew is what Oliver needs? What would that say about the realities of being famous? Related: Opus review – John Malkovich plays an evil pop star in a silly horror dud Russell is happy with light interrogation – his film is no grand social statement – and he's focused more on his characters over what they represent. It's also a pleasure and relief to see a film about pop culture ignore the obvious cascade of easy point-and-acknowledge referencing that plagues so many others and create its own credible world instead with music, crafted by Kenny Beats, that you never once doubt. As things go from bad to worse, it's a captivatingly nasty descent as Matthew's mask starts to slip, offering up the sort of clammy suspense that one hopes for from this territory without falling into the equally expected overwrought absurdity. The young cast are all superb, with Madekwe cleverly embodying that brand of alluring aloofness that so many celebrities have, never letting you know where you stand, keeping you on a knife's edge instead. There's also a great turn from Havana Rose Liu, doing a lot with a little, as a semi-assistant who pities then fears Matthew's presence. Lurker is a film of easy targets but Russell avoids obvious jabs. While there's a cynicism that clearly comes from someone who has done his time in both Los Angeles and the industry, it's ultimately about something more human, and more unsettling, than just Hollywood. There are, after all, lurkers everywhere. Lurker is screening at the Sundance film festival and is seeking distribution
The Guardian
31-01-2025
- Entertainment
- The Guardian
Lurker review – deviously entertaining Hollywood hanger-on thriller
There's something remarkably assured about Alex Russell's attention-demanding thriller Lurker, a buzzy Sundance debut that's made with an unusual amount of self-awareness. The majority of this year's first-time narrative films have been cursed with an overabundance of either in-your-face style or precariously stacked ideas (or, even worse, both) and a frantic need to show how much one can do, often showcasing how little can be done well. But Russell, a TV writer whose credits include Beef and The Bear, is the rare freshman who knows exactly the right balance, often choosing less when others choose too much, his film a relatively simple yet extremely confident introduction. It's a contemporary pop-culture riff on an obsessive psycho-thriller, the kind we were flooded with in the 90s in which an outlier enters the life of someone who has something they want, recalling Single White Female and The Talented Mr Ripley as well as something more recent and comedic like Ingrid Goes West. Russell takes this formula and extracts most, if not all, of the heightened genre elements to give us something a little more grounded, dialogue more rooted in reality and a canny realisation that murder isn't always needed to create menace. The lurker is Matthew (Théodore Pellerin), a twentysomething retail worker who insinuates himself into the inner circle of rising music star Oliver (Saltburn survivor Archie Madekwe) by pretending not to be a fawning superfan. Matthew, living with his grandmother and seemingly lacking a social life of his own, has to work hard to make his way deeper inside, cleaning dishes and putting up with insults from Oliver's entourage of laddish yes men, a believably off-putting and juvenile world new to some of us. Many would tap out but Matthew persists, and his refusal to fall at the many hurdles laid out nabs him a job as unofficial documentarian. Much of Russell's film then swerves among forms of video, as Matthew films more and more of Oliver's life, but he avoids stylistic overkill and, for a film that revolves around people of this age, keeps plot-reliant on-screen texts and social media posts to a bare minimum. Unlike, say, Ingrid in Ingrid Goes West or Tom in The Talented Mr Ripley, there's nothing likable or tragic about Matthew (a tender scene of him dancing with his grandmother is quickly followed by him hilariously scolding her for talking while he's on the phone). He's a parasite, perfectly played by an uncomfortably on-point Pellerin, lacking the social ease and innate coolness that he sees around him, always lingering longer than he should, the kind of person who makes you want to leave a room as soon as they enter. His welcome is inevitably outstayed but Lurker isn't just content with the well-trodden downfall of someone who is embraced and then rejected. It's smarter than that, examining what a person would actually need to do to impress and then control someone so vulnerable yet so fickle, the learned portioning of tough love in a world where people are afraid to give it. What if Matthew is what Oliver needs? What would that say about the realities of being famous? Russell is happy with light interrogation – his film is no grand social statement – and he's focused more on his characters over what they represent. It's also a pleasure and relief to see a film about pop culture ignore the obvious cascade of easy point-and-acknowledge referencing that plagues so many others and create its own credible world instead with music, crafted by Kenny Beats, that you never once doubt. As things go from bad to worse, it's a captivatingly nasty descent as Matthew's mask starts to slip, offering up the sort of clammy suspense that one hopes for from this territory without falling into the equally expected overwrought absurdity. The young cast are all superb, with Madekwe cleverly embodying that brand of alluring aloofness that so many celebrities have, never letting you know where you stand, keeping you on a knife's edge instead. There's also a great turn from Havana Rose Liu, doing a lot with a little, as a semi-assistant who pities then fears Matthew's presence. Lurker is a film of easy targets but Russell avoids obvious jabs. While there's a cynicism that clearly comes from someone who has done his time in both Los Angeles and the industry, it's ultimately about something more human, and more unsettling, than just Hollywood. There are, after all, lurkers everywhere. Lurker is screening at the Sundance film festival and is seeking distribution
