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The Os­car-win­ning Span­ish ac­tress will be joined by Edgar Ramirez (Point Break, The Girl on the Train) who will play Gianni Ver­sace in the se­ries look­ing at the fash­ion de­signer’s mur­der in 1997. Film­ing is sched­uled to be­gin next month and the show will air next year.

“Cruz has proven her­self to be one of the most ver­sa­tile ac­tresses

Life Man­dolin


Vicky Cristina Barcelona

Nine. AFP Cap­tain Corelli’s

Gothika game of cat-and-mouse be­tween the crew of the In­ter­na­tional Space Sta­tion (ISS) and a rapidly evolv­ing life form that caused ex­tinc­tion on Mars and now threat­ens all life on Earth.

Set in the near fu­ture, Daniel Espinosa’s break­neck-speed thriller hits the­atres on Fri­day with an in­ter­na­tional cast led by A-lis­ters Jake Gyl­len­haal and Ryan Reynolds.

“The script, pac­ing-wise, was blis­ter­ing and ter­ri­fy­ing. I mean, when I was read­ing it, you get to a cou­ple of mo­ments in the script, I was le­git­i­mately anx­ious, which is a very good sign,” Gyl­len­haal said.

The film re­unites Reynolds with Dead­pool writ­ers Rhett Reese and Paul Wer­nick, al­though this whiteknuckle sus­pense horror is short on the snarky hu­mour that marked the 2016 su­per­hero movie. “There’s noth­ing scarier than some­thing that’s just try­ing to sur­vive and knows a lit­tle more than you do. I think peo­ple love that, and peo­ple love a claus­tro­pho­bic thriller too. Hitch­cock started do­ing it and now it’s been around for­ever,” Reynolds said at the world pre­miere at the South by South­west fes­ti­val in Austin, Texas, on Satur­day.

Com­par­isons with Ri­d­ley Scott’s 1979 sci-fi horror Alien – in which a deadly ex­trater­res­trial stalks the crew of a space­ship – are in­evitable, es­pe­cially since Alien: Covenant, the sixth in­stall­ment in the iconic se­ries, is fast ap­proach­ing.

“I can see why peo­ple will com­pare it with Alien but science fic­tion came from an old idea of noir cin­ema. I wanted my movie to play into that old Amer­i­can tra­di­tion,” Espinosa said.

“An­other big dif­fer­ence is the era, when Alien was made. It was a post-atomic age when ev­ery­one was very much look­ing into the fu­ture. Young peo­ple to­day live in such a chaotic world that they don’t think so much about what might hap­pen in the next 10 years, let alone 100 years.”

The point of Life, said Espinosa, was to make a thriller that would be en­tirely plau­si­ble to­day – a rover dis­cov­er­ing a sin­gle-cell or­gan­ism on Mars and bring­ing it back to the ISS only for it to grow pow­er­ful and turn hos­tile. AFP

Be­cause of the au­thor’s first name, it wasn’t un­til the late 1970s that Vega, the New York singer-song­writer best known for hits like Luka and Tom’s Diner, dis­cov­ered that McCullers, who died in 1967 at 50, was a woman.

Pun­gent bi­o­graph­i­cal songs about McCullers make up one-third of the reper­toire in Vega’s de­but en­gage­ment at Café Car­lyle, where she is ap­pear­ing through Satur­day. Those songs, with mu­sic by Duncan Sheik and Michael Je­fry Stevens, come from Vega’s re­cent al­bum, Lover, Beloved: Songs From an Evening With Car­son McCullers, a mu­sic-theatre work in progress that will have its third in­car­na­tion at the Al­ley The­ater in Hous­ton next year be­fore com­ing here. Vega will play McCullers, to whom she bears a marked phys­i­cal re­sem­blance.

The show was in­spired partly by Wil­liam Luce’s play The Belle of Amherst. NYT

Ryan Reynolds (left) and Jake Gyl­len­haal. Donatella Ver­sace (left) and Pene­lope Cruz.

Suzanne Vega

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