‘Ajoomma’ Review: An Older Woman Obsessed With Korean Soap Operas Leaves Her Heart in Seoul

The White Lotus is back for , swapping Maui, Hawaii for Taormina, Sicily. Icon Jennifer Coolidge makes the transatlantic trip to reprise her role as Tanya McQuoid, and we're better off for it.

Putting family first. Pregnant Lindsay Arnold isn’t on season 31 of Dancing With the Stars — and her growing brood is one of the reasons she decided to sit this one out.

Celtic strengthened their grip at the top of the table with a comfortable 3-0 away win over Livingston.

She winced to the reporter: "Oh, you saw?" before adding: "Isn't it stunning? It's awful."During the unearthed clip, she had admitted that auditioning for the role had been an equally tactile experience."He touched you a lot in the audition? Are you serious?" an incredulous Hall quizzed her.The blushing actress shot back: "Yeah, I swear.The first thing he did was take my shirt out of my pants and start tickling my stomach."While she was speaking, co-star Bill was looking down at her body and stroking her arm before pulling her left strap down.Without skipping a beat, she smilingly pulled it back up again, while the TV host asked: "Is this a story you wanna tell? Are you sure?""What we have is so strong," Bill said, while nuzzling his face into her shoulder.He added that he hadn't known that she was right for the part straight away on the first audition."How was I to know? Baby, let me slide on you," he continued, to peals of laughter from the audience."When I get there, he's got this giant massage thing," Geena elaborated, while her co-star clarified: "It's called The Thumper."At that point, she elbowed her co-star in the ribs, exclaiming: "Excuse me!", suggesting that the on-screen touching, which is not shown fully by the camera at that second, had become too intimate."I thought I was gonna be tough and there's no way in hell I'm gonna let him touch me with this thing," she continued."Cut to five minutes later and I'm lying on the couch with this thing on my back," Geena explained.Later, during a discussion about her acting skills, Bill told the audience: "Then we won the Oscar, so it looked legitimate having her in the movie," to the sound of more laughter.Reliving the experience to i years on, Geena explained that

Youngsters in a North Lanarkshire community are jumping for joy thanks to the creation of a new £170,000 play area.

BROOKLYN Beckham wed Nicola Peltz back in April this year, and there have long been whispers of a "feud" between Nicola and his mum, Victoria. Rumours of bad blood between the former Spice Girl and her daughter-in-law started swirling on August 4.

MADONNA has shocked her fans by posing topless in a series of racy snaps posted to Instagram in her sauciest shoot yet. The Material Girl singer stunned her 18.6million followers as she left little to the imagination, posing in tights and a corset. Madonna, 63, bent over in front of the camera as she showed off her bare chest, just covering her assets with two emojis.

RED Hot Chilli Peppers drummer DH Peligro has died at the age of 63. The musician, real name Darren Henley, hit his head in a fall at his home in Los Angeles and died shortly after on Friday. Henley enjoyed a brief stint with the Red Hot Chilli Peppers in 1988, but was best known for being a member of The Dead Kennedys The band wrote: "Dead Kennedys' drummer D.H.

A charity group has reminded dog owners that their pets may feel unsettled during Halloween. Not only will there be unexpected knocks on the door, people will be dressed in strange costumes.

Mark O'Hara revealed his Buddies are "desperate" to see their boss Stephen Robinson stay in Paisley.

Ready for takeoff! Holly Taylor is enjoying playing the mysterious Angelina Meyer on Manifest — and she let Us tag along as she gears up to film the series’ final episodes.

Peter Debruge Chief Film Critic Who can forget Jonathan Swift’s “A Modest Proposal,” that cheeky work of early-18th-century satire in which the author had the nerve to suggest cannibalism as a means of keeping Ireland’s unwanted kids “from being a burden on their parents or country, and for making them beneficial to the publick”? In “Plan 75,” debuting director Chie Hayakawa floats an equally extreme idea of her own without so much as a glimmer of irony, and the suggestion is upsetting enough that the public will likely still be citing it decades down the road. Set in near-future Japan, where it’s a surplus of seniors — versus an abundance of babies — that’s causing trouble, this chilling social drama takes its name from a hypothetical new legislation whereby an overtaxed government offers its elderly citizens an incentive to euthanize.

Peter Debruge Chief Film Critic America has “Groundhog Day.” Now Malaysia has “Stone Turtle,” a beguiling, all-around gorgeous reimagining of Southeast Asian folklore that finds its characters caught in a loop of vengeance, lust and violence from which they cannot escape. Here, it’s a dead-serious political statement rather than rom-com karma that forces island-dwelling refugee Zahara (Asmara Abigail) and an intrusive outsider (Bront Palarae) to play out repeated versions of a cautious standoff: She deals in precious leatherback turtle eggs, he claims to be a wildlife researcher, but pursues her with a passion that suggests other priorities. “Stone Turtle” marks a welcome comeback for Woo Ming Jin (“Woman on Fire Looks for Water”), a leading voice in the Malaysian New Wave who spent the last decade working in more mainstream waters, churning out a mix of zombie flicks and popcorn movies. Now, having picked up a prestigious FIPRESCI prize at Locarno, he’s back on the international festival circuit with a project that intriguingly applies elements of genre filmmaking to a more anthropological art-house format. The result is a loony marriage between “The Wicker Man” and “Woman in the Dunes,” as an enigmatic siren in scarlet robes traps a man on the beach for all eternity, building to a dangerous ritual where lives are sacrificed and a straw effigy is set ablaze.

Peter Debruge Chief Film Critic Saruul is studying to be an engineer when she agrees to take the last job her cosmopolitan but still relatively conservative Mongolian parents would ever imagine their daughter doing: selling intimacy aids (of the vibrating, silicone and inflatable variety) in a basement-level sex shop. Technically, Saruul’s just filling in for a shy friend at school who trusts her to be discreet, but this temporary gig has a subtle yet life-changing impact on the title character, who looks like she could be 14 years old at first, but blossoms into a more self-aware young woman over “The Sales Girl’s” slightly overlong running time. The top prize winner of the New York Asian Film Festival, veteran director Sengedorj Janchivdorj’s umpteenth feature takes a frank, sex-positive approach to the titillating world in which it’s set. But that doesn’t make this an erotic film. Instead, “The Sales Girl” focuses mostly on the unlikely friendship between Saruul (Bayartsetseg Bayangerel) and her Russian-speaking boss Katya (Enkhtuul Oidovjamts), a surly ex-dancer who takes a linking to her naive new employee. In a funny way, the film shares the slightly edgy but ultimately sentimental vibe of certain underground comics (“Ghost World” comes to mind) or the work of American indie director Sean Baker, whose last four features (dating back to “Starlet,” the film this most resembles) have had the honesty to acknowledge the role sexuality plays in modern life and commerce.

Peter Debruge Chief Film Critic If Hollywood can justify making sequels to “Rambo” and “Top Gun” more than three decades on, why can’t Kollywood do the same? In tons-of-fun “Vikram,” a secret agent first introduced in 1986 emerges from deep undercover to thwart the biggest drug deal in Indian history. He’s a grandfather now, but that doesn’t stop the title character (Kamal Haasan) from tossing people across the room in this turbo-charged, three-hour action bonanza, which pairs Vikram with a younger operative named Amar (Fahadh Faasil). The two have at least one thing in common: Rules and regulations don’t matter, which means they’re free to fight crime as creatively as they (and director Lokesh Kanagaraj) see fit.

Brent Lang Executive Editor In one corner, a star-studded murder mystery from one of the most acclaimed directors in Hollywood. In the other, a family fable that features a CGI crocodile who sounds a lot like Shawn Mendes. As Hollywood heads into another quiet fall weekend at the box office, David O. Russell’s “Amsterdam” is squaring off against “Lyle, Lyle, Crocodile,” and both new releases are facing strong competition from reigning champ “Smile.” Of the two new entrants, “Lyle, Lyle, Crocodile” seems to be in the stronger position. There haven’t been many movies geared toward kids — the last one was “DC League of Super-Pets” way back in July. The $50 million production will open in more than 4,300 locations, where it should make $15 million or more. Sony Pictures, the studio behind the film, is being more conservative and projecting an opening in the $11 million to $12 million range. That could be enough for a first-place finish, depending on how steeply “Smile,” which opened to $22.6 million, drops in its second weekend of release.

TheSingapore Film Commission has selected He Shuming’s Singapore-Korea co-production Ajoomma as its submission to the best international feature category at the Oscars.

Peter Debruge Chief Film Critic Growing up in Texas toward the tail end of the 20th century, I was not taught about Emmett Till. I’ve learned about him since, of course. Till’s name adorns this year’s overdue federal antilynching act, and his tragic fate has inspired plays and films, including 2018’s Oscar-nominated short, “My Nephew Emmett,” and now a powerful new feature from Chinonye Chukwu, who gave Alfre Woodard one of her greatest roles in 2019 Sundance winner “Clemency.” Till’s story — that of a 14-year-old Black boy from Chicago who was kidnapped in the middle of the night and lynched while visiting his family in Mississippi — may have been omitted from my Southern schooling for racist reasons, though I suspect it had as much to do with Western culture’s “great man” bias. History, as a field of study, celebrates the achievements of heroic individuals. Nat Turner, Harriet Tubman, Rosa Parks. Those names were all taught. But Emmett Till was a kid whose murder galvanized the American civil rights movement, and it has taken a different kind of thinking — à la “Say Their Names” campaign or Ryan Coogler’s “Fruitvale Station” — to position victims in the public’s mind.

Peter Debruge Chief Film Critic A middling movie with a must-see performance at its core, “The Good House” does something interesting with the notion of the unreliable narrator. As the unfortunately named Hildy Good (blame novelist Ann Leary, not married filmmakers Maya Forbes and Wallace Wolodarsky for that decision), Sigourney Weaver brings deceptive self-confidence to the role of a small-town Realtor. We meet Hildy introducing a couple to the fictional New England fishing village of where the Good family has lived for so long, there’s talk of witches in their past. But Hildy can’t be trusted — not because her character is bad (she’s Good, get it?), but because she’s in denial. “I can walk through a house once and know more about its occupants than a psychiatrist … could in a year of sessions,” Hildy boasts, addressing the audience directly. In truth, she’s not talking to us so much as she is rationalizing things to herself. The slyly insightful way Forbes (“Infinitely Polar Bear”) and Wolodarsky (who spent years writing for animation) have constructed “The Good House,” watching Hildy throw down boss energy to clients and the camera is like being inside her head, where the first person she has to convince that she’s in control is herself. We buy it — for a time — but the characters don’t, and that mismatch is the crux of all that follows.