‘Elemental’ Review: A Hothead and a Water-Boy Fall for One Another in Pixar’s Overcomplicated Rom-Com

Mathilde Pinault has gone from an equestrian and an athlete, to a fashion icon at red carpets. Style and taste appear to run in the family.Salma Hayek’s heartfelt birthday dedication to her beloved husband, François-Henri PinaultSalma Hayek reminisces about the moment her look became a representation of 90s fashionMathilde Pinault wears an effortlessly chic Spring look accessorizing with BalenciagaThe 22 year old is the daughter of François-Henri Pinault, the president and CEO of the Klering group.

RuPaul’s Drag Race All Stars 8 left fans in complete shock, as the Snatch Game competition took an unexpected turn. Among the beloved queens of the Drag Race franchise, Heidi N Closet’s decision to quit the competition after a series of intense drama left viewers astounded, as it has only happened a few times before in the history of the show.Following the controversial episode, Closet took to social media to candidly express her thoughts and shed light on her departure. In her own words, she explained, “So through out the last 9 months I dealt with sadness, depression, and anger and through that I did make a diss track but THANK U to my amazing partner and group of friends that helped me through that and reminded me about peace and love.

Tyler James Williams shared a heartfelt message on social media during Pride Month addressing his sexuality. The Abbott Elementary actor made it clear that he is not gay but speculating about people that are queer or questioning their sexuality might be contributing to negatively impacting their mental health.

Brit Award-winning pop star Dua Lipa has said the way ministers discuss migrants is "short sighted and small minded". The 27-year-old, born in London to Kosovar-Albanian parents, called for "more empathy" and said she'd been "hurt" by the way the government had discussed Albanian people. Home Secretary Suella Braverman has previously spoken of "Albanian criminals" crossing the Channel and likened the influx of small boats to an "invasion".

Coldplay have provided an update on their work to reduce the environmental impact of their touring activity. As you may remember, back in 2021 the band said that they were introducing an assortment of measures with the aim of ensuring that their current Music Of The Spheres Tour produced 50% fewer carbon emissions compared to their last global outing in 2016 and 2017.They provided an update on those efforts at the end of last week.

McKinley Franklin editor HBO has released the official trailer for its explicit Sam Levinson-directed series “The Idol,” which is set to premiere on June 4. “The Idol” premiered at this year’s Cannes Film Festival, making it the first television show to officially debut at the festival. The series stars Lily-Rose Depp as rising pop star Jocelyn and Abel “The Weeknd” Tesfaye as Tedros, a powerful, sex-obsessed cult leader.  After calling off her latest tour, Jocelyn is on a mission to reignite her career, with big dreams of becoming the biggest star in the industry. After she meets Tedros, Jocelyn is swiftly drawn into his world, where he promises to expand her career to new heights — at any cost.

A brand new clip for Disney Pixar’s upcoming animation/comedy “Elemental” was unveiled by its stars at the 2023 Cannes Film Festival during a photocall on Friday.

Rebecca Rubin Film and Media Reporter There were more than a few misty eyes in the audience at the premiere of Pixar’s animated adventure “Elemental,” which closed out this year’s Cannes Film Festival. The sweet opposites-attract love story proved charming to attendees, closing out the festival with a five-minute standing ovation. At least one grown man in the orchestra was wiping away his cascading tears as the credits began to roll. It’s safe to assume he wasn’t alone in his emotional response to the film. “My heart is about to explode,” said ”Elemental” director Peter Sohn. “This film has been about the richness of diversity. Our lives are better when there are different points of view.”

What has fallen flat at Pixar? This is the innovative animation studio that pushed all before it in the first decade of this millennium, that invented a way of turning the plastic finish of digital animation to its advantage in the towering Toy Story, that was prepared to start a film with a 20-minute scene with no dialogue in Wall-E – and revealed that kids didn’t care – and that would make an adventure film with a hero aged 78 years young in UP!. Kids didn’t care about that either, as it turned out, because Carl Fredricksen was a grumpy-gramps adventurer who also didn’t care what others thought of him. Pixar always had something new up its collective artistic sleeve. And yet here they are, coming out with a film as dull-witted and syrupy as Elemental. 

Variety‘s critics pick the most notable dozen. Distributor: Neon One of seven women filmmakers in competition, Justine Triet has taken a familiar genre (the court- room drama) and turned it on its head. A frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller).

The stars of Disney’s upcoming Elemental just debuted a brand new clip at 2023 Cannes Film Festival!

Terry Flores Pixar vice president and creative director Peter Sohn will talk about his new animated film “Elemental” at the VIEW Conference in Turin, Italy, which runs from Oct. 15-20. Sohn will attend the conference in person to discuss the creative journey he took to bring the story to the screen.   “I’m so excited to welcome Peter Sohn to VIEW Conference 2023,” says conference director Maria Elena Gutierrez. “Peter is a true force of nature – a multi-talented storyteller, film director, animator, actor; you name it. In bringing his unique energy and wisdom to VIEW Conference, he is certain to leave our global audience feeling energized and inspired.”

Peter Debruge Chief Film Critic It began in the son’s room, when father was away on business. L’enfant thought it was l’amour, but for her, 30-odd years his senior, the sex, lies and audiotape were a mistake. Wild at heart, she’d yielded to the taste of … oh, never mind. Competing for the Palme d’Or at Cannes, Catherine Breillat’s “Last Summer” echoes films that have come before — most notably, 2019 Danish drama “Queen of Hearts,” on which it’s based — but it proves most daring in the ways the film departs for its more conventionally moralistic source, and especially in Breillat’s refusal to call either party a parasite. Yes, the affair between a lawyer and her 17-year-old stepson is a betrayal — of her marriage, of her parental responsibilities, of everything she stands for as an attorney — but that’s nothing compared to how the 50-ish woman deals with it when word gets out in this thought-provoking domestic drama. In reviewing the original, Variety’s Guy Lodge wrote, “you can practically envisage a Robin Wright-starring U.S. remake” — which isn’t far from the truth. Backed by fearless producer Saïd Ben Saïd (“Elle”), Breillat gives us the great Léa Drucker (who played far more responsible moms in “Close” and “Custody”) in the role of Anne, who’s introduced representing an underage girl in a sex-crimes case.

The Little Mermaid” cast did their best at playing Variety’s “Name That Fish” on the red carpet at the movie’s premiere in Los Angeles Melissa McCarthy (Ursula), Jacob Tremblay (Flounder), Noma Dumezweni (Queen Selina), Daveed Diggs (Sebastian) and Javier Bardem (King Triton) were put to the test by Variety’s Marc Malkin to see just how much they know about life under the sea. When quizzed with images of various fish, answers included “basketball with spikes,” “sad fish,” “not Spongebob,” “swordy-thing” “not edible” and “definitely a fish.”

Peter Debruge Chief Film Critic Sooner or later, the lead actor of the movie-within-a-movie being made in “A Brighter Tomorrow” jokes, disgruntled director Giovanni (self-referential cornball Nanni Moretti’s latest on-screen avatar) was bound to make a movie that ended with its protagonist’s suicide — the implication being, the world wouldn’t be so surprised to find the helmer putting a noose around his own neck. Well, he does and he doesn’t go that far in a high-concept meta-comedy that presents its director’s personal disillusion with art, love and the state of the world, before becoming a “just kidding” group hug for his fans. That’s a sizable public in Moretti’s native Italy, where this welcome return-to-form has already been a commercial success. The director’s not nearly as big a deal abroad, however, to the extent that few may care whether the Cannes regular (who won the Palme d’Or for “A Son’s Room” in 2001) has got his groove back.

Manori Ravindran Executive Editor of International Neon has acquired Justine Triet’s Hitchcockian courtroom drama “Anatomy of a Fall.” The U.S. distributor has been “aggressively pursuing” the competition title, which premiered in Cannes on Sunday to rapturous reviews, and has beat out competition. In the 150-minute film, a frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller) of his murder. Much of the film is focused on the ensuing trial, and features German star Hüller, known to international audiences for “Toni Erdmann,” delivering a powerhouse performance as a woman fighting to clear her name while protecting the couple’s young son. (Hüller previously teamed with Triet for psychological drama “Sibyl,” which also competed for the Palme d’Or at Cannes in 2019.)

Peter Debruge Chief Film Critic What The Weeknd wants, The Weeknd gets in “The Idol,” a skintastic, dark-side-of-showbiz fable that perpetuates the myth that pop stars are corporate puppets with no say in their own image-making, even as it allows hit-maker The Weeknd to call the shots (and reshoots, apparently, since the five-part HBO series was overhauled late in production to suit him). Picture “Blonde” as Joe Eszterhas might have written it, but with better music. After making a toe-dip cameo as himself in A24’s “Uncut Gems,” the R&B phenom-turned-TV producer plunges head-first into acting here, teaming with “Euphoria” creator Sam Levinson to imagine a shady super-predator just looking to corrupt an unsuspecting young pop singer. The edgy, high-gloss HBO series, which premiered the first two of its five episodes at the Cannes Film Festival, demands a lot of star Lily-Rose Depp. She plays “rags-to-riches, trailers-to-mansions” Jocelyn, a mono-monikered Britney or Miley type who seems empowered one moment, impressionable the next.

Peter Debruge Chief Film Critic Tudor, or not Tudor. That is the question in “Firebrand,” a revisionist royal portrait of Henry VIII’s last wife, Katherine Parr (played here by Alicia Vikander), that features all the pageantry you’d expect from a lavish costume drama, while showing the ahistorical audacity to call “Time’s Up” on the gluttonous king (Jude Law). Never mind that Henry VIII died — of very different causes than the movie depicts — all of 476 years ago. When it comes to art, there’s no statute of limitations on taking toxic masculinity to task, which can be both encouraging (since history has excused no shortage of monsters) and frustrating. There’s a big difference between exposing the truth and rewriting what came before to suit a contemporary political agenda, the way this movie does. Liberally adapted from Elizabeth Fremantle’s fast-and-loose historical fiction “The Queen’s Gambit,” director Karim Aïnouz’s tony British production needn’t try hard to demonstrate that Henry was a notoriously bad husband.

Peter Debruge Chief Film Critic Depending on where you come down on the question of its main character’s guilt or innocence, Justine Triet’s “Anatomy of a Fall” could be seen as a kind of “Gone Girl” in reverse: A frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller). If the man’s death was a suicide — and the bilingual (half-English) movie strongly points in that direction — then there’s a terrible cruelty to what follows, as his grieving wife is hauled into court and tried for his murder. Their 11-year-old son is obsessed with trying to make sense of what happened, whereas it’s the death of the marriage, not the husband, that preoccupies Triet. Can any couple’s relationship withstand the kind of scrutiny this one is subjected to, as old fights and infidelities are dragged into the open?

Peter Debruge Chief Film Critic In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being tempted to start his deep-as-you-want-to-go rabbit-hole drama “May December” the same way, seeing as how this endlessly fascinating movie focuses on the blurring of the lines between a Hollywood star (Natalie Portman) and her Heartland subject (Julianne Moore), who was caught in a sexual relationship with a 7th grader at the age of 36. The movie wants to know: Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick? A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of “Far From Heaven” to the queer twist on classical “woman’s pictures” provided by “Carol,” his style can be chilly and distancing. Not so “May December.” As layered and infinitely open-to-interpretation as any of his films, it’s also the most generous and direct, beginning not with Ingmar Bergman references (those come later), but with footage of monarch butterflies. They’re symbols of transformation, too, but also something nice to look at (and listen to, underscored by a lush reworking of the piano theme from “The Go-Between”) before these two women meet.

Peter Debruge Chief Film Critic Taking a cue from the movie’s soon-to-be-infamous spanking scene between Robert De Niro and Leonardo DiCaprio, someone ought to paddle whoever let Martin Scorsese take three and a half hours to retell “Killers of the Flower Moon.” You could read David Grann’s page-turner — about an audacious 1920s conspiracy to steal resources from the Osage people by marriage and murder — in less time, and you’d learn a whole lot more about how J. Edgar Hoover and the newly formed FBI used this case to establish their place in American law enforcement. Granted, this is cinema legend Martin Scorsese we’re talking about. For years, he fought studio execs telling him what to cut, going head-to-head with Harvey Weinstein on “Gangs of New York” (a movie that probably would’ve been better longer). Now he’s earned the right to tell stories as he sees fit. Trouble is, at 206 minutes (still four shorter than “The Irishman”), “Killers of the Flower Moon” isn’t an epic motion picture so much as a miniseries. Nothing wrong with that, except it’s intended for the big screen — where Apple has committed to release it this fall. Closer to two hours, “Killers” would make a killing, whereas longer than “The Longest Day,” most folks will wait to watch at home.