Holden Caulfield: Last News

AnOther Magazine. “My parents — who are just my best friends — were very wary of Hollywood.”“They associated it with Judy Garland’s tragedy, and we never relocated there,” she added, referring to the late actress’ fatal overdose.Ryder added that she “had to keep up my grades” to keep going to auditions.“That turned out to be such a gift, because I knew a lot of kids who did bear that,” she said.

since her bitter divorce from Pitt, not appearing in many movies since 2019’s “Maleficent: Mistress of Evil.” About Vivienne producing the play, Jolie told People, “Viv reminds me of my mother in that she isn’t focused on being the center of attention but in being a support to other creatives,” she said, referring to actress Marcheline Bertrand, who died of cancer in 2007 at 56. “She’s very thoughtful and serious about theatre and working hard to best understand how to contribute,” Jolie added. Based on the 1967 novel by S.E.

Owen Gleiberman Chief Film Critic I’ve always been shy when it comes to writing about Wes Anderson, because he’s a filmmaker I rarely connect with. When I watch one of his movies, I can’t help but see his talent (the visual wizardry, the debonair lapidary cleverness), but I feel like I’m experiencing something that was made on a different planet from the one I live on. I have felt that way from his very first feature, “Bottle Rocket” (1996), and I really felt it at the Toronto Film Festival in 1998 when I saw “Rushmore” — because everyone there did a backflip of ecstasy, already hailing Anderson as the filmmaker of his generation, and I didn’t get it. I mean, I kind of saw what people were talking about: that “Rushmore” was like “The Graduate” for the new millennium, that the Jason Schwartzman hero had a formidable Holden Caulfield-gone-meta-deadpan attitude that was equal parts devious and desperate, that the Bill Murray character seemed the apotheosis of Bill Murray, and other things. But the bottom line for me is that “Rushmore,” on some essential chemical cinematic level, was too flip, too ironic, too whimsical, too in love with its cheeky postmodern self, and (yes, let’s use the word! How could we not?) too twee.   

The View have announced their new album ‘Exorcism Of Youth’ along with plans for a pair of UK shows this May.The new record is out June 9 via Cooking Vinyl and will be the first from the indie rockers’ in eight years, having spent five years apart before reconvening in 2022 – you can pre-order/pre-save it here.The first taste of ‘Exorcism Of Youth’ arrives in the shape of lead single ‘Feels Like’, which frontman Kyle Falconer described as “anthemic from the get go”.“Even though under the surface it’s about somewhere everyone’s been in their life before: regret of losing someone amazing due to your inner demons and seeing them moving on with their life, when you’re stuck in a ‘nightmare not a dream,’” he explained in a statement.“When I first sat down to write it I had Holden Caulfield from ‘Catcher in the Rye’ in mind. It’s playing out in his mind and it’s his own paranoia destroying him from the inside out when in reality she’s the perfect woman.”Listen to ‘Feels Like’ below.Alongside the album announcement, The View have shared details of two shows this May at Manchester’s Deaf Institute (10) and London’s Oslo (11), their first shows in both cities since 2017.