‘Vikram’ Review: A Tamil Action Legend Returns to Take Down a Drug Dealer in Thrilling Kollywood Hit

Piers Morgan "an attention seeking fraud" amongst other names in response to being invited onto his Uncensored show. It came after the pair clashed about Elon Musk's new policy on Twitter.Bradley shared what was meant to be a private message from a member of Piers' team, who asked him whether he was available to come onto the show for an interview.In response, the actor savagely wrote: "You sure, Buddy? Cuz your phone-hacking, toddler boss just got super-triggered by an opinion I expressed about a billionaire whose a** he's trying to kiss.(sic)"In a world that desperately needs good journalists, I'm sorry you have to work for an attention seeking fraud who is the definition of toxic news, so no."He shared the message alongside the caption: "Sorry, @piersmorgan.

Scottish filmmaker Charlotte Wells’s debut feature Aftersun leads the nominations for this year’s British Independent Film Awards with a sweeping 16 nods, including Best Director and Best film.

Back in 2017, Selena Gomez revealed that she had undergone a kidney transplant. Now she’s let it be known that her new(ish) kidney has a name.

Nick Cannon has confirmed he has another baby on the way. The 'Masked Singer presenter has taken part in a pregnancy photoshoot with Alyssa Scott, the mother of his late son Zen - who died of brain cancer last December aged just five months - just a week after the model had revealed she was pregnant, but hadn't named who the father was. For the shoot, the pair posed nearly naked in a bathtub, with one of Gabriel Villalobos' photos showing Nick kissing Alyssa's bump while she stood with just a towel over her hair.

"You know any break-up's hard, for whatever reason, and it makes it worse, you know, certain things get printed in the press.“And there's two sides to every story," Eddie told The Sun.Since the split, Denise has started dating Jimmy Barba, and Eddie has expressed he is deeply happy for Denise."There is no animosity. Life goes on, The world carries on going round.She's happy.

The hardy souls who came to support the teams on an inclement day at Greenlaw were served up a great match.

Dalbeattie Star manager Eddie Warwick believes things are heading in the right direction at Islecroft.

Threave Rovers gaffer Vinnie Parker claims his side’s promotion hopes are still alive despite losing to West Park United on Saturday.

Youngsters had a scarily good time in Castle Douglas on Saturday afternoon.

A Blantyre woman with a record of violence against emergency service workers has been warned she's on her "last chance".

The European Film Academy has unveiled a new public-facing event called the Month of European Film.

Johnny Depp has filed an appeal against ex-wife Amber Heard's "erroneous" counterclaim win, following their defamation trial.

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 In what plays like Singapore’s answer to “About Schmidt,” never-too-late-to-live dramedy “Ajoomma” follows a widowed housewife as she steps out of her comfort zone by making a solo trip to South Korea. This upbeat debut from director He Shuming — whose title is the Korean equivalent of all-purpose Asian term of respect “Auntie” — offers longtime TV actor Hong Huifang (“Housewives’ Holiday”) a chance to shine in the title role, which has already netted her a Golden Horse Award nom. Selected to rep Singapore at the Oscars, affable “Ajoomma” is more of a dark horse in that race, albeit one with art-house sleeper potential. Mrs. Lim’s life is light on excitement. What it lacks in drama, she fills by binging on Korean soap operas — a not at all uncommon obsession among Asian women (and a growing number of Americans, thanks to services like Kocowa and Viki). “Auntie,” as most of the other characters call Hong’s character, fusses a bit too much over her only son, who long ago agreed to accompany her on a special tour of Seoul. Now, mere days before they’re to depart, he backs out for a job interview in New York — one that would put some much-needed distance between the closeted young man and his overly suffocating mom.

It was a varied offering at the international box office this weekend with newcomers from Hollywood and offshore markets, as well as notable holds, as we inch closer to full-on action later in October. 

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.