The UK has so far recorded over 37,000 confirmed cases of Omicron, with a majority of cases detected in the last two-three days, and 12 deaths.

In India, the Union Health Ministry said on Tuesday that the new Covid variant Omicron is three times more transmissible than the Delta variant.

Gates said that if there’s good news here, it’s that Omicron moves so quickly that once it becomes dominant in a country, the wave there should last less than 3 months.

“Those few months could be bad, but I still believe if we take the right steps, the pandemic can be over in 2022,” he said in a tweet.

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A comet is headed to Earth, and despite dire warnings from scientists, almost everyone fails to take it seriously. That’s the basic premise of Don’t Look Up, the latest film from Adam McKay which premieres on Netflix today. It balances the blunt social commentary from his most recent Oscar nominated films (The Big Short and Vice), with the comic absurdity from his early hits, like Anchorman and Talladega Nights. The result is somewhat uneven and a bit too long, but it’s also a battlecry against the anti-science, fact-phobic reality we’re living through today.

The comet is an obvious metaphor for climate change, an apocalyptic scenario we’re hurtling towards while governments drag their heels, the fossil fuel industry feigns ignorance and most people go about their lives oblivious about what’s to come. But Don’t Look Up also describes humanity’s bumbling response to the COVID-19 pandemic, a global disaster that’s led to more than five million deaths. 

The film’s title is a mantra used by a conservative president (Meryl Streep) to make her red-capped supporters look down at the ground, and not at the glowing comet in the sky they can easily see in the sky. It’s hard not to be reminded of the politicization of COVID-19, which has led to people denying its existence and demonizing vaccines, all because of something they heard on Fox News or their family’s Facebook group.

After two astronomers (played by a surprisingly nebbish Leonardo DiCaprio and a spunky Jennifer Lawrence) rush to the White House with news about Earth’s impending destruction in six months, they’re forced to wait. Streep’s President Orlean is dealing with a potential scandal around a Supreme Court nominee, obviously that’s more important. By the time they lay out Earth’s impending doom, Orlean would rather wait and do nothing. “What’s this going to cost me? What’s the ask in place?” she says.

As the two scientists try to spread the word, first by leaking the doomsday scenario to the media, and then by becoming media personalities of their own, the film takes a scattershot aim at critiquing our modern society. The great Mark Rylance plays a Jobs-meets-Zuckerberg tech executive, the sort of mogul whose idea of innovation is a phone that’ll constantly monitor you to fix negative emotions. (Feeling down? Bash Life will automatically book a nearby therapy session for you.) Cate Blanchett and Tyler Perry pop up as cable news hosts who can only speak to their audience with faux, upbeat banter—yes, even if that news is about humanity’s imminent destruction.

Don’t Look Up sometimes feels like it’s punching down, especially when it’s focusing on the sheer stupidity of President Orlean’s conservative followers. But the film isn’t afraid to criticize everyone, even its scientist leads. Both characters have trouble properly conveying the significance of their discovery. And when DiCaprio’s astronomer finds his media legs, he’s fully a part of the government propaganda machine.

By the time the American government finally decides to do something about the comet — only because it benefits the President, of course — it’s dressed up in patriotic showmanship, as if Michael Bay were directing George W. Bush’s tone deaf 2003 Mission Accomplished speech. I won’t spoil where the movie goes from there, but it’s clearly spoofing Bay’s Armageddon. One war hero and a big rocket is all it takes to stop a planet destroying threat, right?

Don’t Look Up isn’t a complete success — the comedy is hit or miss, and it could seriously benefit from a shorter and more focused narrative. But the final act hits with a wallop, at times reenacting scenarios I’ve seen in far too many anxiety dreams. If the world were really ending in a few months, how would you react? What do we owe each other, as a civilization? And what will it take to protect this planet in the face of profit-seeking vampires, who would gladly risk humanity for a few more resources? Adam McKay doesn’t have any answers. But his anger is something we can all understand.

“My father also felt very proud, he relived the moment and the way Pankaj Tripathi portrayed his role was phenomenal,” Vikram continued. “The role of manager is very important in any team. He takes care of things to make it easy for sportspersons to just concentrate on the game rather than worry about day-to-day matters.”

Talking about his father, Vikram told IANS: “When he was the manager of that historic team in England, my father made sure the players didn’t get affected by any off-field issues. Nowadays, you will find a large support staff goes with the team for any major event, but my father at that time was handling everything all alone. He was the only one who went with the team with limited resources.”

And Man Singh also broke a few rules, issued by the BCCI at that time, to provide relief to players.

“WAGS (Wives and Girlfriends) were not allowed to travel with the team at that time,” Vikram recalled. “And the BCCI’s rules were really strict. The players were agitated about this, as other countries were allowing it. Just before the 1983 World Cup, Krishnamachari Srikkanth got married and his wife was there in England, but she was staying in her friend’s house.

The world cup victory is a milestone that demands a lot, on paper, from the filmmaker, of its fictional recreation on screen. Khan appears to go about things direct dil se—at times being rulebook faithful to reality, just as he takes fanciful liberties with things otherwise. Events we are certain would not have happened for real, but they fit in with Khan, and the film’s worldview. There is a conscious exercise to not be that perfect, brilliant, classic sports film but one that consciously packs in liberal doses of humour and a solid emotional wallop, however broad be the brushstrokes or simplistic be the stirrings. You flow along with even the most cringe expressions of nationalism: “Azaadi to jeet gaye, izzat jeetna baaki hai (We have won the independence but not the self-respect and dignity as yet).” You allow yourself to be emotionally manipulated with the blood on shirt and seven stitches of Dileep Vengsarkar in the face of the hostile short-pitched bowling from West Indies pacers. The suddenly friendly Pakistan on the border on the day of the finals and a woman in labour at the fall of the ninth West Indian wicket—you smirk, smile and willingly suspend your disbelief.

There is a spontaneous intimacy that gets fostered between the audience and Jimmy, Kaps, Humphreys, Jimpa, Madipa et al on screen. The actors do not entirely look or behave like the real-life heroes of the game, but it frees them from the shackles of mimicry to own the characters other ways. Ranveer Singh with the toothy grin and open face of Kapil Dev leads from the front with commitment and aplomb and talks with his eyes. Other team members also get defined in their own way, with Saqib Saleem as Mohinder Amarnath, Jiiva as Kris Srikkanth and Jatin Sarna as the belching Yashpal Sharma stealing the golden moments of the film. Wish there was some more of the Gavaskar and the supposed tension though. And then there are these sweet touches, of Mohinder Amarnath stepping in, in the role of his father, Lala Amarnath. Real Kapil Dev (not as himself) cheering on the reel Kapil Dev on screen and a tiny Sachin Tendulkar getting inspired to play the game.

Here’s how you know things are getting bad with the coronavirus again: when massive movie studios start pushing back their films instead of attempting to make as much money as possible as quickly as possible. It’s not for the audience’s safety, of course—it’s for the box office’s safety, in that by postponing the film to a later date, it will generate more ticket sales than it would on its original date. And the first major movie to be delayed is the fourth outing of the world-class assassin and noted dog-lover John Wick.

John Wick 4 will now premiere on March 24, 2023, instead of May 27, 2022, as was planned after Lionsgate delayed the movie from its original date, May 21, 2021, because of the coronavirus and Reeves’ commitments to shooting The Matrix: Resurrections (which coincidentally happens to be out today, December 22, on HBO Max and in theaters).

At least we got a fun little video to announce the new release date. Here:

You’ll note a placard reading “Anderson, T.” is being removed from the Top Bounties board, a clear nod to Tom Anderson, Keanu’s character from The Matrix movies (you might better know him as Neo). Let us know in the comments if you spot anything else.

In addition to Reeves, Ian McShane, Lance Reddick, and Laurence Fishburne are all reprising their roles as Winston, Charon, and the Bowery King, respectively, for John Wick 4. They’ll be joined by newcomers to the franchise Donnie Yen (Rogue One), Hiroyuki Sanada (Mortal Kombat), Bill Skarsgård (It: Chapters One and Two), Shamier Anderson (Wynonna Earp), Scott Adkins (the Undisputed movies), and Clancy Brown (who’s in everything); it also features the film debut of the Japanese-born, English-raised, pop star/model Rina Sawayama as Akira.

Wondering where our RSS feed went? You can pick the new up one here.

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First Look at Baz Luhrmann’s 2022 Elvis Movie Starring Austin Butler

by Alex Billington
November 16, 2021
Source: Twitter

Time for a first look at the upcoming Elvis movie! Director Baz Luhrmann tweeted out a very short teaser video with barely 15 seconds of footage of the new Elvis Presley movie he’s working on. It was supposed to open this year, but they delayed it due to the pandemic and now it’s scheduled for release in June 2022 next summer. “Made a little something to let you good people know we are taking care of business on June 24, 2022,” he tweeted. The film chronicles the life and career of rock-and-roll legend Elvis Presley, starring Austin Butler (from Yoga Hosers, The Dead Don’t Die, Once Upon a Time in Hollywood, “The Shannara Chronicles”) as the musician. The massive cast includes Tom Hanks as Col. Tom Parker, Luke Bracey, Kodi Smit-McPhee, Dacre Montgomery, David Wenham, Richard Roxburgh, Kate Mulvany, Elizabeth Cullen, Natasha Bassett, with Kelvin Harrison Jr. as B.B. King, and Olivia DeJonge as Priscilla Presley. The two shots of Elvis are from behind, so there’s not much to see, but this is a good tease. I’m certainly curious to see more from this. The “TCB” at the end is a reference to Presley’s band’s name “Taking Care of Business” during their concert tour in 1969 – maybe that’s what the movie will be titled, too?

Here’s the first look teaser footage for Baz Luhrmann’s Elvis movie, from YouTube (originally via Twitter):

Set against an evolving cultural landscape and loss of innocence in America, Baz Luhrmann’s upcoming Elvis movie covers the rock legend’s growth from dirt-poor singer to global icon, seen through the prism of his complex relationship over two decades with manager Colonel Tom Parker (played by Tom Hanks). Presley reached a level of stardom matched only by the Beatles before his death in 1977 at the age of 42. This currently untitled Elvis Presley project, formerly known as Kat King or also just Elvis, is directed by acclaimed Australian filmmaker Baz Luhrmann, director of the movies Strictly Ballroom, Romeo + Juliet, Moulin Rouge!, Australia, and The Great Gatsby previously. The screenplay is written by Sam Bromell, Baz Luhrmann, and Craig Pearce. Produced by Gail Berman, Catherine Martin, Patrick McCormick, Andrew Mittman, Schuyler Weiss, and Baz Luhrmann. Warner Bros is now ready to debut Luhrmann’s Elvis movie in theaters everywhere starting on June 24th, 2022 coming up next summer. First impression? Who’s in?

Find more posts: To Watch, Trailer

New Trailer for Hong Kong Biopic ‘Anita’ About ‘Queen of Canto Pop’

by Alex Billington
November 8, 2021
Source: YouTube

“Ten years of hard work to perfect three minutes on stage, right?” CMC Pictures has unveiled an official trailer for a biopic drama titled Anita, from Hong Kong filmmaker Lok Man Leung. This recently premiered as the Closing Night film at the Busan Film Festival in Korea, and is opening in theaters worldwide later this week (on November 12th). The film traces the life of Anita Mui, Hong Kong’s “disappeared” Cantopop star. The film opens with her final concert and looks back on her life and legacy. The very definition of a cultural icon during Hong Kong’s golden age, Anita dedicated almost her whole life to music. Behind stardom, her personal life, passion at work and the love for friends made her an irreplaceable role model as the “Queen of Cantopop”. Starring Louise Wong as Anita. This looks like everything you’d expect from a popstar biopic.

Here’s the main international trailer (+ poster) for Lok Man Leung’s film Anita, direct from YouTube:

A household name in Hong Kong, queen of Canto pop, Anita Mui was the very definition of a cultural icon during Hong Kong’s golden age in the eighties and nineties. With a career that began at the age of 4 in an amusement park, Mui dedicated almost her whole life to music. Behind stardom, her personal life, passion at work and the love for friends made her an irreplaceable role model of “The Daughter of Hong Kong”. Anita, originally known as 梅艷芳 in Cantonese, is directed by Hong Kong filmmaker Lok Man Leung (aka Longman Leung), director of the films Cold War, Helios, and Cold War II previously (and Cold War III coming up next). The screenplay is written by Lok Man Leung and Wai Lun Ng. Produced by Ivy Ho and Wai-But Tang. This initially premiered at the 2021 Busan Film Festival this year. CMC Pictures will debut Anita in theaters worldwide (including US Canada) starting November 12th, 2021 this fall. Look good?

Find more posts: Foreign Film, To Watch, Trailer