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The Guardian - Culture: Film Edit Unfollow A view to a killing: how Amazon will exploit Bond and other MGM classics by Mark Sweney May 29, 2021 The pay-TV giant has the chance to turn popular films into ‘universes’ of stories – and steal a march in the content-hungry streaming wars Amazon’s $8.5bn deal to buy MGM, the Hollywood studio behind James Bond, The Handmaid’s Tale and Gone With the Wind, has secured it the rights to a century’s worth of TV and film titles that the streaming giant intends to exploit with a wave of remakes, reimaginings and spin-offs. The deal to buy the 97-year-old Metro-Goldwyn-Mayer, which has an immense library of 4,000 film titles and 17,000 hours of TV programming, is designed to supercharge Amazon’s content pipeline, which is the lifeblood of any competitor in the global battle for streaming supremacy. Continue reading... Continue Reading Save Share Cruella review – Emma Stone is a joy as the refashioned supervillain by Simran Hans May 29, 2021 101 Dalmatians’s Cruella de Vil gets an origin story, with a sneering Emma Stone, an icy Emma Thompson – and clothes to die for In 1996’s 101 Dalmatians, Glenn Close’s gleefully unhinged performance as a puppy-skinning fashion designer riffed on older audience members’ prior knowledge of the actor as a “bunny boiler” in Fatal Attraction. Emma Stone’s Cruella de Vil is much more grounded and thus not as camp, a supervillain with a believable backstory – born Estella, bullied by boys at school and established as a maverick who’s always refused to “follow the pattern” (as her single mother puts it) in both dressmaking and in life. Set in 1970s London against a backdrop of the emerging punk scene, this playful prequel by Craig Gillespie (I, Tonya) is a fine feat of world-building. Like Phantom Thread or Marie Antoinette, it’s also an excellent fashion film, playing on the myth of the egocentric, detail-oriented genius. One of its main narrative threads involves Estella’s apprenticeship at, and eventual sabotage of, a couture fashion house headed by an icy narcissist named The Baroness (Emma Thompson, exuding Meryl Streep’s energy in The Devil Wears Prada). Fashion enthusiasts may also draw connections between the House of Baroness’s sculptural, Dior-esque gowns and Estella’s Alexander McQueen-influenced lace and leather looks (McQueen, of course, succeeded John Galliano at Givenchy in the 90s when the latter moved to Dior). There is even a reference to McQueen’s 2011 monarch butterfly dress. Continue reading... Continue Reading Save Share

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