Forty years after This Is Spinal Tap redefined the mockumentary, Nigel Tufnel, David St Hubbins and Derek Smalls are back. Spinal Tap II: The End Continues hits cinemas tonight, promising one last encore for the world’s ‘loudest band’. But does the sequel live up to the legend, or should the amps have stayed unplugged? Is the new Spinal Tap film any good? Critics in the UK and US are divided.

Sigh. I loved the first Spinal Tap film. Launched in the ‘80s when I was young and had the brain space to remember endless lines of script, I watched and re-watched it, joyously engaging in shouting dialogue in the pub with my friends. It was a work of genius.

So I’ve been anxious about this sequel. Even more so when I saw the trailers and promo shots. I was also worried that it might not be as good as the first one. Things rarely are (with a very few notable exceptions – Godfather II, Dark Knight, Terminator 2…). So maybe it was a subconscious block when I was invited to preview screenings and found I couldn’t get there. I think I was just too wary of heartbreak.

But braver souls than me got there, and so in a cowardly fashion, here is a little roundup of the best and the worst of the reviews. You will go and watch it, I’m sure, and make up your own mind. I expect I will too, now. See what you think anyway…

A warmish welcome – with caveats

Christopher Guest, Harry Shearer, and Michael McKean in Bleecker Street’s SPINAL TAP II. Credit: Bleecker Street / Kyle Kaplan

The (fairly threadbare) storyline here is that the Tap are essentially forced to reunite when Hope Faith (Kerry Godliman), daughter of their late manager Ian Faith (originally played by Tony Hendra, who died in 2021), uncovers a clause in their contract demanding one final performance. Spinal Tap are forced to play one final gig to honour the terms of the contract, and so in the immortal words of Jake Blues, ‘We’re getting the band back together.’

From the get-go, many reviews acknowledge the nostalgic pleasure of seeing ‘the Tap’ together again – albeit with reservations. Christopher Guest, Michael McKean, and Harry Shearer are here, still bickering and blundering with deadpan delivery. The Guardian called the film “affectionately melancholy,” noting that “there’s a sadness underpinning the comedy, as these once-wild rock gods face down mortality with the same lack of self-awareness that once made them funny.”

The Financial Times was more upbeat, praising the film’s commitment to giving fans what they want. “There are moments of comic gold,” its review declared, “and the band’s chemistry is still a joy to watch. It may not break new ground, but it plays the hits well.”

Cameos also provided a boost. Paul McCartney’s brief turn has been widely mentioned, as have appearances from Elton John and Garth Brooks. “McCartney almost walks away with the film,” said the FT, “his deadpan contribution reminding you why these films work best when reality and parody collide.”

Paul McCartney, Christopher Guest, Harry Shearer, and Michael McKean in Bleecker Street’s SPINAL TAP II. Credit: Bleecker Street / Kyle Kaplan

But the problems pile up

Yet for every chuckle, several reviewers found themselves cringing. The Independent was scathing: “Spinal Tap II is startlingly unfunny… a film that confuses affection with inspiration. The jokes are fewer, the timing worse, and the nostalgia feels like a hollow excuse.”

Empire was just as damning. Its verdict? “As unfunny as the original was funny.” The magazine lamented a lack of sharpness, describing the film as “a limp setlist of reheated gags and sketch-like scenes that never quite build into a song.”

The Associated Press echoes the frustration, criticising the film’s pacing. “Scenes drag on long past the punchline,” its reviewer wrote. “What was once quickfire wit now feels sluggish, as though everyone is waiting for the laugh track that never comes.”

Older men, even older jokes

One of the biggest sticking points is the reliance on callbacks. The Stonehenge gag reappears, as do nods to exploding drummers, and amps that go up to eleven. Some critics found this reassuring. Others rolled their eyes.

“The film leans so hard on nostalgia it topples over,” wrote the Independent. “It’s less a sequel than a scrapbook, recycling lines and situations with the weary air of a band forced to play their biggest hit night after night.”

Yet for some, that’s the point. The Guardian suggested the repetition had an unexpected poignancy: “They are trapped in their past, still defined by the same ridiculousness. That makes the comedy bittersweet – a reminder that the world moved on, even if Tap didn’t.”

Ageing rockers, ageing jokes

Perhaps inevitably, much of the humour now centres on the band’s advancing years. Smalls runs a glue museum, St Hubbins writes jingles for a true-crime podcast, and Tufnel runs a cheese shop – which surely has to be a nod/dig at Alex James from Blur?! These sketches earned chuckles from some reviewers, groans from others.

Christopher Guest as Nigel Tufnel / Bleecker Street

The FT argued they “land with just enough wit to keep the film alive,” while AP felt they “play like Saturday Night Live leftovers.”

Still, the film’s reflection on ageing struck a chord in places. The Guardian noted: “The moments where the band face their mortality head-on, however absurdly, are the most affecting. The film may not be consistently funny, but it has a heart.”

Critical consensus? A middling encore

So where does that leave the verdict? On Rotten Tomatoes the film sits at around 73%, suggesting audiences and critics alike are lukewarm but not hostile. For die-hard fans, it’s a chance to spend more time with beloved characters. For others, it’s a reminder that lightning rarely strikes twice.

The Guardian summed it up best: “It’s not as funny, not as sharp, and nowhere near as groundbreaking – but it still manages to strum a chord of nostalgia and pathos.” Empire, by contrast, dismissed it outright: “Spinal Tap II is a sequel that turns down the comedy, leaving only the feedback.”

In the end, Spinal Tap II may be judged less as a film and more as a reunion tour. For those who once memorised every line of the original, like me, the sight of Guest, McKean and Shearer back in costume may be enough. For everyone else, this might be one comeback gig best caught when it hits the small screen.

TLDR; Critics on Spinal Tap II – the best and the worst

The Guardian

“Affectionately melancholy… there’s a sadness underpinning the comedy, as these once-wild rock gods face down mortality with the same lack of self-awareness that once made them funny.”

The Independent

“Startlingly unfunny… the nostalgia feels like a hollow excuse.”

Empire

“As unfunny as the original was funny… a limp setlist of reheated gags.”

Financial Times

“There are moments of comic gold… the band’s chemistry is still a joy to watch.”

Associated Press

“Scenes drag on long past the punchline… what was once quickfire wit now feels sluggish.”

Rotten Tomatoes (critics’ score ~73%)

“Not as funny, not as sharp, and nowhere near as groundbreaking – but it still strums a chord of nostalgia and pathos.”

Watch the trailers etc

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post The new Spinal Tap film. Is it any good? appeared first on Silver Magazine.

The simmering resentments, the unspoken rivalries, the caustic one-liners that only two people who once adored each other could ever inflict. The Roses, opening in cinemas this weekend, captures all of that – only louder, sharper, and with a lot more collateral damage.

Directed by Jay Roach (Bombshell, Meet the Parents), the film pairs Benedict Cumberbatch and Olivia Colman on screen for the first time, playing Theo and Ivy Rose. At first glance, theirs is a charmed life: two successful careers, a seemingly solid marriage, children, and a dream home.

But then Theo’s architectural career implodes. He’s on the verge of fame with a high-profile nautical museum in San Francisco, but on the day of its unveiling, a storm hits. The building collapses due to a structural flaw, instantly ruining his reputation.

To make it worse, the same storm reroutes traffic to Ivy’s seafood restaurant, where a prominent critic happens to dine. Her career takes off overnight, just as his falls apart.

As Ivy’s culinary success and ambitions soar, that picture-perfect façade fractures. What begins as witty sparring escalates into full-blown emotional combat.

It’s a modern reimagining of Warren Adler’s novel and the 1989 black comedy The War of the Roses. But this version, scripted by Tony McNamara (The Favourite, Poor Things), digs into contemporary pressures: ambition, perfectionism, social media success, and the capitalist grind pulling couples apart.

“Real life, only turned up”

Director Jay Roach is clear about what drew him to the project. “The tone is unique, it’s basically real life,” he explains. “I often use humour to navigate tough moments, and I think people in relationships who can joke and tease their way through awkward situations show signs of a healthy bond. But this film explores how that love language can turn from teasing to outright attack – and sometimes, it’s hard to tell the difference.”

That grey area – when affection mutates into cruelty – is something McNamara’s script skewers with savage wit. Cumberbatch loved it from the outset. “This is a laugh-out-loud script, filled with bad behaviour,” he says. “It’s so much fun, so inventive and so witty.”

Colman agrees. “Tony is so good at doing proper hilarity that you forget there’s also this intense emotion in there. He sprinkles it in, and it breaks your heart.”

Olivia Colman and Benedict Cumberbatch in The Roses. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

Theo and Ivy: recognisable, messy, real

Cumberbatch sees Theo and Ivy as characters audiences will immediately recognise. “As a couple, they are very identifiable,” he says. “This film will have something recognisable in it for everybody, whatever stage their relationship is at. Hopefully not too much, though. This is a cautionary tale at the end of the day.”

For Colman, Ivy was a joy to play. “Ivy Rose is ace; she’s quite a free spirit. She’s a chef, she’s funny, passionate, loving, a good mum. When Ivy and Theo meet, it’s explosive. Then they have children, and it all goes a bit wrong. Both Ivy and Theo are brilliant at what they do, but it’s hard for them to find a balance between their careers and family life.”

Theo, meanwhile, is as magnetic as he is flawed. “I love his directness,” Cumberbatch says. “He knows what he wants and goes for it. Some of those decisions are devastating, some heartbreaking, some funny. At times he’s his own worst enemy. He gets lost in retribution and in his emotional state and can’t see the other people involved. He’s just not that self-aware.”

In short, they’re the sort of couple you might admire across the dinner table – until you realise their witty banter is really a declaration of war.

Olivia Colman and Benedict Cumberbatch in THE ROSES. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

Fun hating each other

What makes The Roses irresistible is not just the script but the pairing of its two stars. Although Cumberbatch and Colman have been friends for years, this is their first project together. And both threw themselves into the escalating venom with relish.

“I think really it’s because in this film she gets to be the very worst version of Olivia Colman there could ever be,” Cumberbatch says. “And I’ve relished watching her do it.”

Colman agrees. “Yes, it has been lots of fun, hating each other. There’s something rather therapeutic about getting to be utterly horrible to someone, and then having a good laugh about it later.”

Their chemistry on set was instant. Writer Tony McNamara recalls the first day of shooting: “In their first scene, we were like, ‘Oh my God, they feel like they’ve been married for so long.’ They had such a connection and rhythm. It felt incredible.”

Even the crew found themselves divided in their loyalties. Producer Michelle Graham recalls: “It was fascinating to see who related to Theo or Ivy at various stages of the story.”

A Gen X cautionary tale

For those of us who came of age in the late 80s and 90s – who maybe watched the original War of the Roses with both horror and fascination – this new version feels more relatable. McNamara points out that the pressures on modern couples are different. “Today’s world is different… ambition, desire for perfection, individualism, and the capitalist system pull people apart. It’s not great for a happy marriage.”

That’s the sting in the comedy: the very real challenge of holding a relationship together while careers, kids, and self-image all compete for space. As Colman puts it, “Both Ivy and Theo are brilliant at what they do. But it’s hard for them to find a balance between their careers and family life.”

And as McNamara notes, the story works because it doesn’t let either character off the hook. “I want people to root for Theo and Ivy to be together but recognise how difficult that is. I don’t think as an audience you want them to suddenly be nice to each other.”

Why it matters now

By the end, audiences may laugh, wince, and perhaps eyeball their partners a little too knowingly. Roach hopes the film prompts reflection. “I hope this film causes every person watching it to turn to their partner and say, ‘Wow, we need to talk honestly and drop the surface stuff, because if we don’t, we might misunderstand each other.’”

For Cumberbatch, the takeaway is simpler: “This is a cautionary tale.”

For Colman: “It’s about human mess in all its glory.”

And for married couples watching, perhaps the most sobering recognition is that the line between playful banter and destructive warfare is a lot thinner than we’d like to admit.

The Roses
In cinemas from 29 August 2025

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post The Roses: when love turns into warfare appeared first on Silver Magazine.

From fighter jets to Formula 1, makers of Top Gun: Maverick director Joseph Kosinski and producer Jerry Bruckheimer are once again putting audiences in the driver’s seat. Designed specifically for IMAX, F1: The Movie offers an unprecedented, immersive racing experience.  

Shot during actual live F1 races and enriched by the expertise of Lewis Hamilton as producer, this groundbreaking film captures the speed, danger, and drama of motorsport like never before. Take it from us. You are RIGHT there in the driving seat, literally and figuratively. 

We sent along F1 fan and aficionado Emily Tate to the premiere to check out the film before it hits the theatres. Here’s everything you need to know, from the first lap to the checkered flag. But first, a word from Brad.

A scene from Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release.

A (Brad) Pitt-stop 

The A-list cast from F1: The Movie has certainly revved-up expectations. Star of Fight Club, Inglorious Bastards and Bullet Train, Brad Pitt is no stranger to an action film. Speaking about F1: The Movie, Pitt share his awe at driving real F1 cars. 

“I still don’t know how we got away with it,” he said about how he, alongside producer Jerry Bruckheimer and director Joseph Kosinski, made what Pitt called “the most visceral driving experience that’s ever been put on film.”

And what they got away with was putting Pitt and his fellow actor Damson Idris into professional race cars and filming them at top speeds. “The forces in these cars, the high-speed corners, the physics of it all want to rip your head from your shoulders,” says Pitt. “It’s shocking what these cars can do. And it’s a high unlike any high I’ve ever experienced before. We just couldn’t capture it any other way.”

Brad Pitt as Sonny Hayes in Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo by Scott Garfield Courtesy Warner Bros. Pictures / Apple Original Films

Joseph Kosinski and Brad Pitt on the set of Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo by Scott Garfield. Courtesy Warner Bros Pictures / Apple Original Films

It’s a film that will appeal to everyone, not just F1 fans…

Pitt says that the magic of the movie is the way it will appeal equally to longtime fans of the sport and to anyone who’s never even heard of Formula 1. “Threading that needle was the biggest challenge. But I think we’ve done that; made it enlightening enough and understandable for newcomers without dumbing it down for ultra fans. It’s funny, it’s aggressive, it’s driving, and it’s surprisingly heartwarming. I love all these characters. I think this film is so damn entertaining on so many levels.”

Joining Pitt is Damson Idris as his teammate-come-rival Joshua Pearce. Poised as one of Hollywood’s most dynamic rising stars, you may recognise him from his role as drug kingpin Franklin Saint in FX’s Snowfall. Or from his roles in Black Mirror and Swarm.

Pursuing something more adrenaline-driven, Idris has always hankered after a heart-stopping physical opportunity like this film. Speaking to GQ recently, Idris says, “I said I wanted to play an athlete and along came F1.” Later, discussing the film in an interview with the NME he adds, “It’s relatable for people who aren’t even F1 fans because it’s not only about being an underdog, but about being given a second chance. That’s something everyone deserves.” 

DAMSON IDRIS as Joshua Pearce in Apple Original Films’ “F1® The Movie,” a Warner Bros movie. Photo by Scott Garfield Courtesy Warner Bros. Pictures / Apple Original Films

Rounding out the star-studded crew (and offering the only strong female character in the whole show) is Kerry Condon, most recently from Star Wars: Skeleton Crew. And Javier Barden, who played a key role in the viral and critically acclaimed series Monsters: The Lyle and Erik Menendez Story. Capping this all off is Game of Thrones star, Tobias Menzies. 

Read more: You’re never too old, and it’s never too late

The premiere – our take on the film 

We asked Emily to attend this exclusive event for us because she’s an experienced F1 fan who’s worked in live events for years. She’s spent a lot of time at F1 tracks, and knows what’s she’s talking about. So, what did she think? 

“From what I had heard and seen I had a feeling it would be very different to any sport-based film I’d seen before, as it had been filmed so closely alongside the actual sport,” she says. “I thought it would give a good insight behind the scenes of Formula One. 

“I think the film felt amazingly immersive. Not just like being in an F1 car, but also the real-life races and racing environment. I loved that the film included real-time F1 drivers, team principals, broadcasters, and press.”

“I was also pleasantly surprised with the humour and comedy elements that were brought into it. You really felt as though you were almost watching a documentary or someone’s real life.” 

The film seems very male-oriented. In fact, most of the characters throughout are male. Is it just a lot of dick-waving macho behaviour, or is there more to it? 

“Kerry Condon, who played the first female engineer, really showed the strength that women in F1 actually have. It’s obviously a very male dominated sport, but her character really represented a strong and intelligent woman in a role that would have stereotypically been seen as a male role. 

(l-r) Kerry Condon as Kate and Kim Bodnia as Kaspar in Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures / Apple Original Films

“I think Brad Pitt and Damson Idris were brilliant. Damson really stood out, and I think you could pick up the influence that Lewis Hamilton has had on the film. Maybe how he may have felt at the start of his own career as a young black, British F1 rookie.” 

Let’s talk about the driving scenes… 

“These were amazing and something I’ve never seen done so well in a movie before. Both drivers actually drove the cars in the film during live races. And you really felt as if you were in the car with them. Because the races were shot during real race weekends with the current drivers it felt very current, and very real! 

“It’s also something that true-blue F1 fans will love. There are so many references to in-jokes within the sport circles. There’s a lot of the real team owners, principals and drivers in it too, so you get to see the sport from so many different angles.” 

A scene from Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures / Apple Original Films

The storyline is perhaps inevitably secondary to the incredible tech and visual experience that the film offers. And to be fair, it’s not exactly a plot that will have anyone scratching their heads to understand. Without giving away too many spoilers: 

“The storyline about the team being the underdog and the outcome of the races felt very predictable, until the final race comes around where it is touch and go, and you don’t know what might happen. I won’t say any more than that! 

“With the romance plot (there is one!), again because this did feel completely predictable. But I think it worked well within the overall story line so that it wasn’t just about the racing.” 

And so, any final words?  

“You could definitely feel the influence of Lewis in this film heavily. From how the drivers would interact with each other, how strategy meetings are led, how everyone interacts in the team garage to everything that goes on back at the teams HQ it just felt very real.”  

“Everyone and anyone will enjoy this film. It’s not an intellectual challenge, but equally, you really don’t have to be an F1 fan to enjoy it.” 

What do the critics say? 

So far, F1: The Movie has received glowing reviews:

• IMDb: 7.9/10
• Rotten Tomatoes: 88%
• Common Sense Media: 4/5
• The Guardian: ★★★★ – “Spectacular macho melodrama”

The consensus? F1: The Movie is ‘fresh’ and ‘fast-paced’. It delivers the emotional punch of an underdog story with the high-octane thrills of a live Grand Prix. Whether you’re a racing diehard or a total newcomer, this film puts you right on the track – and doesn’t ease off the gas.

F1: The Movie in UK cinemas from 25 June 2025.
F1: The Movie official website

Emma Cruickshank

Emma is a literature, TV, and film enthusiast. When she’s not writing, she can normally be found out in the Sussex countryside, walking her dog Herbie, or in a restaurant drinking an overpriced cocktail and dreaming up ideas for her next literary endeavour.

The post Brad Pitt on F1: The Movie and our review  appeared first on Silver Magazine.

The Crawleys are returning for one last bow in Downton Abbey: The Grand Finale, the third and final film in the beloved franchise, due to hit UK cinemas on 12 September. And if the newly released trailer is anything to go by, fans can expect high drama, big emotions, and a suitably lavish send-off.

Set in 1930, The Grand Finale picks up with Lady Mary (Michelle Dockery) stepping boldly into London society, where she’s faced with the glare of the press, and possibly a new way of life. Meanwhile, Lord and Lady Grantham (Hugh Bonneville and Elizabeth McGovern) remain at the helm of the Yorkshire estate, quietly grappling with the changes time and progress have wrought.

Fifteen years on from the original ITV series that captured hearts across the world, this final chapter brings the curtain down on one of the most enduring British television sagas of our time. Writer and creator Julian Fellowes returns once more, with Simon Curtis, who directed Downton Abbey: A New Era, back in the director’s chair.

And they’ve brought the full family along

(L to R) Raquel Cassidy stars as Miss Baxter, Kevin Doyle as Mr. Molesley, Sophie McShera as Daisy Parker, Phyllis Logan as Mrs. Hughes, Lesley Nicol as Mrs. Patmore, Jim Carter as Mr. Carson, Brendan Coyle as Mr. Bates and Joanne Froggatt as Anna Bates in DOWNTON ABBEY: The Grand Finale, a Focus Features release. Credit: Rory Mulvey / © 2025 FOCUS FEATURES LLC

Familiar faces abound, from Jim Carter’s steadfast Mr Carson to Joanne Froggatt’s resilient Anna. Brendan Coyle, Phyllis Logan, Penelope Wilton, and Laura Carmichael are all back in their iconic roles, while new names, including Joely Richardson, Alessandro Nivola, and Simon Russell Beale, promise to stir things up. Dominic West also reprises his role as the dashing silent film star Guy Dexter, adding a touch of silver screen sparkle.

Read more: A close look at Jilly Cooper’s Rivals

But one absence will be deeply felt

Dame Maggie Smith, who played the formidable Dowager Countess Violet Crawley, passed away in 2024. Though her character’s death was written into the second film, The Grand Finale is the first release since her passing — and all signs suggest the production is set to honour her legacy. A touching moment in the trailer shows Lady Mary gazing at a portrait of her late grandmother, suggesting a farewell that will be as poignant as it is grand.

There’s going to be no shortage of classic Downton flair in this last outing. The trailer teases a family trip to the races, glittering balls, and all the old-world glamour that fans have come to love. There are vintage motors, sweeping staircases, and of course fashions to die for. But amid the elegance, hints of change are everywhere. In one shot, Lady Mary walks through what might be a London flat – a departure from her palatial upbringing, and perhaps a nod to the future of the Crawley family.

Highclere Castle – the real-life family seat of the Earl and Countess of Carnarvon – once again stars as Downton itself. For Lady Carnarvon, who opens her home each summer to the cast and crew, the series’ success has always come down to one thing: authenticity. “It was actually built as a home,” she says in a piece for Tatler. “Not like Blenheim or Chatsworth… it was built around the sense of family.”

There’s a quiet poetry in that

Because Downton Abbey, for all its aristocratic trappings, has always been a story about family; found, chosen, and inherited. As the final chapter approaches, it seems fitting that the last image released shows Lady Mary walking away, scarlet gown trailing, casting one last glance back. A signal, perhaps, that it’s time for all of us to do the same.

Downton Abbey: The Grand Finale will be released in UK cinemas on 12 September 2025.

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post Downton Abbey bids a final farewell with “The Grand Finale” appeared first on Silver Magazine.

There are a number of films it was inevitable we were going to see listed in several categories, such as Barbie, Oppenheimer, Poor Things, and Killers of the Flower Moon. Here’s the full list of Oscars nominations for 2024, it all its glory.

A huge congratulations to all the nominees. We’ll be excited to watch this event unfold, as always. The 96th Academy Awards will air live on ABC on Sunday, 10th March 2024.

Read our interview with Michelle Yeoh, Brendan Fraser, Jamie Lee Curtis, and Ke Huy Kuan from backstage at the 2023 Oscars

Best picture

• American Fiction
• Anatomy of a Fall
• Barbie
• The Holdovers
• Killers of the Flower Moon
• Maestro
• Oppenheimer
• Past Lives
• Poor Things
• The Zone of Interest

Best actress

• Annette Bening – Nyad
• Lily Gladstone – Killers of the Flower Moon
• Sandra Huller – Anatomy of a Fall
• Carey Mulligan – Maestro
• Emma Stone – Poor Things

Best supporting actress

• Emily Blunt – Oppenheimer
• Danielle Brooks – The Color Purple
• America Ferrera – Barbie
• Jodie Foster – Nyad
• Da’Vine Joy Randolph – The Holdovers

Best actor

• Bradley Cooper – Maestro
• Colman Domingo – Rustin
• Paul Giamatti – The Holdovers
• Cillian Murphy – Oppenheimer
• Jeffrey Wright – American Fiction

Best supporting actor

• Sterling K Brown – American Fiction
• Robert De Niro – Killers of the Flower Moon
• Robert Downey Jr – Oppenheimer
• Ryan Gosling – Barbie
• Mark Ruffalo – Poor Things

Best director

• Anatomy of a Fall – Justine Triet
• Killers of the Flower Moon – Martin Scorsese
• Oppenheimer – Christopher Nolan
• Poor Things – Yorgos Lanthimos
• The Zone of Interest – Jonathan Glazer

Best adapted screenplay

• American Fiction
• Barbie
• Oppenheimer
• Poor Things
• The Zone of Interest

Best original screenplay

• Anatomy of a Fall
• The Holdovers
• Maestro
• May December
• Past Lives

Best original song

• The Fire Inside – Flamin’ Hot (Diane Warren)
• I’m Just Ken – Barbie (Mark Ronson, Andrew Wyatt)
• It Never Went Away – American Symphony (Jon Batiste, Dan Wilson)
• Wahzhazhe (A Song For My People) – Killers of the Flower Moon (Scott George)
• What Was I Made For? – Barbie (Billie Eilish, Finneas O’Connell)

Best original score

• American Fiction
• Indiana Jones and the Dial of Destiny
• Killers of the Flower Moon
• Oppenheimer
• Poor Things

Best international feature

• Io Capitano
• Perfect Days
• Society of the Snow
• The Teachers’ Lounge
• The Zone of Interest

Best animated feature

• The Boy and the Heron
• Elemental
• Nimona
• Robot Dreams
• Spider-Man: Across the Spider-Verse

Best documentary feature

• Bobi Wine: The People’s President
• The Eternal Memory
• Four Daughters
• To Kill a Tiger
• 20 Days in Mariupol

Best costume design

• Barbie
• Killers of the Flower Moon
• Napoleon
• Oppenheimer
• Poor Things

Best make-up and hairstyling

• Golda
• Maestro
• Oppenheimer
• Poor Things
• Society of the Snow

Best production design

• Barbie
• Killers of the Flower Moon
• Napoleon
• Oppenheimer
• Poor Things

Best sound

• The Creator
• Maestro
• Mission: Impossible – Dead Reckoning Part One
• Oppenheimer
• The Zone of Interest

Best film editing

• Anatomy of a Fall
• The Holdovers
• Killers of the Flower Moon
• Oppenheimer
• Poor Things

Best cinematography

• El Conde
• Killers of the Flower Moon
• Maestro
• Oppenheimer
• Poor Things

Best visual effects

• The Creator
• Godzilla Minus One
• Guardians of the Galaxy Vol. 3
• Mission: Impossible – Dead Reckoning Part One
• Napoleon

Best live action short

• The After
• Invincible
• Knight of Fortune
• Red, White and Blue
• The Wonderful Story of Henry Sugar

Best animated short

• Letter to a Pig
• Ninety-Five Senses
• Our Uniform
• Pachyderme
• War Is Over! Inspired by the Music of John & Yoko

Best documentary short

• The ABCs of Book Banning
• The Barber of Little Rock
• Island In Between
• The Last Repair Shop
• Nǎi Nai and Wài Pó

Read the Academy digital magazine

silvermagazine

If you’d like to receive a regular mini-magazine direct to your inbox with a selection of editorial features to read at your leisure, please sign up for our newsletter. We also run the odd competition and offer and whatnot, and newsletter members get the heads-up first.

The post The full list of Oscars nominations for 2024 appeared first on Silver Magazine.

Not going out? Can’t hack the jump scares of a traditional horror film? You can still mark the season and get into the Halloween spirit with one of these Halloween films that aren’t scary.

Place your bets now as to how many Tim Burton movies made it onto the list…

Beetlejuice (1988)

First Tim Burton film up on the list. A new born ghost couple seek ‘bio-exorcist’ Beetlejuice’s help to scare off the new occupants of their house.

Corpse Bride (2005)

Tim Burton’s stop-motion spooky story following groom Victor, who stumbles upon the corpse bride Emily, who’s desperate for love.

The Addams Family (1991)

Follow the much-loved kooky characters, and a plot to steal their wealth.

Addams Family Values (1993)

A sequel well worth the watch. This one features Wednesday getting up to her own tricks at summer camp.

Practical Magic (1998)

Witch sisters, played by Sandra Bullock and Nicole Kidman, deal with a curse on their family that dooms any man whom the witches fall for.

Ghostbusters (1984)

It’s a classic for a reason. 

Little Shop of Horrors (1986)

Musical comedy of a florist who finds a carnivorous plant that thirsts for human blood, and pressures it’s keeper into committing some less than favourable acts…

Roald Dahl’s The Witches (2020)

A remake of The Witches, starring Anne Hathaway. An orphaned boy has to find a way to stop the child-hating witches who’ve arrived in town, all whilst scampering around as a mouse.

Zombieland (2009)

Comedy set in a newly Zombie infested America. Learn college student Columbus’ (Jesse Eisenberg) rules for staying alive in Zombieland.

Dark Shadows (2012)

Another Tim Burton but with more of a comedy feel. Barnabas is cursed by a witch in 1760, turning him into a vampire. After being buried alive by the town, he awakens centuries later to find himself forced into navigating a very different world, in 1972. 

Death Becomes Her (1992)

Satirical black comedy where ageing actress, played by Meryl Streep, finds the answer to immortality in order to continue her career.

Alice in Wonderland (2010)

Rounding the list off with one last Tim Burton film. A suitably darker retelling of Alice and Wonderland, where Alice returns to wonderland as a young woman and finds herself at the centre of the war between the Red Queen and White Queen.

Alternative, if you do like a bit of a scare… 8 of the best horror films to watch this Halloween

Lana Hall

Lana can usually be found spinning her collection of records, or writing odd poems in her phone notes. Her mixer of choice is a ginger beer, and you’ll never find her away from the sea for more than a few weeks.

The post 12 Halloween films that aren’t scary (well, not too much) appeared first on Silver Magazine.

Love Bill Nighy as much as us? His latet film, Living, lands in cinemas 4 November. This adaptation of Akira Kurosawa’s classic 1952 film has received critical acclaim, following its showcase at Venice Film Festival. With many critics believing it stands up to – and beyond – the original. A bold claim indeed.

In Living, we see Bill Nighy in the role of Mr Williams. A veteran civil servant, he endeavours to live the rest of his life to the full when confronted with an unfortunate medical diagnosis. 

Nighy’s performance has been called brilliant and exceptional, in this moving and thought-provoking drama. It’s a must-see for any of you Bill Nighy fans reading. 

And, in honour of the movie opening in cinemas next month, we’re giving away 2x tickets to see Living in a UK cinema during its’ opening weekend!

If you fancy getting your hands on those tickets, enter our giveaway at the bottom of the page. 

Credit: © 2022 Lionsgate 

Exclusive sneak peak at Bill Nighy in Living

Bill Nighy gives ‘exceptional’ performance in moving film ‘Living’

Aimee Lou Wood as Margaret in ‘Living’

Aimee Lou Wood as Margarte, and Alex Sharp as Peter Wakeling

Bill Nighy and Aimee Lou Wood

Bill Nighy as Mr Williams

And Bill Nighy and Alex Sharpe

Find out more, and watch the trailer for Living here.

How to bag yourself free tickets

We have 2x tickets, for you and a friend to see Living during its opening weekend – which is 4-6 November. If you’d like the chance to win tickets, drop your details in the form below. Entries will close 31 October at 5pm. 

There’s also an opportunity to increase your chances of winning over on our Instagram account. It’s one entry, per person, per platform, so head over there after filling in the form below.

No cash alternative. T&Cs apply. Please visit our data protection page on how we handle data. Winners will be contacted via email. 

Lana Hall

Lana can usually be found spinning her collection of records, or writing odd poems in her phone notes. Her mixer of choice is a ginger beer, and you’ll never find her away from the sea for more than a few weeks.

The post Sneak peak at Bill Nighy in his new film, Living – win tickets! appeared first on Silver Magazine.

In this interview with Hollywood star Jeff Goldblum we hear more about fatherhood, his relationship with fashion, and reprising his famous character, Ian Malcolm.

Now approaching 70, the eccentric Jeff Goldblum has played numerous characters throughout his fifty-year career. Having started out on Broadway in Two Gentlemen of Verona at 19, Goldblum has transcended the impact of the average actor. Never failing to bring his unique and quirky delivery to every one of his roles, in cinema and on stage.

Other than performing in iconic films such as Independence Day, or Marvel’s Thor Ragnarok, Goldblum plays piano with his band, The Mildred Snitzer Orchestra. He spontaneously thought of the name when asked what to call the band on a jazz festival programme one year. The inspiration coming from the name of an old family friend, Mildred Snitzer.

Goldblum describes playing piano as a meditation and a discipline, which he is passing on to his two young sons. He and wife Emily encourage the boys to play every day. “It’s up to the parents, both Emily and I to kind of facilitate both their practice, they practice every day. And I think they’re doing okay.”

“I’m discovering new parts of it and seeing it in a new way through their eyes”

As well as passing on his pianist hobby, fatherhood has impacted Goldblum’s way of looking at the world. He speaks of his wild and lush back garden, that he has previously likened to that of Jurassic Park.

“I adore nature. And that backyard is a kind of physical relief and a spiritual tonic to me, for real. I love and especially now with Emily and our two boys, what we do back there, I’m discovering new parts of it and seeing it in a new way through their eyes. It’s being used more and differently and more adventurously, as you can imagine”

Not only is he an acting legend, but a fashion icon too.

Other then embodying quirky roles, or playing jazz at Glastonbury, Goldblum can be found walking the Prada runway.

The 69-year-old brought the recent Milan’s men’s’ fashion week to a close. Adorning clothes from Prada’s upcoming autumn collection, a collaboration with Belgian Designer Raf Simons. Goldblum described the clothes as “interesting and artful and creative” and said his time on the runway “was very thrilling.”

 

View this post on Instagram

 

A post shared by Prada (@prada)

Goldblum grew up going against the grain in his fashion sense, taking inspiration from Sammy Davis Jr in the 60s. He then uncovered using fashion in collaboration with acting. Using clothes in his early acting to dress to make him feel a certain way and embody a new character.

So I got interested in clothes as a creative outlet, a possibility, a creative vehicle.

“If you found the right shoes that made you walk in a certain way or made you feel a certain way or a colour that meant something to you, it could be a portal into a character discovery. So I got interested in clothes as a creative outlet, a possibility, a creative vehicle.”

But he uses fashion in more than just acting

Now, Goldblum works closely with stylist Andrew Vottero to plan his outfits for press tours, meeting up at Goldblum’s home to try on outfits, take photos and go shopping together. The two plan in advance researching tour venues to ensure Goldblum always has the right fit.

“I have this fella Andrew Vottero… we have been the last several years, have developed an approach and a system. And we got together at my house a couple of times, and he did some, you know, rang Prada and they lent us some stuff to try out. Yeah, he gets in touch so we know what kind of place, what kind of venue it seems like its going to be. We try things on, he takes some pictures… And then I wear those things. And I take a big heavy suitcase.”

So, how was it going back to the ‘Jurassic’ universe after 30 years?

(from left) Dr. Ian Malcolm (Jeff Goldblum), Ramsay Cole (Mamoudou Athie) and Lewis Dodgson (Campbell Scott) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

In the newest, and final instalment of the ‘Jurassic World’ series, Jurassic World Dominion, Goldblum is back as the irreverent mathematician Ian Malcolm, along with his co-stars from the original series, Laura Dern and Sam Neill, as Ellie Sattler and Alan Grant.

Going back to the series and working with Dern and Neill again was “like a high school reunion or something like that. It was great. I adore them both. And seeing them again was fantastic” says Goldblum. The three of them spent time sharing in the nostalgia and singing together on set in between shoots.

Goldblum shared his joy of working with the talented actors again “Laura Dern and Sam Neill are particularly, as you know, as everybody knows, two of our greatest screen artists, much-awarded and highly-esteemed, and they’re fantastic people.”

Although working with Dern and Neill was familiar to Goldblum, there were some differences between shooting Jurassic World Dominion and the original Jurassic Park. Namely the evolution of technology.

At the time of filming Jurassic Park “The technology was just being born, luckily for us and right when they wanted to do that movie, they were up and running before Dennis Muran from ILM said ‘Look what we’ve got here. I think we have a new way to do this.’ So with this [Jurassic World Dominion], the evolution of the technology has gone further” Goldblum shares.

Shooting the film reminded him of the first day on Jurassic Park

“…blinking eyes and breathing torso, but hidden, you couldn’t see them. So what you really saw was this triceratops that looked alive.”

Director Colin Trevorrow followed Steven Speildberg’s strategy of incorporating animatronics during some of the filming for a more authentic performance. This prompted Goldblum to reminisce on seeing the animatronics for the first time during the Jurassic Park filming.

“And then we come into this clearing later in the day, I think, and saw that first triceratops… that was one of those Oscar-winning Stan Winston creations that were being operated by several people blinking eyes and breathing torso, but hidden, you couldn’t see them. So what you really saw was this triceratops that looked alive.”

Jeff Goldblum at the “Jurassic World Dominion” photocall (Photo by Jeff Spicer/Getty Images for Universal Pictures and Amblin Entertainment)

Confident and relaxed Goldblum no longer feels a traditional sense of nervousness. However, he reflects on still feeling an ‘alertness’ during the filming of Jurassic World Dominion. Aware of the responsibility to create something satisfying for an audience invested in the story.

“I was alert, I wouldn’t say it’s an adjacent, it’s a sister of nervousness – alert. Which is sort of like the first time working with Steven Spielberg – ‘Can I do this?’ That’s a different kind of alertness but similar… but the same kind of ‘Gee, I hope this works.”

Read more of our interviews here…

Ultimately, the ‘Jurassic’ series has changed Goldblum’s life

The friendships Goldblum made with Dern and Neill through Jurassic Park, changed his life. He also takes with him the experience of working with the other actors, and Steven Spielberg.

“Our friendships, the people I work with most of all, like they say in that play ‘Wicked’, you know – you make a change to my heart, you made an imprint on my heart, and that will be there forever.” He says “That’s something I’ll take forever, the people I worked with and the experience of working with Steven Spielberg and Richard Attenborough and Bob Peck and everybody else – Laura and Sam, sorry for getting choked up. Sorry, that’s the main thing.”

Jeff Goldblum and Laura Dern (Photo by Nicky J Sims/Getty Images for Universal Pictures and Amblin Entertainment )

Along with friendships, Goldblum takes some of the ideas and concepts from the movie with him, like Chaos Theory. The scientific theory that his character Ian Malcolm specialises in, and which Goldblum read about in preparation for his performance.

“The ideas in this movie are something that I find nutritious and worth ruminating on and trying to live up to.”

Goldblum feels his thinking is similar to that of his character, Ian Malcolm. “Me and Malcolm love science and scientific, pure achievement. But the use and misuse of it through ignorance and profit motive and selfish interest is, I’ll fight as long as there’s breath in my body.”

With such a popular and iconic series coming to an end, much like Goldblum, Dern, and Neill, fans of the Jurassic universe will be sure to enjoy the nostalgia of the original cast members. Seeing them reuniting on screen in this striking adventure-conclusion to the famous series.

At cinemas across the UK. To see more about Jurassic World Dominion, visit the official Jurassic World page.

Lana Hall

Lana can usually be found spinning her collection of records, or writing odd poems in her phone notes. Her mixer of choice is a ginger beer, and you’ll never find her away from the sea for more than a few weeks.

The post The Jurassic journey – interview with Jeff Goldblum appeared first on Silver Magazine.

The timeless Downton Abbey sequel hits the UK screens on 29 April, and we’ve got exclusive behind the scenes shots to share. Not only that, but an EXCLUSIVE GOODY BAG GIVEAWAY (more on that below).

The film will see the Crawley family journey to the south of France to visit the Dowager Countess’s newly-inherited villa. Upon their arrival, it seems a mystery is waiting to be solved… And no, we’re not telling you any more than that.

Downton Abbey: A new Era is a follow-up to the 2019 feature film in which the Crawley family and Downton staff received a royal visit from the King and Queen of Great Britain, and it boasts a stellar cast such as Hugh Bonneville, Samantha Bond, Maggie Smith and Penelope WIlton, to name but a few.

To celebrate the return of our favourite historical drama, we’re giving four lucky fans the chance to win a goody bag! The Downton-branded merchandise includes a bag, an umbrella, a mug, flask, pen, and notebook. For your chance to win, fill in the form at the bottom. Good luck!

Your first look behind the scenes

Photos by Ben Blackall / © 2022 Focus Features, LLC

BTS documentarian Phil Stoole and actors Tuppence Middleton and Allen Leech

Elizabeth McGovern stars as Cora Grantham and Laura Carmichael as Lady Edith Hexham

Laura Carmichael, Samantha Bond, Hugh Bonneville and Maggie Smith

Allen Leech as Tom Branson, Nathalie Baye as Mme Montmirail, Elizabeth McGovern as Cora Grantham, Hugh Bonneville as Robert Grantham, Tuppence Middleton as Lucy Branson, Laura Carmichael as Lady Edith, Jonathan Zaccäi as M Montmirail, Jim Carter as Mr. Carson, Imelda Staunton stars as Lady Bagshaw and Harry Hadden-Paton as Bertie Pelham

Kevin Doyle as Mr. Molesley and Michelle Dockery as Lady Mary

Michael Fox as Andy, Joanne Froggatt as Anna, Sophie McShera as Daisy, and Lesley Nicol as Mrs. Patmore

www.downtonabbeyfilm.co.uk

WIN A FABULOUS DOWNTON ABBEY GOODY BAG

silvermagazine

If you’d like to receive a regular mini-magazine direct to your inbox with a selection of editorial features to read at your leisure, please sign up for our newsletter. We also run the odd competition and offer and whatnot, and newsletter members get the heads-up first.

The post Downton Abbey 2: behind the scenes and goody bag giveaway! appeared first on Silver Magazine.

Nicolas Cage plays himself in multiple roles in this most meta of films, The Unbearable Weight of Massive Talent. It seems like his whole life has built up to the making of this movie, as his on-screen characters merge with his real-life adventures.

Cage is an actor whose work will never fit neatly into a niche. Born into film royalty as the nephew of Francis Ford Coppola, he could have easily turned into a stereotypical entitled Hollywood brat. But he ditched the famous surname after the forgettable minor role of ‘Brad’s bud’ in Fast Times at Ridgemont High, renamed himself Cage, and carved out an extraordinary career.

He has undertaken preposterous action roles in the likes of Con Air, Face/Off, and Gone In Sixty Seconds, parlayed the action man schtick into comedy capers with Raising Arizona and Guarding Tess, gone to dark places as an alcoholic in Leaving Las Vegas, and played a bona fide romantic lead in Captain Corelli’s Mandolin. He’s even cashed in with voiceover work for The Croods, Astro Boy, and G-Force, via the nerd-cum-superhero Damon Macready/Big Daddy role in Kick-Ass.

Leaving Las Vegas – Nic Cage

He is, however, also genuinely eccentric

Despite a fascinating CV, Cage is probably as well-known for his off-screen antics as his on-screen performances. Amid the usual movie star purchases of exotic cars, motorbikes, and yachts, he has splashed his cash on shrunken pygmy heads, dinosaur skulls, a New Orleans haunted house, and a pyramid tombstone – and wound up with a $6.2 million tax lien for his trouble.

In the UK, Cage made his mark in 1990 when he was here to promote Wild At Heart, David Lynch’s genre-bending, gore-laden romantic comedy. The well-worn path of film promotion on British talk shows occasionally lends itself to truly astounding TV moments. Most memorably, Cage appeared on Wogan. He somersaulted onto the set, performed high kicks that would not be out of place at the Moulin Rouge, tossed money into the audience, and exposed his chest.

And his marriages are no less odd

… he confessed to David Letterman that he tripped out on magic mushrooms with his cat, Lewis. And his first marriage, to actress Patricia Arquette in 1995, was witnessed by otters

Even when Cage makes headlines for typical Hollywood antics, such as drugs and multiple marriages, the whiff of weird is seldom far away. In 2010, he confessed to David Letterman that he tripped out on magic mushrooms with his cat, Lewis. And his first marriage, to actress Patricia Arquette in 1995, was witnessed by otters.

Since that short-lived union, Cage, a collector of Elvis memorabilia, has been married to Lisa Marie Presley for a grand total of 107 days, and had a successful-by-Tinseltown-standards 11-year marriage to Alice Kim, who was working as a waitress when they met.

His most recent hitching was annulled four days after a Las Vegas ceremony. He told the court he was too inebriated to “recognise or understand the full impact of his actions.” And he made allegations about his fourth wife’s criminal past and relationship with another person.

So how did it feel, er, playing himself?

‘Nick Cage’ ponders his options poolside in Mallorca. Photo: Katalin Vermes / Lionsgate

“When I first heard about it, I said, ‘No, I’m not doing that.’ I’m not interested in playing myself in a movie, get somebody else.”

With 58 years of head-spinning biographical material behind him, his latest film has plenty of material to draw on. In The Unbearable Weight of Massive Talent, Cage plays a version of himself as Nick Cage, an actor struggling with the pressures of fame, family life and a dwindling bank balance.

On the verge of quitting Hollywood, Nick swallows his pride and attends the party of a wealthy fan for $1 million. Hijinks ensue when it turns out the wealthy fan is a dangerous drug lord, and Nick ends up reprising his best-known roles to save himself and his loved ones.

Left, Jacob Scipio as Carlos and right, Pedro Pascal as Javi the drug lord, greet Nick Cage in Mallorca. Photo: Katalin Vermes Lionsgate

Cage almost turned down the opportunity to romp through his filmography against glorious European backdrops.

“When I first heard about it, I said, ‘No, I’m not doing that’. I’m not interested in playing myself in a movie, get somebody else. If Gene Wilder was still with us, I’d like you to cast him.’” Cage said.

But he changed his mind when he realised it was not going to be a roasting of his career. “Tom [Gormican, the director] wrote me a very thoughtful, very enthusiastic letter and I realised that he wasn’t trying to do like an Andy Samberg SNL sketch, mocking whatever so-called Nic Cage is. He was actually interested in some of the earlier work and wanted to maybe showcase that, bring some of that in, the gold guns and the references to some of the other movies. And I thought, ‘OK well, this guy is serious and he’s intelligent’ – so that’s what did it. I wanted to do it.

“It was a high wire; it was terrifying, no muscle in my body ever told me to play any version of myself in a movie. And because it scared the crap out of me, I knew I had to do it.”

Pedro Pascal as Javi Gutierrez (left) and Nicolas Cage as ‘Nick Cage’. Cliff diving into the open waters in Mallorca, Spain. Photo Credit: Katalin Vermes/Lionsgate

He summed up the experience of making the film as “a trip”

“To play someone named Nick Cage, and two versions of someone named Nick Cage was terrifying,” Cage said. “I was very nervous to go towards this. But I believe if you’re afraid of something, and as long as it doesn’t hurt you or anybody else, you should go towards it – you might learn something.”

Cage’s somersaulting, high-kicking, money-throwing, chest-baring antics on Wogan provided the inspiration for young Nick in the film. “I thought, ‘That guy is a really obnoxious, arrogant, irreverent, mad man. I think he needs to be in this movie.’”

For Cage fans, The Unbearable Weight of Massive Talent promises to be a treasure trove of reference-spotting. And it includesa nod to The Wicker Man, his 2006 venture into classic horror remakes.

“How can you make a sort-of movie about so-called Nick Cage and not say ‘Not the bees!’” he laughed. “So, I put that in, I made sure of that.”

Gormican’s interpretation of Cage will appeal to fans of the actor’s off-screen moments. Although Cage told the director that he has “really quiet moments at home, reading with my cat” and asked if there was any place in the film for a bookish take on his persona. Gormican simply said that “neurotic Nic Cage is the best Nick Cage.”

We couldn’t agree more. After all, this is the actor whose eccentricities transcend his physical presence and still make headlines. Ten years ago, a job-hunter accidentally attached a Nicolas Cage photo to an application instead of her CV. It’s a story that still makes people laugh today. And why not?

Wild-eyed Nicolas Cage is definitely the one we’ll be paying to see in The Unbearable Weight of Massive Talent, not homebody Nicolas Cage curled up on the sofa with the cat and a good book.

In cinemas across the UK from 22 April

Georgia Lewis

In a career that has spanned Australia, the Middle East and the UK, Georgia has written about all sorts of things, including sex, cars, food, oil and gas, insurance, fashion, travel, workplace safety, health, religious affairs, glass and glazing… When she’s not writing words for fun and profit, she can usually be found with a glass of something French and red in her hand.

The post Nicolas Cage on The Unbearable Weight of Massive Talent appeared first on Silver Magazine.