He saves others from danger as superhero Spider-Man. Now Tom Holland has decided to save himself – by deleting his social media apps from his phone.
“I find Instagram and Twitter to be over-stimulating, to be overwhelming. I get caught up and I spiral when I read things about me online and ultimately it’s very detrimental to my mental state. So I decided to take a step back and delete the app,” he said.
Holland, 26, who has a combined Twitter and Instagram following of nearly seven million, made the announcement in a video posted online to support the Stem4 charity which promotes positive mental health for teenagers.
Making clear it was only a floating reappearance on Instagram, he wrote: “Hello and goodbye… I have been taking a break from social media for my mental health, but felt compelled to come on here to talk about Stem4… Please take the time to watch my video and, should you feel inclined to share it with anyone who it may resonate with, it would be greatly appreciated.”
Zendaya and Tom Holland as Spiderman in Spider-Man: No Way Home. Credit: matt kennedy/AP
The Londoner, who is dating Spider-Man co-star Zendaya, 25, was inundated with messages of support including one from pop star Justin Bieber, 28, who wrote: “Love you man.”
My Family star Robert Lindsay, 72, also announced he was quitting Twitter yesterday – under orders from his son.
The father-of-three tweeted: “After a long conversation with my son I’ve decided to leave Twitter alone as he feels it’s affecting my daily life, thoughts and imaginings.
“He’s right, of course, and I need to detox from the stresses of social media.”
He added: ‘I’ve allowed the many distractions of a problematic world which we all care about so much from allowing me the freedom I need to fulfill my career.”
The actor, who found fame in the 1970s comedy Citizen Smith, has two sons, but it is unclear which one he was referring to.
Actor Anne Heche is brain dead, her spokesperson said Friday, a week after she crashed her car into a home in Los Angeles.
“While Anne is legally dead according to California law, her heart is still beating, and she has not been taken off life support so that One Legacy can see if she is a match for organ donation,” Heche’s spokesperson said in a statement to NBC News.
“We have lost a bright light, a kind and most joyful soul, a loving mother, and a loyal friend,” a statement on behalf of Heche’s family and friends said Friday.
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“Anne will be deeply missed but she lives on through her beautiful sons, her iconic body of work, and her passionate advocacy. Her bravery of her for always standing in her truth of her, spreading her message of love and acceptance, will continue to have a lasting impact.
On Monday, Heche, 53, was in a coma and in “extreme” condition after suffering an anoxic brain injury, her representative said.
Anne Heche has been declared legally dead after the crash. Credit: AP
Anoxic injuries occur when the brain is cut off from oxygen, causing cell death. Heche was in the Grossman Burn Center at West Hills Hospital.
He careened into a home in the Mar Vista community of Los Angeles last Friday. The home sustained damage from the “heavy fire” sparked by the collision, said Brian Humphrey, a spokesman for the Los Angeles Fire Department.
Footage of smoke rising from the house after Anne Heche’s car crashed into it. Credit: NBC Los Angeles
She had drugs in her system, and she was being investigated for possibly driving under the influence, police said Thursday.
“In preliminary testing, the blood draw revealed the presence of drugs,” Los Angeles police said in a statement.
Police could not “comment right now on the presence of cocaine, fentanyl or alcohol at this time,” they said Thursday. “That will be determined by the second test.”
“The case is being investigated as a felony DUI traffic collision,” the statement said.
Anne Heche’s car after the ‘horrific’ crash. Credit: NBC Los Angeles
She landed her first notable role on the soap opera “Another World,” portraying Vicky Hudson and Marley Love into the early 1990s.
Later that decade, films such as Donnie Brasco, Volcano and I Know What You Did Last Summer helped propel her fame inside Hollywood and beyond.
Her television credits included Chicago PD and Men in Trees.
She met talk show host Ellen DeGeneres in 1997, when Vince Vaughn, her co-star in Return to Paradise, introduced them at a Los Angeles-area restaurant.
Ellen DeGeneres and Anne Heche in 1997. Credit: Brian K Diggs/AP
Heche and DeGeneres became romantically involved in a relationship that Heche said was groundbreaking for the time because of the global attention they received as Hollywood stars in a same-sex romance.
“My story is a story that created change in the world, moved the needle for equal rights forward, when I fell in love with Ellen DeGeneres,” she said in a taped segment that year for the show Dancing With the Stars.
Actress Anne Heche is legally dead after a traffic accident in Los Angeles. Credit: AP
When their three-year relationship ended in 2000, Heche was hospitalized after she was found wandering in a rural area of Fresno County, California, acting disoriented and confused, authorities said.
He described her struggles with her mental health in her 2001 memoir, Call Me Crazy.
“I wanted to beat everybody else to the punch,” she said about the book in an interview that year with Larry King. “I certainly know what’s been written about me in the press. I, although I was never diagnosed as being crazy, I went crazy.”
Heche also wrote about her relationship with DeGeneres. She said it was groundbreaking as a high-profile, same-sex romance but that it cost her career dearly.
Heche said she could not get hired for a role by a major studio for nearly a decade.
Later, she married Coley Laffoon, and the couple had a son before they divorced. She had another son in 2009 with actor James Tupper, her co-star in Men in Trees; they separated.
In a family statement earlier in the week, Heche was described as having a “huge heart” and as someone who “touched everyone she met with her generous spirit.”
“More than her extraordinary talent, she saw spreading kindness and joy as her life’s work — especially moving the needle for acceptance of who you love,” the statement said. “She will be remembered for her courageous honesty from her and dearly missed for her light from her.”
– With Tim Stelloh and Dennis Romero NBC
Watch: Vanessa Amorosi learns about the death of Olivia Newton-John
Watch: Vanessa Amorosi learns about the death of Olivia Newton-John
Juniper is a drama with black comic edges about a fragmented family, and the unexpectedly life-affirming influence of its particularly tetchy matriarch. In the lead role is Charlotte Rampling, an actor blessed with an epically scornful side eye capable of withering a vase of flowers from across a room.
The film relies in no small degree on Rampling’s ability to deliver intensity from small gestures, because for most of the time she’s nearly immobile, rendered almost inert by a broken leg and a mysterious underlying health condition, while her temper is inflamed by copious amounts of gin served to her in large glass jugs.
The first feature from New Zealand writer-director Matthew J Saville (not to be confused with the Australian filmmaker Matt Saville), Juniper plays on the conventions of movies about families thrust together in trying circumstances, who learn to get over their differences only after some excruciating trial and error.
Saville and Rampling worked on revising the script for three days after their first meeting in Paris. Two weeks later, Rampling officially accepted the role.(Supplied: Transmission)
In particular, it’s about a cross-generational connection between Ruth and her grandson Sam (George Ferrier), a suicidal teen who attends a nearby private school and has never recovered from the death of his mother.
Sam’s athletic good looks and crown of golden hair give off the aura of a confident private-school jock, but this is a film where appearances deceive, and Sam is troubled in his privilege — while Ruth, in turn, is the unlikely figure to pull him out of his malaise.
Set in the 90s, the film unfolds in a grand, if unkempt house somewhere green and leafy in New Zealand. This family is wealthy, clearly, and when Ruth arrives from her home de ella in England after a considerable absence and in failing health, it initially appears like she might be the direct link to a moneyed bloodline in the Old Country.
“Juniper is a very personal story based on my experiences as a teenager,” Saville writes in his director’s statement.(Supplied: Transmission)
Ruth has an unconventional past, as a war correspondent who once traveled the globe witnessing some of the best and worst of humanity. Ella’s experience scarred her, we will learn, but it also earned her valuable wisdom.
Her drinking, as well as her bullying, seem to be a manifestation of some sort of PTSD, long left simmering and unaddressed. Her grandson de ella, who is left to help look after her while his father de ella (an excellent but mostly off-screen Marton Csokas) is called away to England, becomes the chief target of her rancour de ella.
The two are destined to become unlikely friends, but it takes time. As often occurs in scripts about grumpy old people and their influence on teenagers with their lives ahead of them, Ruth’s abrasiveness serves a purpose, even if it’s not initially clear.
Hal Ashby’s 1971 absurdist black comedy Harold and Maude dealt with some of these cross-generational currents—including teen depression—with a little more imagination and less predictability. It would have been nice if Saville’s film didn’t conform quite so obediently to the redemptive notes of its final act.
The role of Ruth was inspired by Saville’s grandmother, Moccy, who he described in The Spinoff as an “intelligent, funny, and at times brutal” woman.(Supplied: Transmission)
But Rampling makes it worth watching, even if you sense where it’s all heading. Ella’s role recalls her performance in another predominantly housebound film, Francois Ozon’s 2003 mystery Swimming Pool, where she played an irritable British author trying to write her next novel, clashing with the young, feisty daughter of her French publisher.
Saville doesn’t opt for any of that film’s dreamy Hitchcockian intrigue, but he does exploit the house’s rambling grandness, with its shadowy rooms and thresholds that offer views onto the verdant, slightly Gothic New Zealand countryside.
Downbeat indie rock and subtle zoom lenses help build an atmosphere of melancholy and cloistered tension, which extends to glimpses of Sam’s posh high school with its dark hallways and neurotic orderliness.
Saville succeeds in creating an emotional authenticity to Ruth and Sam’s difficult relationship, too, although it’s a pity he doesn’t linger in their mutually distrustful stage for longer.
As Rampling guides the film into its eventual emotional thaw, along the way she displays a range that occasionally surprises—in one especially poignant scene dragging herself ungracefully across the floor to get to a jug of booze.
Rampling is one of the great actors of her generation who remains a vital presence in anything she does. Quintessentially English but inexorably linked to European cinema (she’s lived and worked in France for decades) she possesses a sharpness and nuance that have never deserted her through the various stages of her career.
“The film is unsentimental … which is what I liked about it. I don’t like sentimentality,” Rampling told The Australian.(Supplied: Transmission)
After starting out as a model, she had her first roles in English movies during the swinging 60s before moving to the continent, becoming synonymous with the 70s peak of European auteur cinema in films such as Visconti’s The Damned and Liliana Cavani’s The Night Porter.
Her work ethic and versatility have underwritten a prolific career since, and despite her professional Eurocentrism, she gained an Academy Award nomination for the 2015 drama 45 Years, and is continuing her role in the Hollywood behemoth Dune (part two releases next year), where she brings a welcome gravitas.
At the center of this modest, likeable New Zealand drama, she emanates a rich, layered sense of character. If you consider that Saville barely gives the audience much more than a few mocked up photos from Ruth’s past of her, and just a couple of backstory anecdotes, it’s a tribute to Rampling’s subtly embodied acting that the character emerges so fully formed.
As shadows of regret and anger in her performance give way to warmer accents of love and kindness, not to mention a rascally appetite for fun, she makes the film’s slightly worn conception believable, and even inspires a lingering fondness.
Brad Pitt said he wore a skirt to a Bullet Train screening because we’re all going to die.
The Fight Club actor, 58, gave the explanation when asked why he wore the knee-length outfit to the Berlin showing of his latest film.
He told Variety on Monday night, while wearing an all-green combination, about his recent quirky sartorial choices: “I don’t know! We’re all going to die, so let’s mess it up.”
It comes after he told GQ earlier this year: “I consider myself on my last leg. This last semester or trimester.
“What is this section gonna be? And how do I want to design that?”
Brad Pitt wearing THAT skirt. Credit: Ben Krieman/Getty Images for Sony Pictures
Pitt’s skirt was accompanied by a light brown cardigan and accessorized with a cluster of necklaces, along with sunglasses and black combat boots.
At the time, social media users have mixed reactions to the look.
“Who cares if Brad Pitt wore a skirt? A good iron was needed to the whole ensemble. Looks like I found a bag of clothes in the dumpster and put it on,” one user wrote.
Pitt joins the likes of other male celebrities to have rocked the traditionally female garment, including Harry Styles, Lil Nas X, Oscar Isaac, Pete Davidson, Russell Westbrook, Odell Beckham Jr and Jared Leto.
Meanwhile, his film Bullet Train has received average reviews so far with a score of 51 on Metacritic.
Chicago Sun Times gave it a glowing review and said: “Unlike so many of the cookie-cutter, wisecracking-assassin movies in recent memory, Bullet Train acknowledges its outlandishness from the beginning and yet also manages to connect so many dots in creative, gotcha fashion.”
Meanwhile, AV Club gave it a poor review, writer Rodd Gilchrist said, “ultimately, Bullet Train aims to be slick when it needs to be smart, and predictable when it should be provocative — effectively making all of the wrong stops at exactly the wrong time.”
Bullet Train hits Australian cinemas this Thursday.
Warner Brothers has made an 11th-hour announcement it will not release Batgirl, a film which had reached the post-production stage.
Key points:
The New York Post reported the film tanked during audience tests
Michael Keaton had donned the Batman suit again for the movie
Between $US70 and $US100 million had been spent on the film
The film stars In the Heights actor Leslie Grace as the title character, with Michael Keaton reprising his role as Batman.
The Mummy’s Brendan Fraser also appeared in the film, which was due to be released through streaming service HBO Max.
Hollywood sources report Warner Brothers predicted the film would not earn enough money to cover its budget.
The Hollywood Reporter said Batgirl’s budget of $US90 million ($130 million) was lower than the average DC film, so “the film is said not to have the spectacle that audiences have come to expect from DC fare.”
The New York Post, which broke the news, cited a source who said the film’s budget had exceeded $US100 million and the film had tanked during audience tests.
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The studio also scrapped another entry in the Scooby-Doo animated film series.
“The decision to not release Batgirl reflects our leadership’s strategic shift as it relates to the DC universe and HBO Max,” a Warner Brothers statement said.
“Leslie Grace is an incredibly talented actor and this decision is not a reflection of her performance.
“We are incredibly grateful to the filmmakers of Batgirl and Scoob! Holiday Haunt and their respective casts and we hope to collaborate with everyone again in the near future.”
Grace is yet to speak publicly about the decision.
