(L-R) Director, Jon M. Chu and Producer, Marc Platt speak as Universal Pictures presents special New York City WICKED Screening at Metrograph on December 03, 2024 in New York City. (AFP/File)
The cinematic adaptation of the beloved Broadway musical, “Wicked,” which is based on the Gregory Maguire novel, takes us on an enchanting journey through the backstory of the Wicked Witch of the West, Elphaba, and her friendship with Glinda.
From the outset, I found the story’s premise captivating. It cleverly reimagines the classic tale from “The Wizard of Oz,” providing depth and context to characters often seen as mere villains.
Elphaba, played with fierce determination and vulnerability by Cynthia Erivo, grapples with her identity in a world that judges her for her green skin. Glinda, portrayed with charm and humor by Ariana Grande, offers a contrasting perspective, embodying the complexities of friendship and loyalty.
One of the film’s strengths lies in its stunning visuals. The vibrant colors, elaborate costumes, and breathtaking set designs transport one to the whimsical land of Oz. Each scene is a feast for the eyes, making it hard not to get swept away by the magic of it all.
The cinematography captures the grandeur of Oz while maintaining an intimate feeling during character-driven moments.
However, while the visuals are remarkable, I felt that some aspects of the storyline fell short. At times, the pacing felt uneven, particularly in the second act. Certain plot points were rushed, leaving me wanting more character development and emotional resonance.
For instance, Elphaba’s transformation into the Wicked Witch felt somewhat abrupt, and I wished for deeper exploration of her motivations and struggles.
The music, a hallmark of “Wicked,” also deserves mention. Iconic songs including “Defying Gravity” resonate with empowerment and hope, leaving a lasting impact. Yet, I found myself wishing for more original compositions to enhance the film’s narrative depth.
What is particularly exciting is that this film is part of a larger story. The second and final installment, titled “Wicked: For Good,” is set for release in November 2025. The news, shared in a joint Instagram post from the stars and director, has me eagerly anticipating what comes next.
In conclusion, despite some narrative shortcomings, “Wicked” explores friendship, identity, and societal judgment, making it a worthwhile experience. As someone who has long cherished the story of Oz, I appreciated this new take, even if it did not fully meet my expectations.
Ultimately, “Wicked” is a testament to the power of storytelling and the complexities of good and evil, leaving one with much to ponder long after the credits roll.
From warlords in feudal Japan, through tender comedy and banking chaos, to a stalker in Scotland
Updated 26 December 2024
Arab News
‘Shogun’
Historical drama “Shogun” was reportedly years in the making, and it shows. Each episode is like its own mini big-budget movie. Few foreign-language shows (the majority of the dialogue is Japanese) have managed to grab the attention of the Western world in the way “Shogun” has. The adaptation of James Clavell’s 1975 novel centers on John Blackthorne (Cosmo Jarvis), loosely based on the English navigator William Adams, who became a samurai for the founder of the Tokugawa shogunate in the early 17th century. But it’s the women, particularly Blackthorne’s translator Lady Mariko (a hugely impressive Anna Sawai) who are the real heroes of the show, which is a beautifully paced mix of political intrigue and brutal combat.
‘Industry’
The high-stakes, high-paced financial drama’s third season was its best yet, as the stress levels of the employees of London investment bank Pierpoint & Co skyrocketed. The introduction of Kit Harington as Henry Muck (no, not Musk, definitely not. Right?) — the horribly wealthy, horribly privileged creator of a green-energy startup whose doomed desperation to be liked was a constant source of glee for viewers — was a stroke of genius, as was the jaw-dropping chaos of the finale, stunning not least because there had already been so many instances of jaw-dropping chaos throughout that it was a surprise they had anything left. But “Industry” always seems to have plenty more in the tank. Roll on season four.
‘Slow Horses’
No, the fourth season of Apple TV+’s espionage drama didn’t really break any new ground. But when what’s in place is already so good, why mess with it? Gary Oldman continues to have a ball as the foul-mouthed, foul-smelling former superspy Jackson Lamb, lording it over his ragtag crew of MI5 cast-offs in Slough House, and his team of misfits continue to defy expectations by actually being quite good at spy work — even if only by accident at times. The show continues to mine familiar tropes of the genre, but also continues to make them feel fresh thanks to brilliant performances and direction, and the strength of the source material — Mick Herron’s novels.
‘Somebody Somewhere’
Rarely have big themes been tackled with such lightness and joy as in Hannah Bos’ and Paul Thureen’s coming-of-middle-age comedy drama. The third (and sadly final) season of this underrated gem keeps up the remarkable consistency of the previous two, and the remarkable Bridget Everett continues to shine as the main protagonist, forty-something Sam — a flawed but entirely relatable woman searching for acceptance and love, while continually self-sabotaging. The supporting cast are equally brilliant, and fans will feel bereft at their disappearance.
‘Baby Reindeer’
Back in the spring, Richard Gadd’s autobiographical drama was the most high-profile show in the world — though not always for the reasons its creator — or Netflix — would have wanted. The streamer’s ethical failures aside, its water-cooler status was earned just as much by Gadd’s raw depiction of a wannabe comedian (himself) and his relationship with a female stalker, Martha (a superb, emotionally harrowing performance by Jessica Gunning). Equal parts hilarious and horrifying, this is one of the most original shows in years and Gadd’s performance and writing are both unflinchingly self-aware.
‘Only Murders in the Building’
The fourth season of the comedy drama about an unlikely trio of true-crime podcasters (Steve Martin, Martin Short, Selena Gomez) was arguably it strongest since its debut run, helped in no small part by its introduction of a host of new guest stars (Zach Galifianakis, Eva Longoria, and Eugene Levy) and returning ones (Meryl Streep and Paul Rudd, among others). This season’s murder investigation was deeply personal, and allowed the main characters to show greater depth than ever before, while retaining the sparkling comic chemistry between the three of them.
‘Fallout’
Adaptations of post-apocalyptic video games are proving hugely popular with viewers. “The Last of Us” was one of 2023’s finest shows, and the more cartoonish, but equally violent, “Fallout” thrilled us this year. Set in an alternate history in which a nuclear exchange between the US and China in 2077 drove many survivors underground into bunkers known as Vaults, “Fallout” centers on Lucy (Ella Purnell), who, more than two centuries after the bombs dropped, ventures into the wasteland that used to be Los Angeles to hunt for her father, who has been kidnapped by raiders. Having been raised in the safety and the — outwardly, at least — polite society of the Vault, Lucy is, let’s say, underprepared for the horrors that await.
‘Ripley’
Steven Zaillian’s adaptation of Patricia Highsmith’s psychological crime thriller novel “The Talented Mr. Ripley” is beautifully shot in black-and-white, with gorgeous, lingering shots of the Italian coast. If that sounds a bit highbrow, don’t worry; the plot explores the basest of human instincts. Tom Ripley (the excellent Andrew Scott), a down-on-his-luck con-man in 1960s New York, is hired by the wealthy Herbert Greenleaf to convince his wayward son Dickie to return home from Italy, where he is living a leisurely life at his father’s expense. But when Ripley sees Dickie’s leisurely luxurious life for himself, he decides he’d quite like a piece (or considerably more) of it.
DUBAI: From action-packed escapism to bone-chilling mundanity, here are our picks from this year’s big-screen offerings.
‘The Zone of Interest’
Strictly speaking a 2023 film, but it came out too late to make last year’s list (although not too late to earn the Best International Feature Film Oscar this year). Jonathan Glazer’s extraordinary take on the story of the Auschwitz commandant Rudolf Höss, his wife Hedwig and their family and entourage as they make their home next to the concentration camp where unthinkable horrors are perpetrated contains no scenes of those horrors, but their sounds form a continual backdrop to this subtle portrayal of what philosopher Hannah Arendt famously called “the banality of evil.”
‘Inside Out 2’
Pixar’s summer offering was a delight: moving, silly, and profound. Riley, the young girl who — along with her five personified emotions — was the star of 2015’s beloved “Inside Out,” is entering her teenage years, which usher in a host of new emotions (Anxiety, Ennui, Embarrassment and Envy), disturbing the delicate balance achieved by the veterans Joy, Sadness, Anger, Fear and Disgust, who must now recalibrate to try and help Riley deal with adolescence.
‘Dune: Part Two’
The second instalment in Denis Villeneuve’s adaptation of Frank Herbert’s epic sci-fi work follows Paul Atreides (Timothee Chalomet) as he attempts to earn the trust of the native Fremen people of the desert planet Arrakis to persuade them to help him take down House Harkonnen, who were responsible for the massacre of Paul’s own house. Love versus duty, religious extremism, and the morality of violence are all explored, but never in a way that detracts from the entertainment, which includes dazzling battle sequences, the love affair between Chalomet and Zendaya’s fierce Fremen woman Chani, and thrilling sandworm rides.
‘Deadpool & Wolverine’
It has its detractors, and many of the criticisms are deserved, but this Marvel buddy comedy is great entertainment — frenetic, often hilarious, and pushing its 15 certificate to the limits. Ryan Reynolds’ titular foul-mouthed antihero takes his fourth-wall-breaking meta self-awareness to crazy new levels, and his connection with co-star Hugh Jackman as the reticent, always-anger-adjacent Wolverine is a joy. It’s not going to win any major awards, but it’s a huge amount of fun.
‘Furiosa: A Mad Max Saga’
This prequel and spin-off to the excellent “Mad Max: Fury Road” was a relative flop at the box office, but that’s no reflection of its quality: Anya Taylor-Joy is excellent in the lead role, finding an emotional connection to Charlize Theron’s portrayal of Furiosa in “Fury Road,” and Chris Hemsworth holds nothing back in his performance as the evil warlord biker Dementus. As usual, director George Miller delivers astounding action sequences, but the screenplay also has real depth.
‘Challengers’
Zendaya steals the show in Luca Guadagnino’s spicy sporty drama. She plays former tennis prodigy Tashi Duncan now coaching her husband, Art, after injury forced her retirement. Art is struggling with form and fitness, and must face his former best friend (and former competitor for Tashi’s affections), Patrick (Josh O’Connor). The heated chemistry between its three stars makes “Challengers” a lot of fun.
With its mix of social division, political wheeler-dealing, tragedy and personality-forming insecurities, there was arguably no more of-the-moment game in 2024 than this Japanese RPG set in a medieval fantasy realm inhabited by an array of tribes, where discrimination runs wild and chaos has set in following the death of the king, the exclusive possessor of Royal Magic.
‘Like a Dragon: Infinite Wealth’
The ninth mainline entry in the “Like a Dragon” RPG series was the best yet. It took the action to Hawaii, where Ichiban Kasuga and Kazuma Kiryu team up to help the former reunite with his mother, who is living with cancer. The revamped combat system was a triumph, resulting in free-flowing fighting that always seemed to offer something unexpected.
‘Astro Bot’
This joyous cute-as-you-like PS5 platformer was both nostalgic and wildly inventive, with callbacks to numerous PlayStation characters from the console’s 30-year history. Easily accessible for even novice gamers, but tricky enough to satisfy the most adept, and filled with personality and humor, “Astro Bot” was a great reminder of why video games deserve to be considered art.
Mobile cinema brings Tunisians big screen experience
Mobile cinemas have long existed in other countries, but Heraghi said CinemaTdour was “unique” for turning a truck into a full-fledged theater
Updated 23 December 2024
AFP
DJEMMAL, Tunisia: Like many of his fellow Tunisians, 23-year-old Amine Elhani has never been to the cinema, but now, thanks to a mobile theater touring the country, he can finally enjoy the big screen.
The bright red truck of CinemaTdour, or “moving cinema,” has transformed parking lots and factory grounds in underserved towns and neighborhoods across the North African country into pop-up theaters.
In the central town of Djemmal, dozens of workers unloaded the expandable truck, easily setting up a fully equipped outdoor movie theater with 100 seats.
“The screen is huge, and the sound effects are amazing,” said Elhani, who had so far only watched films on his phone or computer.
He had “never had the chance to go to a movie theater,” he told AFP.
“It’s a fantastic experience, especially because I’m watching with friends.”
Movie theaters are scarce in Tunisia, numbering at just 15 and largely concentrated in major urban hubs.
Recognizing this gap, CinemaTdour was launched in May by private cultural network Agora and nonprofit Focus Gabes, with funding from private donors.
“We wanted a way to reach as many viewers as possible, in a short time and on a limited budget, while offering them an authentic cinematic experience,” project director Ghofrane Heraghi told AFP.
Mobile cinemas have long existed in other countries, but Heraghi said CinemaTdour was “unique” for turning a truck into a full-fledged theater.
Without government funding, CinemaTdour relies heavily on partnerships with private companies to cover costs like film rights, maintenance and staffing.
The truck itself was purchased on credit for about one million Tunisian dinars ($315,000), Heraghi said, with annual operating expenses of around 500,000 dinars.
For 10 days in Djemmal, residents could watch films for free thanks to a partnership with German car parts manufacturer Draxlmaier, which has a factory in the town.
Jihene Ben Amor, Draxlmaier’s communications manager in Tunisia, said the company wanted to “contribute to the development” of remote and underserved regions where it operates.
For many workers, earning up to 1,000 dinars a month, the cost of tickets and the journey to a main city with a movie theater can be prohibitive.
“Having this cinema right outside their workplace also gives workers a sense of pride and belonging,” said Ben Amor.
After Djemmal, CinemaTdour set up in Hay Hlel, an impoverished neighborhood of the capital Tunis.
Many children gathered around the pop-up theater, eager for their turn.
Yomna Warhani, 11, was beaming with excitement, anticipating her first ever movie screening.
“I can’t wait to see what it’s like inside and what films they’ll show,” she said.
Nejiba El Hadji, a 47-year-old mother of four, said: “It’s not just the kids who are thrilled, believe me.”
To her, the mobile cinema was a rare source of joy in an otherwise bleak environment.
“We have nothing here, no cultural centers and no entertainment, just the streets,” said Hadji.
“People say our kids are lost, but no one does anything about it.”
CinemaTdour’s two-week stay in Hay Hlel was funded by the World Health Organization, with screenings themed on mental health, smoking and drug abuse, and violence against women.
The shows were tailored for younger audiences as well as for viewers with hearing or visual impairments.
Heraghi, the project head, said that “what drives us is the social impact of culture.”
“We want to break stereotypes, shift mindsets, and promote values like social cohesion and community spirit.”
In just a few months, CinemaTdour has reached more than 15,000 people, including 7,500 in the southern oasis town of Nefta where a month of free screenings was sponsored by a date exporter.
The project now hopes to secure funding for additional trucks to expand its activities across the country.
But Heraghli has even bigger aspirations, she said, “taking it to Algeria, Libya, and maybe even across Africa.”
‘Mufasa’ filmmaker and cast dish on ‘Lion King’ prequel
Updated 23 December 2024
Shyama Krishna Kumar
DUBAI: US filmmaker Barry Jenkins, known for his unique storytelling approach in films like the Oscar-winning “Moonlight” and “If Beale Street Could Talk,” was never in the business of making CGI-heavy blockbusters. But when Disney calls, you answer.
“Mufasa: The Lion King,” a prequel to the 2019 photorealistic telling of the 1994 classic, sees Jenkins take the directorial baton from Jon Favreau — and he says a vital piece of advice from the latter helped him see the project through.
“Mufasa: The Lion King” is a prequel to the 2019 photorealistic telling of the 1994 classic. (Supplied)
“His advice was very simple and concrete. He said, ‘Just forget about the tech. Forget about the tech and just find whatever way you can to tell the story in your voice.’ It was really crucial,” Jenkins told Arab News.
“We still, of course, had to learn the technology, and sort of master it. But we realized very quickly we weren’t beholden to the way the technology was being presented to us, and that we could sort of mold it and meld it to fit our storytelling principles.”
Exploring the unlikely rise of the beloved king of the Pride Lands, “Mufasa” enlists Rafiki (John Kani) to relay the legend of Mufasa (Aaron Pierre) to young lion cub Kiara (Blue Ivy Carter), daughter of Simba (Donald Glover) and Nala (Beyonce), with Timon (Billy Eichner) and Pumbaa (Seth Rogen) lending their signature schtick.
Bringing the laughs in “Mufasa” are Eichner and Rogen, returning to play Timon and Pumbaa, respectively. (Supplied)
Told in flashbacks, the story introduces Mufasa as an orphaned cub who meets a sympathetic lion named Taka (Kelvin Harrison Jr.) — the heir to a royal bloodline. Their chance meeting sets in motion an expansive journey for the adoptive brothers, with their bonds tested as they work together to evade a deadly foe.
The concept of found family is integral to “Mufasa,” and while there are no surprises as to Taka’s eventual identity, Jenkins says telling his story was as important as telling Mufasa’s.
“When I first read the script, I was surprised and moved by the depth of this backstory. But then I was like, why am I surprised? Because when you watch the 1994 film, Jeremy Irons is bringing so much heartache, so much woundedness, so much bitterness to this performance. And this story is really about the energy of that woundedness, of that heartbreak. And so, I shouldn't have been surprised,” said Jenkins.
The star-studded cast — including Mads Mikkelsen, Billy Eichner and Seth Rogen — bring fresh perspectives to the beloved “Lion King” universe. (Supplied)
“But once I read the script, I did realize that the success of the film, the emotional success of it, was going to depend on the quality of that bond and the way we detail it. So it was really important to us,” he added.
Charged with making the film’s music Lin-Manuel Miranda, creator of the pop culture phenomenon “Hamilton.” Jenkins says he couldn’t have found a more perfect collaborator.
“I just always have admired how earnest Lin is in his work. If you look at interviews of him speaking about anything he’s done, you can tell he’s so earnest and passionate about what he does. And you know, you can’t make the ‘Lion King’ in a cynical way. You have to be just earnest about it. And I thought when it came to this idea of making a musical, I’ve never done that, so let me work with someone who has and who’s done it very well,” said Jenkins.
The star-studded cast — including Mads Mikkelsen, Billy Eichner and Seth Rogen — bring fresh perspectives to the beloved “Lion King” universe.
When asked what made him say yes to the project, Mikkelsen — who plays the villainous albino lion Kiros — said that apart from the fact that he simply “loved lions,” he could see the parallels between Mufasa and his character.
“There’s not a big difference between Mufasa and Kiros. In the sense of their upbringing, except that Mufasa loses his parents in the beginning. They don’t throw him out. And that’s the opposite story with Kiros. He was abandoned. He’s an albino lion, and in the animal kingdom, it’s a no-go. So, his heart is darker than Mufasa. There’s no hope in his heart. That’s just survival. And so, he finds his own pride, and he wants a piece of the cake. He wants the entire cake,” Mikkelsen said.
Bringing the laughs in “Mufasa” are Eichner and Rogen, returning to play Timon and Pumbaa, respectively.
For Eichner, the film brings him strangely full circle.
“I saw the original in 1994 with my parents in the movie theater. I remember that. And then, strangely enough, several years later, when it went to Broadway in the very acclaimed Broadway production, I was right out of college and one of my first jobs was being a bartender at the ‘Lion King’ on Broadway. And I didn’t get to see the show. They wouldn’t let you watch the show, but they would pipe the audio from the show into the lobby so that we could hear it and know when intermission was coming. So, I’ve heard a lot of ‘Lion King’ in my life,” he said.
Rogen enjoyed collaborating closely with Eichner as they recorded their parts together, allowing them to work more organically.
“We get to record together, which is really rare in these types of movies. I think a lot of the dynamic that we have in the movies wouldn’t be possible if we were recording it two different times were, like, really interactive with one another and building off of what the other person’s saying in the moment. And it’s very fast as well. And yeah, it’s just really cool to get afforded the opportunity to carve out a little section of these giant, expensive franchise movies with our little brand of improvizational comedy. It’s cool that they let us do that,” Rogen said.
When asked if they could recall any of their improvised bits in the movie, Rogen said: “There’s some meta jokes that break the fourth wall. Billy makes some references to the Broadway show. We have a lot of jokes on how we wish we had more songs and more screen time. I mean, all that stuff that was just really making us laugh as we were doing it. And no part of me thought it would make it into the movie, honestly, but a lot of it made it into the movie.”
Eichner added: “I also like when Timon and Puma become a little bitter and resentful at Rafiki because he’s inserting himself into the story, but not giving us a part in it. At the premiere, actually, which is the first time I saw it with an audience, I had forgot about that. And that was kind of surprising that we’re allowed to do that in the movie, but it almost feels like that part is more for the adults in the crowd.”
