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Hulu’s ‘Welcome to Chippendales’ looks a little under-dressed for success | CNN

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Hulu’s ‘Welcome to Chippendales’ looks a little under-dressed for success | CNN



CNN
 — 

Hulu has carved out a powerful area of interest of salacious fact-based restricted collection, together with a number of with a true-crime hook. “Welcome to Chippendales” checks off these containers, however in a less-appealing bundle that’s surprisingly lifeless, and even with its trashy promoting factors appears under-dressed for fulfillment.

The story begins with Indian immigrant Somen “Steve” Banerjee (Kumail Nanjiani) who’s launched as a gas-station/quickie-mart attendant earlier than he gambles his financial savings by opening a high-end backgammon membership. It’s a colossal flop, however his fortunes shift when Paul Snider (Dan Stevens) and Playboy playmate Dorothy Stratten (Nicola Peltz Beckham) stroll in, later dragging him to a homosexual bar, the place Banerjee stumbles onto “a strip membership … for ladies.”

After dismissing it as “The dumbest concept I’ve ever heard,” Snider joins within the effort, however he’s a awful accomplice, and a grim destiny awaits him and Stratten. However that is Banerjee’s story, and he finds the assistance he wants from choreographer Nick De Noia (“The White Lotus’” Murray Bartlett), who brings a extra skilled, slicker patina to the male dance revue, turning it into “an precise present.”

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As an alternative of reveling in his success, although, Banerjee seethes over the truth that the media-friendly De Noia is getting a lot of the credit score, a dynamic that isn’t helped by simply how awkward and terrible an interview Banerjee seems to be. Even letting De Noia open a membership in New York can’t cease Banerjee from insisting on attempting to exhibit who’s the boss, which can finally result in dire penalties earlier than it’s over.

Banerjee’s can get away extra along with his impulsiveness and racism – highlighted by the way in which he approaches Black staff – within the late Nineteen Seventies and ’80s, in addition to loads of freewheeling intercourse and medicines.

Nanjiani (who additionally produced) has already made strides past comedy in films like “The Massive Sick” and “Eternals,” however he makes essentially the most of this straight dramatic position. In the end, although, “Chippendales” is outlined by its trashier features, whereas its assortment of supporting gamers and their soap-opera issues too usually really feel as in the event that they’re simply killing time. That features Annaleigh Ashford as Banerjee’s spouse, who can’t get him to hearken to good recommendation, and Juliette Lewis and Andrew Rannells as Nick’s good friend and boyfriend.

In some respects, Hulu is likely to be a sufferer of its personal success, having set the bar excessive with Emmy-nominated productions like “Pam & Tommy,” “The Dropout” and “Dopesick.”

Grading on that curve, “Welcome to Chippendales” seems like a light-weight commodity, a kind of concepts that appears nice on paper and, regardless of its wholesome serving of beefcake, not practically pretty much as good within the flesh.

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“Welcome to Chippendales” premieres November 22 on Hulu.

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Movie Reviews

Sabari Movie Review: Varalaxmi Proves She Can Do Female Centric Roles

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Sabari Movie Review: Varalaxmi Proves She Can Do Female Centric Roles

Sabari, starring Varalaxmi Sarathkumar and directed by Anil Katz. The film hit theatres today.

What is it about?

The film follows Sanjana (Varalaxmi Sarathkumar), a single mother whose world is turned upside down when a horrifying truth comes to light: the child she raised is not her biological daughter.

Plot:

The story begins with a twisted past, revealing a villain, Mime Gopi, who escaped a mental asylum with an obsession—finding the daughter he believes was swapped. This sets him on a violent collision course with Sanjana, who will stop at nothing to protect the child she has loved and raised as her own.

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Sabari showcases the unwavering bond between a mother and child. As a single parent navigating the challenges of a broken marriage, Sanjana embodies strength and determination.

The movie appears like a psychological horror- thriller at first. While watching the first half, the film comes across a female led emotional thriller where the single parent appears to be going through hardships. Everything goes for a toss in the second half. It is in the second half that the film becomes an irreparable mess. The plot turns are created or arranged in a way that seems unrealistic and artificial.

Verdict: The screenplay of Sabari is far-fetched and the climax is so old that you will not believe this is a film made in 2024. However, Varalaxmi Sarathkumar has delivered a terrific performance.

Rating: 2.75/5

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Dua Lipa is a pop star with no lore on 'Radical Optimism'

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Dua Lipa is a pop star with no lore on 'Radical Optimism'

Dua Lipa’s “Radical Optimism” has a hilarious album cover, two songs about illusionists and what may end up the year’s most succulent bass playing. What it doesn’t have is the kind of detailed celebrity meta-narrative that’s come to define — and to propel — the superstar pop LP in music’s parasocial age.

The 28-year-old London-born singer might disagree: On the cusp of her Saturn return, Lipa has been talking up her third studio album as a meditation on hard-won emotional maturity à la Ariana Grande’s “Eternal Sunshine” or Kacey Musgraves’ “Deeper Well.” “Radical optimism in the way that I see it,” she told Zane Lowe, “is this idea of rolling with the punches.” The LP’s cover shows her bobbing in the sea dangerously close to a shark’s fin, and I guess the shark represents the punches?

Yet because Lipa’s lyrics are very bad — “If these walls could talk, they’d tell us to break up,” she sings at one point — this concept doesn’t really come together. And, besides, a quest for emotional maturity really misses the whole point of Dua Lipa, which is being coolly above it all in the pursuit of earthly pleasure. Her celebrity lore, to the extent that it exists, revolves around her identity as the Vacanza Queen, as she’s known on social media thanks to her fabulous Instagram photo dumps.

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So “Radical Optimism” raises an interesting question: In this era of the endlessly annotated “The Tortured Poets Department” — not to mention the downright scholarly “Cowboy Carter” — can a pop album succeed without functioning as a referendum on fame or as a work of musicology? Is it enough just to deliver a bunch of loosely connected bangers and bops?

At its best, “Radical Optimism” answers yes — or at least makes you want the answer to be yes. Lipa has style and attitude to spare; her singing is sly, throaty, slightly Bond-girl conspiratorial. Working with a crafty studio team led by Andrew Wyatt (who co-wrote and co-produced Lipa’s “Barbie” smash “Dance the Night”) and Tame Impala’s Kevin Parker, she fills these 11 songs with a wonderful array of sounds and textures: tick-tocking drums, silky guitars, synths that sparkle and growl. And those bass lines! Truly nasty stuff.

Despite Lipa’s proclamation in a recent interview with The Times that she’d moved away from disco, the album is firmly rooted on the dance floor, though it does lean more toward live instrumentation than 2020’s Grammy-winning “Future Nostalgia.” “These Walls” is a shimmering soft-rock jam with echoes of Fleetwood Mac, while “Anything for Love” starts out as a spare piano ballad before blossoming into chewy, “Off the Wall”-ish funk.

A woman at a distance in the ocean, next to a large shark fin

The cover of Dua Lipa’s “Radical Optimism.”

(Warner Music)

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The songs are about learning to understand the limits of romance. But we know so little about Lipa’s personal life as compared to Grande’s or Taylor Swift’s, for instance, that her comically dull revelations carry no charge. Here’s how she describes arriving at a state of post-breakup acceptance in “Happy for You”:

Late on a Tuesday, I saw your picture

You were so happy, I could just tell

She’s really pretty, I think she’s a model

Baby, together you look hot as hell

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On the other hand, there’s something deeply refreshing about the opportunity “Radical Optimism” offers to ignore all the superstar mythologizing and simply take in Lipa’s music as theater — to savor its energy and color the way we once did ABBA, to name one clear influence from a time when music made far more room for fantasy. (See also: Tori Kelly’s “Tori,” a vivid and inviting new pop album that exists almost entirely outside the celebrity-industrial complex.)

None of the singles from “Radical Optimism” have burned up the charts yet: “Illusion,” the album’s latest, sits at No. 78 this week on Billboard’s Hot 100, while “Houdini” fell off the tally after only a few months — a startlingly short run given the year-plus Lipa clocked with “Levitating” and “Don’t Start Now.” But those songs came before the full footnote-ification of pop that arguably began with Swift’s so-called Taylor’s Versions of her old albums. Now everything is a text to be scrutinized, whether the work can bear it or not.

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Movie Reviews

Movie Review: The Fall Guy – CinemaNerdz

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Movie Review: The Fall Guy – CinemaNerdz

Based on the television show of the same name that ran for five seasons from 1981-86 and starred Lee Majors and Heather Thomas, director David Leitch’s new film, The Fall Guy, employs the same combination of action and sexual tension that fueled the show (albeit not necessarily between the two main characters). This approach makes for an entertaining and somewhat nostalgic aura around a film that, if approached a different way, could have resulted in another disappointing cinematic adaptation of a popular television property.

Colt Seavers (Ryan Gosling) is a stuntman at the top of his game. He is performing death-defying stunts alongside his wannabe director girlfriend Jody (Emily Blunt) until one stunt goes awry and a severely injured Colt all but retires from the profession. That is, until his services are requested on the film that his now ex-girlfriend Jody is making her directorial debut with. The prospect of making peace with her entices him to take up the mantle of stuntman again. When he gets on set however, he quickly learns that there is more to his emerging from retirement than simply performing a few stunts as the star of Jody’s film (played by Aaron Taylor-Johnson) has disappeared and the film’s producer Gail Meyer (Hannah Waddingham) enlists Colt to track him down and bring him back to set. Of course, this is easier said than done and Colt soon finds himself embroiled in a conspiracy that could derail not only his reconciliation with Jody, but her career as well.

"The Fall Guy" poster

Like he has done with films like Bullet Train (2022) and Deadpool 2 (2018), director David Leitch shows off his ability to deliver action sequences that invigorate a rather tepid plot (as in the case of Bullet Train), but also showcase a well-written story centered around a likable character played by a charismatic actor (i.e. Deadpool 2). Working from a script by Drew Pearce (whom he collaborated last with making 2019’s Fast & Furious Presents: Hobbs & Shaw), Leitch embraces the entertainment value of the original property without resorting to a camp approach as have many other television adaptations. What emerges is an action/adventure piece with a legitimate mystery for the hero to solve while simultaneously trying to get his life back on track.

As Colt, Gosling does a fine job of blending the character’s natural suave demeanor with the uncertainty he is facing during this crossroads moment of his life path. Likewise, Blunt is equally capable as the talented filmmaker who is unsure exactly why her former flame has shown up on her set after so much time away. Taylor-Johnson embraces the bombastic nature of his character as a spoiled star too used to getting his way.

Ryan Gosling in "The Fall Guy."Ryan Gosling in "The Fall Guy."

Ryan Gosling in “The Fall Guy.”

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Nods to the original television show, courtesy of David Scheunemann’s production design, including Colt’s iconic truck, prove a welcome and non-distracting homage to the series. Along with Leitch’s use of movement to capture the action sequences, the editing provided by Elísabet Ronaldsdóttir allows the film’s action sequences to move along at a brisk and well-paced speed.

The nostalgic and non-ironic adaptation of the television series The Fall Guy allows the film to stand on its own apart from its namesake property (although there is a cameo at the end of the credits featuring original stars of the series) and exist as its own successful action/adventure film.

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