Mandy Moore Shuts Down ‘Morbid’ Frozen and Tangled Fan Theory

Tangled star Mandy Moore has killed off a popular fan theory that Frozen, Tangled, and The Little Mermaid are connected through one couple’s painful, terrible death. While the theory was already debunked by super fans, it was worth it to see the horrified look on Moore’s face.

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Sunday’s Best Deals: Star Wars Saga, WeMo Mini, Amazon Luggage Sale, and More

The complete* Star Wars Blu-ray, Belkin’s WeMo Mini Smart Plug, and discounted luggage lead off Sunday’s best deals.

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Westworld Creators Reveal Which Host Was the First to Use Free Will

The season finale of Westworld was ripe with twists and turns, even ones the vigilant Reddit forums didn’t anticipate. As everyone sits on their thumbs waiting for season 2, the show creators have confirmed which host was the first to exercise free will... and it might not be who you think.

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Aquarius review – she shall not be moved

Sônia Braga is outstanding as a woman refusing to be forced out of her Recife apartment in this powerful Brazilian satire

A performance of tremendous wit, vitality and lusty defiance by Sônia Braga drives Brazilian film-maker Kleber Mendonça Filho’s remarkable second feature. A portrait of a 65-year-old woman refusing to be bullied out of her seafront apartment by developers, Aquarius is both a powerful celebration of its independent heroine and a scathing satire on institutional corruption. Like the writer/director’s fable-inflected 2004 short Vinil Verde, it is a film fascinated by the magical power of scratchy old records, of mother-daughter bonds, of transformational living spaces. And as with his first feature, Neighbouring Sounds, it presents a community haunted by artefacts of the past and the architecture of change, social and personal conflicts seamlessly intertwined.

Retired music critic Clara (Braga) lives in the 1940s-built Aquarius apartment block in upmarket Recife. The beach lifeguards are affectionately reverential towards local VIP “Dona Clara”, while a newspaper interviewer notes her old-school love of “physical media” – of vinyl albums that contain a “message in a bottle”. But Clara’s days of happiness are under threat from developers, led by selfie-snapping Diego (Humberto Carrão), who is intent on tearing down the past and building a “new Aquarius” where the old one “used to exist” (“The building exists now,” Clara tells Diego. “You’re leaning on it!”). Soon she is the only tenant left in a ghost building, prey to the developers’ covert harassment – from orgiastic parties in the apartment above to shit in the stairwells, bonfires in the car park and worse. Like her home, Clara is under siege from a new generation of entrepreneurial termites, lending an edge of horror to the drama, a tangible sense of creeping dread.

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The Lost City of Z review – lush jungle adventure

Glorious music, photography and Robert Pattinson’s beard make this trip up the Amazon just about worth it

“Terrible diseases, murderous savages.” Not to mention waters that boil with piranhas: Col Percival Fawcett (Charlie Hunnam) is prepared to face all of this and more on a mapping expedition to Bolivia. His hope is that a successful mission will help him excise the shame that clings to his family name like some parasitic growth. But in fact, in James Gray’s uneven account of a real-life explorer’s obsession with Amazonia, Fawcett discovers that he feels more alive picking leeches out of his armpit hair than he ever did in the drawing rooms of polite society. And there are moments of richly realised magic here in which we fully sympathise with him.

A nod to Herzog’s Fitzcarraldo is one – a gorgeously odd segment in which Fawcett and his team stumble upon an opera performance deep in the heart of the jungle. And music in general is key. The score, by Christopher Spelman, is a glorious, transcendent surge and swell, which evokes both the lush orchestral compositions of old Hollywood and the devotional music of John Tavener. Together with the colour-saturated reverence of Darius Khondji’s photography, it captures the wonder and the spiritual element of Fawcett’s travels.

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All This Panic: the most relatable film about teenage girlhood ever?

Jenny Gage’s intimate documentary of seven Brooklyn teenagers has been praised for its honest account of growing up. We asked four British school friends to assess it

‘I don’t want to age. I think that’s the scariest thing in the entire world,” says Ginger Leigh Ryan, one of the girls featured in Jenny Gage’s documentary All This Panic. Set in the Brooklyn neighbourhood of Clinton Hill and directed by the former US fashion photographer, with cinematography by her husband Tom Betterton, the film follows seven teenagers – best friends Lena and Ginger, their school friends Sage, Olivia and Ivy, Ginger’s younger sister Dusty, and Dusty’s best friend Delia – over a three-year period.

i-D magazine said the film “might be the most honest documentary about teenage girlhood ever”. That’s a bold claim, but there’s something to be said for the way Gage’s film articulates the emotional intensity of being a teenage girl. What makes it different from other coming-of-age films is the way it allows the girls to articulate their experiences as they occur, and in their own words. The Virgin Suicides showed teenage girls as their male classmates remembered them; Spring Breakers objectified and parodied them; films like Fat Girl, Fish Tank, Girlhood and Mustang shaped their stories around their protagonists’ particular traumas rather than their triumphs. Gage takes them seriously, and wants to hear what they have to say about the world and their place in it. The film follows the girls as they experiment with dating and drinking, but doesn’t dodge more serious issues, like Lena’s dysfunctional family and precarious finances, Ginger’s decision not to go to college (and her father’s insistence that she “try and be more interesting”), and Olivia’s eventual coming out.

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The Autopsy of Jane Doe review – bone-crunching horror

A father and son coroner team find they have more on their hands than they bargained for

Have you ever wondered what sound rib-cutters make as they crunch into the chest cavity of a corpse? Or the groan of a bone saw as it chops through the skull to reach the brain? Ponder no more, thanks to this enthusiastically gory horror from André Øvredal (who made his name with the terrific Troll Hunter). It’s hard to think of another film that has brought such lip-smacking relish to its sound design. A superior cast (Brian Cox and Emile Hirsch play a father and son coroner team) adds to the fun, as does the production design – the pair work in a dimly lit basement painted the colour of clogged arteries. But the chaotic payoff can’t match the effectively torturous build of tension in the first two acts.

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Life review – exuberantly grisly Alien rip-off

Rebecca Ferguson, Jake Gyllenhaal and Ryan Reynolds play an enjoyably gory game of hide-and-seek with a hungry alien

The crew of a space station is picked off, one by one, by an extraterrestrial life form which seems to view the human contents of the craft as some kind of alien finger buffet. And if that premise sounds more than a little familiar, that’s because Daniel Espinosa’s enjoyable sci-fi horror movie shares narrative DNA with everything from Tarkovsky’s Solaris to Danny Boyle’s Sunshine to, most glaringly of all, Ridley Scott’s Alien. But although this is undeniably an Alien rip-off, it’s an Alien rip-off that announces itself with a dizzyingly audacious zero-gravity single-shot sequence in which Ryan Reynolds wrests a wounded satellite out of orbit using a rob otic grabber claw. With this stunning set piece, cinematographer Seamus McGarvey more than meets the challenge set by Emmanuel Lubezki’s Oscar-winning work on Gravity.

The satellite contains Martian soil samples, within which is an inert single-celled organism: incontrovertible proof of life on Mars. In the name of scientific research (or of narrative convenience) the head researcher (British actor Ariyon Bakare) decides to jump-start the organism out of its stasis, and is rewarded by a rapidly growing glob of gelatinous malice. Alien’s infamous John Hurt chest-eruption scene is matched for gruesome relish if not shock value by a sequence in which the creature force-feeds itself to a key character. Not all of the actors have enough screen time to really register, but Jake Gyllenhaal, playing a jaded medic who no longer feels he belongs on Earth, has a brooding, soulful quality; the electricity between his character and Rebecca Ferguson’s safety officer crackles satisfyingly.

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All This Panic review – striking insight into teenage life

An intimate and revealing documentary about girls on the cusp of adulthood in Brooklyn

Shot over a period of three years and as intimate and confessional as a teenage sleepover, this strikingly cinematic vérité documentary follows a group of adolescent girls poised between childhood and the adult world. Stumbling into life on unsteady colts’ legs, and finding their voices in a society that is still more interested in what they look like than what they have to say, we see young women blossom in the safe space that film-maker Jenny Gage has created in front of her camera. A wisp of a thing at 79 minutes, the film punches above its weight when it comes to quietly life-changing insights into the tricky business of growing up.

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Paterson; Fantastic Beasts and Where to Find Them; The Edge of Seventeen and more – review

Jim Jarmusch’s lovely Paterson looks for poetry in the everyday, while a Harry Potter spin-off is all style and no substance

Last week it was World Poetry Day, and if such randomly appointed occasions carried much meaning beyond a trending Twitter hashtag, I’d say it’s an apposite time to be releasing Paterson (Soda, 12) on DVD. Cinema has a patchy record of encapsulating other art forms, but something like a poet’s soul runs through Jim Jarmusch’s lovely, languid study of being. It’s not just in the elegant, surprisingly credible verse (courtesy of the venerable Ron Padgett) supposedly written by its protagonist, a peaceable New Jersey bus driver, exquisitely etched by Adam Driver, living for his lover, his art and, contentedly, not much else. Paterson works up strikingly little conflict as it follows his daily circuit around the faded, resting city with which he shares a name. It invites us, like its shy hero, to locate the rhythm and sometimes broken rhyme in everyday existence.

As frantically busy as Paterson is bemusedly calm, Fantastic Beasts and Where to Find Them (Warner, 12) offers viewers such a generous, gold-plated array of sheer stuff to consider – from its expensively depressed, steampunky production design to its Oscar-winning wardrobe of swishy overcoats to, per the title’s gasping promise, a digital menagerie of incredible magic beasts in New York – that you might not notice or care how little it ticks beneath the surface. Shortly after seeing it, I could tell you that this JK Rowling-scripted Harry Potter spin-off stars Eddie Redmayne as “magizoologist” wizard Newt Scamander, and that at one point, in a bewildering highlight, he performs a mating dance to a mutant rhino – but what the film is actually about is a more elusive detail. Returning from the Potter franchise, director David Yates has set up an elaborate story world, but it’s more world than story at this point.

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The Eyes of My Mother review – chilling arthouse horror

The unnerving story of a young woman damaged by a violent tragedy is restrained and elegant – until suddenly it’s not

This poised feature debut from Nicolas Pesce announces a director who blends arthouse with horror to unnerving, elegant effect. Shot in striking black and white with a camera that drifts, almost languidly, to reveal hints of nightmarish violence, there is a chilly beauty to the austere backwoods America backdrop. A child, home-schooled in dissection and the mysteries of anatomy by her mother, puts her skills into practice when a violent tragedy rends her life apart. Later, as a lonely young adult, Francisca (Kika Magalhães) sets about creating her own family unit by – literally – carving chunks off someone else’s. The film loses some of its cruel precision and restraint in a third act that goes all out for shock value. As a result, the picture ends up more conventional and less intriguing than its early promise suggested.

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Scarlett Johansson, charismatic queen of science fiction

With her role as a cyborg in Ghost in the Shell, the actress has sealed her position as our favourite space invader

Hollywood quickly made room on its red carpets for the young Scarlett Johansson in 2003, when she first created a stir in Sofia Coppola’s film, Lost in Translation. It seemed clear that this blonde bombshell from New York, who was so ably sharing the screen with a dyspeptic Bill Murray, would go on to deliver popcorn buckets-full of mainstream audience appeal. Beautiful, mysterious and charismatic: she was already an aspirational trophy for any traditional leading man.

Yet, 14 years on, Johansson is established instead as a rather different sort of screen idol. Following a succession of high-octane blockbusters and off-beat critical hits, the actress is now enshrined as perhaps the leading sci-fi action star of her generation. Where once her sardonic smirks and sultry looks spoke of old-school movie glamour, she is now more likely to grab the limelight by kickboxing than by smouldering.

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Supreme Court Printer Cartridge Case Could Be the Citizens United of Products

It’s an obscure case that hasn’t received a ton of attention as it has made its way to the Supreme Court but the final verdict could set off a cascade of consequences in the world of consumer products.

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Man in Joker Makeup Charged with Felony for ‘Wearing Mask’

A 31-year-old Virginia man was arrested on Friday and charged with wearing a mask in public, a felony that’s punishable by up to five years in jail. His crime? Dressing up as the Joker. With makeup.

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Report: Uber CEO’s Group Trip to Escort Bar Made Female Employee ‘Feel Horrible’

Allegations of sexual harassment, among other issues within Uber, have been particularly persistent since the beginning of this year. A new report paints Uber’s toxic culture as a problem that goes all the way to the top.

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The Empire Strikes First in the Star Wars Rebels Season Finale

Forty years ago, the opening crawl of the original Star Wars revealed the Rebels’ had just won “their first victory against the evil Galactic Empire.” Given that we knew a major battle would be ending the third season of Star Wars Rebels, that presumably meant things in the finale probably weren’t going to go well for…

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Harrison Ford to air traffic control: ‘I’m the schmuck who landed on the taxiway’ – audio

An audio recording released by John Wayne Airport in California on Saturday reveals Harrison Ford referring to himself as a ‘schmuck’, after he mistakenly flies low over an airliner that was taxiing on 13 February. Ford had been supposed to land on a runway that runs parallel to the taxiway, but says he was distracted during landing

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These Guys Who Want A Paul Walker Statue Are The Hope This World Needs 

Two guys recently stopped by a city council meeting after a surf session in San Clemente, California, asking for a huge statue of the late Fast and Furious star Paul Walker to be erected as a “beacon of headlights that can guide us down a dusty road.” It is absolutely the best—and gnarliest—thing you will ever see.

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Everything Justice League Trailer Tells Us About Its Story, Heroes, and Villains

As is our wont, we’ve taken some time put on our detective’s hats, pool our knowledge of rumor and comic books, and squint at every frame of the new Justice League trailer to tell you everything it’s got hidden in its many shades of grey.

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Gchat Is Dead, You’ll Have to Hangout in the Future

As part of Google’s ever-confusing plethora of apps, Gchat was a service that managed to take hold because of its convenience and the fact that it was built into Gmail. Now, the service is scheduled to hit the chopping block. But don’t panic.

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