Colin Firth has become the latest star to rebuff Woody Allen and says he will never work with the filmmaker again.
The Kingsman: The Golden Circle star appeared opposite Emma Stone in Allen’s 2014 movie Magic In The Moonlight, and made this declaration the same say that Dylan Farrow gave her first televised interview accusing her adopted father of sexually assaulting her.
Firth said: ‘I wouldn’t work with him again.’
Last year he spoke out against Harvey Weinstein and admitted that he felt ashamed for not doing more when actress Sophie Dix told him of ‘a distressing encounter’ with Weinstein more than 25 years ago.
And it’s not only Firth that has said this, but many other actors have stood against Woody Allen in solidarity.
Selena Gomez, who stars in Allen’s upcoming film A Rainy Day In New York, has apparently donated more than her salary was for the film to the Time’s Up Legal Defence Fund.
Her co-star Timothée Chalamet also donated a considerable amount and has split this over a number of charities including the Time’s Up movement, The LGBT Center in New York, and anti-sexual assault organisation Rape, Abuse & Incest National Network (RAINN).
And Rebecca Hall – who starred in Woody’s 2008 movie Vicky Cristina Barcelona – expressed her regret at working with Allen, and pledged to donate her fee from the film to Time’s Up.
However, Alec Baldwin – who appeared in To Rome With Love and Blue Jasmine – has taken to Twitter to defend the director.
He tweeted: ‘Woody Allen was investigated forensically by two states (NY and CT) and no charges were filed. The renunciation of him and his work, no doubt, has some purpose. But it’s unfair and sad to me. I worked w WA 3 times and it was one of the privileges of my career. (sic)’
More: Selena Gomez
Dylan Farrow published an open letter in The New York Times in 2014 alleging that Allen sexually abused her in an attic when she was just seven-years-old.
The 82-year-old has denied the allegation and this week accused the Farrow family of ‘cynically using the opportunity afforded by the Time’s Up movement to repeat this discredited allegation’.
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.