Oscars

Guillermo del Toro’s “Frankenstein” didn’t exactly wow audiences and critics when it premiered at the Venice Film Festival, and when it landed at the Telluride Film Festival a day later for a pair of late-night screenings, the response was even more muted. Leaving Colorado, the airport gate was full of hushed conversations between people registering their disappointment with the movie.

“Frankenstein,” the talk went, had three strikes against it — a plodding story, computer-generated imagery that looked appalling and was employed to often ridiculous effect and, outside of Jacob Elordi’s affecting turn as the monster, acting that seemed wildly excessive (Oscar Isaac) or hopelessly lost (Mia Goth). In short: a mess.

But then “Frankenstein” traveled to the Toronto, a city Del Toro regards as his “second home,” and finished as runner-up to “Hamnet” for the festival’s People’s Choice Award. Now playing in a theatrical limited release ahead of its Nov. 7 Netflix premiere, the movie has found favor with the filmmaker’s devoted fan base, selling out theaters, including dates at Netflix’s renovated Egyptian Theatre in Hollywood, where admission lines wrapped around the block. And some prominent critics, including my colleague Amy Nicholson, have written some thoughtful reviews of the movie, praising Del Toro’s lifelong passion project. Amy calls it the “best movie of his career.”

So in this update to my post-festival Oscar power rankings for best picture, you’ll find “Frankenstein,” a movie that’s hard to place on this list but harder still to ignore. Previous rankings are parenthetically noted.

Falling out of the rankings since September: “A House of Dynamite,” “Jay Kelly”

10. ‘Avatar: Fire and Ash’ (Unranked)

A scene from 2022’s “Avatar: The Way of Water.”

(20th Century Studios)

The last “Avatar” movie grossed $2.3 billion and, yes, earned an Oscar nomination for best picture. Yet I’m hard-pressed to find anyone who’s truly excited about devoting half a day to see the next installment, which clocks in at 3 hours and 12 minutes. Just because the first two movies were nominated doesn’t mean this one will be. But underestimating James Cameron’s ability to connect with audiences — and awards voters — seems dumb. So here we are, No. 10, sight (still) unseen.

9. ‘Bugonia’ (10)

Emma Stone in “Bugonia.”

(Atsushi Nishijima / Focus Features)

Better than “Kinds of Kindness” but not nearly the triumph of “Poor Things,” this is mid Yorgos Lanthimos — off-putting, punishing and misanthropic but also featuring another showcase for Emma Stone’s bold, creative energy. There are a number of movies that could displace it as a nominee. Park Chan-wook’s “No Other Choice” offers a more humane — and funnier — look at ugly things people can do when desperate. But I’ll stick with “Bugonia” for now. After all, how many movies inspire people to shave their heads for a ticket?

8. “Frankenstein” (Unranked)

Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

Netflix has four movies arriving during the awards season window — the meditative stunner “Train Dreams,” Katherine Bigelow’s riveting, ticking-clock thriller “A House of Dynamite,” the George Clooney meta-charmer “Jay Kelly” and “Frankenstein.” (That’s how I’d rank them in terms of quality.) One of these movies will be nominated. Maybe two. At this moment, nobody, including the awards team at Netflix, knows which one(s) it will be.

7. ‘It Was Just an Accident’ (7)

Mohamad Ali Elyasmehr, left, Madj Panahi and Hadis Pakbaten in “It Was Just an Accident.”

(Neon)

Jafar Panahi’s Palme d’Or-winning thriller possesses a withering critique of the cruelty and corruption of an authoritarian regime, combined with a blistering sense of humor. Panahi (“The Circle,” “Taxi”) has been imprisoned by the Iranian government many times for criticizing the government, and his courage has been celebrated for its spirit of artistic resistance. He has been a ubiquitous presence on the festival and awards circuit this year, eager to share both the movie and his story. As the Oscars have thoroughly embraced international movies the last several years, “It Was Just an Accident” feels like it’s on solid ground.

6. ‘Wicked: For Good’ (6)

Ariana Grande, left, and Cynthia Erivo in “Wicked: For Good.”

(Giles Keyte / Universal Pictures)

An academy member recently expressed some reservations about this movie to me — not about the sequel itself, but about the prospect of seeing stars Cynthia Erivo and Ariana Grande embark on another tear-soaked promotional tour. Whatevs. The first “Wicked” movie earned 10 Oscar nominations, winning for production design and costumes. With the added casting category, the sequel might just surpass that number.

5. ‘Marty Supreme’ (8)

Timothée Chalamet in “Marty Supreme.”

(A24)

Josh Safdie’s wildly entertaining, over-caffeinated portrait of a single-minded ping-pong player premiered on its home turf at the New York Film Festival and people left the Lincoln Center’s Alice Tully Hall caught up in the rapture of the movie’s delirium. It might be the movie that wins Timothée Chalamet his Oscar, though he’ll have to go through Leonardo DiCaprio to collect the trophy.

4. ‘Sentimental Value’ (3)

Stellan Skarsgård, left, and Renate Reinsve in “Sentimental Value.”

(Kasper Tuxen / Neon)

Neon won best picture last year with Sean Baker’s “Anora,” and it’s not unreasonable to think it could run it back with “Sentimental Value,” Joachim Trier’s piercing drama about a family reckoning with the past and wondering if reconciliation is possible — or even desired. The three actors cast in familial roles — Stellan Skarsgård, playing a legendary director angling for a comeback, and Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters — are excellent, and Elle Fanning has a choice role as an A-list actor who becomes entangled in the family drama. And like “Anora,” this movie ends on a perfect, transcendent note. That counts for a lot.

3. ‘Sinners’ (4)

Michael B. Jordan in “Sinners.”

(Eli Ade / Warner Bros. Pictures)

“Sinners” made a lot of noise when it was released in April and, months later, belongs in any conversation about the year’s best movie. The job now is to remind voters of its worth at events like the American Cinematheque’s upcoming “Sinners” screening with filmmaker Ryan Coogler and Michael B. Jordan. With the level of its craft, it could score a dozen or more nominations, with only “One Battle After Another” as a threat to best that count.

2. ‘Hamnet’ (2)

Paul Mescal in “Hamnet.”

(Focus Features)

Since its tear-inducing Telluride premiere, Chloé Zhao’s tender portrait of love and loss and the cathartic power of art has been hitting regional film festivals, racking up audience awards and proving that people love a good cry. Stock up on tissues now for the film’s theatrical release later this month.

1. ‘One Battle After Another’ (1)

Leonardo DiCaprio in “One Battle After Another.”

(Warner Bros. Pictures)

The Gotham Awards did away with its budget cap a couple of years ago, allowing indie-spirited studio movies like “One Battle After Another” to clean up and, one supposes, the show’s sales team to move more tables at its ceremony. It was no secret that Paul Thomas Anderson’s angry, urgent epic would score well with film critics groups. (Panels of critics vote for the Gothams.) It’s just a question of how many dinners Anderson will have to eventually attend for a movie that has easily become the most widely seen film of his career.

There’s a good chance that a horror movie will be nominated for the 2025 best picture Oscar.

And if Ryan Coogler’s “Sinners” or Guillermo del Toro’s “Frankenstein” make the cut, it will be the first time in the Academy Awards’ 97-year history that a fright film has been nominated in consecutive contests.

It’s long overdue. And if you believe part of Oscars’ purpose is to promote the industry and celebrate its achievements, there’s no better time for the academy to get over its traditional disdain for cinematic monstrosities.

As most other sectors of Hollywood’s film business look precarious — adult dramas, the traditional awards season ponies, are dropping like dead horses at the box office, while attendance for the once-mighty superhero supergenre continues to disappoint — horror has hit its highest annual gross of all time, $1.2 billion, with a good two months left to go.

“Sinners,” released in April, remains in fifth place on the domestic box office chart with $279 million. Its fellow Warner Bros. offerings “The Conjuring: Last Rites,” “Weapons” and “Final Destination: Bloodlines” occupied slots 12 through 14 as of mid-October.

Mia Goth as Elizabeth and Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

“Horror has been, historically, the Rodney Dangerfield of genres,” notes Paul Dergarabedian, head of marketplace trends for global media measurement firm Comscore. “It can’t get no respect.

“But horror is very important to the industry on so many levels now,” he continues. “We have four horror movies in the top 15 this year, all of those generating over $100 million in domestic box office. And to make a significant scary horror movie, you don’t have to break the bank. Look at [‘Weapons’ filmmaker Zach Cregger’s 2022 breakout feature] ‘Barbarian’; half of that was shot in a basement.” Similarly, compare “Sinners’” $90 million price tag to “Black Panther’s” $200 million.

Horror’s popularity has gone in cycles since Universal’s run of classic monster movies in the early 1930s. But profitability has been a reliable bet more often than not — and Karloff’s “Frankenstein” and Lugosi’s “Dracula” still resonate through pop culture while most best picture winners of the same era are forgotten.

Still, it wasn’t until 1974 that “The Exorcist” received the first best picture nomination for a horror film, and ahead of the success of “The Substance” at the 2025 Oscar nominations the genre’s fortunes had only marginally improved. Indeed, many of the titles usually cited as a mark of horror’s growing foothold in awards season — “Jaws,” “The Sixth Sense,” “Black Swan,” 1991 winner “The Silence of the Lambs” — are arguably better characterized as something else entirely, or at best as hybrids. (To wit, the sole monster movie that’s won best picture, Del Toro’s 2017 “The Shape of Water,” is primarily considered a romantic fantasy.)

Ryan Coogler’s “Sinners.”

(Warner Bros. Pictures)

Fright films’ reputation for delivering cheap thrills to undiscerning audiences was often deserved, but there were always stellar horror films that the academy overlooked. And more recently, films such as “The Substance,” “Sinners” and Jordan Peele’s 2017 nominee “Get Out” have pierced ingrained voter prejudices against the genre by adding social commentary and undeniable aesthetic quality without compromising gory fundamentals.

“The horror genre really does seem to be attracting great directors who are immersed in it, have a real auteur point-of-view and make interesting movies that have horror elements but explore other themes as well,” notes The Envelope’s awards columnist, Glenn Whipp. “‘Sinners’ is Ryan Coogler’s vampire movie, but it’s also about the Jim Crow South and American blues music. How can you resist that if you’re an academy voter?”

And with horror packing in filmgoers like no other genre, high-profile nominations could help the Academy Awards broadcast attract the bigger ratings its stakeholders have been desperately seeking at least since “The Dark Knight” failed to make the best picture cut in 2008.

Austin Abrams in “Weapons.”

(Warner Bros. Pictures)

“That was the whole reason we went to 10 potential nominees,” Dergarabedian recalls. “We wanted to have more blockbuster representation at the Oscars. This may be the perfect storm. If I were an academy voter, I would vote for ‘Sinners’ and ‘Weapons.’ I don’t think that’s an overstatement, given the films that have come out this year.”

Even beyond this “perfect storm,” though, Whipp sees a sea change afoot.

“Everything’s an Oscar movie now if it’s well made,” he says. “Studios aren’t really making traditional, grown-up dramas and the academy can only nominate what’s in front of them. Horror is being produced at a rate that is greater than it used to be, and at least two of these Warner movies really landed with audiences and critics. The genre is attracting some of our top filmmakers right now, and that’s something that will trickle down to the Oscars.”

“This is not a blip,” Dergarabedian concludes. “It’s a trend that feels like it’s happened overnight but it’s been a long time coming. Back in 2017 we had our first $1-billion-plus horror movie box office. If they stop making good horror movies it might be a blip, but I think Hollywood should take this and bloody run with it.”

HOLLYWOOD star Reese Witherspoon is shaken and stirred by James Bond films — saying they objectify women in bikinis.

The Oscar winner, 49, blasted Bond Girls such as Halle Berry and Ursula Andress.

She said: “Women deserve better stories because women save the day all the time.

“We are not wearing bikinis while we do it.”

Reese was in London to plug her co-written novel Gone Before Goodbye.

Reese Witherspoon is best known for her roles in Legally Blonde, critically-acclaimed Walk the Line, and the dark comedy Cruel Intentions.

A FRIGHTFUL PLACE

The little-known town known as Hollywood for horror movies

KENYA BELIEVE IT?

00s singer resurfaces after leaving Hollywood for life on farm in Kenya

She’s been taking home awards since 2006 including Academy Awards, BAFTAs, Teen Choice Awards, and Golden Globes.

She’s set to feature on a new series of The Morning Show alongside Jennifer Aniston.

Her first break came when she appeared in several local TV adverts at just age seven.

She was soon securing major movie roles as a teenager and throughout the 1990s. 

What is it about the musical biopic that has inspired so much Oscar love? Is it the genre’s front-row seat on the turbulent, provocative, culture-shifting lives of artists we’ve worshiped from afar? Is it the transformational, go-for-broke acting showcase it affords, and the painstaking period recreation so essential to the journey back in time? Or is it simply the enduring power of popular music and the icons who’ve created and performed it?

With the release of writer-director Scott Cooper’s biographical drama “Springsteen: Deliver Me from Nowhere,” starring kudos magnet Jeremy Allen White in an immersive portrayal of The Boss circa 1982, it feels like the perfect time to flash back on some of the most honored pop-music biopics in Oscars history.

‘A Complete Unknown’ (8 nominations)

Monica Barbaro and Timothée Chalamet in “A Complete Unknown.”

(Searchlight Pictures)

This nostalgic snapshot of the early career of legendary folk singer Bob Dylan racked up eight Oscar nominations, including for picture, director (James Mangold), adapted screenplay (Mangold and Jay Cocks), and actors Timothée Chalamet (Dylan), Edward Norton (Pete Seeger) and Monica Barbaro (Joan Baez). Though it exited the awards ceremony empty-handed (it also earned nods for sound and costume design), the film enjoyed solid awards-season grosses, largely positive reviews and further burnished Chalamet’s cred as a versatile and chameleonic leading man.

‘Elvis’ (8 nominations)

Austin Butler in “Elvis.”

(Warner Bros. Pictures)

Tracking the meteoric rise and fall of the King of Rock ’n’ Roll, this electric, eclectic, midcentury biopic impressed critics, shook up the box office and made a star out of Presley proxy Austin Butler. (Go ahead, say it: “Thank you, thank you very much!”) Though “Elvis” left the building on Oscar night with zero wins from eight nods — including picture, lead actor, cinematography and film editing — the movie brought the hip-swiveling singer back into the zeitgeist and gave director Baz Luhrmann yet another feather in his movie-musical cap.

‘Yankee Doodle Dandy’ (8 nominations)

James Cagney stars as George M. Cohan in the 1942 biographical musical drama “Yankee Doodle Dandy.”

(Turner Entertainment)

An oldie but a goodie, this popular — and patriotic — musical drama, starring James Cagney as prolific composer-singer-showman George M. Cohan, was nominated for eight Academy Awards, including for picture, director (Michael Curtiz), lead actor and supporting actor (Walter Huston). Cagney won his only Oscar for the exuberant role. (He also received nominations for 1938’s “Angels With Dirty Faces” and 1955’s “Love Me or Leave Me,” another musical biopic.) “Yankee” took home additional statuettes for sound and, as the category was then called, best scoring of a musical picture.

‘Coal Miner’s Daughter’ (7 nominations)

Levon Helm and Sissy Spacek in “Coal Miner’s Daughter.”

(Universal Pictures)

Country star Loretta Lynn may have been born a coal miner’s daughter, but Sissy Spacek was born to play her, as evidenced by the Oscar she won for her striking portrayal. The film, which spanned Lynn’s humble Kentucky youth and marriage at 15 through her extraordinary rise to chart-topping fame — and the nervous breakdown that nearly derailed her career — scored seven nominations, including for picture and adapted screenplay (by Thomas Rickman). Spacek, the film’s sole Oscar winner, would go on to earn four more lead actress nominations.

‘Bound for Glory’ (6 nominations)

David Carradine, who played folk singer Woody Guthrie in “Bound for Glory,” strums a guitar at the 1977 Cannes Film Festival.

(Keystone / Hulton Archive via Getty Images)

Seminal American folk singer Woody Guthrie, who was a pivotal supporting character in last year’s “A Complete Unknown,” had a biopic all to himself in this lyrical drama directed by the great Hal Ashby. Based on Guthrie’s 1943 autobiography and starring David Carradine as the itinerant, socially conscious musician, the movie was nominated for six Oscars, including picture, adapted screenplay and film editing. It won for Haskell Wexler’s evocative cinematography and Leonard Rosenman’s sweeping score — but remained more of a critical than commercial success.

‘Ray’ (6 nominations)

Jamie Foxx in “Ray.”

(Nicola Goode)

Jamie Foxx took home the Oscar, among many other prizes, for his vibrant embodiment of pioneering singer-songwriter-pianist Ray Charles. The ambitious box-office hit, which followed the influential crossover artist from his childhood in 1930s Georgia (when he went blind) through the late 1970s — and all the successes, detours and struggles in between — garnered six nominations, including best picture and director (Taylor Hackford). Along with the lead actor award, “Ray” won for sound mixing. Foxx also earned a supporting actor nod that same year for his fine dramatic work in Michael Mann’s “Collateral.”

‘Bohemian Rhapsody’ (5 nominations)

Rami Malek in “Bohemian Rhapsody.”

(Alex Bailey / Twentieth Century Fox)

Audiences and Academy voters were kinder than many critics to this often dazzling, mega-grossing ($910 million worldwide) portrait of groundbreaking Queen frontman and co-founder Freddie Mercury, who died of complications from AIDS in 1991. Although called out for sanitizing the queer, vocally gifted musician’s private — and not-so-private — life, the movie was nominated for five Oscars, including best picture. With wins for film editing, sound editing, sound mixing and, most notably, lead actor (for Rami Malek’s captivating turn as Mercury), the picture amassed the most statuettes in that year’s race.

‘Lady Sings the Blues’ (5 nominations)

Diana Ross in “Lady Sings the Blues.”

(Paramount Pictures)

Diana Ross made an auspicious feature acting debut in this sprawling biopic about the hardships and triumphs of celebrated jazz singer Billie Holiday. An iconic music star herself — she’d recently left the hit-making Supremes to go solo — Ross earned her first (and only) Oscar nod for her galvanizing recreation. The film received four additional nominations, including for original screenplay and costume design, but won none. Ross, who lost that year to Liza Minnelli in “Cabaret,” would go on to star in just a handful of other films. (“Mahogany,” anyone?)

‘Walk the Line’ (5 nominations)

Joaquin Phoenix in “Walk the Line.”

(Suzanne Tenner / 20th Century Fox)

The life of country-folk-rockabilly star Johnny Cash received a polished, emotionally rich big-screen treatment thanks to fine direction by James Mangold (who co-wrote with Gill Dennis) and powerful star turns by Joaquin Phoenix as the complicated Man in Black and Reese Witherspoon as his resilient wife, singer June Carter Cash. The popular, well-reviewed drama collected five Oscar nominations: lead actor and actress, costume design, film editing and sound mixing. Witherspoon captured Oscar gold — along with a raft of other awards — for her memorable performance.

HE was the golden boy of Hollywood.

Men envied his obvious friendship with Paul Newman in Butch Cassidy And The Sundance Kid, and almost all his female co-stars adored him.

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In fact, Jane Fonda admitted she couldn’t keep her hands off him on set, while Meryl Streep said he was the “best kisser ever”.

Robert Redford, who yesterday died in his sleep aged 89 at his ranch in Utah, was rejected for 1967 movie The Graduate because no one would ever believe he was a loser with women.

But the handsome star was haunted by nerves and self-doubt that caused him to be endlessly late on set.

As the greatest names in showbiz paid tribute to the blond-haired icon, his representative revealed Redford was “surrounded by those he loved” when he passed away. She added: “He will be missed greatly.”

‘Love of pranks’

In blockbusters such as Barefoot In The Park, The Sting, All The President’s Men, The Great Gatsby, The Horse Whisperer, Indecent Proposal and Up Close And Personal, Redford was box office dynamite.

But the Oscar-winning actor was terrified stardom might turn him into a product for Hollywood studios to sell. He moaned: “Films to them are just like vacuum cleaners or refrigerators. The approach sickens me.”

The megastar even refused to make sequels to his biggest hits, Butch ­Cassidy and The Way We Were with Barbra Streisand.

He hated franchises, but appeared in Captain America: The Winter ­Soldier to please his grandkids.

And he became a champion of independent film-makers, founding the annual Sundance Film Festival to showcase their work.

Born Charles Robert Redford Jr in Santa Monica, California, on August 18, 1936, the actor’s mum was Martha and his dad Charles, a milkman.

His first taste of Hollywood was breaking into a studio as a teenager and trashing the place. He once said: “There was a strong dividing line with a railroad which ran near our house.

“Those who lived on the south side of the tracks, like us, helped to service the big houses on the north side as gardeners, cleaners, whatever.

“My dad would get up to go to work at 2.30 in the morning, come home late afternoon and go to sleep.

“It wasn’t his fault, but it was an inspiration [for me] to do something else with my life.”

Redford’s first plan was to be a baseball star, and he won a sports scholarship to Colorado University.

But he told showbiz writer Garth Pearce: “I was asked to leave because I was drinking too much.”

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His mother Martha had recently died and he turned to alcohol.

After being thrown out of college, he ­travelled to Europe. Redford recalled: “I became a pavement artist in ­Montmartre, Paris, and felt my life had begun at last. I had found my calling.

“Then I moved to Italy, where they openly laughed at my art. Eventually, I was told flatly that I would never make it or sell any paintings.”

So he moved back to New York and tried his hand at acting classes, enrolling at the American Academy of Dramatic Arts.

He said: “Suddenly, I was getting A-grade reports for the first time. I had failed at school, failed at university, failed as an artist. I thought, ‘There could be something in acting for me’. It was as simple as that, with no great calling.”

He couldn’t play a loser because of the way he looked

Director Mike Nichols

He began to get work, first on stage in New York and then in a succession of small-screen shows, such as ­Maverick, Perry Mason and Dr Kildare as TV boomed across America.

His movie breakthrough came opposite Jane Fonda in 1967’s Barefoot In The Park. She remembers: “I couldn’t keep my hands off him. I was ­constantly forcing myself on him.”

Redford auditioned for The ­Graduate, alongside Anne Bancroft as middle-aged Mrs Robinson.

But director Mike Nichols turned him down, recalling: “He couldn’t play a loser because of the way he looked.

“I told him so and he was dispirited. I said, ‘Look at it this way, ‘Have you ever been turned down by a woman?’. He replied, ‘What do you mean?’. I said, ‘My point precisely’.”

But his next part, The Sundance Kid, alongside Paul Newman as Butch Cassidy, would change Redford’s life forever. As they filmed the 1969 hit movie, he and Newman became best mates — bonding over Mexican beers and a love of pranks.

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Redford was a terrible time-keeper and, at the end of filming — during which he did his own stunts — ­Newman presented him with a tapestry cushion that read, “Punctuality is the courtesy of kings”.

For Newman’s 50th birthday, Redford sent him a wrecked Porsche wrapped in a bow. Newman had it crushed and sent back to his pal. Redford then had it turned into a garden sculpture and returned it.

Despite their 40-year friendship, Newman admitted he never really came to know Redford.

Even though Butch Cassidy was a huge success, Redford, a keen environmental campaigner, was still gripped with doubts about his ability.

He admitted: “I actually quit in the late Sixties, after appearing in some big films. It was not reported at the time but I took my family to a remote part of Spain. I attempted once again to make my living as an artist. But I was not good enough.”

By 1973, The Sting, in which he was reunited with Newman, gave him his only Best Actor Oscar nomination.

‘Not good enough’

His blond hair became his ­signature and he refused to have it cut in a 1940s style for 1977 war film A Bridge Too Far.

Director Sir Richard Attenborough asked him personally to get a short back and sides, but was forced to admit: “It’s no use. He just won’t have it touched.”

Redford once asked angrily: “What is it about my hair? I played Jay Gatsby in The Great Gatsby in 1974 and the director Jack Clayton wanted to dye my hair black.

“Even the studio wanted my hair black. I said, ‘Find me the part of the original book where it says that Gatsby’s hair is black. It’s not there’.”

Irritated by filmmakers, he decided to direct a movie of his own.

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Ordinary People, which came out in 1980, became one of the most acclaimed films of the decade and won him the only Oscar in his glittering career, for Best Director.

His hits dominated the Eighties and Nineties, with Out Of Africa alongside Meryl Streep winning seven Oscars, including Best Picture.

He directed A River Runs Through It starring a young Brad Pitt, Quiz Show and The Horse Whisperer, in which he also played the lead.

It was really hard . . . as a parent, you blame yourself. It creates a scar that never completely heals

Robert Redford

In between, he starred in Indecent Proposal as a millionaire who offered a married couple $1million if wife Demi Moore slept with him.

There was also romance in Up Close & Personal with Michelle Pfeiffer. But alongside great career success he suffered family tragedy.

His son Scott, who he had with first wife Lola, was a victim of cot death in 1959 at just two months.

The actor said: “It was really hard . . . as a parent, you blame yourself. It creates a scar that never completely heals.”

His second son, Jamie, who ­suffered constant ill health and underwent two liver transplants, died from cancer aged 58 in 2020.

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And eldest daughter Shauna ­witnessed the murder of her long-term boyfriend at university.

Redford told Garth Pearce: “All that personal stuff with my children meant some tough times. When you’re going through it, you lose part of yourself. I confess that I used work to prop me up.”

The Hollywood legend produced and directed films right into his 80s.

His final performance was an uncredited cameo earlier this year as a chess player in Dark Winds, a TV show he executive-produced. Redford officially retired from ­acting in 2018.

Redford is survived by second wife Sibylle, some 21 years his ­junior, who he married in 2009, and daughters Shauna, 64, and Amy, 54, from first wife Lola, who he divorced in 1985.

He said of his success: “The key to sanity in Hollywood is to have a life separate from movies and to never repeat yourself on film by doing a sequel.

“I lost my way and my focus ­several times. Having to deal with life, death, illness and catastrophe puts anyone to the test. Movies and acting was never my first love, but it was an enduring one.”

THERE can be no cooler claim to fame than to be name-checked in one of the greatest pop songs ever written.

Waterloo Sunset by The Kinks, released at the height of the Swinging Sixties, featured a couple referred to only by their first names — Terry and Julie.

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Julie was Julie Christie, the drop-dead gorgeous actress, and Terry was Terence Stamp, her real-life boyfriend.

The accomplished actor died yesterday morning, aged 87, and last night his family led the tributes to him.

They said in a statement: “He leaves behind an extraordinary body of work, both as an actor and as a writer, that will continue to touch and inspire people for years to come.”

Along with a handful of other leading men from humble backgrounds such as Michael Caine and Albert Finney, Stamp epitomised a new breed of screen star.

Ruggedly handsome, uncompromising and from a tough working-class background, he shot to fame with his first movie.

But as the Sixties drew to a close, it looked as though the sun was also setting on his career — and it was almost a decade before he triumphantly reappeared.

The oldest of five children, he was born Terence Henry Stamp on July 22, 1938, in Bow, East London, to mother Ethel and father Thomas, a £12-a-week tugboat stoker.

‘I was in pain. I took drugs – everything’

That made him, according to the saying, a genuine Cockney — “born within the sound of Bow bells”.

His first home had no bathroom, only a tub in the backyard which he would be dragged into on Friday evenings.

He later remembered: “The first one in would get second-degree burns — and the last one frostbite.”

In 2016, he said of his childhood: “The great blessing of my life is that I had the really hard bit at the beginning. We were really poor.

“I couldn’t tell anybody that I wanted to be an actor because it was just out of the question. I would have been laughed at.

“When we got our first TV, I started saying, ‘Oh I could do that’ and my dad wore it for a little bit.

“After I’d said, ‘Oh I’m sure I could do better than that guy’, he looked at me and he said, ‘Son, people like us don’t do things like that’.”

As an 18-year-old, he tried to evade National Service — a year and a half of compulsory duty in the military — by claiming to have nosebleeds but was saved when he failed his medical because of fallen arches.

Determined to realise his dream, Stamp left home and moved into a basement flat on London’s Harley Street with another promising young Cockney actor — Michael Caine. The pair became firm friends and ended up in repertory theatre, touring around the UK together.

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Stamp’s performances soon brought him to the attention of acclaimed writer and director Peter Ustinov, who gave him the lead role in the 1962 historical drama movie Billy Budd. He was an overnight success.

Nominated for an Oscar for Best Supporting Actor, he also won the hearts of millions of female fans. And with his first Hollywood pay cheque, the image-conscious actor celebrated by buying himself a Savile Row suit and bleaching his hair blond.

Stamp heeded the career advice Ustinov gave him — to only accept job offers when something he really wanted came his way.

That may explain why he made only ten movies between 1962 and 1977.

His most famous role was as Sergeant Troy in Far From The Madding Crowd in 1967 — where he met and fell in love with co-star Julie Christie.

While Stamp was fast becoming a screen icon, his younger brother Chris was making waves in the music biz.

I was someone who was desperately unhappy. I was in pain. I took drugs — everything

Terence Stamp

Stamp Junior managed The Who and Jimi Hendrix, and was friends with many music legends of the time.

Talking about The Kinks’ classic Waterloo Sunset, written by frontman Ray Davies, Terence said: “My brother was quite friendly with him.

“He asked Ray Davies about that lyric and Ray Davies told my brother that, yes, he was visualising Julie and me when he wrote the lyric.”

But by the end of the decade, Stamp’s career was on the wane — and he was devastated when his “Face of the Sixties” model girlfriend Jean Shrimpton walked out on him — beginning what he called his “lost years”.

He said: “I’d lost the only thing I thought was permanent.

“The revelation came to me then — nothing is permanent, so what was the point trying to maintain a permanent state?

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“I was someone who was desperately unhappy. I was in pain. I took drugs — everything.”

He clung on to a feeling that “the call would come” — but the wait was a long one.

It finally came in 1977 when he was offered the part of General Zod in Superman.

He took it — mainly because it gave him the chance to appear alongside his acting hero Marlon Brando.

The part brought him to the attention of a new audience — and last night fans paid tribute to his portrayal of the banished alien villain.

In a nod to his role as the evil leader who demanded his enemies show him deference, one fan wrote on X: “Thank you Terry . . . we will kneel today in your honour.”

Another wrote: “Terence Stamp was much more than Zod but at the same time one of the best comic book villains ever.”

‘My present was a box of Star Wars stencils’

Making up for lost time after the 1978 release of Superman, Stamp made dozens of films from then until 2021, showing off his huge range.

He won universal praise for his portrayal of an East End villain in The Limey (1999) and transgender woman Bernadette Bassenger in The Adventures Of Priscilla, Queen Of The Desert. Stamp also played Supreme Chancellor Finis Valorum in Star Wars: Episode 1 — The Phantom Menace, although the director George Lucas did not give him a huge payday.

He once cornered a producer during the shoot and complained about the pay.

He recalled: “I said, ‘Listen, you’re not paying much money and it’s making hundreds of millions. What goes down? What happens?’

“She said, ‘If the actors are really good, George gives them a present’.

“I thought, ooh, that’s all right. So when I leave the studio I go into my dressing room and there’s a box. It was a box of Star Wars stencils.

“That was my present. I just couldn’t believe it. I thought, may the Force be with you, George. I didn’t keep my stencils. I left them in the dressing room.”

Around that time, he said: “I moved from England some time ago because I wasn’t getting any work.

“I’m getting work in America and my films appear in France but for some reason I’m not getting any offers in Britain.”

But he kept himself busy by launching a successful parallel career as an author, writing five bestselling memoirs and two cookbooks.

He continued to select interesting roles and made a series of memorable cameo appearances, most recently, in 2021, in Edgar Wright’s psychological thriller Last Night In Soho.

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Although he dated some of the world’s most beautiful women, including Julie Christie, Brigitte Bardot and sisters Joan and Jackie Collins, he married only once — to Elizabeth O’Rourke.

The pharmacist was 35 years his junior and the marriage lasted from 2002 to 2008.

He admitted he was upset by the split but added: “I always said I’ll try anything once, other than incest or Morris dancing.

“I’d never been married and I thought I would try it, but I couldn’t make a go of it.”

Looking back on his career, he once said: “I’d be lying if I said I was completely indifferent to the success of all my contemporaries. There are parts I would love to have had a stab at, but I see the decisions I made as invaluable.

“I’m not just chasing an Oscar. I am learning how to die — how to build something within myself that does not become dust.”

Daniel Craig fans can tune into the hit thriller free of charge

A James Bond film that has been hailed as the best movie of the entire spy franchise is now streaming for free.

Directed by Academy Award-winning filmmaker Sam Mendes, Skyfall has just been added to ITVX, ready for action fans to devour.

The 2012 thriller, which stars Daniel Craig in the leading 007 role, received overwhelming praise upon its debut.

It follows Bond as he chases an assassin through the streets of Istanbul in a bid to recover a stolen list exposing the identities of MI6 secret agents.

When the mission goes terribly wrong, Chief M (Dame Judi Dench) is forced to take extreme measures to preserve the agency.

Craig shares the screen with Naomie Harris, who Bond enthusiasts will recognise from other films in the franchise.

Other notable cast members include Oscar winner Javier Bardem, 28 Years Later star Ralph Fiennes and French actress Bérénice Marlohe.

As you’d expect from this stellar ensemble, Skyfall was an instant hit.

It bagged a rare 92% Rotten Tomatoes score, where critics raved: “Sam Mendes brings Bond surging back with a smart, sexy, riveting action thriller that qualifies as one of the best 007 films to date.”

What’s more, the spy drama earned five Oscar nominations, including nods in the Best Cinematography, Best Original Score and Best Sound Mixing categories.

Ultimately, the thriller won the Oscars for Best Sound Editing and Best Original Song. The latter was awarded to Adele for her hit song, Skyfall.

Moviegoers were captivated by the film, with one Google reviewer gushing: “By far the best Bond Movie I’ve ever seen especially given the amazing performances of Javier Braden.”

A second agreed: “Skyfall in my view is the best Bond film ever made. No Time To Die is good but this Bond film will always have the edge above others.”

Meanwhile, an IMDb user shared: “This is one of the best Bond movies I have ever seen.

“The story is superbly put together and has some interesting twists, the action is well done and contains none of the shaky cam which plagued the last film. The actors all do a great job.”

Skyfall is streaming now on ITVX

The Oscars’ voting body is growing again with a glittering list of new recruits that includes pop superstar Ariana Grande, newly minted Oscar-winner Kieran Culkin and late-night veterans — and past Oscar hosts — Jimmy Kimmel and Conan O’Brien.

On Thursday, the Academy of Motion Picture Arts and Sciences announced it had invited 534 new members across its 19 branches. This year’s class includes Oscar nominees, below-the-line craftspeople and rising international voices — among them “Wicked” star Grande; “Succession” actor Culkin, who won the supporting actor Oscar for “A Real Pain”; and late-night hosts Kimmel, a four-time Oscar emcee, and O’Brien, who hosted the ceremony for the first time this year. In all, the group features 91 Oscar nominees and 26 winners, including Mikey Madison, who took the lead actress Oscar for the best picture winner “Anora.” Madison’s co-stars Yura Borisov and Karren Karagulian were also invited to the actors’ branch.

The latest invitations reflect the academy’s ongoing push for greater inclusion, even after meeting its post-#OscarsSoWhite diversity benchmarks. Of the 2025 class, 41% identify as women, 45% as members of underrepresented ethnic or racial communities and 55% are from outside the United States. Across the total membership, 35% identify as women, 22% as members of underrepresented groups and 21% are based internationally.

After years of rapid expansion — peaking with a record-setting incoming class of 928 in 2018 — the academy has shifted toward more sustainable growth. Still, this year’s tally represents a modest increase over last year’s 487 invitees.

Other additions to the acting branch — the academy’s largest — include “The Apprentice” co-stars Jeremy Strong and Sebastian Stan, who drew nominations for their portrayals of Roy Cohn and Donald Trump, respectively, in the controversial biopic, along with supporting actress nominee Monica Barbaro (“A Complete Unknown”), Aubrey Plaza, Jason Momoa, Jodie Comer, Dave Bautista and “Emilia Pérez” star Adriana Paz. (Notably, “Emilia Pérez” lead Karla Sofía Gascón, who made history this year as the first openly transgender performer nominated in the lead acting category, did not receive an invitation — a decision that follows backlash over past controversial remarks.)

New recruits to the directors branch include this year’s nominees Coralie Fargeat (“The Substance”) and Brady Corbet (“The Brutalist”), as well as Gints Zilbalodis, who directed the Oscar-winning animated feature “Flow.” Invitees in the documentary branch include the team behind this year’s Oscar-winning “No Other Land”: Israeli and Palestinian filmmakers Yuval Abraham, Basel Adra, Hamdan Ballal and Rachel Szor.

“We are thrilled to invite this esteemed class of artists, technologists and professionals to join the Academy,” academy CEO Bill Kramer and President Janet Yang said in a joint statement. “Through their commitment to filmmaking and to the greater movie industry, these exceptionally talented individuals have made indelible contributions to our global filmmaking community.”

If all invitations are accepted, the academy’s total membership will rise to 11,120, including 10,143 voting members.

It turns out Zoe Saldaña was more than just emotionally drained after tearfully accepting her supporting actress Oscar for “Emilia Pérez” at this year’s Academy Awards — she was also worn out physically.

The 46-year-old actor explained Wednesday on the ABC talk show “Live With Kelly and Mark” how she had been fighting a cold and felt fully exhausted immediately following one of her career-defining moments.

“I collapsed right after. I lost my voice within an hour after I won the award,” she said. “I couldn’t stand on those heels that I had. All I wanted to do was crawl in bed and maybe cry. I don’t know why, I just needed to cry.”

The “Avatar” star noted that up until that point her body was running on all cylinders for months on end during awards season.

“Your body is running on pure adrenaline so you know that your immune system is in optimal condition, but once you tell your body that it’s over, then everything sort of collapses,” Saldaña said.

The Oscar victory capped an impressive awards season run for the “Guardians of the Galaxy” actor, having won the Golden Globe, BAFTA, SAG and Critics’ Choice awards for her role as Mexico City attorney Rita Castro in “Emilia Pérez.”

While her performance was almost universally celebrated and well-regarded, the film as a whole was heavily criticized for its incomplete and offensive portrayals of transgender issues and the lack of consideration taken in depicting Mexico.

LGBTQ+ media advocacy group GLAAD declared the film is “Not Good Trans Representation.” The organization did not nominate “Emilia Pérez” for any GLAAD Media Awards.

Although physically and emotionally exhausted, Saldaña managed to make some attention-grabbing statements in the Oscars press room after a Mexican journalist noted that the movie’s presentation of Mexico was “really hurtful for us Mexicans.”

“First of all, I’m very, very sorry that you and so many Mexicans felt offended,” Saldaña said in the defense of the film. “That was never our intention. We spoke and came from a place of love, and I will stand by that.”

She went on to further disagree with the Mexican journalist’s point of view regarding the centrality and importance of Mexico in the 13-time Oscar nominated movie.

“For me, the heart of this movie was not Mexico. We were making a film about friendship. We were making a film about four women,” Saldaña explained. “And these women are still very universal women that are struggling every day, but trying to survive systemic oppression and trying to find the most authentic voices.”

Outside of the issues within the film, much of the main cast and crew of the movie was bogged down by mostly self-inflicted negative press.

Actor Karla Sofía Gascón faced backlash in January after Canadian writer Sarah Hagi resurfaced tweets dating from 2016 to 2023 that spoke negatively of Muslims’ clothing, language and culture in her home country of Spain. Additionally, Gascón caught heat for resurfaced comments about the 2020 killing of George Floyd, the ensuing racial reckoning, the Black Lives Matter movement and the COVID-19-era Academy Awards ceremony in 2021.

Gascón later apologized for her previous online remarks and deactivated her X account.

The film’s director Jacques Audiard spoke openly on record about how little he prepped to portray Mexico and denigrated the Spanish language during his press tour.

When asked by a Mexican journalist at a red carpet event about how much he had to study up on Mexico and Mexican culture to prepare for the movie, Audiard gave a telling answer.

“No, I didn’t study that much. What I needed to know, I already knew a little about,” the filmmaker said. “It was more about capturing the little details and we came a lot to Mexico to see actors, to see locations, to see the decorations and so on.”

Speaking with the French outlet Konbini, Audiard spoke down on the Spanish language, saying, “Spanish is a language of modest countries, of developing countries, of the poor and migrants.”

Audiard later apologized for his comments after the movie received backlash from Mexican audiences.

Selena Gomez, who played a pivotal supporting role in the film, was criticized for her proficiency in Spanish. Mexican actor Eugenio Derbez was among those who called out Gomez’s performance and Spanish language ability.

Gomez has previously said her Spanish fluency waned after she started working in television at age 7. She responded to the criticism on social media, saying, “I did the best I could with the time I was given. Doesn’t take away from how much work and heart I put into this movie.” Derbez later apologized.

After reading about these California beaches, can you blame me for thinking about the south of France right about now? And, you know, the movies at Cannes this year were pretty good too. In fact, we might have another best picture Oscar winner from the festival.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, which is back in your inbox after a springtime sabbatical. Today, I’m looking at the news out of the Cannes Film Festival, wondering if Neon’s publicity team will be getting any rest this coming awards season.

The Cannes-to-Oscars pipeline is flowing

Last year’s Cannes Film Festival gave us a Demi Moore comeback (“The Substance”), an overstuffed, ambitious movie musical that everyone loved until they didn’t (“Emilia Pérez”) and a freewheeling Cinderella story that became the actual Cinderella story of the 2024-25 awards season (“Anora”).

Sean Baker’s “Anora” became just the fourth film to take the festival’s top prize, the Palme d’Or, and then go on to win the Oscar for best picture. But it had been only five years since Bong Joon Ho’s “Parasite” pulled off that feat, so this would seem to be the direction that the academy is going. As the major Hollywood studios have doubled down on IP, indies like A24 and Neon have stepped up, delivering original, daring films that win the hearts of critics, awards voters and, sometimes, moviegoers.

Neon brought “Anora” to Cannes last year, confident that it would make an ideal launching pad. This year, the studio bought films at the festival — among them the taut, tart revenge thriller “It Was Just an Accident,” from dissident Iranian filmmaker Jafar Panahi, and the anarchic political thriller “The Secret Agent” from Brazil’s Kleber Mendonça Filho.

Iranian filmmaker Jafar Panahi holds the Palme d’Or after winning the Cannes Film Festival’s top prize for “It Was Just an Accident.”

(Sameer Al-Doumy / AFP/Getty Images)

“It Was Just an Accident” won the Palme, making it the sixth consecutive time Neon has won the award. Despite being one of the world’s most celebrated and influential filmmakers for movies like “No Bears” and “The White Balloon,” Panahi has never received any recognition at the Oscars. That will change this coming year.

Another movie that might deliver the goods is a title Neon announced at Cannes last year, “Sentimental Value,” an intense family drama that earned a 15-minute standing ovation.

Or was it 17? Or 19? The audience at the Grand Théâtre Lumière might still be standing and applauding; who knows with these Cannes festivalgoers. I’d be long gone, heading to the nearest wine bar. The point is: People love this movie. It won the Grand Prix, Cannes’ second-highest honor.

“Sentimental Value” is a dysfunctional family dramedy focusing on the relationship between a flawed father (the great Stellan Skarsgård) and his actor daughter (Renate Reinsve, extraordinary), two people who are better at their jobs than they are at grappling with their emotions. They’re both sad and lonely, and the film circles a reconciliation, one that’s only possible through their artistic endeavors.

Norwegian director Joachim Trier directed and co-wrote “Sentimental Value,” and it’s his third collaboration with Reinsve, following her debut in the 2011 historical drama “Oslo, August 31st” and the brilliant “The Worst Person in the World,” for which she won Cannes’ best actress prize in 2021. Reinsve somehow failed to make the cut at the Oscars that year, an oversight that will likely be corrected several months from now.

Jennifer Lawrence in Lynne Ramsay’s “Die, My Love.”

(Festival de Cannes)

But it’s not just about the prix

Reinsve could well be joined in the category by a past Oscar winner, Jennifer Lawrence, who elicited rave reviews for her turn as a new mother coping with a raft of feelings after giving birth in Lynne Ramsay’s Cannes competition title “Die, My Love.” Critics have mostly been kind to the film, which Mubi bought at the festival for $24 million.

Just don’t label it a postpartum-depression drama, for which Ramsay pointedly chastised reviewers.

“This whole postpartum thing is just bull—,” she told film critic Elvis Mitchell. “It’s not about that. It’s about a relationship breaking down, it’s about love breaking down, and sex breaking down after having a baby. And it’s also about a creative block.”

However you want to read it, “Die, My Love” looks like a comeback for Lawrence, last seen onscreen two years ago, showing her comic chops in the sweetly raunchy “No Hard Feelings.” Lawrence won the lead actress Oscar for the 2012 film “Silver Linings Playbook” and has been nominated three other times — for “Winter’s Bone,” “American Hustle” and “Joy.”

With Ramsay’s movie, which co-stars Robert Pattinson as her husband, Lawrence may well have printed her return ticket to the ceremony, which would be welcome. The Oscars are always more fun when she’s in the room.

More coverage from the festival