爱上海TR

first_imgTo access this article REGISTER NOWWould you like print copies, app and digital replica access too? SUBSCRIBE for as little as £5 per week. Would you like to read more?Register for free to finish this article.Sign up now for the following benefits:Four FREE articles of your choice per monthBreaking news, comment and analysis from industry experts as it happensChoose from our portfolio of email newsletterslast_img

first_imgCHENNAI Super Kings (CSK) left it until late to defeat the Sunrisers Hyderabad (SRH) despite a blazing knock from Shane Watson at the top of the order in an IPL 2019 match in Chennai yesterday.Watson (96*) hit 9 fours and 6 sixes during his stay at the crease. His departure led to the match going into the final over but the result never looked in doubtCSK got off to a poor start, scoring just 3 runs from the first 2 overs. The pressure eventually led to Watson and Faf du Plessis going for a quick single that led to Deepak Hooda running out the South African.Suresh Raina was the next man in and while he started in a circumspect manner, he eventually found his rhythm. He smashed Sandeep Sharma for 22 runs in the bowler’s first over and that was the impetus the home side needed to kick on in the chase.Watson followed suit and began to attack the bowlers, even getting into a staring match with Rashid Khan after smashing the leg-spinner for a boundary in his first over.Raina eventually departed for a well-made 38 but Watson continued to plunder runs at will, with new man Ambati Rayudu playing a more cautious innings.The opener eventually departed 4 short of a century, but by then had done enough to ensure the home side would end up on top.The runs did dry up towards the end of the innings and a close finish looked on the cards. CSK needed 9 off the final over and Kedhar Jadhav hit a six on the second ball of the over to calm the nerves.Rayudu was out on the next ball, holing out to Vijay Shankar at mid-off but a scrambled single did the job for the home side.Earlier, after being put in to bat, half-centuries from David Warner and Manish Pandey helped propel SRH to 175-3 in their 20 overs.Warner (57) and Pandey (83*) led the way with the bat even as CSK successfully managed to strangle the flow of runs towards the end of the innings.CSK got the big wicket of Jonny Bairstow early, with Harbhajan Singh getting him to edge one behind the stumps to MS Dhoni.However, Warner played a gritty innings that complemented Pandey’s free-flowing knock as the two put on a 115-run stand for the second wicket.Pandey had been in poor form since the previous season but finally came good, playing an innings that consisted of both good cricket shots and aggressive strokeplay.His time at the crease saw him hit 7 boundaries and 3 sixes, his return to form a timely one since Bairstow will be joining up with the England team soon.Warner was eventually stumped by Dhoni off Harbhajan’s bowling but Vijay Shankar joined Pandey in the middle and the two put together a 47-run stand.They could have taken SRH to a bigger total but some good bowling by CSK eventually saw Shankar depart too and the runs dried up as the innings drew to a close.last_img read more

first_imgStay on target MovieBob Reviews: ‘Shadow’MovieBob Reviews: ‘The Curse of La Llorona’ The whole point of the Disney live-action remakes is basically another version of making a ride at one of their theme parks: “Remember that thing you like? Here’s an experience of it that’s slightly more tactile in some respect!” The trick is that almost everyone remembers watching these things as kids but while some of them are legit great movies and classics that hold up so you just kind of have to remake the movie with actors and sets – but others are either dated, don’t hold up or won’t work in live action but people remember moments or “the idea” of it; and then you’ve got to figure out what to do with a new version.The original Dumbo is definitely the second type. If you haven’t seen it in awhile, it’s mostly famous as being the most “old-school cartoon-like” of the feature-length Disney classics stylistically and for its bizarrely sparse narrative which (if you forgot) runs barely longer than an hour and mainly involves life just beating the crap out of a baby circus elephant for 90 percent of the story until he accidentally gets drunk, has a surreal to the point of psychedelic nightmare sequence, wakes up and is informed by a group of the worst racist caricatures in a movie that Disney will still admit they made that he has mutant super-powers which he then uses to… return to the circus as opposed to doing literally anything else with his life.So… yes, they were obviously gonna have to make a different movie. Still not sure why they made this movie, though.Directed by Tim Burton (sure, why not?), the new live-action Dumbo opts to ditch the “talking animals” aspect and center a new cast of human characters as Dumbo’s friends. Set shortly after the end of World War I, it opens by breezing through a condensed 20 or so minute “pitch dark gritty-realism” version of the original movie before segueing into, essentially, DUMBO II — which is basically Bioshock… but for the circus.No, really. As “what the hell do with do with this?” live-action Disney solutions go, it’s right up there with turning Sleeping Beauty into I Spit On Your Grave: Fairytale Edition for Maleficent — but this time they forgot to also make a good movie while they were making a batshit weird one. Though they did remember to make every single shot as ugly, cluttered, grimy and unpleasant to look at as possible in addition to being a tonal nightmare and borderline incoherent at times, so… hey?Officially, the main plot features Colin Farrell as a circus cowboy who returns from WWI missing an arm to find his wife dead from influenza and he and his two children reassigned to elephant-training duty for Danny DeVito’s cash-strapped traveling circus. When his science-minded daughter discovers that big-eared baby Dumbo can fly, it turns the circus into a success and draws the attention of Michael Keaton as a sinister businessman who’s sort of an evil Walt Disney, sort of an evil-er P.T. Barnum but clearly mainly supposed to be Thomas Edison who wants Dumbo to be the star attraction at his sprawling ultra high-tech New York City art-deco theme park alongside his supposed acrobat muse played by Eva Green.Yes he’s a bad guy, yes it turns out the seemingly forward-looking park is a dystopian retro-tech hellscape, yes he’s going to screw over the overly-trusting circus people and we’re going to learn a lesson about not selling out to the man and there are sinister schemes to thwart and henchmen to battle and a big escape sequence wherein everyone who’s had a fear to get over or skill set that’s been belittled will have to either get over it or use said skill set in order to pull off the rescue of Dumbo and his mother from danger and since it’s a Tim Burton movie it’s all so incredibly over-designed and strange-looking and occasionally needlessly grim you might be fooled into thinking something interesting is happening but… no, it really isn’t.In fact, for everything going on and what a bizarre premise they’ve built on what was already a strange setup, it’s almost remarkable how not interesting Dumbo is. Part of that is that none of these characters have any real dimension outside of how they’re meant to relate to Dumbo himself, and the film doesn’t seem to want to have him around much of the time: The CGI, to be polite about it, does not look very good, and the effect of a sort-of photo-realistic elephant flying mostly looks… I mean it was never going to look “possible” but it never once looks remotely believable; and it seems like they knew it and just kept him offscreen wherever they could.As a result, we’re mostly left with human characters who seem to have been compiled exclusively from Producer’s Notes on making this (or any) Disney production feel superficially “progressive” because they’re clearly paranoid about everyone remembering the racist crows thing: So the circus is now a multicultural rainbow coalition to rival the equally anachronistic-positivism of The Greatest Showman‘s Benetton crew, there’s a late-in-the-game “Oh by the way I guess we learned making animals perform is bad in general” thing that arrives without any actual buildup, a pro-girls-in-STEM subplot about Farrell’s daughter that pays off in the most “Wait, I have many questions…” way, possible.I’m sure there will be people who want to read some kind of “rebellion from the inside” take into the bad guy being a Disney-esque theme park huckster gobbling up independent acts, but the fact is the generic anti-capitalism is as generic as the animal-welfare and diversity business; insincerely-”woke” family-friendly gloss that wouldn’t look genuinely righteous even next to Captain Planet or the Burger King Kids Club.Dumbo is probably the worst of the live-action Disney remakes so far, and while I know the main question most people ask about these is “should I take my kids or is it too scary?” (and I’d say “Probably not” because it is weirdly dark and mean-spirited just like the original, but moreso because it’s also such a grim and ugly-looking thing aesthetically) it’s also dull and empty and unpleasant. Whatever ideas it has that aren’t bizarrely bad are just going through the motions, like when they sort-of stage a floor-show so they can do “Pink Elephants on Parade” and they just keep cutting back to Dumbo looking at it and… nothing happens. It’s there for no reason. Just eating up screen time, because that’s one of four things everyone remembers and it has to be there. You, fortunately, do not.last_img read more