Nicole Kidman, Who 'Makes Movies Better,' Gets AFI Life Achievement Award

25th Critics Choice Awards – Arrivals – Santa Monica, California, US, January 12, 2020 - Nicole Kidman. REUTERS/Danny Moloshok/File
25th Critics Choice Awards – Arrivals – Santa Monica, California, US, January 12, 2020 - Nicole Kidman. REUTERS/Danny Moloshok/File
TT

Nicole Kidman, Who 'Makes Movies Better,' Gets AFI Life Achievement Award

25th Critics Choice Awards – Arrivals – Santa Monica, California, US, January 12, 2020 - Nicole Kidman. REUTERS/Danny Moloshok/File
25th Critics Choice Awards – Arrivals – Santa Monica, California, US, January 12, 2020 - Nicole Kidman. REUTERS/Danny Moloshok/File

Morgan Freeman spoke the words, but pretty much everyone who took the stage at the presentation of the AFI Life Achievement Award agreed: “ Nicole Kidman. She makes movies better.”
The line came in a video parody of Kidman's AMC Theatres “we make movies better” ad that opened the Saturday night ceremony at the Dolby Theatre in Hollywood. It got huge laughs from the crowd of multigenerational A-listers there to honor the 40-year career of the 56-year-old Australian that has included roles in “Moulin Rouge,” “Eyes Wide Shut” and an Oscar-winning turn in “The Hours.”
Meryl Streep, Kidman's “The Hours” co-star who presented to Streep the Life Achievement Award that she won herself in 2004, got laughs nearly as big when, in a mock-boastful voice, described the hardest part of being “incessantly called the greatest actress of gemy generation.”
It's when you come up against someone else who is “really, really, really, really, really, really great” and you realize they did things you couldn’t do, as happened with Kidman the first day they worked together on the HBO series “Big Little Lies," Streep said.
Streep and their “Big Little Lies” co-star Reese Witherspoon both did spot-on, Australian-accented impressions of Kidman that had the audience in stitches.
Streep also drew tears from Kidman when describing what she believed motivated her.
“People call it bravery when an actress bares all and leaps off into the unknown and she dives deep into the darker parts of what it is to be a human being,” Streep said. “But I don’t think it’s bravery. I think it’s love. I think she just loves it.”
Kidman teared up for the first time in the evening when her husband and fellow Australian, singer Keith Urban, said she showed him “what love in action really looks like” when his substance abuse problems emerged almost immediately after they wed in 2006.
“Four months into our marriage, I’m in rehab for three months,” Urban said, looking at Kidman where she sat on a dais with their two daughters and other family. “Nic pushed through every negative voice, I’m sure even some of her own, and she chose love. And here we are 18 years later.”
Kidman said the night was the first time she allowed their teenage daughters to join her on a red carpet. She also has two children with her first husband, Tom Cruise.
She accepted the AFI award in the same venue where she accepted her Oscar in 2003 for playing Virginia Woolf in “The Hours."
She thanked by name every director she has worked with, including Stanley Kubrick, Jane Campion, Baz Luhrmann, Sofia Coppola, Yorgos Lanthimos, Sydney Pollack and Lars von Trier.
“It is a privilege to make films. And glorious to have made films and television with these storytellers who allowed me to run wild and be free and play all of these unconventional women," Kidman said, wearing a floor-length, glittering-gold gown. “Thank you for making me better at my craft and giving me a place, however temporary, in this world.”
It was announced back in November of 2022 that Kidman would receive the award, first handed out in 1973, whose previous winners include Orson Welles, Bette Davis, Alfred Hitchcock, Gene Kelly, Sidney Poitier, Barbara Streisand, Tom Hanks, Robert De Niro, Denzel Washington and Julie Andrews.
The ceremony originally was scheduled for June of 2023, but delayed because of Hollywood’s strikes. It will air on TNT on June 17.
Kidman also was nominated for Academy Awards for “Moulin Rouge,” “Rabbit Hole,” “Lion,” and “Being the Ricardos," whose director, Aaron Sorkin, also sang her praises at the ceremony.
Others honoring her included Zac Efron, Miles Teller, Zoe Saldana and Mike Myers, who came on stage in disguise in one of the eerie orgy masks from “Eyes Wide Shut.”
Kidman began her career as a teen in Australia in films including “Bush Christmas” and “BMX Bandits." Naomi Watts, a friend from those days, described meeting Kidman when both had to sit in a waiting room in bathing suits for two hours at an audition. Aussies Russell Crowe, Hugh Jackman and Cate Blanchett all gave video tributes to the first from their country to win the award.
Kidman said in a video played at the ceremony that her appearance in the 1989 thriller “Dead Calm” brought her to the attention of, among others, Cruise, the only time his name was spoken Saturday night.
She had her breakthrough Hollywood role alongside him in 1990's “Days of Thunder" — they would marry the same year — and also starred together in 1992's “Far and Away” and in 1999 in Kubrick's final film, “Eyes Wide Shut.”
She divorced Cruise in 2001, but her stardom only grew in his wake. Some of her biggest roles, and her Oscar, were still to come.
The role most often cited as a favorite during the awards show Saturday night was her musical turn in Luhrmann's 2001 “Moulin Rouge.”
Freeman, the 2011 AFI honoree, in his in-person presentation that followed the video spoof, serenaded Kidman with the modified Elton John lines she sings in the film: “How wonderful life is, now you're in the world.”



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
TT

Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
TT

Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
TT

'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)