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    Movie Review

    Story of Rebecca is timeless, but its characters need updating

    Alex Bentley
    Oct 20, 2020 | 3:19 pm
    Story of Rebecca is timeless, but its characters need updating
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    The more we get into the 21st century, the stranger the affectations of storytelling in the early 20th century gets. Things that were commonplace — or at least common knowledge — during those times now seem stodgy and incomprehensible. So it’s one thing to view a movie made within that time period, understanding that its characters are a relic of when it was produced, and quite another for that type of film to be reproduced in 2020.

    That’s just one of the challenges facing the new version of Rebecca, based on the 1938 novel by Daphne du Maurier. The other is that it is a remake of Alfred Hitchcock’s 1940 version, which won the Best Picture Oscar that year, the only time a Hitchcock film was given the industry’s top prize. When the bar is near universal acclaim, you know you have a steep hill to climb.

    The main character of the film is not the titular Rebecca, but rather an unnamed woman (Lily James) who starts off as a lowly assistant to a wealthy woman on vacation in France. She catches the eye of Maxim de Winter (Armie Hammer), and the two embark on a whirlwind romance that culminates in them getting married and moving back to de Winter’s estate named Manderley.

    Once there, however, it becomes clear that the memory of de Winter’s former wife, Rebecca, who died in a tragic accident a year prior, remains very much intact. Numerous items emblazoned with her first initial are located throughout the house, and Mrs. Danvers (Kristin Scott Thomas), who was close with Rebecca and continues to run the house, undermines the new Mrs. de Winter’s authority at every turn.

    Written by Jane Goldman, Joe Shrapnel, and Anna Waterhouse, and directed by Ben Wheatley, the film practically bathes in the upper crust society most of its characters inhabit. Since many of them are detestable at worst or standoffish at best, the filmmakers don’t appear to be endorsing the lifestyle, but neither do they overly critique it. There’s also nothing original about how it’s portrayed, and the scenes showing the rich enjoying being rich could be from any similar film from the past 80 years.

    Thanks to the performances of James and especially Thomas, the story is not undone by its stuffiness. The all-encompassing presence of Rebecca in the house would be stifling for anybody, much less the person who’s trying to take her place. Until the final act, both women do a stellar job at demonstrating their characters’ mutual resentment, and the tension is palpable.

    Less successful is Hammer, who’s simply not given much to do. He has a certain type of handsomeness that fits a part like this well, but other than that and being vaguely charming, he’s unconvincing. And when the ending comes around, he becomes even less so, and the script does him no favors.

    Making a period film like Rebecca in the modern age requires a deft touch, and while the story holds up, few other elements do. In the end, viewers may feel like the new Mrs. de Winter and want to get away from Manderley in any way possible.

    ---

    Rebecca premieres exclusively on Netflix on October 21.

    Lily James and Armie Hammer in Rebecca.

    Lily James and Armie Hammer in Rebecca
      
    Photo by Kerry Brown/Netflix
    Lily James and Armie Hammer in Rebecca.
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    Festival News

    Sabrina Carpenter headlines annual 2025 ACL Music Fest in Austin

    Brianna Caleri
    May 6, 2025 | 5:26 pm
    Sabrina Carpenter
    Photo courtesy of Sabrina Carpenter
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    Austin City Limits Music Festival is back for another year of big names including Sabrina Carpenter, Hozier, Doja Cat, Luke Combs, The Strokes, John Summit, Doechii and more. Austinites will take Zilker Park from October 3-5 and October 10-13.

    Ticket sales start with three-day wristbands at noon on May 6 at aclfestival.com.

    Just in terms of buzz alone, Sabrina Carpenter and Doechii are two big pulls that perhaps could have been expected, although there are never any guarantees. The pristine pop and artistic rap performers, respectively, are each on a meteoric rise. Their sets could echo Chappell Roan's last year, which stole headlines for sheer excitement and crowd size.

    Hozier, Doja Cat, Luke Combs, and The Strokes are all returning artists. That means nearly half of this year's headliners are making their ACL Fest debut right at the top. One of those newcomers is John Summit, an who was speculated to show up in 2024 with Dom Dolla. Fans also expected to see Sabrina Carpenter in 2024 (in part thanks to a misleading advertisement on the "payphone" ACL Fest installed to tease its lineup), so thankfully they didn't have to wait long.

    After the actual headliners, the top line of performers include Colombian reggaeton star Feid, who has collaborated with Bad Bunny, J Balvin, Karol G, and more; alternative rock band Cage the Elephant, who are back from a tumultuous patch; R&B star T-Pain, in the middle of a personal renaissance to remind people he can sing without autotune; Australian electropop duo Empire of the Sun, with alien operatic stage sensibilities; nostalgic solo artist Djo, the nearly incognito solo project of actor Joe Keery from Stranger Things; and iconic post-hardcore band Pierce the Veil, who are back in the studio again.

    Locals receive a karmic second chance to see Passion Pit, the defining electropop group that recently dropped out of a 2025 South by Southwest showcase, leaving barely a trace. Japanese Breakfast also promises big crowds; a recent signing appearance at End of An Ear in South Austin created a line around the block for hours. Two more CultureMap favorites (if readers will indulge us) are Southern indie rock band Rainbow Kitten Surprise and British indie, post-punk band Wet Leg; respectively hyper sincere and deadpan, but both fun and high-energy.

    Among Austin artists, two stand out as recent festival favorites: Geto Gala and The Point. Geto Gala is a hip hop duo favoring smooth, nostalgic beats and a laid-back lyrical delivery. The Point, a rock group, spans many styles, but their live sets tend to show off high-energy, world-influenced, and mostly instrumental blues. Dylan Gossett, while not exactly a festival staple, is much higher up on the lineup and is becoming very well-respected as a country-folk songwriter.

    A press release pulls out some additional notable acts from the lineup:

    • Fujii Kaze (W2)
    • ROLE MODEL
    • Gigi Perez
    • CA7RIEL & Paco Amoroso (W2)
    • Olivia Dean
    • Yoke Lore
    • flowerovlove
    • Royal & The Serpent
    • Amble
    • Good Neighbours
    • Celeste (W1)

    And some from Texas:

    • Maren Morris (W1)
    • Dylan Gossett
    • Tanner Usrey
    • Asleep at the Wheel (W1)
    • INOHA (W1)
    • Johnny Stimson (W2)
    • SL Houser (W1)
    • Geto Gala (W1)
    • Farmer’s Wife (W2)
    • Alex Amen (W2)
    • Shallowater (W2)
    • Aaron Page (W1)
    • Huston-Tillotson University Jazz Collective (W2)
    • Disciples of Christ (W1)
    A full lineup can be viewed here:

    Austin City Limits Music Festival lineup 2025ACL's full 2025 lineup.Graphic courtesy of Austin City Limits Music Festival

    Folks who can't make the festival can once again tune in on Hulu, returning as the festival's official streaming partner for performances, interviews, and more. Hulu will stream the first weekend, only.

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