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Jersey Shore fans quickly noticed Jenni “JWoww” Farely’s suggestion that her castmate needs time away from the show.

Her recent remarks come as fans await Jersey Shore: Family Vacation Season 8, starring Jenni and her castmates, including Nicole “Snooki” Polizzi, Angelina Pivarnick, Sammi “Sweetheart” Giancola, and Mike “The Situation” Sorrentino.

In recent weeks, viewers have seen Snooki saying she was “not well” after binging all the episodes of a TV series.

It’s also no secret that JWoww’s castmate Angelina has encountered various struggles on and off the show, including drama with Sammi, legal issues, and critics’ comments about her.

According to JWoww, that’s the one specific cast member she feels needs a break the most.

JWoww revealed the tidbit during a rapid-fire round of questions for a popular online show.

JWoww suggests castmate ‘needs a break’ from TV

During First We Feast’s Truth or Dab Rapid Fire,...

John Boyega recently ranked The Last Jedi as the worst of the three Star Wars movies he made.

Boyega rated all three Star Wars sequel trilogy installments from his most to least favorite in an episode of First We Feast's "Truth or Dab Rapid Fire" video series. "Star Wars: The Force Awakens is most definitely the best," he said. "Second, for me, comes [Star Wars: The Rise of Skywalker], and then the worst -- in the most respectful sense -- is Episode VIII [The Last Jedi]." While the British actor was quick to note that he thinks his trio of Star Wars outings are all "lovely," his rankings nevertheless reflect the dissatisfaction he's expressed about the way his character, Finn, was handled throughout the sequel trilogy's latter two entries.

Related: The Mandalorian Remixed The Last Jedi - And Created Season 3's Most Underrated Hero

What is @johnboyega’s Least favorite Star Wars movie?...

John Boyega was asked by “Hot Ones” to rank the films in his “Star Wars” trilogy, which kicked off on a high note in 2015 with the beloved “Star Wars: The Force Awakens” and then got polarizing with 2017’s “The Last Jedi” and 2019’s “The Rise of Skywalker.”

“‘Star Wars: The Force Awakens’ is most definitely the best,” Boyega answered. “Second, for me, comes [‘The Rise of Skywalker’]. The worst – in the most respectful sense – is [‘The Last Jedi’]. But they’re all lovely.”

Boyega cracked a smile and gave some side eye, alluding to the fact that many “Star Wars” fans already know Boyega’s grievances with the space franchise. He notably told GQ magazine in 2020, “What I would say to Disney is do not bring out a Black character, market them to be much more important in the franchise than they are and then have them pushed to the side. It’s not good.

Golden Globe winning actor John Boyega has stuck his head above the parapet to rank the three movies in the Disney Stars Wars sequel trilogy. Appearing recently on Hot Ones' Truth or Dab: Rapid Fire, Boyega was more than willing to put forward his opinion on the Star Wars movies that featured his character, the ex-Stormtrooper Finn, with the actor ranking the divisive Star Wars: The Last Jedi at the bottom. With respect.

“I think Star Wars: The Force Awakens is most definitely the best. Second for me comes Star Wars nine. And then the worst, in the most respectful sense, is episode eight for me. But they're all lovely.”

What is @johnboyega’s Least favorite Star Wars movie? In this episode of #TruthOrDabRapidFire, @johnboyega has two simple choices: tell the truth… or suffer the wrath of The Last Dab...

“That’s life” is often heard throughout Lucian Pintilie’s adaptation of Ion Băieșu’s novel The Oak. It’s such a sweeping response to the grotesqueries that mark everyday life amid the death throes of Nicolae Ceaușescu’s dictatorship, during which the film is set, that it practically becomes a shibboleth. The words may seem little more than a verbal shrug, but in the mouths of Pintilie’s characters, full to bursting with lust for life, they express a liberatory side of absurdism that goes beyond mere politics. That the meaning and the mechanisms of their lives are unknowable is as much cause for jubilation as despair.

Fittingly, The Oak opens with a death—that of Truica (Virgil Andriescu), former colonel in the Securitate (Romania’s secret police agency during its communist regime) and father to Nela (Maia Morgenstern), the film’s protagonist. As his caretaker, Nela projects for him...

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.NEWSThe Act of Killing. Though he’s known for nonfiction, Joshua Oppenheimer just began production on a musical about the end of the world, fittingly called The End. Filming now in Dublin, it stars Tilda Swinton and George Mackay, via the production company’s website.After 23 years, A.O. Scott is stepping away from film criticism at the New York Times, transitioning to a new role as a critic at large for the Book Review. He conducts his own exit interview.In comedy news, Safdie muse and Razzie record-breaker Adam Sandler was awarded the Mark Twain Prize for American Humor this week in Washington, D.C.Finally, we’re thinking of the character actor Lance Reddick this week, who died suddenly last Friday at...

InterviewRubini Gopinath, who goes by the name of Mrs Go, is a 25-year-old rapper from Chennai who identifies as feminist and believes in rapping about everything, from love to social causes.Sowmya RajendranImage credit: Neelam SocialIn a blue saree, bindhi, traditional gold jewellery and sunglasses, 25-year-old Rubini Gopinath raps: "Yen sollisai ketka vandha makkalukku vanakkam/ Ennoda kadha romba pengalukkum porundhum/Adi mela adipattu vandhu irukkum ponnunga/Vaazhakayoda karuththa romba surukamaga solluren" (Welcome to all who have come to listen to my music/My story is applicable to many women/We have come despite being beaten down/I will tell you life's meaning in brief). The video, which premiered on YouTube channel Neelam Social, is part of Street Studio, an effort to trace the journey of protest music. Rubini, who goes by the name of Mrs Go, never intended on becoming a rapper. It was when she was a student of...

Films by auteurs Claire Denis, Hong Sangsoo and Rithy Panh are part of the lineup in competition at the 72nd Berlin Film Festival.

Berlin’s 2022 selection spans 18 movies, seven directed by women, which will compete for the Golden and Silver Bears. The films originate from 15 countries, with 17 serving as world premieres. Two of the films are first features, both from women.

Artistic director Carlo Chatrian discussed the thematic throughline of “human and emotional bonds” across the selection, with the family unit serving as a key focal point in a number of movies. More than half are set in the present time, and two are within the pandemic era.

The festival hosts 12 returning filmmakers, eight of whom are in competition and five of whom already hold a Bear from Berlin.

The festival will go ahead as an in-person event, albeit with seating capacity in movie theaters reduced to 50% and without any parties or receptions.

The 2022 Berlin International Film Festival has revealed its first titles, including seven films that have been invited to the Berlinale Special program. You can see the full list of confirmed films below.

Those seven include Peter Flinth’s Against The Ice, starring Nikolaj Coster-Waldau, Joe Cole, Heida Reed and Charles Dance, and Laurent Larivière’s About Joan, starring Isabelle Huppert, which both play as Berlinale Special Galas.

The Panorama program has unveiled 13 titles, with Generation confirming eight features, and further films set for Forum and Forum Expanded.

The Panorama strand includes Myanmar Diaries, a doc/feature hybrid from the Myanmar Film Collective that highlights violence suffered by Burmese citizens.

“The pandemic has created distances – not only between people but also the way we see the world. Amongst the 2022 selection are films shot during the pandemic, reflecting on how it feels to be disconnected from others. It is with this first...

Above: Porto FrancoOne could argue that cinema and ideology are intrinsically linked with each other, even when one regards even the most menial, apparently wholly apolitical films, such as comedies and romantic dramas. But what happens to said cinema when this link is brutally severed by a severely traumatic event, such as a regime change? How does this modulate the understanding of cinema in relation to the two main, and apparently opposite concepts that usually applied to political readings: propaganda and subversion? And how does regime change affect ulterior output and cinematic canons, especially if the fallen regime was actively involved in censorship and oppression of free speech?The history of various national cinemas across the second half of the 20th century, correlated with the histories of various dictatorships which professed loyalties to both sides of the political spectrum, may shed valuable insights to the above questions. By and large,...

The influence on today’s generation of Romanian filmmakers of local auteur Lucian Pintilie, who died earlier this month, is so profound it’s difficult to chart. But, Transilvania Film Festival chief and leading Romanian filmmaker Tudor Giurgiu says, his legacy will be felt for many years, and a tribute is planned for the event’s closing ceremony.

“I was his 1st Ad [first assistant director] in 1995 when working on ‘Too Late,’ which was screened in 1996 Cannes main competition,” Giurgiu recalls. “I learned everything from him – it was like attending a second film school.”

Pintilie’s first feature, “Sunday at 6 O’Clock,” a tragedy about two young communist lovers on the run in World War II, won him international attention in 1966.

Because of the director’s extensive background in theater, Giurgiu says, “Pintilie was an absolute master when working with actors. It was mesmerizing to observe how he achieved impressive performances by forcing...

Sylvain Bursztejn, producer of 24 films since 1989, is best known for his French-Chinese films such as the Cannes Festival winners Spring Fever, Luxury Car, and the recent Locarno Golden Leopard winner She, a Chinese, and some of my favorites, The Cry of the Silk and The Perfect Circle which opened Directors Fortnight in 1996. He has forsaken China as his place of production due to the intolerance there for original thinking. When he began producing in 1989, his film from Tunisia, Asfour Stah, opened Directors Fortnight that same year. The Oak Tree was in Cannes Competition in 1991. He…...