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Helen Gallagher, the spunky Broadway triple threat who received two Tony Awards and starred as the matriarch Maeve Ryan for all 13-plus years of the ABC soap opera Ryan’s Hope, has died. She was 98.

Gallagher died Sunday at a hospital in Manhattan, Edith Meeks, executive and artistic director at New York’s Herbert Berghof Studio, told The Washington Post. Gallagher taught a class in “Singing for the Musical Theater” there for years.

The radiant singer, dancer and actress received her first Tony in 1952 for her portrayal of showgirl Gladys Bumps in a revival of the Rodgers & Hart musical Pal Joey, then landed another in 1971 for her turn as flapper Lucille Early, another wise-cracking character, in a revival of Busby Berkeley’s No, No, Nanette.

“When Miss Gallagher sings the blues of a lovelorn wife with piece of chiffon and a chorus of properly epicene tailor’s dummies, she makes the...

‘Forest – I See You Everywhere’ and ‘What Do We See When We Look At The Sky?’ also rated by critics panel.

Petite Maman, the latest film from Girlhood and Portrait Of A Lady On Fire director Céline Sciamma, has scored consistent marks on the Screen jury grid for an average of 2.6.

Petite Maman received no scores lower than a two (average), although that was its modal score with four critics making that choice.

It did receive one four (excellent) from The Morning Star’s Rita Di Santo; and currently sits in fifth place with three of the 15 films still to score.

‘Forest – I See You Everywhere’ and ‘What Do We See When We Look At The Sky?’ also land.

Petite Maman, the latest film from Girlhood and Portrait Of A Lady On Fire director Céline Sciamma, has scored consistent marks on the Screen jury grid for an average of 2.6.

Petite Maman received no scores lower than a two (average), although that was its modal score with four critics making that choice.

It did receive one four (excellent) from The Morning Star’s Rita Di Santo; and currently sits in fifth place with three of the 15 films still to score.

Sciamma’s film centres on eight-year-old Nelly,...

Both films scored a mixture of threes and fours.

Hong Sangsoo’s Introduction and Maria Speth’s Mr Bachmann And His Class share the lead on the latest Screen jury grid, as a further five titles take their spots.

Prolific Korean director Hong’s Introduction was the most consistent scorer to date, receiving five marks of three (good) plus two fours (excellent) from Sight & Sound’s Nick James and Mathieu Macheret of Le Monde/ Cahiers Du Cinéma. It has a 3.3 score with one mark still to come.

Hong’s fifth Berlinale Competition entry is told in three parts, showing a young man visiting his father,...

Four titles have landed on the first edition of the grid.

Dominik Graf’s period drama Fabian – Going To The Dogs has set the early pace on Screen’s Berlin 2021 Competition jury grid, with a score of 3.1.

The result came from seven of the eight critics, and included three “excellent” scores of four stars from Die Zeit’s Katja Nicodemus, Sight & Sound’s Nick James and Screen’s own critic.

The Morning Star’s Rita di Santo and Anton Dolin of Meduza and Film Art awarded it an “average” mark of two stars each.

Set in Berlin during the Weimar Republic,...

The Korean black comedy was well-received by all ten critics.

Bong Joon Ho’s black comedy Parasite has finished top of the Screen Cannes 2019 jury grid, with an average score of 3.5 from 10 critics.

The film, which premiered on Wednesday (May 22), was not matched by either of the final two films to take their spots on the grid.

Elia Suleiman’s It Must Be Heaven received decent scores from all 10 critics, becoming the only film this year to receive solely twos (average) and threes (good), for a mean score of 2.6.

The film explores life in exile, with Suleiman playing a man...

Marco Bellocchio’s ’The Traitor’ scores above mid-range.

Abdellatif Kechiche’s sequel title Mektoub, My Love: Intermezzo has failed to impress the critics on Screen’s Cannes jury grid, recording the lowest score so far this year of 1.5.

The film, a sequel to Kechiche’s 2017 Mektoub, My Love: Canto Uno, took two scores of zero (bad) from Time’s Stephanie Zacharek and the La Times’ Justin Chang, as well as five scores of one (poor).

The only critics to give a more favourable impression were Julien Gester and Didier Peron of Libération, who scored it four (excellent); plus Meduza’s...

‘Oh Mercy!’ scores mid-range; ‘Matthias And Maxime’ flounders.

Bong Joon Ho’s Parasite has taken the number one spot on Screen’s Cannes jury grid, with an average of 3.4 from our ten critics.

The black comedy received four scores of four (excellent) – a joint-high on this year’s grid, with Céline Sciamma’s Portrait Of A Lady On Fire and Quentin Tarantino’s Once Upon A Time… In Hollywood. The La Times’ Justin Chang, The Paper’s Wang Muyan, Positif’s Michel Ciment, Meduza’s Anton Dolin and Screen’s own critic all awarded it top marks, with its lowest...

It received both fours (excellent) and a zero (bad).

Quentin Tarantino’s highly-anticipated Once Upon A Time… In Hollywood has divided the opinions of Screen’s Cannes jury grid critics, receiving an average score of 3.0 for third place as it stands.

The 1969-set movie business story took five scores of four (excellent), more than any other title on the grid so far this year, from Time’s Stephanie Zacharek, The Guardian’s Peter Bradshaw, Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic.

However a zero (bad) – only the third awarded so far on this...

Isabel Coixet’s Elisa & Marcela was far less popular with the jury.

Nadav Lapid’s Synonyms has tied for the lead at the top of Screen’s Berlin jury grid, sharing the number one spot with Emin Alper’s A Tale Of Three Sisters.

Lapid’s first film since 2014 festival hit The Kindergarten Teacher scored a 3.0 average, receiving all eight scores (A Tale Of Three Sisters currently has six).

It received no lower than a two (average), with three critics awarding it a top score of four (excellent) – Die Zeit’s Katja Nicodemus, The Morning Star’s Rita Di Santo and Segnocinema’s Paolo Bertolin.

Emin Alper’s film scored well with critics.

Three new titles have landed on Screen’s Berlin Competition jury grid, with Emin Alper’s A Tale Of Three Sisters moving into first position.

The film has an average of 3.0, although it is missing two scores – Nicholas Wennö is still to award while Paolo Bertolin is not reviewing this title due to being credited with ‘Thanks’ on it.

So far it has received four threes (good), bracketed by a two (average) from Film Art’s Anton Dolin and a four (excellent) from Katja Nicodemus of Die Zeit.

A Tale Of Three Sisters...

Seven titles have now taken their spots.

Three new titles have taken their places on the Screen Berlin jury grid, with Wang Quan’an’s Öndög still in first place with an updated score of 2.8.

Berlinale regular Fatih Akin’s The Golden Glove fared just Ok with the jurors, managing an average of 2.0 with one score still to come. It had a mode score of one (poor) from 3 critics, although this was broken up with a three (good) from Film Art’s Anton Dolin and a four (excellent) from Segnocinema’s Paolo Bertolin.

The film is an adaptation of Heinz Strunk’s 2016 novel,...

Wang Quan’an’s existential drama Öndög takes an early lead.

Three new titles have filled their spots on Screen’s Berlin Competition jury Grid, with Wang Quan’an’s existential drama Öndög taking an early lead.

Its average score of 2.6 is enough to put it in first place, with four titles on the grid.

It split opinion from the jury grid critics, with Anton Dolin of Film Art and Paolo Bertolin of Segnocinema both awarding it four stars (excellent), but Rita di Santo of The Morning Star giving it one (poor).

The film centres a young policeman who is...

A major star of the post-Diaghilev Ballets Russes, he was celebrated for his romantic roles

Frederic Franklin, who has died aged 98, was one of the best loved figures in the dance world. Always genial, always helpful, he possessed a razor-sharp memory of all the ballets he had appeared in. Franklin played an important part in the preservation of many early ballets by George Balanchine, and in 2002 was able to reconstruct episodes from Devil's Holiday, a ballet created by Frederick Ashton in 1939, never revived since and never seen on stage by Ashton.

Franklin, known as Freddie, was a major star of the post-Diaghilev Ballets Russes, forming a memorable and long-lasting partnership with the ballerina Alexandra Danilova; her champagne personality and his good looks and charisma combined to stunning effect. This was especially true in such ballets as Léonide Massine's Le Beau Danube and especially Gâité Parisienne. But Franklin also danced...

"The agony and perverse ecstasy of unrequited love permeate Terence Davies's The Deep Blue Sea," writes Graham Fuller at the top of his interview with the director. Also in the new March/April 2012 issue of Film Comment: Jonathan Rosenbaum remembers Gilbert Adair (plus a few online exclusives: Adair on Mae West and his "Cliché Expert's Guide to the Cinema"), Anton Dolin examines "The Strange Case of Russian Maverick Aleksei German" (see, too, J Hoberman's 1990 piece for Fc on German) and Terrence Malick's The Tree of Life tops the Reader's "20 Best Films of 2011" Poll — plus comments.

Then there are the shorter bits from the issue online: Nicolas Rapold on Pablo Giorgelli's Las Acacias and Athina Rachel Tsangari's Attenberg (more from Eric Hynes [Time Out New York, 4/5], Eric Kohn [indieWIRE], Anthony Lane [New Yorker], Dennis Lim [New York Times], Karina Longworth [Voice], Henry Stewart [L] and Michael Tully [Hammer to Nail]), Phillip Lopate on Jafar Panahi and Mojtaba Mirtahmasb's This Is Not a Film...

Dancer who became a choreographer, actor and director for stage and screen

As a dancer, Wendy Toye, who has died aged 92, was a child prodigy. Born in Hackney, east London, the daughter of a bristle merchant, she had made her first public appearance at the Royal Albert Hall by the age of four. Aged nine, she choreographed a ballet at the London Palladium and also won the women's prize, dancing the Charleston, at a ball organised by the theatrical manager Cb Cochran and judged by Fred Astaire and Florenz Ziegfeld among others. The men's prize was won by Lew Grade.

She was always grateful for the advice she received from her tutors, including Ruby Ginner, Ninette de Valois and Anton Dolin, and regretted that when she reached the next stage of her career – choreography and direction – there were no teachers. She had to learn as she went along.

During the 1930s,...