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Split into three seemingly disparate sections that connect occasionally through surreal flights, the film is an original, moody, and dense dissection of native lives and their representation across eras and geographies.
In an on-the-nose touch, Andy has also spilled coffee on his shirt at the very start of his day â a detail that drives the point a little bit too hard, even as it sets up the way âNotice to Quitâ will continually ask us to proffer its sad sack of an estranged dad a modicum of sympathy his actions may not wholly deserve.
Now, a 20-year-old singer and actress, VanderWaal is preparing for a new album, having released two singles in the last two months, and acting in the upcoming Francis Ford Coppola film Megalopolis.
In the film currently in theaters, he takes on the role of Paddy, a doctor-turned-farmer who invites an American couple he met on vacation, Scoot McNairyâs Ben and Mackenzie Davisâ Louise, to spend a weekend at the farmhouse he shares with his wife Ciara (Aisling Franciosi) and their son Ant (Dan Hough) where things soon turn sinister.
In âExtremely Unique Dynamic,â Ivan Leung and Harrison Xu, who are also directing the film along with Katherine Dudas, play two childhood best friends, Daniel and Ryan.
Baker spoke to a packed crowd about his film â now receiving Oscar buzz â which follows Anora (Mikey Madison), a young sex worker from Brooklyn, who gets her chance at a Cinderella story when she meets and impulsively marries the son of an oligarch (Mark Eydelshteyn).
The fourth annual BMAC Gala, hosted by entrepreneur and media personality Kenny Burns, began with DJ Mars spinning tracks by three Black artists who recently died: Fatman Scoop, Tito Jackson and Rich Homie Quan.
Gretchen Whitmer before Harris joined her onstage to answer votersâ questions about border security, her economic plan, the rising cost of living, womenâs reproductive rights and gun violence, among other topics.
The first stopping point on the Road is a Nancy Meyers fantasy that turns into a wine-fueled, tastefully neutral house of horrors, and when a sinkhole starts to claim Ruppâs handbag, she snaps, âThis is from Talbotâs, and you canât have it!â The mood is more referential and camp-adjacent than its franchise peers.
âWe are voting for Kamala Harris and Tim Walz because they are fighting to protect our reproductive freedom, our planet and our democracy,â Eilish says in a video reel.
The âIn Memoriamâ segment of the 75th Primetime Emmy Awards on Sunday paid tribute to a host of small-screen stars who have died in the past year, but users on social media were quick to point out the notable names that did not make the montage.
At first Wilson wasnât convinced the directorâs chair was for her, but when she chose to attempt a directorial debut, she looked for inspiration to Australian classic movies like Murielâs Wedding and The Adventures of Priscilla, Queen of the Desert.
This structural awkwardness stems from the film trying to portray every major event in its subjectsâ lives, even though the 2012 documentary on which itâs based, Faiza Ahmad Khanâs âSupermen of Malegaon,â only covers one specific parody production of âSuperman: The Movieâ shot in the late 2000s, after the far-flung friends are forced to reconcile.
The legendary composer rocked the stage for nearly three hours, proving that film scores can captivate audiences just as much as set lists from any other popular artist nowadays, be it Chappell Roan, Linkin Park or Sabrina Carpenter (though Zimmerâs fans skewed a bit more middle-aged â and left the glitter and eye shadow at home).
With an extensive supporting cast including Sonali Kulkarni, B Jayashree, Virginia Rodrigues, Sanjay Bhutiani, Tamara DâSouza, Rijul Ray among others, Love, Sitara is set to premiere on ZEE5 Global on September 27th.So, brace yourself for a rollercoaster of emotions as this heart-wrenching yet uplifting tale juggles between family dynamics, personal demons, and the courageous journey towards redemption.
As the secrets of the past catch up with a father and son, threatening to detail their new idyllic lives, the filmâs established ideas of love and family donât so much come into play as they simply hover out of focus, waiting to be deployed.
Thereâs ample room here for sentimental excesses, but this is an amazingly unblinkingly pragmatic avatar of storytelling that never falls for those lazy tricks like consciously working to eke out our emotions.
Americans Ben and Louise (Scoot McNairy and Mackenzie Davis, in a winning reunion of AMCâs âHalt and Catch Fireâ) are first seen listlessly vacationing in Italy with their 11-year-old daughter Agnes (Alix West Lefler), before an encounter with Paddy (McAvoy) and his wife Ciara (Aisling Franciosi) brightens up the trip.
The filmâs director, Thom Zimny (who co-directed, with Bruce, the intimate 2019 Springsteen performance documentary âWestern Starsâ), interviews each of them, and when they talk about how sluggishly paced the songs are at first, we think, âDonât worry about it.
Technically, the hunk of rock where âThe Wild Robotâ takes place is anything but uninhabited: Itâs teeming with life, from the crabs that teach Roz to scale cliffs in the filmâs opening minutes to the horde of evil-eyed raccoons determined to ransack her insides.
From one editor to another, from fiction to reality, Keaton leads an outstanding ensemble cast as the head of the Boston Globeâs Spotlight team, a select group of investigative journalists who made waves after reporting on the widespread cover-up of molestation and child sexual abuse within the Roman Catholic Church in 2002.
Given the kind of introduction usually reserved for the likes of Clint Eastwood or Bruce Willis as a camera runs up her back, only to reveal her face after plunging a knife into an intruder on her property, it just hits differently when a Black woman is presented with such power, and though R.T. Thorneâs dynamic siege thriller has some familiar moves, it is full of fresh ideas.
Pablo Larrainâs biopic Maria, based on true accounts, tells the tumultuous, beautiful and tragic story of the life of the worldâs greatest opera singer, relived and reimagined during her final days in 1970s Paris.
After being laid off from the local hot dog factory and being inducted into a new basic income program, Mark and Hank have plenty of time on their hands to spend their $3,000 monthly checks on high jinks and foolishness.
Bloomâs protagonist â referred to as âthe Boxerâ in press notes, and frustratingly, nothing at all in the movie â can be seen engaged in a professional boxing bout exactly once in âThe Cut.â During the filmâs brief prologue, the accomplished prizefighter seems well on his way to another victory, when something mysterious and unseen distracts him from off-screen â something in the ether that only he can see â resulting in his opponent getting the upper hand and opening a deep, career-threatening gash above his eye.
Kramer said that updating the approach to awards shows was an ongoing priority but emphasized continued passion by audiences, including younger ones, for film.
And though it was a long time in the making, with some challenges along the way, he ultimately created a piece of work that goes deeper and more personal than ever before, where he talks âabout new things, not just girls or romance on every track.â
He serves up comparable tonic as well for two actors who were a big part not just of the original Beetlejuice but also of Burtonâs Batman movies and Edward Scissorhands: Michael Keaton and Winona Ryder, respectively,â writes The Hollywood Reporter chief film critic David Rooney in his review.
It was directed by William Goldenberg (his first feature), the gifted film editor who edited âArgoâ and âAirâ and (with Dylan Tichenor) âZero Dark Thirty,â and it was produced by Ben Affleck and Matt Damonâs production company, Artists Equity.
âWith Kamala Harris in the White House, the business community can be confident that it will have a President who wants American industries to thrive.â
âMeg is really such a great, sweet person, and really talented, and deserved all of her success,â The Parent Trap alum said.
Malcolmâs lawyers tried every trick in the book to save him, arguing that he was mentally unstable and shouldnât face the death penalty, but the courts didnât buy their story until game-changing evidence was revealed in a diary.
Few would say the same about the undisciplined orphans these four boys play in director David Gordon Greenâs odd-choice Toronto Film Festival opener, âNutcrackersâ: a near-feral wolfpack who depend on their uptight uncle, Michael Maxwell (Ben Stiller), to spare them the indignity of an orphanage after their parents die in a car accident.
The comedy opening TIFF marks Stillerâs first starring role in a movie since Mike Whiteâs Bradâs Status and Noah Baumbachâs Netflix family drama The Meyerowitz Stories in 2017.
The actress, currently seen on Peacockâs thriller limited series Apples Never Fall, joins Nicholas Galitzine (The Idea of You) and Camila Mendes in the adaptation of the popular toy brand first introduced in the 1980s.
Toward the end of Part One, when Baron Harkonnen (Stellan SkarsgĂ„rd) is recovering from his near death in an oil-like mud bath, Bautistaâs Rabban is given his marching orders by his uncle to ramp up spice production and kill the Fremen.
Sophie Dumond (Zazie Beetz), Arthurâs neighbor in Joker, makes a brief appearance when the character is brought in as a witness for the prosecution team led by young assistant district attorney Harvey Dent (Harry Lawtey) before his villainous alter ego Two-Face shows up.
The movie is based on the true story of Gavin Bain and Billy Boyd, two friends from Dundee, Scotland, who conned the music industry by using American accents and pretending to be a Californian rap duo called Silibil Nâ Brains.
While on this enforced break from work, she meets her brother, Jack (Leo Howard) at their father, Max Hightowerâs (Michael Biehn) gym for a fight.
For folks whoâve never heard of Casa Bonita, half the fun comes from discovering this low-quality, medium-concept, high-kitsch fantasyland that had so impressed Parker as a kid â an ersatz old-timey Mexican town conceived of equal parts imagination and bad taste.
She went on to cover a whoâs who of criminal defendants â Manson, Simpson, Jackson, Patty Hearst, Phil Spector, the Menendez Brothers, âNight Stalkerâ Richard Ramirez, âUnabomberâ Ted Kaczynski and the police officers charged in the beating of motorist Rodney King.
The BFI London Film Festival (LFF) 2024 will screen documentaries about âwitches,â and zoos and animal rescue centers in Argentina, as well as first features from directors of varied backgrounds, organizers said on Wednesday as they unveiled the full program for this yearâs event.
The artful yet gory music video kicks off with a content warning before showing Carpenter choosing from an assortment of weapons, hauntingly singing âRock-a-bye baby, snug in your bed / Right now you are sleeping / And soon youâll be⊠dead.â The pop star then takes a moment to apply lipstick in the reflection of a large knife.
Be it âSing Street,â âThe Last Picture Show,â or âDazed and Confused,â coming-of-age films often capture the essence of the time they are set in.
Drawn in part from his own upbringing in an abusive religious school, âBad Educationâ anchors itself by way of Gael GarcĂa Bernal in what may arguably be his best performance, slipping into the chameleonic requirements of a story that explores the hardships of childhood and the comforts that we can provide each other, and those that are lost when weâre pulled apart.
Itâs three hours and 15 minutes long, itâs paced with a pleasing stateliness and overflows with incident and emotion â and it spins out the story of LĂĄszlĂł TĂłth (Adrien Brody), a Hungarian-born Jewish architect who journeys from Budapest to America after World War II, as if Corbet were making a biopic about a real person.
But on a day like this, amongst people like the Paiva family â Eunice, her engineer husband Rubens (Selton Mello) their five volleyball-playing, Coke-tanning, dog-adopting children and their live-in housekeeper Zeze (Pri Helena) â its presence is mostly felt only in radio reports of kidnapped diplomats and in the occasional army convoy that trundles down the road separating the beach from their large, airy home.
Sonyâs June offering Bad Boys: Ride or Die set into motion a major reset and a two-month box office recovery that made the âsins of the past disappear quickly in the rear-view mirror,â says Comscore analyst Paul Dergarabedian.
The Brutalist chronicles the journey of Hungarian-born Jewish architect, LĂĄszlĂł TĂłth (Adrien Brody), who emigrates to the United States in 1947 to experience the âAmerican dream.â Initially forced to toil in poverty, he soon wins a contract with a mysterious and wealthy client, Harrison Lee Van Buren (Guy Pearce), that will change the course of the next 30 years of his life.
In a recent interview with IMDb, Zendaya, Mike Faist, and Josh OâConnor shared some of their favorite scenes from their upcoming film Challengers, offering a glimpse into the movieâs stunning visuals and the emotional depth of its characters.
âThe Order,â written by Zach Baylin and directed by Justin Kurzel (whose âNitramâ chillingly dramatized the 1996 Port Arthur massacre in Tasmania), is at once a supremely intelligent docudrama about the rise of the white-supremacist movement and a riveting crime story.
As the nation is now entrenched in the former presidentâs third race for the White House, and given the myriad tweets and statements denouncing the use of many songs, the ignored cease and desist notices, and the air of unbridled rage surrounding the matter, one would think Trump and his team would begin to exercise caution on the selection of tunes played to excite or otherwise influence the emotions of his current and would-be supporters.