Lil Durk and J. Cole share an inspirational moment with “All My Life”

Clayton Davis Senior Awards Editor Whether Lily Gladstone decides to campaign for lead actress or supporting (and there’s a case for either), a spot will be reserved for her in a lineup. That’s because her powerfully complex role in Apple Original Films’ “Killers of the Flower Moon,” which debuted at the Cannes Film Festival on a rainy Saturday night, is too good to ignore. Gladstone delivers an uncompromising portrayal as Mollie, an Indigenous woman whose family and tribal community are being murdered at the hands of a sinister group of white men, driven by their thirst for greed and power. She’s a magnificent force. It became clear almost 10 minutes into Martin Scorsese’s epic adaptation of David Grann’s 2017 non-fiction book “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI” that the audience of attendees were witnessing the birth of a star.

Jo Koy has nothing but fond words to describe his last romantic relationship.

Natalie Portman is looking back on her “Star Wars” era.

The final three episodes of the current season of Saturday Night Live were put on ice following the start of the writers strike earlier this month, and we can tell you who you missed out on seeing host the show.

Miranda Kerr had nothing but good things to say about Katy Perry while discussing what it’s like co-parenting with Orlando Bloom.

Kristin Chenoweth is clearing the air about Ariana Grande, who is stepping up to fill her shoes in the new Wicked movies.

Lisa Marie Presley's twin daughters graduated from middle school on Friday, and Priscilla Presley was there to see them close that chapter in their young life.Priscilla, 77, donned a black and white jacket over a white blouse, black pants and black boots when she attended Harper and Finley's graduation ceremony in Los Angeles. The 14-year-old twins' father, Michael Lockwood, was also there.

Martin Scorsese unveiled “Killers of the Flower Moon” at Cannes on Saturday, debuting a sweeping American epic about greed and exploitation on the bloody plains of an Osage Nation reservation in 1920s Oklahoma.

Olivia Plath is honoring her brother Micah Meggs.

Manic Street Preachers and Suede have announced details of a two co-headline shows in Japan.The gigs, which will take place in November, come off the back of the ’90s icons’ joint tour of the United States, which came in late 2022. They were also touring partners in the 1990s.Speaking ahead of that tour, Suede frontman Brett Anderson said: “I can’t think of a band I’d rather share a stage with than Manic Street Preachers.“They have long been an inspiration to us, and I know there are thousands of Suede fans who feel the same.

Primal Scream.However, festival director Iain MacArthur said in a statement that a combination of poor ticket sales and lack of infrastructure meant that cancelling was unavoidable. “We are heartbroken to announce that due to circumstances out with our control, we have had to make the very difficult decision to cancel the Midnight Sun Weekender.

Kim Kardashian spoke candidly about being a single parent in a new interview.

In 2013, filmmaker Anthony Chen’s first feature, “Ilo Ilo,” won the coveted Caméra d’Or at Cannes. Centered around the inseparable bond between a 10-year-old Singaporean boy and his Filipina nanny, Chen’s full-length debut deployed a specific lens — a family weathering the 1997 Asian financial crisis — to tell a universal story exploring the nooks and crannies of our shared humanity.

We’re almost halfway into 2023, and we’re looking back on the biggest hits of 2022 to see which ones had staying power!

Chrishell Stause is sharing receipts about her relationship with Selling Sunset co-star Nicole Young.

Twitter users were evenly split when they were asked to select which screen legend was hotter – Robert De Niro or Al Pacino.

Lil Nas X is showing off his seriously toned body in a hot new mirror selfie.

Three of this year’s Sports Illustrated Swimsuit Issue cover stars celebrated the release at a launch party on Friday night (May 19) in Hollywood, Florida.

Todd Haynes returned to the Cannes Film Festival on Saturday night with his latest, May December, playing in competition. The complex melodrama starring Natalie Portman and Julianne Moore scored an eight-minute standing ovation inside the Grand Theatre Lumière.

 got a boisterous 9-minute standing ovation after the three-hour epic premiered Saturday at the 76th annual Cannes Film Festival.Leonardo DiCaprio, director Martin Scorsese and the rest of the cast soaked up every second of the ovation displayed at Palais des Festivals in Cannes, France.  posted a snippet of the thunderous applause, and outlet's co-editor-in-chief, Ramin Setoodeh, reports that the nine-minute standing ovation is «the biggest and loudest» of the film festival so far.According to, Scorsese took the mic after the ovation and addressed the excited crowd.«Thank you to the Osages,» he said. «Everyone connected with the picture.

Peter Debruge Chief Film Critic In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being tempted to start his deep-as-you-want-to-go rabbit-hole drama “May December” the same way, seeing as how this endlessly fascinating movie focuses on the blurring of the lines between a Hollywood star (Natalie Portman) and her Heartland subject (Julianne Moore), who was caught in a sexual relationship with a 7th grader at the age of 36. The movie wants to know: Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick? A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of “Far From Heaven” to the queer twist on classical “woman’s pictures” provided by “Carol,” his style can be chilly and distancing. Not so “May December.” As layered and infinitely open-to-interpretation as any of his films, it’s also the most generous and direct, beginning not with Ingmar Bergman references (those come later), but with footage of monarch butterflies. They’re symbols of transformation, too, but also something nice to look at (and listen to, underscored by a lush reworking of the piano theme from “The Go-Between”) before these two women meet.