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Peter Debruge Chief Film Critic The “now” in “Deaf President Now!” refers to the second week of March 1988 — when the students of Gallaudet University in Washington, D.C., united in protest of the board’s choice of a non-deaf candidate to lead the school. But the activism depicted is still relevant to identity-centric struggles today.

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‘Sorry, Baby’ Sells to A24 Following Sundance Film Festival Premiere

Rebecca Rubin Senior Film and Media Reporter A24 is closing on acquiring worldwide rights to “Sorry, Baby,” one of the buzzier movies to premiere at this year’s Sundance Film Festival. The movie sparked a days-long bidding war with Neon and Mubi among the independent studios in the mix. Sources say the price tag is near the $8 million mark.

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Netflix Buys Joel Edgerton, Felicity Jones Sundance Drama ‘Train Dreams’ (EXCLUSIVE)

Train Dreams,” a lyrical drama about a logger whose work developing America’s railroad keeps him laboring in isolation, has sold to Netflix. The film earned rave reviews after debuting at this year’s Sundance Film Festival, with Variety’s Peter Debruge calling it a “modest monument” and praising it for “creating a record that history somehow missed.” Joel Edgerton and Felicity Jones star in “Train Dreams,” which is adapted from Denis Johnson’s 2011 novella. Clint Bentley, who oversaw the 2021 Sundance drama “Jockey,” directed the film and co-wrote the screenplay with Greg Kwedar.

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‘You’re Cordially Invited’ Review: Comedy Pros Reese Witherspoon and Will Ferrell Vow to Ruin One Another’s Weddings

Peter Debruge Chief Film Critic It’s a sign of the times that a good, old-fashioned date movie featuring two of the most bankable movie stars of the early aughts, Reese Witherspoon and Will Ferrell, is bypassing theaters altogether in early 2025. When it comes to writer-director Nicholas Stoller’s latest rom-com — if that’s the word for a film where two adults set out to sabotage one another’s wedding plans — you’re cordially invited to watch “You’re Cordially Invited” at home.

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‘Last Days’ Review: Most Faith-Based Movies Intend to Inspire, but Justin Lin’s Indie Return Cautions Fanatics

Peter Debruge Chief Film Critic You’ve seen it so often, you might roll your eyes, but in “Last Days,” it really happens: American missionary John Allen Chau might have died as he approached North Sentinel Island, had the Bible in his breast pocket not absorbed the blow of a hostile Sentinelese arrow. What was Chau doing halfway around the globe, trying to convert a tribe that had nearly zero contact with the outside world? That’s the mystery director Justin Lin attempts to solve with “Last Days,” prompting an unexpected return to Sundance more than two decades after “Better Luck Tomorrow” launched his career there.

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‘Sorry, Baby’ Review: Eva Victor Wrote, Directed and Stars in What’s Sure to Be One of the Year’s Most Talked About Debuts

Peter Debruge Chief Film Critic In “Sorry, Baby,” the defining moment of Agnes’ adult life happens off-camera, but it haunts nearly every other scene in the movie. A standout of the U.S.

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‘Plainclothes’ Review: A Closeted Cop Is Tempted by the Gay Men He’s Tailing in Steamy ’90s-Set Psychodrama

Peter Debruge Chief Film Critic These days, gay men can arrange sex by a smartphone app as easily as ordering a pizza. But back in the ’90s, when “Plainclothes” takes place, such trysts not only had to be coordinated in person, but could be punished by arrest.

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‘Train Dreams’ Review: A Landmark Homage to the Unsung Workers of the American West Plays Out Across Forests and Joel Edgerton’s Face

Peter Debruge Chief Film Critic With a handsome actor like Joel Edgerton, audiences typically find themselves looking at his face, or those ice-blue movie-star eyes. But in “Train Dreams,” I found myself looking at his hands, great big mitts, with thick fingers and knuckles like gnarled roots that don’t get that way on their own.

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‘Bubble & Squeak’ Review: Cabbages Are Banned in Quirky Sundance Comedy, but the Laughs Shouldn’t Be

Peter Debruge Chief Film Critic How many times can the characters say “cabbages” in a movie before making you want to throw cabbages at the screen? With “Bubble & Squeak,” writer-director Evan Twohy sets out to answer that question — and little else of relevance to contemporary audiences. Not all movies need to serve up profound insights into the human condition, but the ones that don’t should at least be entertaining, and Twohy’s particular strain of absurdism is not just contrived, but deeply unfunny.

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‘The Perfect Neighbor’ Review: A Revolutionary Doc, Made From Bodycam Footage, Takes Us Inside an Avoidable Tragedy

Peter Debruge Chief Film Critic Who among us, when we were young, did not annoy the cranky old geezer down the street? In some cases, you couldn’t help it, as there are some people who simply aren’t made for suburban living, terrifying the neighborhood kids by growling “Get off my lawn!” any time an oblivious child stepped foot on their precious property. In so doing, they made themselves targets when it came time to toilet-paper someone’s house or ding-dong ditch.

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‘If I Had Legs I’d Kick You’ Review: Rose Byrne Is Brilliantly Unhinged in a Chaotic Maternal-Meltdown Drama

Peter Debruge Chief Film Critic Most folks seek escapism when going to the movies, while others get off on seeing other people’s anxiety, drawing either catharsis or comedy from the idea that someone else has it worse. Sporting a poisoned-fortune-cookie title like “If I Had Legs I’d Kick You,” there can be little question as to which category best describes Mary Bronstein’s stress-fueled second feature.

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‘The Ugly Stepsister’ Review: Scary Scandinavian Cinderella Story Puts the ‘Boo’ in ‘Bibbidi Bobbidi’

Peter Debruge Chief Film Critic Most fairy tales were told and retold countless times before Walt Disney ever got his hands on them, and yet, the sensibility behind such animated classics as “Snow White and the Seven Dwarfs” and “Sleeping Beauty” has proven so popular on such an international scale that few know these stories’ darker origins. The family-friendly studio’s more-wholesome-than-horrifying approach gives Norwegian writer-director Emilie Blichfeldt plenty of room to push back with “The Ugly Stepsister,” a deliciously extreme take on the beloved “Cinderella” legend, complete with broken noses, severed toes and other gory details befitting the Grimm bros.

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‘Twinless’ Review: Two Guys Mourning the Loss of a Twin Connect in an Ingeniously Squirmy and Borderline Inappropriate ‘Bromance’

Peter Debruge Chief Film Critic In James Sweeney’s wise and disarmingly funny second feature, “Twinless,” two men meet in an emotional support group for those who’ve lost an identical sibling. That seems as good a place as any to talk about codependency, although it’s actually the even more universal subject of loneliness that animates Sweeney’s insightful coping comedy, which premiered on opening night of the Sundance Film Festival.

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‘Jimpa’ Review: A Liberated John Lithgow Sets the Tone for an Unkempt Homage to Tradition-Defying Kin

Peter Debruge Chief Film Critic Premiering at the Sundance Film Festival just days after Trump clarified his Make America Great Again agenda, Sophie Hyde’s “Jimpa” is a film about progress, not going back. Inspired by lessons of living with an activist gay father (John Lithgow’s richest role since “The World According to Garp”) and a nonbinary child (Aud Mason-Hyde), the semi-autobiographical drama captures — and celebrates — the ripple effects of the Sexual Revolution across three generations.

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‘Emilia Pérez’ Star Karla Sofía Gascón Becomes First Openly Trans Actor Nominated for an Oscar

Katcy Stephan Karla Sofía Gascón has become the first openly transgender actor to be nominated for an Academy Award. The Spanish star is recognized for her performance in the titular role of Jacques Audiard’s musical crime film “Emilia Pérez.” The Netflix film follows Emilia (Gascón), a feared drug lord who seeks the help of a lawyer, Rita (Zoe Saldaña), to fake her death and undergo gender-affirming surgery.

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International Feature Oscar Race: Read Variety Reviews of Shortlisted Titles and Submissions From More Than 50 Other Countries

Peter Debruge Chief Film Critic Those who keep a close watch on the Academy Awards’ international feature category probably noticed two things this year. First, the overall number of countries submitting for the award dropped to its lowest number since 2018, the year “Roma” was nominated for best picture.

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‘Come Closer’ Review: The Real-Life Death of a Brother Fuels a Surprising and Redemptive Take on Grief

Peter Debruge Chief Film Critic Six years ago, Ari Nesher, the teenage son of Israeli director Avi Nesher, was killed in a hit-and-run accident, while riding an electric bicycle. He died on his 17th birthday.

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‘Wolf Man’ Review: Blumhouse’s Emo Monster Mash Is a Far Cry From Its Brilliant ‘Invisible Man’ Model

Peter Debruge Chief Film Critic It’s been said that all monster movies fit into at least one of three categories. Werewolf movies play on the notion that within every man lives a beast waiting to be unleashed.

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‘Hard Truths’ Co-Stars Marianne Jean-Baptiste and Michele Austin Pull Back the Curtain on Mike Leigh’s Unique Directing Process

Peter Debruge Chief Film Critic The title of Mike Leigh’s latest movie, “Hard Truths,” suggests a remarkable, career-spanning consistency, tracing back to the stage and screen director’s 1971 big-screen debut, “Bleak Moments.” For more than half a century, Leigh has been bringing audiences into the lives and homes of British citizens of various backgrounds and classes, developing original projects through a unique workshopping process whereby the actors have a hand in creating the characters they play. “Hard Truths” builds upon the humanistic director’s signature method, reuniting him with Marianne Jean-Baptiste and Michele Austin.

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‘Oceans Are the Real Continents’ Review: A Lush and Lyrical Vision of Contemporary Cuba in Black and White

Peter Debruge Chief Film Critic There is a ravishing kind of beauty in Tommaso Santambrogio’s lyrical triptych of contemporary Cuban life, “Oceans Are the Real Continents.” With black and white cinematography that privileges an exacting formalism throughout, this portrait of the island works hard to defamiliarize the very sun-dappled, colorful image of Cuba that so dominates the cultural imaginary. An intergenerational study on exile and belonging, Santambrogio has crafted a staid travelogue whose poetic sensibility is both what makes it such an intriguing proposition and also quite an alienating one.

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21 Best Movies New to Streaming in January: ‘A Different Man,’ ‘The Wild Robot,’ ‘Blink Twice,’ Cameron Diaz’s ‘Back in Action’ and More

Zack Sharf Digital News Director A new year brings the long-awaited return of Cameron Diaz to the movies — at least as far as streaming is concerned. Diaz is ending her 11-year break from acting by starring in Netflix’s “Back in Action,” a spy comedy that pairs her with Jamie Foxx. Diaz’s return alone is enough to ensure “Back in Action” is the buzziest Netflix original of January 2025, but the streamer is also premiering the new “Wallace & Gromit” movie, “Vengeance Most Fowl,” for family audiences looking for a new movie to watch from home this month.

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