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16.09.2024 / 23:07

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‘Sketch’ Review: All the Monsters One Kid Can Imagine Come to Life in an Inventive Fable for the Whole Family

Peter Debruge Chief Film Critic Since the death of her mother, 10-year-old Amber Wyatt (Bianca Belle) has been bothered by all sorts of dark thoughts. Rather than act on those impulses, Amber commits her most monstrous ideas to a secret journal, purging anxieties from her subconscious though art.

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‘Heretic’ Review: Hugh Grant Is Genteelly Terrifying as a Creep Hell-Bent on Converting Others to His ‘One True Religion’

Peter Debruge Chief Film Critic You’ve heard of “faith-based movies”? Well, “Heretic” is essentially the opposite. In A24’s thorny, impossible-to-anticipate thriller, co-directors Scott Beck and Bryan Woods (best known as the writers of “A Quiet Place”) ask audiences to accept Hugh Grant as a demented religious scholar so extreme, he’s arranged to trap two Mormon missionaries in his house and torment them into rejecting their faith in Joseph Smith and all his teachings. The lesson this sicko has planned is to Bible study what “Saw” is to shop class.

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‘September 5’ Lands at Paramount With Awards Season Release Date

Rebecca Rubin Senior Film and Media Reporter “September 5,” a historical thriller about the 1972 Munich Olympic hostage crisis, will be released by Paramount Pictures. The film, which was a buzzy sales title on the festival circuit, is set to open in select theaters on Nov. 27 ahead of a nationwide release in December.

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‘The Deb’ Review: Rebel Wilson Lets Her Musical Roots Show in Ribald Satire of Modern Courtship

Peter Debruge Chief Film Critic According to tradition, debutante balls are designed to introduce young ladies to polite society. But in Australian comedy star Rebel Wilson’s rowdy directorial debut, “The Deb,” there isn’t really anything that resembles “polite society.” Wilson’s characters run the gamut from uncouth to in-your-face offensive — none more than the tacky small-town beautician Wilson embodies in a brash, John Waters-esque musical satire, situated where overzealous progressive values meet old-school pageantry at its most patriarchal.

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How ‘Star Wars’ and ‘The Lion King’ Made James Earl Jones the Voice of Generations

Peter Debruge Chief Film Critic The phrase “voice of a generation” gets thrown around a lot, but if that label were defined by sheer recognizability, it would be hard to find a better fit than James Earl Jones, who died Tuesday. The real question is: which generation? Depending on whether you were born before or after the year 1990, chances are good that the sound of Jones’ roll-of-thunder baritone instantly conjures one of two characters in your mind: “The Lion King” father Mufasa or “Star Wars” villain Darth Vader.

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‘Monte Cristo’: Pathe Boss Ardavan Safaee Shares Strategy Behind French Box Office Reign, and Company’s English-Language Plans (EXCLUSIVE)

Elsa Keslassy International Correspondent French studio Pathé has seen its marketing and programming strategy pay off with “The Count of Monte Cristo,” an epic adventure film adapted from Alexandre Dumas’ classic which struck box office gold in France during a competitive summer marked by the Olympics. Helmed by Matthieu Delaporte and Alexandre de la Patellière (“The Three Musketeers”), the sweeping three-hour movie has become a proper French blockbuster, selling more than 8 million tickets locally (as of Sept.

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Robbie Williams to Make Surprise Musical Performance of Original Song From ‘Better Man’ After TIFF Monday Screening (EXCLUSIVE)

Clayton Davis Senior Awards Editor The Robbie Williams biopic “Better Man,” in which the British singer plays himself as a CGI monkey, will make its debut Monday at the Toronto International Film Festival. According to multiple sources with direct knowledge, Williams will give a surprise musical performance at an intimate post-screening party at the Shangri-La Hotel in Toronto.

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‘The Wild Robot’ Review: It’s No ‘Iron Giant,’ Though DreamWorks’ Tale of a Wayward Droid Is a Keeper

Peter Debruge Chief Film Critic A gorgeous computer-generated cartoon with a human heart beating beneath its sleek, state-of-the-art surface, DreamWorks Animation’s “The Wild Robot” arrives at a time when the public seems more concerned than ever about being outsmarted by artificial intelligence. It’s somewhat ironic then that the movie, a lovely chosen-family fable adapted from the first book in Peter Brown’s open-ended series, features no human characters of consequence.

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‘Nightbitch’ Review: Amy Adams Ferociously Resists the Changes Imposed by Parenthood in Didactic but Welcome Ode to Moms

Peter Debruge Chief Film Critic It’s been more than half a century since Helen Reddy sang, “I am woman, hear me roar!” but the line remains as good a mantra as any for Amy Adams’ ferocious lead performance in Marielle Heller’s tamer-than-expected “Nightbitch.” Identified only as “Mother” in the credits, Adams plays a woman who gave up her career to raise her son, but is only now, four years in to stay-at-home motherhood, realizing just how much the experience has changed her. “Transformed” might actually be a better word, since her primeval awakening gives off serious werewolf-movie vibes.

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‘We Live in Time’ Review: You Can’t Scramble a Love Story Without Breaking a Few Eggs

Peter Debruge Chief Film Critic One moment, award-winning chef Almut (Florence Pugh) is waking her beloved Tobias (Andrew Garfield) and asking him to sample her latest concoction, the next, it’s the middle of the night, and now-pregnant Almut is parked on the toilet while he times her contractions. Effective love stories are composed of moments large and small.

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‘Hard Truths’ Review: You Can’t Help but Love a Bitter Marianne Jean-Baptiste in Mike Leigh’s Slender Sketch

Peter Debruge Chief Film Critic Some people bring happiness and positivity into the world, illuminating the lives of all around them, and some make flowers wilt and milk curdle wherever they go. As Pansy, Marianne Jean-Baptiste embodies the latter sort in “Hard Truths,” coming away from her reunion with “Secrets & Lies” director Mike Leigh with her richest character yet — not economically speaking, of course, though we’d all be millionaires if we had a nickel for every blistering complaint that spills from Pansy’s lips.

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‘Saturday Night’ Shifts Two Weeks Earlier With Platform Release in September

Katcy Stephan Sony and Columbia Pictures are expanding their release rollout for Jason Reitman‘s “Saturday Night.” The film, which was previously scheduled to solely release wide on Oct. 11, 2024, is now getting a three-step platform release. It will first land exclusively in L.A., N.Y.

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‘Nutcrackers’ Review: Ben Stiller Gets Saddled with a Farm and Four Rowdy Kids in Easy-Target Heart-Tugger

Peter Debruge Chief Film Critic No doubt, the Janson brothers — Homer, Ulysses, Atlas and Arlo — are lovely, well-behaved kids in real life. (No sanity-respecting director would cast them in a movie if that weren’t the case.) Few would say the same about the undisciplined orphans these four boys play in director David Gordon Green’s odd-choice Toronto Film Festival opener, “Nutcrackers”: 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 both die in a car accident.

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