'Art Paul of Playboy: The Man Behind the Bunny': Film Review

Two people, each unhappy with their lives, meet and form an unlikely emotional connection. It's a time-honored narrative formula, but Amber McGinnis' debut feature employs it to uncommonly moving and funny effect.

Mayor Musa Hadid is a celebrity of sorts in Ramallah, the historic Palestinian capital in the central West Bank, situated just a few miles north of Jerusalem. But it’s hard out there for this idiosyncratic, handsomely attired and mustachioed character, greeted often by excited kids and curious adults whenever he is spotted in the streets of the bustling town he tries to better for its citizens, burdened by the stifling politics of the region.

A quarter-century after starring in a film called Floundering, James Le Gros still makes an ideal embodiment of his generation's ambivalence about joining the world of squares. In Gary Lundgren's gently warm Phoenix, Oregon, the actor plays an unpublished comic book artist who, after years of tending bar for others, is talked into starting a business of his own.

Director Philip Harder, whose previous credits mostly consist of music videos for such performers as Liz Phair, Hilary Duff, Foo Fighters and Prince, has chosen ambitious subject matter for his feature narrative debut. Tuscaloosa, a coming-of-age drama set in 1970s-era Alabama, deals with such issues as mental illness and violent racial clashes.

With YHLQMDLG, Bad Bunny wrote and recorded a recording-breaking and history-making album in a matter of six months. From perreo anthems to trap and old-school reggaetón, his sophomore 20-track set just became the first all-Spanish-language album to reach No.

In “Last and First Men,” Tilda Swinton is the literal voice of the future: a disembodied narrator from the hyper-evolved “eighteenth species” of humanity, calmly but desolately reaching out to us from a world some way past 2,000,000,000 A.D. Given that we always suspected as much about Tilda Swinton, it’s a comforting choice: the one expected, knowably strange detail in an otherwise amorphous, disorienting sci-fi meditation.

With his perverse (and some might say perverted) look at the early life of Canada’s longest-serving Prime Minister W. L.

Two older working-class men, both secretly gay, meet by chance and a hidden relationship develops in “Suk Suk,” the poignant third feature from writer-director Ray Yeung. Inspired by a sociology professor’s oral history of older gay men in Hong Kong, the drama incorporates documentary-like elements about end-of-life issues for gay elders.

Leslie Odom Jr. and Freida Pinto make sympathetic, easy-on-the-eyes lovers in “Only,” an absorbing post-catastrophe drama, in theaters and on demand March 6. Consider “Only” a variation on the “What would you do in this horrid situation?” subgenre. Only it’s more a “What would we do?” which can be an exponentially more challenging proposition. (Hard enough to agree on where to get takeout.)

Horror movies these days seem to require strong doses of social commentary along with the requisite scares. Its theatrical release conveniently sandwiched between the feminist-themed The Invisible Man and the elites vs.

A tale of long-simmering grudges and shocking violence in a small town, Paul Solet's Tread is a smartly structured doc with a finale so extravagant you could build an exploitation film around it: On June 4, 2004, a professional welder in Granby, Colorado drove what amounted to a homemade tank around town, destroying the workplaces of men who had done him wrong.

Time moves slowly, as ever, for Malaysian director Tsai Ming-liang’s, as seconds become minutes, minutes become hours, and hours become “Days,” a gentle return to form in which Tsai’s longtime star, Lee Kang-sheng, is shown suffering from some unknown physical ailment, finding short-lived solace in the hands of a stranger (28-year-old Laotian immigrant Anong Houngheuangsy) in Bangkok.

A 'one-man band' drug dealer who ran a cocaine operation from his Crumpsall flat was caught after boarding the Eurostar to London as he tried to flee the country.

Unraveling the dusted bandages of H.G. Wells’ classic 1897 science-fiction novel, writer-director Leigh Whannell has refashioned “The Invisible Man” as a bracingly modern #MeToo allegory that, despite its brutal craft, rings hollow.

Running a concise 70 minutes,Last and First Men remains the only feature-length film directed by Johann Johannsson (1969-2018), the Icelandic composer who received Academy Award nominations for The Theory of Everything and Sicario. It was first presented at the Manchester International Festival as a symphonic performance with a live BBC orchestra, and made its official film bow as a Berlinale Special.

LOS ANGELES (Variety.com) – These days, the horror-fantasy thriller tends to be a junk metaphysical spook show that throws a whole lot of scary clutter at the audience — ghosts, “demons,” mad killers — without necessarily adding up to an experience that’s about anything.