‘Cyrano’ Film Review: Peter Dinklage Shines but the Songs Are Forgettable

riot tonight,” says the girlfriend of numbers runner Harold (Leslie Odom Jr.), right before the Newark riots of 1967 start. Worse than this is the scene where baby Christopher cries whenever he sees his uncle Tony and an older female family member says the infant might know something they don’t.The new characters are all one-dimensional, and we learn nothing new about the old characters from the series.

know it.”(Note to Kenny: By describing music you have already written that just needs the right movie, you have publicly disqualified that music from Oscar consideration. If music isn’t written specifically for the movie, it’s not eligible.

.” As the documentary progresses, that question becomes even more mind-boggling. From today’s lens, it is truly inconceivable how a person like Pauli Murray, who contributed so much to our modern concepts of civil rights and gender equality, could remain such a hidden figure in history.

Christmas movies to make uncomfortable points.

This review of “Prisoners of the Ghostland” was first published after the film’s January 2021 premiere at the Sundance Film Festival.Prolific and wildly eccentric Japanese auteur Sion Sono has spent most of his career at the dizzying point at which arthouse bravado meets grindhouse gonzo, and his best films stretch the limits of narrative so far as to leave viewers simultaneously gobsmacked and exhilarated.

does for “The Eyes of Tammy Faye.” But Ben Foster’s transformation in Barry Levinson’s “The Survivor,” which had its world premiere at TIFF on Monday, is something different — because he morphs into Holocaust survivor Harry Haft from two different directions in the same film.In scenes set in the latter stages of Haft’s life, Foster is doughy and sluggish, only slightly recognizable as the actor we know from films like “The Messenger” and “Leave No Trace.” In scenes set during World War II, when

th Century Women” to Lee Isaac Chung’s “Minari,” from John Boorman’s “Hope and Glory” to Alfonso Cuaron’s “Roma.” Writer-director-actor Kenneth Branagh has now tried his hand at the genre, and to say that “Belfast” brings out the best in him would be an understatement.Visually stunning, emotionally wrenching and gloriously human, “Belfast” takes one short period from Branagh’s life and finds in it a coming-of-age story, a portrait of a city fracturing in an instant and a profoundly moving lament

harpy?” David asks when Jo gives him one too many instructions in the car.

Twitter, then it will have done its job, but even lifelong fans are likely to come away from “Don’t Make Me Over” with new information about, or at least deeper respect for, her career.She recounts her own life story, from growing up in New Jersey, singing publicly for the first time at the age of six (in her grandfather’s church) and watching her aunt Cissy Houston — who lived with the Warwicks; Dionne describes her as being more of a big sister — achieve success with the gospel combo the

British director Michael Pearce has come up with a bold and nervy puzzle in “Encounter,“ a sci-fi/character study hybrid that premiered at Telluride last week and came to the Toronto International Film Festival on Friday.

thrown in for good measure. The atmosphere is suitably stark — snow sweeps across empty valleys, human figures are dwarfed under massive castles — and the arena where Jean and Jacques settle their differences is a wintry nightmare.