Bridgerton actress Phoebe Dynevor will star in the Kansas-set thriller Witchita Libra as a woman trying to solve a dark historic crime that tore apart her family and rural hometown.
21.01.2023 - 17:43 / theplaylist.net
On second thought, we may have let our collective nostalgia for erotic thrillers get a tad out of hand. Chloe Domont’s “Fair Play” seems, at least at the level of its inception, to be a thought exercise: what would it look like to make something like “Disclosure,” but from the perspective, and with sympathy towards, the Demi Moore character? That Barry Levinson adaptation of a Michael Crichton thriller has aged like a bottle of milk on a radiator, a baffling stew of corporate intrigue, shitty special effects, and spectacularly terrible sexual politics.
Bridgerton actress Phoebe Dynevor will star in the Kansas-set thriller Witchita Libra as a woman trying to solve a dark historic crime that tore apart her family and rural hometown.
It’s crazy to think that boyish-looking Jonathan Tucker, known for roles in “The Virgin Suicides” (1999), “Hostage” (2005), “In the Valley of Elah” (2007), and “The Ruins” (2008), is now 40 years old. And beyond roles like “Charlie’s Angels” (2019), the perennially youthful-looking actor generally plays nice guys, introverts, and the like.
Missing in the ton? Phoebe Dynevor’s Daphne Bridgerton was the first TV sibling to find love on Bridgerton, but she may be ready to leave Grosvenor Square.
The Sundance Film Festival has begun unveiling its Jury and Audience Award winners for 2023.
Three. Frustrating. Years. That’s how much time has passed since the Sundance Film Festival last held an in-person edition in Park City, Utah. (Put it this way: The opening night selection was the Taylor Swift documentary, Miss Americana, which chronicled the making of her 2018 album of Reputation. So, like, ancient history.) Blame the pandemic, of course. Because of safety fears, attendees couldn’t be in the room for the premiere of the eventual Oscar Best Picture winner, Coda, or cheer along for Questlove and the first screening of his own future Oscar pic, Summer of Soul. No sightings of a random Real Housewives star on the bustling Main Street. No napping during 8:30 AM screenings. No huffing and puffing walking in the snow in the frigid weather at high altitudes. No nothing.
The avant-garde video artist Nam June Paik gets his own adulatory portrait in Amanda Kim’s documentary “Nam June Paik: Moon is the Oldest TV.” An act of biographical recovery that also, somehow, flattens a controversial artist, Kim’s film provides just enough contextual information to maintain interest, even if it’s never as radical as its titular subject. READ MORE: 25 Most Anticipated Films At The Sundance Film Festival Moving succinctly from birth to death, Kim provides a broad overview of Paik’s history and aesthetic interests.
Caught somewhere between a movie and a series, “Willie Nelson & Family” doubles down on the history and mythology of its namesake to stretch the latter into what would have been better served as the former. Honest, introspective, yet rarely revelatory, the anthology often mistakes the comprehensive for the essential, and while it succeeds in explaining Willie Nelson to its audience, that’s about all it does.
In writer/director A.V. Rockwell’s feature directorial debut, “A Thousand and One,” Inez (a deeply felt Teyana Talyor) has returned to Harlem after spending a year in Rikers Prison.
This is “a place of mountains and myths,” we’re told as a montage of Central Appalachian imagery fills the frame. The mists, buffalo, ferns, and flowing waters intercut with the coal-filled mountains and mining towns that grew up around them.
There are very few directors who like to work at the break-neck speed that Canadian multi-hyphenate Xavier Dolan relishes. Fewer still can boast of churning out quality output at every turn.
Brendon (Algee Smith) isn’t a bad kid. An aspiring artist living in Los Angeles, in his last month of high school, the pressures of his daily life, however, are beginning to overwhelm him.
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“Fair Play” is led by “Solo” star Alden Ehrenreich and Phoebe Dynevor as Luke and Emily, co-workers at a financial firm who are deeply in love and about to be engaged. But their relationship falls apart when Emily gets a promotion at their firm, leading to a change in power dynamics that poisons their personal lives and eventually leads to violence.
If Jordan Firstman did not exist, it would be necessary for Sebastián Silva to invent him. “Discomfort rooted in class friction” and “the perverse amusement of watching people be annoying” rank high on the list of stalwart indie filmmaker Silva’s favorite recurring themes, and no modern type marries the two quite as handily as the social media influencer that plague of shamelessly promotional non-celebrities who adopt the entitled mindset of fame long before breaking into the industry sector accommodating it.
The "Once" and "Sing Street" filmmaker is back with another testimonial to the transformative power of popular music.
In Montana’s Big Sky Country, a black cloud hangs over the state’s expansive horizon. It looms above the indigenous residents of the Crow and Northern Cheyenne Reservations and nearby towns in Big Horn County most of all.
There’s crazy, there’s batshit crazy, and then there’s Brandon Cronenberg’s definition of crazy. It’s a crazy that’s impossible to contain and even more impossible to label: a mind-bending neon-lit nightmare bursting at the seams with perverse imagery, an abrasive embrace of the grotesque, and a ravishing explosion of seduction and power.
Starting with early frames that capture one very cold East Coast winter with cozy grain, director William Oldroyd’s gorgeous yet thin-spread drama-thriller “Eileen” looks like the kind of movie one wishes to luxuriate in. Indeed, the masterful “Lady Macbeth” director’s period piece promises to be the cinematic equivalent of a lavish fur coat at first glance, so inviting in its smoky mahogany interiors and mutedly warm color palette that it feels easy to slip into, no questions asked.
Actor-turned-filmmaker Alice Englert’s “Bad Behaviour” is a dirty bomb of a movie, and it almost seems intentionally devised to keep the viewer off-balance. What at first appears a rather obvious send-up of self-help culture turns into a take-no-prisoners assault on narrative expectations and norms, all the while painting a pointed portrait of a truly complicated protagonist, the kind of character whose motivations and intentions are so slippery, you can barely make up your mind about her before she gives you a reason to change it again.