‘Good Girl Jane’ Review: Sarah Elizabeth Mintz’s Piercing Debut Tracks The Grooming Of A Young Teenage Girl [Tribeca]

Gal Gadot’s infamous attempt to build solidarity during the pandemic just got a send-up from everyone’s favourite heroes.

Sarah Elizabeth Mintz moved back to New York this month after a seven-year stint in Los Angeles while she was working out Good Girl Jane, her debut feature that just landed with a splash, winning Best Narrative Film at the Tribeca Festival as well as Best Actress for star Rain Spencer.

“Of Medicine and Miracles” could have been a podcast. It could have been a newspaper feature.

“A priest in a pinstripe suit.” That’s how Andrew Kirtzman characterizes Rudy Giuliani early in Jed Rothstein’s “Rudy! A Documusical,” his chronicling of how America’s erstwhile mayor became America’s most embarrassing punchline. Kirtzman, Giuliani’s biographer, makes a reasonable simile.

If there hadn’t been a body count, Chris and Jeff George’s escapades might have made for a divinely trashy TLC reality show. The brothers had gargantuan appetites, a habit of breaking the law without consequences, a flair for exaggeration, and a knack for spending money as fast as it came in on all the things that would keep a certain kind of viewer coming back: strip club visits, firearms, McMansions, and jacked-up trucks.

here.) The New York City fest began June 8 and concludes June 19.Read below for the full list of competition winners.U.S. NARRATIVE COMPETITIONThe Founders’ Award for Best U.S. Narrative Feature: Good Girl Jane (United States)Dir.

Coming-of-age drama Good Girl Jane, written and directed by Sarah Elizabeth Mintz, took the Tribeca Festival Founders’ Award for Best U.S. Narrative Feature on Thursday while its star Rain Spencer won for Best Performance at the fest, which announced its winners ahead of wrapping this weekend.

You can accuse writer/director/star Katie Holmes of doing a lot of things in her sophomore feature “Alone Together,” but you certainly can’t say she doesn’t wear her influences on her sleeve. The picture opens with a throwback jazzy vocal track over shots of the NYC skyline, Central Park, and the Upper West Side; the Nora Ephron vibes are palpable.

White people have stolen music from black people for decades and then some. This is a matter of historical record.

A sibling is usually your first friend and your first enemy, someone who cares about you like your parents but will get into shenanigans with you. These relationships are complicated, especially when you go in different directions in life and potentially feel estranged from the complex trappings of family.

A standard hagiography that is far less interesting than the subjects it features, “Turn Every Page” aspires to none of the depth and complexity it champions throughout its too-long 112 minutes. A serviceable accounting of both a historian and a historically important editor, the documentary makes a strong case for the importance of both, yet in so doing, demonstrates that these men need no such help.

Artfully toggling between the ephemeral memories associated with the infamous Chelsea Hotel, and the more granular concerns of its present residents, Maya Duverdier and Amélie van Elmbt’s new documentary, the Martin Scorsese executive produced “Dreaming Walls: Inside the Chelsea Hotel,” is a concise reflection of the erasure of historical monuments in the name of gentrification. Centralizing the protracted construction process that closed down the hotel in 2011, but allowed its long-term residents to stay, the doc mainly follows the hold-outs in their ninth year of construction, many who view the hotel as one the last examples of bohemian, and affordable, living in Manhattan.

The movies have given us man-children for decades, dating back to Carl Reiner’s “The Jerk,” leading all the way to a bumper crop of “dudes stuck in arrested development” productions through the 2000s and 2010s: “Cyrus,” “The 40-Year-Old Virgin,” “Knocked Up,” “Adult Beginners,” “The Comedy,” “Step Brothers,” “Jeff Who Lives at Home.” Alex Heller’s feature debut, “The Year Between,” descends from this overdone tradition and leaves a new wrinkle on the formula: Bipolar disorder, a formidable condition characterized by extreme mood swings and thus a clear goldmine for slacker burnout comedy.

B.J. Novak’s feature directorial debut, “Vengeance,” does not begin like you would expect B.J.

A minor but affecting character study about buried family trauma, Clara Stern’s feature-length narrative debut “Breaking the Ice” works well as both a sports drama — focusing on an Austrian minor-league women’s hockey team — and a romantic drama. While perhaps too contained within its protagonist’s point of view, Stern’s film is nevertheless an impressive debut.

“American Dreamer” is a mess of a movie, in which scenes of startling wit and emotional truth co-exist alongside entire subplots that are utterly inexplicable. It’s all over the damn place; its good ideas in near equal proportion to its bad ones, feeling less like a polished production than a filmed first draft, released as a rough assembly.

Aisha Osagie wakes up early. She bathes and prays.

Ray Romano is a good actor, and seems like a nice guy. These are the two primary takeaways from “Somewhere in Queens,” which the stand-up comedian, character actor, and sitcom star co-wrote, co-produced, directed, and starred in.