Kosas DreamBeam Sunscreen Review 2023

Guy Lodge Film Critic By the brazenly esoteric standards of Argentine director Lisandro Alonso, his last feature “Jauja” was virtually a concession to the mainstream. A lushly shot 19th-century historical drama led by Viggo Mortensen, it was — until a typically disorienting coda — close to linear in its colonialist-quest narrative, even as it moved in slow, ever-widening circles, and duly became Alonso’s most widely released film to date. Nine years later (the longest gap yet in a career taken at his own pace), Alonso’s follow-up “Eureka” playfully appears to mock whatever tentative gestures “Jauja” made toward accessibility: A glisteningly opaque meditation on Indigenous living that refracts viewers’ interpretations as it repeatedly switches gear, focus, locus and story, it’s a film built to frustrate those who don’t succumb to its oneiric spell, not that it especially imparts its secrets to those who do.

Dennis Harvey Film Critic You might think Shia LaBeouf portraying a 20th-century Italian saint under the direction of perpetual bad-boy expat Abel Ferrara is a pretty strange prospect. But that’s just the iceberg tip of the oddities in “Padre Pio,” which, despite the American star’s casting in the title role, often appears uninterested in its own venerated ostensible subject.  Instead, much of this awkward English-language period piece focuses on peasants’ struggle to overthrow padrone control just after the First World War. Depicting that conflict often feels beyond the modest production’s scale — and, in any case, is never meaningfully connected to the angsty histrionics of LaBeouf, who seems to be in his own separate, indulgent, semi-improvised movie. Though coherent relative to Ferrara’s last narrative feature, the impenetrable espionage tale “Zeroes and Ones,” this eccentric misfire will likely puzzle fans of his past cult favorites, while flummoxing Catholic viewers who expect straightforward religious uplift. Gravitas Ventures is releasing to 50+ U.S. markets. 

opened this week at the Lyceum Theatre, attempts to be a new horror movie on an old Broadway.Such a merger sounds smart in theory, with the genre doing reliably big business at cinemas and boasting hoards of ready-made fans. Why not produce “M3GAN Live,” or “The Nun” in two acts?Well, for one simple reason: because the kind of paralyzing fear and gruesome death that fuels horror films is just about impossible to satisfyingly replicate at the theater. 1 hour and 40 minutes with no intermission.

The perfect beach watch. As the summer season arrives, TV fans are in for some exciting content with both new and returning shows.

Holly Gleason Forty-five minutes after published start time, with the Ryman Auditorium’s house lights blazing, the chanting began. “Jelleeeeeee! Jelllllllly! Jelleeeeeeeeeee! JELLY!” For most people on the coasts, as well as polite society in the flyover, the phenomenon that is Jelly Roll, a rapper-turned-country breakout sensation, may not yet have registered. Even for music industry pundits, the jaundiced eye can paint him as one more hip-hop bro-country expansion, albeit one with some serious facial ink. But for what served as the release party for Jason DeFord’s first full-length country release — “Whitsitt Chapel,” out this weekend – the sold-out audience’s response Wednesday fell somewhere between altar call and full-on revival. To a mixed crowd of the elderly, the face-tatted, the backwards-cap-wearing dudes, zaftig hotties, little kids, 12-step/recovery T-shirt-sporting 20-somethings and the kind of regular working class people who don’t stand out, the night was an affirmation of their own worth in a world that’s quick to judge or dismiss them.

Criminal profiling introduced new monsters into the cultural lexicon in the 1970s when the “serial killer” concept entered the conversation. Television has long been fascinated by these types of criminals, from the long-running “Criminal Minds” to David Fincher’s brilliant “Mindhunter.” Now, Apple TV+’s latest limited series, “The Crowded Room” is taking a stab (excuse the pun) at psychological thriller territory.

Jem Aswad Senior Music Editor Grace Jones was one of the most iconic artists of the early ‘80s, with a boldly androgynous and prescient image and string of brilliant albums with a pioneering sound and expertly curated covers that fused R&B, new wave and reggae into a fusion that has been echoed everywhere from Rihanna to Massive Attack and beyond. Now 75, she’s continued performing but hasn’t released an album since 2008, and seemed to drop below the radar for all but her fanbase, influencees and the LGBTQ and Pitchfork audiences until the past few years, when the brilliance of her “Warm Leatherette,” “Nightclubbing” and “Living My Life” albums became even more undeniable. Yet even fans who’d seen her shows in the past probably were not prepared for the eye-popping, mind-blowing concert she staged as part of Blue Note Jazz Festival at New York’s Hammerstein Ballroom on Wednesday night, which mere words cannot do justice. At 75, her always-deep voice sounds as great as ever, her outfits and staging are as provocative as ever, and she could give Mick Jagger a literal run for his money in terms of fitness and dexterity at a certain age. Best of all, for all her hauteur, diva-tude and icon status, she never takes herself too seriously and every outfit, headdress, and staging touch had an undercurrent of humor that’s sadly lacking in most artists — and her stage banter is absolutely hilarious, although the humor often lay less in what she was saying than the way she said it (although lines like “Why do you need a dick if you’ve got a dildo?” land in a multitude of contexts).

Jordan Moreau Hayley Williams, the lead singer of rock band Paramore, and Lil Uzi Vert, the Philly rapper behind “Just Wanna Rock” and more, have been fans of each other for a long time, but it wasn’t until Wednesday night at Madison Square Garden that they finally met. The mutual adoration started in January 2016 when Uzi posted a video of himself on Twitter singing along with Paramore’s hit song “Ain’t It Fun.” At the time, Uzi was still an up-and-coming rapper with a few catchy tracks under his belt, but Williams must have taken note. Over the years, they traded compliments for each other — Uzi named her his dream collaboration and that “there’s no one better than Hayley Williams” in a recent Complex interview, and Williams revealed the two had talked about a collab that never came to fruition — until the two took the stage together in New York City.

All right, let’s do this one more time: (cue propulsive, impossibly cool hip-hop beat): in 2018, despite an oversaturation of ‘Spider-Man’ movies, and just two years after Marvel introduced yet another actor as the character in live-action (just two years after ditching the previous guy), Sony did the unimaginable with “Spider-Man: Into the Spider-Verse.” Not only did they craft a thrilling, ingenious, inventive, highly original, and entertaining ‘Spider-Man’ like never before, they created the best-animated superhero film ever, and arguably one of the all-time superhero films ever.

Manuel Betancourt The fine line between being right and being righteous is at the center of Idan Haguel’s “Concerned Citizen.” The Tel Aviv-set film follows a young gay man living in a neighborhood that’s supposedly on the upswing who has to question whether his commitment to bettering this increasingly gentrified community is all that selfless — or whether, in fact, that moniker he uses to describe himself and which gives the film its title is a smokescreen for more unseemly sentiments about his immigrant neighbors. Haguel’s deft dark comedy is a tight character study of the curdling effects of white guilt and white privilege. Ben and Raz (real life couple Shlomi Bertonov and Ariel Wolf) live in a picturesque apartment. Their shelves are adorned with masterfully manicured house plants and hip coffee table books on Bowie; their every morning is scored by the sounds of their robot vacuum followed by the hum of their blender as they make each other green juices to kick start their day. Together they’ve created a safe haven within their doors that staves off the relatively chaotic urban world right outside their door. Theirs is what we’ve come to label a neighborhood in transition — namely, a community where low real estate prices have begun to attract couples like Ben and Raz who value the “multicultural” vibe of their environment in theory though perhaps not so much in practice.

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over the casting of Bailey, who is Black, in the titular role.Nevertheless, the movie is proving popular with audiences. It’s pulled in more than $130 million domestically since its Memorial Day weekend debut.

surprise hit “Spider-Man: Into the Spider-Verse” not only lives up to its genre-enlivening and Oscar-winning predecessor — it often surpasses it in terms of animated excellence. A complex mix of ecstasy and frustration bubbled up when I realized that the first five minutes of this flick are more jolting and creative than any of the last ten Marvel movies. Easy.Running time: 140 minutes.

Death Becomes Her. Yet more often than not, we are left disappointed. Turns out, this is dissatisfaction isn’t limited to us non-Hollywood folks.

More than two years after it launched an investigation of actor Armie Hammer over sexual assault allegations, the Los Angeles County District Attorney’s Office said today that the actor won’t be charged.

If the title feels familiar you would not be wrong. The word “boogeyman” has been the subject of numerous movies all using the same moniker, at least ten on iMDB database before I stopped counting, but all of them dated post 1973 when the horror master Stephen King first published his 8-page short story in a magazine, followed five years later by its inclusion in one of his classic short story collections, “Night Shift”. So in one form or another this now 50 year old tale has become shorthand for lots of Hollywood concoctions that had nothing to do with it, but hey a good title is a good title.

Jessica Kiang In her career to date, French director Katell Quillévéré has demonstrated an unusual talent for connecting to her characters so intensely that in some moments they seem less to be up on the screen in front of you, than sitting right next to you. Or even, as with the daydreams and interior musings that punctuated her wonderful last film “Heal the Living,” right inside you. But with her fourth feature, “Along Came Love,” that intimate connection appears to have been broken, as though this turbid post-war romantic saga is coming to us through the decades via a long-distance call that keeps dropping. Perhaps to establish some authenticity early, the film opens with archival footage of the French liberation celebrations at the end of World War II. The jubilant scenes darken as “collaborator” Frenchwomen, accused of pursuing relationships with the occupying Germans, are lined up for ritual public humiliation. Last year, Alice Diop’s extraordinary “Saint Omer” also alluded to the practise of shame-shaving these women’s heads, then allowed the viewer to infer the connection to its seemingly unrelated story. By contrast, “Along Came Love” makes the link ploddingly literal — and also a little dubious considering the florid melodrama that is about to unfold — by morphing from archive to (admittedly well-matched) monochrome footage of thus-disgraced Madeleine (Anaïs Demoustier), fleeing the retributive mob and taking refuge in a barn, where she tries to scrub the painted swastika off her pregnant belly. 

Patrick Frater Asia Bureau Chief The New Zealand government said on Tuesday that the country’s generous screen production incentives systems are to be continued. The decision follows a New Zealand government review of the local and international production incentives and the post-production and visual effects schemes that began in late 2022. They also follow expansion announced earlier this month of the rebate schemes in Australia. The two neighbors compete for international or ‘runaway’ productions on criteria including: locations, English-language skills, studio space, post-production and digital effects facilities, as well as cash rebates.

The Ultimatum: Queer Love (★★★★☆) is the latest in Netflix’s line of reality dating shows. This one is not hosted by Nick Lachey, but JoAnna Garcia Swisher, who is immediately clocked for being straight, and truthfully isn’t around that much.

Enough Said, to spin small-scale moral conflict into sharply observed, well-constructed comedy in You Hurt My Feelings (★★★★☆).In their previous outing, Louis-Dreyfus sparkled onscreen opposite James Gandolfini, playing an L.A. divorcée who discovers that the divorcé she’s dating happens to be recently divorced from the woman who’s become her new best friend.