P Diddy throws show at Bennifer with throwback JLo couple pic

Like any other global event, there will come a time when COVID becomes a contextual landmark for art. It has a great deal of potential as a narrative shortcut for cinema in particular.

Based, in part, on Father James Martin’s bestselling book “Building a Bridge: How the Catholic Church and LGBT Community Can Enter into a Relationship of Respect, Compassion, and Sensitivity,” Evan Mascagni and Shannon Post’s compassionate documentary “Building a Bridge” use Martin as an entry point into a larger discourse surrounding the relationship between the Catholic Church and the LGBTQ+ community.

Reclaiming Beach Boys co-founder Brian Wilson’s voice and personal narrative, “Brian Wilson: Long Promised Road,” is an insightful but breezy introduction to the musical mastermind. Touching on everything from his early career to Beach Boys success and his drug use and mental illness, Brent Wilson and Jason Fine’s film may not reveal much about Wilson that isn’t covered in a Wikipedia article but still allows the musician to reclaim his own narrative.

2021 is definitely the year of the EXES reuniting! After a surprise reunion with her ex-husband Jonny Lee Miller at his Brooklyn apartment in New York over the weekend, Angelina Jolie visited her past love once again yesterday, i.e. June 15.

Angelina Jolie, 46, and her son Pax, 17, were spotted arriving to her ex-husband Jonny Lee Miller‘s apartment building in Brooklyn, New York on the afternoon of June 15 and didn’t pay much attention to cameras documenting the visit. The actress and the teen, whom she shares with ex-husband Brad Pitt, 57, reportedly spent an hour at the residence before they were photographed exiting the doors upon leaving.

Using Leonard Bernstein’s own voice, collected from his myriad interviews throughout his life, as well as personal letters, many of which were published in the 2013 book “The Leonard Bernstein Letters,” Douglas Tirola’s “Bernstein’s Wall” works as both a broad overview of the famous conductor’s life, as well as a deep dive into his political activism.

Reflective and stoic, sometimes to a fault, Levan Koguashvili’s film “Brighton 4th” explores the hyper-masculine world of Georgian wrestlers and gamblers in Brooklyn.

Alec Baldwin so enjoys the story of how he ended up narrating “The Royal Tenenbaums” that he told it twice at the virtual reunion that followed Monday’s Tribeca Festival anniversary screening. He used it to open the conversation, which he moderated, recalling that co-writer/director Wes Anderson “asked to do me a favor and do this narration for this film.

With its signature liveliness, unapologetic attitude, and visual splendor, New York City has so long been a set of romantic comedies that this location has become a cliché. So, how does Jonah Feingold, the writer/director of “Dating & New York,” aim to make his mark on this sparkling skyline? By creating a postmodern rom-com that blatantly snatches from iconic influences to deliver an irreverent commentary on the genre and modern romance.

A man dressed as a Viking goes into a convenience store to trade furs for groceries; a trio of smugglers is on the verge of an escape across the border when a moose totals their car; a cop calls for a tracker dog, only to be told that it, “isn’t working today.” When asked what the hound could be doing, the other cop responds honestly, “No idea.

Using the early days of the COVID-19 pandemic as a backdrop for a quarantine-style romantic comedy, Roshan Sethi’s directorial debut, “7 Days,” which pushes two ideologically opposed young Indian-American characters together during shelter-in-place, is a compact, empathetic wonder that only occasionally dips into overtly broad comedy.

Indie anxiety auteur Jim Cummings’ work is always trembling nervously with the hum or uneasy apprehension. His brilliant debut, “Thunder Road” throbbed with the cringe-y tension of a grieving divorcee policeman on the verge of a nervous breakdown, and his follow-up, “The Wolf of Snow Hollow” layered murder mystery genre elements and the idea of the “toxic male beast within” on top of his signature jittery agitation.

Directors Amber Sealey and Joe Berlinger got caught up in a feud, ahead of the Tribeca premiere of Sealey’s Ted Bundy pic No Man of God.

Vanessa Kirby is fascinating to watch and follow in writer/director Adam Leon’s “Italian Studies,” a purposefully hazy but compelling survey of New York City and its young minds. The Academy Award nominee of “Pieces of a Woman” uses her celebrity presence among regular New Yorkers for something of a low-key “Under the Skin” as she wades through this crowded society with a blank slate perspective forcing us to see it all with the same new lens.

Narrative-averse portmanteau films are a tough nut to crack, yet not impossible.

One person assembles plastic bottle pumps, another paints areola on sex dolls, and a different individual takes a business etiquette class to learn the proper way to smile (one shows eight teeth…the top ones). All of them are Chinese citizens struggling to find and maintain a foothold in their country’s race towards global domination, and in “Ascension,” they give audiences a peek at what increasingly appears to be a devil’s bargain.

“What the fuck am I doin’ here?” asks Anthony Bourdain, via archival audio, early in Morgan Neville’s new documentary “Roadrunner: A Film About Anthony Bourdain.” “I shall explain,” he continues, and so he does. The public outpouring of grief when Bourdain took his own life in 2018 was overwhelming; it was joined by some confusion because although he had always been forthcoming about his own demons and drives, his books and television shows conveyed such a palpable zest for living.

“What the fuck am I doin’ here?” asks Anthony Bourdain, via archival audio, early in Morgan Neville’s new documentary “Roadrunner: A Film About Anthony Bourdain.” “I shall explain,” he continues, and so he does. The public outpouring of grief when Bourdain took his own life in 2018 was overwhelming; it was joined by some confusion because although he had always been forthcoming about his own demons and drives, his books and television shows conveyed such a palpable zest for living.

Social media as a way of hiding ourselves and assuming a new identity is an increasingly familiar cinematic concept, and in most genre films, that flexibility can introduce a kind of threat. In Gia Coppola’s recent “Mainstream,” Jan Komasa’s “The Hater,” and Leo Gabriadze’s “Unfriended,” Facebook, Twitter, YouTube, and Instagram allow for a veiling of users’ true identities.