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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.

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.

“American Dreamer,” which premiered this week at the 2022 Tribeca Film Festival. Based on a segment from the podcast “This American Life,” MacLaine plays a lonely widow who offers a cash-strapped professor (Peter Dinklage) the chance to buy her sprawling estate for mere pennies.

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.

Set in the Fall of 2005, Sarah Elizabeth Mintz’s piercing feature debut, “Good Girl Jane,” tracks the grooming of the title character (Rain Spencer), Jane, a young outcast teenage skater enduring an endless summer that nearly undoes her. Jane and her older sister Izzie (Eloisa Huggins) have recently transferred to a new school.

Aisha Osagie wakes up early. She bathes and prays.

This weekend at the Tribeca Film Festival, Academy Award-winning documentarian Ross Kauffman (“Born Into Brothels”) debuts his newest documentary, “Of Medicine and Miracles,” to the world. The film tells parallel stories of an incredibly resilient child battling a rare form of leukemia and the researcher who pioneered her treatment.

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.

“I come from a family of geniuses and criminals,” confesses inventor David Hanson. And it’s not at all apparent if Hanson is the former, or a less pernicious version of the latter.

We usually flash back to New Kids On The Block, Backstreet Boys, N’Sync, and the likes when we think of the manufactured boy band. But when you think about it, the godfather of the modern boy band is arguably Menudo, the Latin American group from the late 1970s and 1980s.

The horrors of opioid addiction, greed, corporate interests, and the exploitation of the drug and patients are nothing new, and shows like “Dopesick” have done a great job of putting the epidemic in a great cultural, capitalistic and political context. But a new true-crime documentary, “American Pain” is showing one specific slice of the story that’s almost too unbelievable to believe.

“The Wizard of Oz” is the all-movie; in my film school days, professors would use King Vidor’s canon cornerstone as a teachable exemplar for just about everything, from the usage of color to the dream-logic of cinema to the mechanisms of Golden Age Hollywood manufacturing. The new documentary “Lynch / Oz” applies this lens as a way of seeing the works of David Lynch with greater clarity and understanding, and in doing so, draws on the seemingly infinite number of angles from which the foundational fantasy can be analyzed.

Fresh off last year’s apocalyptic comedy “Don’t Look Up” and directing the pilot for HBO’s “Winning Time,” Adam McKay has his sights on his next motion picture. And, for good or ill, his follow-up to a movie about the end of the world as we know it tackles another thorny, controversial subject.

Taylor Swift's tunes really can appeal to all types — including tough-talking, Oscar-winning movie stars. As it turns out, even Robert De Niro has an affinity for the pop star's hits.Swift's is screening at this year's Tribeca Fest in New York City — a movie and art festival De Niro co-founded in 2002.During a recent interview with about this year's festival, the 78-year-old actor was asked about whether or not he was a big fan of Swift, 32, and her music, and De Niro laughingly said (possibly sarcastically), «I have all of her albums.»«I'm not a fan,» De Niro added.

What happens when life isn’t the end? When a scientist proves the existence of the afterlife, two misfits race to discover how to get there as soon as possible to leave their dark pasts behind. But at what cost? READ MORE: Tribeca 2022 Festival Preview: 24 Films & TV Series To Watch That’s the premise of director Mali Elfman’s latest film, “Next Exit,” a psychological horror that pushes the boundaries between life and death.

Six years ago, Katie Holmes made the leap from actress to director when her feature directing debut, “All We Had,” had its world premiere at the Tribeca Film Festival in 2016. In that film, Holmes stars as a single mom who moves with her teenage daughter during the 2008 financial crisis.

Jennifer Lopez is just getting started! ET's Rachel Smith spoke to Lopez at the premiere of her Netflix documentary Halftime, which helped kick off the Tribeca Film Festival Wednesday night, about the «beautiful moment» she's having with fiancé, Ben Affleck and what the special film means to her.«It's really surreal to be here. Being from New York, at the Tribeca Festival,» Lopez said about having her doc premiere in her hometown. «I’m anxious to see the movie.

Last year, Robert De Niro, co-founder of the Tribeca Festival, stated, “The Tribeca Film Festival was born out of our mission to bring people together in the aftermath of 9/11.” With that mission still leading the charge, the annual festival is returning to New York this week, June 8-19, to bring artists together and allow them a platform to grow their audience and their network. With films from 40 different countries, we believe the festival will do just that again this year.

Family is challenging as it, but it can be even worse when you’re a teenage girl dealing with the fraught cycles of body insecurity and weight issues. That’s essentially the premise of “Family Dinner,” a horror-thriller film from Austrian writer-director Peter Hengl, making its world premiere at the Tribeca Film Festival next week (technically now known as the Tribeca Festival, but old habits die hard).

In 2013, the Black Lives Matter movement was sparked to life, and since then, we’ve seen a lot of positive protests advocating necessary change. The cause is crucial, and the fight for people still rages on in 2022.

The mere appearance of Jennifer Lopez at the 2021 inauguration of President Joe Biden affirmed her primacy in the interlocked realms of fashion, music, and cultural influence. Her proclamation a few moments later, “Una nación, bajo Dios, indivisible, con libertad y justicia para todos!” cemented her status as a beacon to a Latino community in America who had been subjected to demonization by the racially charged dogma of the previous administration.

Films do not exist just for entertainment. As a classroom, cinema can offer true learning experiences that change viewers for the better.

The full Tribeca Film Festival lineup of 109 feature films from 40 countries and 88 world premieres for the 2022 event that takes place June 9-18 has been announced. It’ll be interesting to see if some of the films at the festival will end up being popular breakouts, land major studio/streamer distribution, or eventually move on to get recognized during awards season.

Jenny from the block is coming back TO the block.Jennifer Lopez’s upcoming Netflix documentary “Halftime” is set to premiere at New York’s Tribeca Film Festival on June 8, before arriving on the streamer June 14. The fête will kick off its 12-day-long festivities with the 52-year-old entertainer’s film.

Jennifer Lopez will kick off the 2022 Tribeca Festival with the world premiere, an upcoming Netflix documentary that follows the superstar as she reflects on personal and professional milestones and figures out how to navigate the second-half of her career as she prepares to perform at the 2020 Super Bowl halftime show. The film directed by Amanda Micheli will debut on Wednesday, June 8 at the the United Palace in Washington Heights, Manhattan, before being made widely available to Netflix viewers on Tuesday, June 14. “It's just the beginning,” Lopez shared on Twitter while announcing the film’s debut. It's just the beginning. Halftime, a @Netflix Documentary about Jennifer Lopez, releasing June 14.

Tribeca Festival Co-Founder and Tribeca Enterprises CEO Jane Rosenthal said in a statement. “Tribeca is proud to feature a wide selection of diverse programming that reflects our commitment to equity and inclusion, and we’re eager to premiere this beautiful exploration of J.

Since filmmaker John Maggio jumped from PBS‘s “Frontline” to HBO, he’s remade himself into a documentarian par excellence. 2017’s “The Newspaperman” tackled the storied life and career of Washington Post journalist/editor Ben Bradlee.

Since filmmaker John Maggio jumped from PBS‘s “Frontline” to HBO, he’s remade himself into a documentarian par excellence. 2017’s “The Newspaperman” tackled the storied life and career of Washington Post journalist/editor Ben Bradlee.

What does it take to become a musical legend? “Brian Wilson: Long Promised Road” guides viewers through the decades-long career of this pop icon. For the musician, ‘Road’ offers a chance to set the record straight on misconceptions while also taking control of a narrative obscured by years of rumors.