‘Saloum’ Is A Kinetic, Genre-Bending Revenge Story [TIFF Review]

Lily Rabe, best known for being in American Horror Story, has announced that she is pregnant with her third child by showing off her bump at a red carpet on Saturday.The star, 39 showcased her growing bump at the Academy Museum of Motion Pictures Opening Gala over the weekend. This will be Lily's third child that she shares with her long term partner Hamish Linklater, 45.The couple are well known for their privacy regarding their personal lives.

Lily Rabe is pregnant and expecting her third child with her longtime love, actor Hamish Linklater!

During my first year of film school, my teacher would assign a great task to all her students during a post-production and sound course. The assignment was a unique redubbing exercise, stripping the audio and initial sound mix from pre-existing film scenes.

Mounia Akl’s feature debut, “Costa Brava, Lebanon” comfortably occupies a space between “Beasts of the Southern Wild” from “Honeyland”: Each movie deals with environmental dilemmas, ranging from climate change to the loss of biodiversity, but in their own ways and their own approaches. “Honeyland” takes the narrative nonfiction tack, chronicling the travails of a Macedonian beekeeper; “Beasts of the Southern Wild” grieves Hurricane Katrina’s aftermath with magical realism.

We casually throw the word “icon” around with such abandon these days that it almost feels like we need a new, more potent idiom to describe those who actually fit the bill. But until we get that term, let’s say that Sigourney Weaver is an absolute icon and leave it at that — a brilliant actor equally adept at drama, action, and comedy, a three-time Academy Award nominee (two of them in the same year), the kind of screen presence who lifts just about anything she’s in.

Lily Rabe once again shines as Doris Gardner in.

Writer-director Camille Griffin’s debut feature film “Silent Night” effectively blends two seemingly disparate genres — holiday films and impending apocalyptic cinema. Both high-pressure situations that get you thinking about what really matters, Griffin’s film navigates difficult family and friend dynamics with mordant humor as they face the end of the world together on Christmas Eve.

(Warning: This post contains spoilers for Wednesday’s episode of “American Horror Story: Double Feature.”)The first half of Ryan Murphy’s “American Horror Story: Double Feature” season, a.k.a. “Red Tide,” comes to a close next week with a finale that will see what becomes of the Gardener Family now that Doris (Lily Rabe) has turned into a Pale Person after taking the black pill and not being talented enough to benefit from its gift-amplifying properties.

Comfortable in his newly found friendship, Hatzín (Hatzín Navarrete), a teenager from Mexico City who traveled to Chihuahua’s northern state to reclaim his father’s remains, pretends to be upset and explains he’s decided to return home. He laughs several seconds later, tricking Mario (Hernán Mendoza), his boss and impromptu life mentor.

Cult classics generally don’t happen on purpose and they usually don’t happen in just 10 days, either.

What a strange career Barry Levinson has had. The Baltimore-born filmmaker burst onto the scene in 1982 with “Diner” and embarked on a winning streak that’s still somewhat astonishing — his hits from the period included “Tin Men,” “Good Morning, Vietnam,” “Rain Man,” and “Bugsy.” And then came 1992’s “Toys,” and after it, a steady cascade of real clunkers: “Jimmy Hollywood,” “Disclosure,” “Sphere,” “Envy,” “Man of the Year,” “Rock the Kasbah,” and so on.

Writer-director Camille Griffin’s debut feature film “Silent Night” effectively blends two seemingly disparate genres — holiday films and impending apocalyptic cinema. Both high-pressure situations that get you thinking about what really matters, Griffin’s film navigates difficult family and friend dynamics with mordant humor as they face the end of the world together on Christmas Eve.

TORONTO – There’s something intoxicating when an established filmmaker unexpectedly challenges themselves creatively with a new project. Acclaimed writer and director Terence Davies does just that with his latest endeavor, “Benediction,” a biopic about the life of the celebrated poet Sigfried Sassoon that debuted at the 2021 Toronto International Film Festival this past weekend.

For generations, women who pushed against their expected roles in life were written off as mad, and in extreme cases, locked away. For equally as long, these women were fodder for art that depicted their madness as evil.

Reuniting with “St. Vincent,” director Theodore Melfi, Melissa McCarthy, and Chris O’Dowd play a married couple on the rocks after the unexpected loss of their baby tears them apart.

In writer-director Stephen Karam’s feature debut, the dark horror-comedy “The Humans,” it’s not so much a bump in the night or the creak in the door that can rupture an untapped fear. Those are merely the externalized notes that grant music to the ever-present existential dread.

According to the basic tenets of Christian scripture, all god’s creatures are worthy of judgment-free love. And while the hypocrisy of those words is rarely interrogated in “The Eyes Of Tammy Faye” — the bible belt preachers and communities presented in the film often fail to practice what they preach and are never forced to examine their own accumulation of wealth — these parts of the bible are really not the film’s concern.

In writer-director Stephen Karam’s feature debut, the dark horror-comedy “The Humans,” it’s not so much a bump in the night or the creak in the door that can rupture an untapped fear. Those are merely the externalized notes that grant music to the ever-present existential dread.

Everyone knows someone like Rebeca Huntt. A born-and-bred New Yorker, she came of age in a one-bedroom apartment on the Upper West Side, her family’s pride and joy.

I’m not entirely convinced everything needs to be a movie. In this case, I don’t know that there is any way to make a film about the journey of a parent as they hear their child’s school has an active shooter without it feeling exploitative of our nation’s current epidemic of violence.