‘Scrapper’ Review: Harris Dickinson Stars In An Endearing Story Of A Grieving Daughter & Long-Lost Father [Sundance]

Why do we always remember the arguments? If there’s a family spat at the Thanksgiving table, it’ll be remembered long after grandma’s gravy recipe is lost to the ages.

The family of Bennylyn Burke, who was murdered and buried under floorboards along with her two-year-old daughter, say the light has "been snuffled" out by her death.

From “Rocky” to “Ali,” to “The Champ,” “Creed,” and more, boxing has a storied history in cinema. Everyone loves an underdog tale, and boxing narratives always manage to expertly tell these tales of overcoming the odds and achieving greatness with many of the personal costs involved.

A parade of media and tech companies are apparently owed money by FTX along with hundreds of other creditors, according to an extensive list that runs from banks, insurers, hedge funds, airlines and hotels to universities, federal agencies and every state in the nation from Alabama to Wyoming.

that the “friend” who first envisioned him playing Elvis Presley was, in fact, Hudgens, his ex-girlfriend of nine years. What's more, he even gave her credit. A win for unappreciated ex-girlfriends everywhere? Sure, why not.When Butler first told the story to , he said, “I was going to look at Christmas lights with a friend.

Caught somewhere between a movie and a series, “Willie Nelson & Family” doubles down on the history and mythology of its namesake to stretch the latter into what would have been better served as the former.  Honest, introspective, yet rarely revelatory, the anthology often mistakes the comprehensive for the essential, and while it succeeds in explaining Willie Nelson to its audience, that’s about all it does.

A legen — wait for it — dary tribute! How I Met Your Father has introduced its audience to new characters and storylines — but the Hulu series continues to honor its predecessor, How I Met Your Mother.

Brendon (Algee Smith) isn’t a bad kid. An aspiring artist living in Los Angeles, in his last month of high school, the pressures of his daily life, however, are beginning to overwhelm him.

Ria Khan (Priya Kansara, sparkling in her feature debut) likes to believe that she’s no ordinary British-Pakistani teenager. Her dreams, for instance, always seem outsized — she doesn’t just want to learn martial arts but rather perfect it so well that she can become a world-class professional stunt woman.

Based on the 2013 novel “A Marker to Measure Drift” by Alexander Maksik, set just after the Second Liberian Civil War in 2003, “Drift” aims for impressionistic insight but is ultimately manipulative and reductive. Maksik’s screenplay, which he co-wrote with Susanne Farrell, sees its heroine Jacqueline (Cynthia Erivo, “Harriet”) as nothing more than a vessel to explore an outsider’s view of the trauma inflicted by war.

Spanning three time periods and two continents, “Past Lives,” the directorial debut of Celine Song (“Endlings”), tells the story of two childhood friends and sweethearts pulled apart by time, circumstance, and fate. They come back together and end in a way that might subvert the romantic fantasies of the audience — but this only shows the important roles people play in our lives, even if it’s not what we expected.  READ MORE: 25 Most Anticipated Films At The Sundance Film Festival Disembodied voices start us off in “Past Lives,” making guesses at who Nora (Greta Lee), Hae Sung (Teo Yoo), and Arthur (John Magaro) are to each other as they sit at an NYC bar.

“From the YouTube sensations…” isn’t exactly the phrase you want to hear going into a film — horror or otherwise. This set-up brings a certain amount of baggage that the audience will be hard-pressed to shake, regardless of the filmmaker’s talent.

Sundance U.S. dramatic competition jury members — including Marlee Matlin– chose to leave after the festival fell short of providing proper captioning for deaf and hearing impaired audience members during the Eccles Theatre premiere of Magazine Dreams last night.

Richard Pryor used to do a bit on the differences between Black and white churches – one that was often revised and revisited by his many imitators in the decades that followed. But one thing he got particularly right, beyond the lameness of the hymns and the restrained quality of the ministers, is the eerie quiet of white churches, the way that the fires of hell and the sins of man can be described in tones barely more threatening than a hot dish recipe.

The last few years have been great times for documentaries about cults. That does not mean it is a time of introspection about the questing impulses driving people into cults.  The appeal of content—generally of the limited streaming series variety—about cults has more to do with the queasy fright provided by seeing roomfuls of people prostrate themselves before a bored-looking bearded guy on a dais.