‘Society Of The Snow’ Review: J.A. Bayona’s Thrilling Account Of 1972 Uruguayan Rugby Team Airplane Crash Closes Venice Film Festival

Trish Deitch Before Melissa Etheridge became a stadium rock star, she spent four years playing lesbian bars in and around LA. That atmosphere—a small, rowdy roomful of happy drunken ladies—changed the way she wrote music and performed.

Gerry Turner’s journey on ABC’s inaugural season of “The Golden Bachelor” kicked off with a memorable limo entrance, as revealed in an exclusive preview video from The Hollywood Reporter.

The Rolling Stones have previewed their new collaborative single with Lady Gaga and Stevie Wonder – listen to the clip below.The legendary band announced their 24th studio album ‘Hackney Diamonds’ on September 6 and shared its lead single ‘Angry’. Following on from 2005’s ‘A Bigger Bang’, the record will mark the Stones’ first collection of original music in 18 years.Earlier this month it was revealed that Gaga and Wonder both contributed to a song called ‘Sweet Sounds Of Heaven’.

J.A. Bayona was given a homecoming hero’s welcome at the San Sebastian Film Festival over the weekend as he touched down for the Spanish premiere of air crash survival drama Society Of The Snow.

Michael Nordine author Much like its protagonist — a ghastly superhero who gains his powers after falling into a vat of chemical waste — “The Toxic Avenger” refuses to die. Made for a paltry $500,000 in 1984, Troma’s cult classic spawned three direct sequels, a rock musical, two video games, a short-lived animated series and now a remake starring Peter Dinklage. Given the eco-friendly, anti-pollution message at the improbable franchise’s core, perhaps its reemergence shouldn’t be surprising.

Spain has selected J.A. Bayona’s latest film, Society Of The Snow, which debuted last month at the Venice Film Festival, as its entry for the Best International Feature Film category at the 2024 Oscars.

Courtney Howard The “PAW Patrol” franchise is now 10 years old — 70 in dog years — and with each installment, children and their parents have been treated to exciting adventures, wholesome characters and cool new merchandise. What began as a preschool TV series in 2013 got the silver-screen treatment in 2021 with the inventively named “PAW Patrol: The Movie,” broadening its scale and reach but sacrificing none of its lesson-learning or toy-slinging.

Amy Nicholson “The Royal Hotel,” the setting of Kitty Green’s ulcer-inducing thriller, is a sun-baked bar in a rural Australian mining town surrounded by terrain so monotone that Canadian backpackers Hanna (Julia Garner) and Liv (Jessica Henwick) can’t keep their eyes open on the way in. The two young women arrive at their barmaid jobs with a sense palpable disorientation. They’ve quite literally woken up in Oz, and they don’t know the people, the customs, the nicknames for the local ales, or the way out.

When I was in college cinema courses I made a Super 8 film called Movie Girl. It was a Hollywood-set love letter to movies centered on a Musso & Franks waitress who put herself dreamily into the plots of classic films. It won an award there but was the highlight of the directing career I never had. However I have always been partial to filmmakers who put their own early film going experience and passion into their careers now. You may have heard of them. Kenneth Branagh won an Oscar for doing just that in Belfast. Steven Spielberg got several nominations last year for his very personal The Fabelmans . Woody Allen had his own charming take in The Purple Rose Of Cairo. Peter Bogdanovich made a lasting impression with 1971’s The Last Picture Show, as did Giuseppe Tornatore with his Oscar winner, Cinema Paradiso. It is a combination of the latter two especially that might describe the feel of the latest movie about the love of movies, The Movie Teller (La Contadora de Peliculas) which had its World Premiere tonight at the Toronto Film Festival. And just in sheer numbers of classic film clips incorporated into its near two hour running time, this one sets a record in the little sub-genre. For movie lovers everywhere The Movie Teller is a must see.

Hollywood, by and large, portrays bars as the most fun and chummy places on earth. At “Cheers” and “Coyote Ugly,” everybody knows your name and you can grow into a better person by sexy dancing.Even Moe’s Tavern from “The Simpsons,” with all its seasoned boozehounds, has a base level of respectability and camaraderie.

Prince Harry and Meghan Markle were super proud of the United States’ wheelchair rugby team at the Invictus Games on Wednesday.

Numerous clips have been shared online regarding how self-importantly Aaron Sorkin and company took themselves while they were making “The Newsroom,” a show that practically announced itself as the last stand for human rights and journalistic decency in the world. Holding that impossible standard high in its third season is Apple TV+’s expensive hit “The Morning Show,” a program that makes it feel like if morning news in America falls, then the apocalypse is just around the corner.

Chris Willman Senior Music Writer and Chief Music Critic Jazz and animation make for strong bedfellows in “They Shot the Piano Player,” a film from Spanish directors Fernando Treuba and Javier Mariscal that represents an intriguing hybrid in all sorts of ways. It’s a love letter to the bossa nova movement that peaked in the 1960s, while at the same time it’s a sobering procedural that looks into the state murder of a musician that occurred as fascistic regimes rose to power in Latin America in the ’70s.

Alison Herman TV Critic It’s difficult to top the heights and/or depths of “The Morning Show” Season 2, a borderline camp masterpiece in which Elle Woods sucked face with Alicia Florrick and a disgraced Matt Lauer type drove his car off an Italian bluff. But the Apple TV+ drama is obligated to try, so for its latest premiere, it goes where no fictional daytime infotainment digest has gone before: to outer space.

In 2019, Australian documentary filmmaker Kitty Green made her first narrative movie, a piercing almost cinéma vérité-style movie focused on an office assistant in a Tribeca film company run by a not-so-thinly disguised Harvey Weinstein. The male culture there and the sexual acts of the boss made it almost a modern horror story at the height of the #MeToo movement. For Green’s second narrative film she has changed up the filmmaking style considerably, but with The Royal Hotel which premiered last week at Telluride and now premieres tonight at the Toronto Film Festival, she is taking an even deeper look at the dark side of men as seen through the female gaze in a broken down hotel bar in a desolate part of the Australian Outback.

Guy Lodge Film Critic Frank Marshall’s film “Alive” has never exactly been a classic, but for a certain bracket of moviegoers who saw it in 1993, it remains a vivid memory. A heart-in-mouth recreation of the 1972 Uruguayan Air Force Flight 571 crash — from which 16 people eventually survived 72 days stranded in a remote, snowy stretch of the Andes in western Argentina, while 29 perished — it visualized the events past the remit of worldwide news reports and magazine stories.

Jessica Liese If the first “Walking Dead” spinoff following the finale of the flagship series, “The Walking Dead: Dead City,” seemed to mark the beginning of a new era for the franchise, the second certainly feels like a continuation — tonally, if not chronologically. “The Walking Dead: Daryl Dixon,” which premieres on AMC on Sept. 10, builds on the tentative good will established by “Dead City,” even arguably improving on some of its strengths.

TELLURIDE – The most intriguing aspect of Kitty Green’s new thriller “The Royal Hotel” is what she doesn’t tell you. Set in a town in the middle of the Australian outback, this is a movie that simmers in culture clashes, dangerous misogyny, and sexual tension.

Numerous clips have been shared online regarding how self-importantly Aaron Sorkin and company took themselves while they were making “The Newsroom,” a show that practically announced itself as the last stand for human rights and journalistic decency in the world. Holding that impossible standard high in its third season is Apple TV+’s expensive hit “The Morning Show,” a program that makes it feel like if morning news in America falls, then the apocalypse is just around the corner.

Thanks to science fiction, we all have a basic grip on the theory of the multiverse: the idea that there are innumerable parallel worlds in which the chances and choices of the past – the roads not taken, whether by ourselves or the dinosaurs – have split off into alternative stories, endlessly bifurcating into other pasts, other futures that must be peopled, most provocatively, with other versions of ourselves. It is an idea that has proved rich pickings for comic-book adventures, where peril can come from any available universe and there is always a chance of confronting a doppelganger, but German director Timm Kröger has returned to the theory – which dates back to the 1950s – to explore how mysterious, sinister and terrifyingly vast a proposal it really is. This is a theory of everything where everything – that familiar word – is infinite. Where nothing, in fact, is ever going to be “everything.”