‘Sorcery’ Review: Christopher Murray Casts A Grim But Beautiful Revenge Spell With A Lot On Its Mind [Sundance]

EXCLUSIVE: Avantika (Senior Year), Christopher Briney (The Summer I Turned Pretty) and Bebe Wood (Love, Victor) have landed major roles in Paramount Pictures’ film adaptation of the Tony-nominated Broadway hit, Mean Girls, which is itself based on the classic Paramount comedy of the same name.

#Bensler forever. There are many great TV partnerships, but nothing quite like the relationship between Law & Order’s Olivia Benson and Elliot Stabler.

James Bond star Eva Green has said she feared making A Patriot could have killed her career as she took the stand in a legal battle with White Lantern Films, producer of the doomed British movie.

SPOILER ALERT: This interview contains details of Season 1, Episode 3 of HBO’s The Last Of Us.

Ava DuVernay’s feature adaptation of Pulitzer Prize winner Isabel Wilkerson’s Caste: The Origins of Our Discontents has just added Niecy Nash-Betts, Jon Bernthal, Vera Farmiga, Nick Offerman, Jasmine Cephas Jones and Connie Nielsen to the movie, which is shooting in Georgia.

Christopher Landon helped put Blumhouse on the map last decade thanks to his writing and directing credits on the “Paranormal Activity” and “Happy Death Day” films. Now Landon returns for his first film since 2020’s “Freaky,” a horror movie for Netflix that’s a little more family-friendly than his usual efforts.

Streamers such as Netflix, Prime Video and Paramount+ are “perplexed” by government threats to the UK’s Public Service Broadcasters (PSB), according to Sherwood scribe James Graham.

In writer/director A.V. Rockwell’s feature directorial debut, “A Thousand and One,” Inez (a deeply felt Teyana Talyor) has returned to Harlem after spending a year in Rikers Prison.

Love at first sight? Christopher Meloni knew his wife, Sherman Meloni, was special the first time he laid eyes on her.

This is “a place of mountains and myths,” we’re told as a montage of Central Appalachian imagery fills the frame. The mists, buffalo, ferns, and flowing waters intercut with the coal-filled mountains and mining towns that grew up around them.

The WGA has written out the film nominations for its 2023 Writers Guild Awards, spanning original, adapted and documentary screenplays. See the full list below.

Law & Order universe. So of course she deserved star treatment for her birthday.

#Bensler forever! Christopher Meloni wished Law & Order: Special Victims Unit costar Mariska Hargitay a happy 59th birthday — and had a ton of fun doing it.

Ira Sachs prefers relationships of the doomed variety — tempestuous passions torn asunder, sometimes by external forces like capitalism, which complicated the search for a home through New York’s cutthroat real estate market in “Love Is Strange” and “Little Men.” His latest film — the sexy, frustrating, loose-yet-compact, altogether irresistible three-hander “Passages” — also concerns property contracts and a homeless protagonist. However, this one’s got nobody but himself to blame for that predicament, fluent as he is in the same toxic strain of amour fou that previously perfumed the air in “Keep the Lights On” and especially Sachs’ debut, “The Delta.” As in that film — also pitched at the admirably humble quotidian scale Sachs hasn’t felt the need to exceed in more than a quarter decade — “Passages” follows a bisexual chaos agent so wrapped up in his own narcissism that he can’t see where his self-exploration ends and insensitivity to those around him begins.

Like most teenagers, Heather (non-binary actor Bobbi Salvör Menuez), a social misfit who lives in a rural town in northern Canada, has a strict midnight curfew to adhere to. But unlike other teenagers, staying out for longer has a much more dangerous effect on her.

From Jesus’s ripped physique to the Song of Solomon, there’s something about Christian iconography that’s just a little bit sexy. And if you haven’t noticed that yet, you certainly will after seeing “Mamacruz,” the second film from Venezuelan writer-director Patricia Ortega (“Yo, Imposible”).

Margaret Atwood said it best: “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” This age-old discrepancy in the way the two genders experience the world is written both at the initial frame and very heart of Susanna Fogel’s mercurial “Cat Person,” a fiendishly playful relationship-gone-bad quasi-thriller with a sense of humor about its own unknowability.

Margaret Atwood said it best: “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” This age-old discrepancy in the way the two genders experience the world is written both at the initial frame and very heart of Susanna Fogel’s mercurial “Cat Person,” a fiendishly playful relationship-gone-bad quasi-thriller with a sense of humor about its own unknowability.

PARK CITY – One of the best accomplishments a documentary can pull off is making its audience uncomfortable. Maybe even squirm in their seats a little.