Sundance Review: Dale Dickey And Wes Studi In ‘A Love Song’

Kelly Ripa has a huge circle of celebrity friends and on Friday she delivered an adorable tribute to one of them.The LIVE! host said there were two reasons to raise a glass as fellow TV  personality and good friend, Andy Cohen, received his star on the Hollywood Walk of Fame and his little boy turned three.MORE: Kelly Ripa celebrates huge news about son Michael - 'congratulations'Alongside a photo of Andy snuggling Benjamin as a baby, she wrote: "A dual celebration of epic proportions! Congratulations @bravoandy on your two stars. One on the Hollywood walk of fame, and the birthday boy in your arms."WATCH: Kelly Ripa wows in monochrome swimsuitHer post was met with an abundance of well-wishes as fans commented: "Great pic of Andy and adorable BEN," and another added: "So many congratulations to Andy and so well deserved.

Yungblud’s show in North Carolina earlier this week (February 1), with the star inviting the pair to join him on stage – watch footage of the moment below.The couple got engaged as Yungblud (real name Dominic Harrison) performed ‘Love Song’ at The Fillmore in Charlotte.“That was fucking beautiful,” Harrison said, before inviting them to jump over the barrier. “Hello guys, I know you’re having a moment, but do you want to get on stage?“Guys, I just want to wish you the most fucking happy life together,” Harrison continued once the couple had joined him.

Matt Donnelly Senior Film WriterThe small and powerful Sundance drama “A Love Song” has found worldwide distribution in Sony’s Stage 6 Films and Bleecker Street, Variety has learned exclusively.The acclaimed two-hander about love, loss and loneliness is led by Dale Dickey (“Winter’s Bone,” “Hell or High Water”) and honorary Academy Award winner Wes Studi (“Hostiles,” “The Last of the Mohicans”).The film, sitting at 93% Fresh on critic aggregator Rotten Tomatoes, marks the writer-director debut of Max Walker-Sliverman. Bleecker Street will release the film to domestic theaters this summer, while Stage 6 is currently charting the international release strategy.Dickey plays Faye, a wanderer who stations herself at an idyllic \ campsite in the Colorado Mountains – cooking simple meals, retrieving crawfish from a trap, and scanning her old box radio for a station.

Not holding back! The Brown family seemed ready to explode when they sat down with Sukanya Krishnan for a three-part tell-all interview detailing where their relationships stand now and more.

The deals keep coming at the 2022 Virtual Sundance Film Festival. MUBI closed the docu Free Chol Soo Lee, including North America, and Warner Bros is negotiating a near $7 million WW rights deal for the Tig Notaro/Stephanie Allynne film Am I Ok? to place the film on HBO Max. The Lauren Pomerantz-scripted film stars Dakota Johnson, Sonoya Mizuno, Jermaine Fowler, Molly Gordon, June Diane Raphael, and Sean Hayes.

Chris Willman Music WriterDick Halligan, who won two Grammys for his early work with the group Blood, Sweat and Tears and later turned to film and television work, died Jan. 18 in Rome, Italy at age 78.

Things have not been going well for Emily. Some of it is just terrible luck.

Writer-director Jamie Dack has expanded her widely admired 2018 short film Palm Trees and Power Lines into a considerably more thorny and disturbing feature of the same title. Shot verité style on the most banal possible locations, the film, which is making its world premiere in the U.S. Dramatic Competition section of the Sundance Film Festival, takes an unvarnished look at an environment that is arid both literally and figuratively, one in which young people seem to be given precious little guidance or structure by family or society. Dack doesn’t explicitly editorialize but makes acutely clear the vulnerability of adolescents left too much to their own devices at a formative age.

“There is no timeline to figuring this out,” Jane tells her best friend Lucy in Tig Notaro and Stephanie Allynne’s directorial debut feature film “AM I OK?” This is a film for late bloomers of any kind but will resonate particularly with anyone who came into their sexual identity later in life. Screenwriter Lauren Pomerantz (“Me, Myself and I”) took inspiration from her own late in life, coming out and close relationship with her best friend, producer Jessica Elbaum (“Barb and Star Go to Vista Del Mar,” “Hustlers”).

Attempting to remake a classic film is never an easy assignment. Especially when said classic is as revered as Akira Kurosawa’s 1952 drama “Ikiru.” Director Oliver Hermanus and screenwriter Kazuo Ishiguro could have placed the story in contemporary times, making a new version more palatable for some critics, but instead, set it in the exact same era only interchanging London for Tokyo.

With a promising start with his first film Shithouse for which he starred, directed and wrote and won the Grand Jury Narrative Prize at SXSW, Cooper Raiff looms now also to be one of the breakouts of this year’s Sundance Film Festival where Cha Cha Real Smooth, his small but splendid second film for which he performs the same triple threat duties debuted Sunday as part of the Dramatic Competition lineup. I can only imagine if the festival had managed to be in person as originally planned rather than virtual in this Omicron-stricken year it would be met with a massive standing ovation. Raiff is bound to become an indie darling as if further proof was needed, but Cha Cha Real Smooth cements him as the real deal both in front of and behind the camera.

The film had its premiere in the U.S. Dramatic Competition lineup at the Sundance Film Festival.

Apparently it is the season to celebrate the iconic marriage and professional relationship of Lucille Ball and Desi Arnaz. Aaron Sorkin wrote and directed a penetrating, funny, revealing, and ultimately moving film, Being The Ricardos which covers a lot of ground in the Lucy/Desi world using dramatic license to place several real events in their lives all in the course of one week of production on I Love Lucy. Although starring Nicole Kidman and Javier Bardem as the iconic pair, it felt quite real and actually was as you discover watching Amy Poehler’s marvelous love letter to their lives and times in Lucy And Desi, which like Ricardos will be available on Amazon Prime, the perfect companion piece to Sorkin’s film, and a compelling documentary portrait all on its own.

Resurrection is a tedious, one-note paranoiac thriller that never shifts gears to get out of its rut. With classy production values and a tony cast led by Rebecca Hall and Tim Roth, writer-director Andrew Semans’ first feature in a decade, since the similarly plotted Nancy, Please, grinds on trying to build suspense but doesn’t have much of a clue as to how to tease and tantalize an audience. A significant theatrical release for this Sundance Premieres item seems most unlikely.

The influence of the Greek “weird wave,” and to a lesser extent the moral mazes of Austria’s Michael Haneke, have been seeping into U.S. indie cinema for quite a while now, and Riley Stearns’ third feature, Dual, comfortably fits into the Sundance slot taken last year by Pascual Sisto’s bizarre dysfunctional family satire John And The Hole.

Rarely has a filmmaker kept his central character at such a distance as writer-director Ricky D’Ambrose does in The Cathedral. This is clearly an autobiographical work in some very important ways, and no doubt a purging of some demons as well. And yet the kid here, whose life the film follows from birth to his acceptance at college, has very few lines of dialogue and for the most part remains a cipher. All the same, this is a penetrating look at childhood that, distinctively, focuses more than anything on the foibles and shortcomings of the child’s parents, particularly his father.

Virgino and Sisa live what most people would consider a very simple life. They raise and care for Lamas in the Bolivian highlands keeping the traditions of their Quechua people alive.

The primary simultaneous imbalance and blessing of W. Kamau Bell’s We Need To Talk About Cosby is that even with a running time of four-hours, it’s clear by the end there’s still a lot more to say about the ex-convicted sex offender who was once America’s Dad.

NEW YORK -- Dale Dickey tends to get “those crusty roles,” as she heard someone once call them. A familiar, craggy face from films like “Winter’s Bone” and “Hell or High Water,” Dickey has long been a riveting supporting player in rural dramas.But in the Sundance entry “A Love Song,” Dickey, long a standout character actor, finally takes the lead. Even for her, it felt a little strange.“I don’t do leads in films.