Sundance Review: Keke Palmer & Common In ‘Alice’

Keke Palmer, at 28 years old, has already become a star on TV and in the music business. But since her breakthrough performance in 2006’s “Akeelah and the Bee,” she’s rarely played the lead role in a major feature built around her performance.

Keke Palmer, at 28 years old, has already become a star on TV and in the music business. But since her breakthrough performance in 2006’s “Akeelah and the Bee,” she’s rarely played the lead role in a major feature built around her performance.

Zack Sharf First look footage from Jordan Peele’s “Nope” has arrived in a teaser video touting the movie’s full trailer release on Super Bowl Sunday. The brief footage provides the first look at Peele’s cast: Daniel Kaluuya, Steven Yeun and Keke Palmer. “Nope” is Peele’s directorial follow-up to acclaimed horror films “Get Out” and “Us,” both of which earned $255 million at the worldwide box office upon their releases.“Nope” once again teams Peele with Universal Pictures.

The “Toy Story” franchise holds a special place in the hearts of millions of people. So, you can’t blame Disney for wanting to keep that series going.

To infinity … and beyond.“Lightyear,” Pixar’s forthcoming animated feature, has just unveiled a new trailer, along with information about additional cast members and who is composing the film’s score.The new trailer shows more of the world of “Lightyear,” again complemented by an ethereal version of David Bowie’s “Starman,” full of giant robots (Zurg!?!), treacherous tentacles, and an adorable, only slightly unsettling robot cat named Sox (voiced by Pixar filmmaker Peter Sohn). This looks like a big, sci-fi epic, with all the bells and whistles.“My ‘Lighytear’ pitch was, ‘What was the movie that Andy saw that made him want a Buzz Lightyear toy?’ I wanted to see that movie,” director Angus MacLane said in an official statement.

The Toronto Black Film Festival is back and is celebrating numerous international films as they mark their 10th anniversary.

Keke Palmer is starring in the new film “Alice”, and explains why it’s such a powerful project in a new interview with ET Canada.

Utama (Our Home) is precisely the sort of discovery that justifies film festivals and makes them useful: a small, hitherto unheard-of work from an out-of-the-way country that grabs you from the opening minutes and afterwards makes you want to tell your friends they’ve got a real treat to look forward to. A rare Bolivian entry in a major festival, this Sundance World Dramatic Competition title and feature debut by Alejandro Loayza Grisi is gorgeously made and brings to life a backwater existence in a distant land with skill and assurance.

much better people now; we are not, say, as ignorant of sexism or racism or economic disparity as those rubes from a past decade were. We might not come out forgiving O.J.

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

Albeit beautifully shot and made tolerable by the warm presence of Carla Juri in the leading role, blood is a frustratingly indulgent study of emotional recovery after the loss of a loved one. This fourth feature by Bradley Rust Gray is splendidly appointed with locations in Japan and Iceland and an appreciation of emotional openness expressed by all the characters. All the same, the mostly short scenes of recent widow Chloe handling her grief day by day possess little compelling drama and are handicapped by a scruffy Japanese male lead who just doesn’t match up with his appealing female counterpart in any credible way. As with the director’s previous work, you come out of it wondering who this film was made for.

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.

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.