‘The Beasts’ Review: A Disturbing Look at a Deadlock Between Neighbors in Lawless Galicia

While the overall quality of newer seasons of “Saturday Night Live” is debatable, most people will agree that the digital segments, primarily those from the comedy troupe, Please Don’t Destroy, are still pretty great. So, it’s exciting to see the Please Don’t Destroy guys get a chance to actually spin off into their own feature film, which they get to do this fall in the film, “Please Don’t Destroy: The Treasure of Foggy Mountain.” READ MORE: ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ Review: Seth Rogen & Evan Goldberg’s Reboot Is Delightfully Dorky With the release of “Please Don’t Destroy: The Treasure of Foggy Mountain” scheduled for November, Peacock has gone ahead and released first-look images from the upcoming film.

“The Summer I Turned Pretty” Season 2 is currently outshining the original. The penultimate episode was was of the best of the series. Episode 7 started with Belly and Laurel having it out before everything was revealed to the group’s lone mother.

Peter Debruge Chief Film Critic Nearly two decades ago, “March of the Penguins” crossed a frontier hardly any nonfiction film ever does: not just the Antarctic Circle, but the even more remote $100 million mark at the global box office. A bona fide global phenomenon, Luc Jacquet wondrous nature doc — and its adorable, relatable emperor penguin stars — got audiences from practically every continent to turn their attention to the South Pole and the super-adorable, surprisingly relatable emperor penguins its director found there.

Gran Turismo: The Movie is speeding into theaters this month, and critics have plenty to say already!

plopped a boxing ring in the middle of the orchestra nearly 10 years ago.But Huey Lewis did not sing “Power of Car,” he sang “Power of Love.” And heart is completely absent from director John Rando’s shiny and serviceable staging of the beloved 1985 science-fiction movie.Coursing emotion, teen angst and can-do scrappiness are what set director Robert Zemeckis’ original film apart from other entries in the time-travel genre. “Back To The Future” wasn’t HG Wells or “Star Trek IV: The Voyage Home.” And it’s hardly remembered as a flashy spectacle, either.

Back To The Future: The Musical made me very nostalgic for that great time-traveling ’80s movie, but Peggy Sue Got Married isn’t available on any of my streaming services.

Peter Debruge Chief Film Critic Lately, in the overwrought majority of Hollywood blockbusters, nothing less than the fate of the planet hangs in the balance, as some natural disaster or dastardly supervillain threatens to annihilate life as we know it. Such impossibly large stakes may be necessary to justify the CG spectacle of certain Marvel movies, but instead of inspiring excitement, they mostly leave me ambivalent and bored.

Peter Debruge Chief Film Critic Next time someone wistfully insists, “They don’t make ’em like they used to,” why not point that nostalgic cinephile to the work of Dominique Abel and Fiona Gordon? The Belgium-based creative couple are almost single-handedly keeping the classic burlesque tradition alive on screen — if the word “single-handedly” can fairly be used to describe a near-silent comic duo with four hands between them, plus a growing company of collaborators (including dancer Kaori Ito) and a prosthetic arm with a mind of its own. In “The Falling Star,” Abel and Gordon bring their old-school comedic sensibility to what could loosely be described as a detective story, told in a film noir style punctuated with flashes of color: a red dress, a tiny green car, a bright yellow scooter.

Ellise Shafer “Lost in Paris” directing duo Dominique Abel and Fiona Gordon have shared a first look at their new film “The Falling Star,” which premieres at this year’s Locarno Film Festival. Abel and Gordon also star in the film, which follows Boris (Abel), a former activist who works at a bartender at the Falling Star. According to the film’s official synopsis, Boris’ “guilty past resurfaces when a victim finds him and wants revenge.

Michael Schneider Variety Editor at Large Apparently “The Rumble” is coming to “The Masked Singer” this season. Fox is taking the wraps off of the latest edition of the hit reality competition series, teasing the landmark 10th season with a first promo tonight — as well as a look at the first round of costumes. Variety has an exclusive look, above, of the Donut and the Hawk.

Love Island is officially over for another series, and Jess Harding, Whitney Adebayo, Ella Thomas and Molly Marsh all made it to the final last night, with Jess ultimately being crowned the winner after coupling up with Sammy Root. Although there was still plenty of drama, the final episode was all about the contestants getting glammed up and attending the villa’s Love Island prom, before donning their final head-turning looks of the season to await the results of the public vote.

In one of the final scenes in writer/director Morrisa Maltz’s debut feature, “The Unknown Country,” the camera tracks the shadow of a moving car, following it as it bends around rocks and trees, constantly moving forward in its anonymity. It’s an apt visual metaphor for this lyrical film, as Lily Gladstone (playing Tana, though her name is barely spoken in the film) traverses through the country, driving towards some unspoken conclusion.

Co-creators Max Borenstein and Jim Hecht’s “Winning Time: The Rise of the Lakers Dynasty” was a delight for basketball fans in Season 1, a rare look at a specific sports era that’s not part of a “30 for 30” ESPN documentary nor in a two-hour movie. And because the series was about as precious with historical details as it was keeping a consistent visual style—that is, not so much—we got to have fun imaging how legends like Kareem Abdul-Jabbar (Solomon Hughes) and Earvin “Magic” Johnson (Quincy Isaiah) would have butt heads in the locker room.

Constellation’s intriguing Incognito, Gerrad Alex Taylor deftly inhabits just one memorable character in Christian St. Croix’s moving Monsters of the American Cinema (★★★★☆), a Prologue Theatre production at the Atlas Performing Arts Center.By the look and sound of this evocative, regional premiere, staged by Prologue artistic director Jason Tamborini, the playwright put that character firmly on the page.

Travis Scott’s debut full-length “Rodeo” polished the sound of his early mixtapes, “Utopia” rejuvenates Travis Scott’s discography. Years in the making, the album expands his sound without drastically changing it — he’s still using his MPC and his vocals are just as distorted as they were ten years ago — but now the stakes are exponentially higher.

Guy Lodge Film Critic There is no unknown country in “The Unknown Country,” a gently meandering road trip through an America that even those of us directly unacquainted have traveled via the movies: Morrisa Maltz’s lovely second feature trades in the familiar imagery of unfettered highways ribboned through the great, grassy middle of nowhere, roadside inns outlined in humming hot-pink neon, gas stations slumped against the sparse landscape like oily oases. It’s the people building their lives along this route, however, that this sociable, inquisitive docufiction seeks to discover, as Maltz profiles the faces flashing by the driver only passing through.

While it’s not exactly “The Beanie Bubble’s” fault that it’s being released at the tail-end of a film cycle that has seen every inch of corporatized IP mined for stories about the wonders (or horrors) of capitalism — “Air,” “Blackberry,” “Tetris,” and even “Flamin’ Hot” come to mind, all with varying degrees of success — it’s also fitting that such a historical footnote would be last out of the gate. Continue reading ‘The Beanie Bubble’ Review: A Great Zach Galifianakis Performance Cannot Save This Messy I.P.

Given the chaos wrought by the SAG-AFTRA strike, Toronto has just announced a surprisingly strong first-wave lineup.

Brent Lang Executive Editor Most people know that social media has become a cesspool of disinformation, a digital hydra that feeds off toxicity and conspiracy theories. But somehow YouTube, the second-most-popular site in the world, has avoided the scrutiny that’s come Twitter and Facebook’s way. “The YouTube Effect,” a new documentary from Alex Winter, could change that. It takes a tough look at the role that the Google-owned service played in everything from the Jan. 6 riot to the 2019 New Zealand mosque shooting by promoting election denialism and white supremacy. “People don’t know that YouTube and Google are the biggest purveyors of disinformation,” Winter says. “One reason is people don’t understand what YouTube is. Is it just a place to watch cat videos, or is it something else? And the second reason you hear about it less is because Google is so deep-pocketed that it has some of the strongest lobbyists in the world working for them. That’s made them less likely to be legislated against.”

Guy Lodge Film Critic As a female union rep in the oppressively male-dominated French nuclear industry, Maureen Kearney — the real-life heroine of Jean-Paul Salomé’s “The Sitting Duck” — is accustomed to keeping a cool head in a crisis. That doesn’t stop her male superiors from accusing her of the opposite, with then-President Nicolas Sarkozy allegedly branding her a “hysteric in a skirt”: In this men’s club, a woman’s mere presence is deemed her weakness. Yet when Kearney is raped and mutilated by unknown assailants, seemingly as a professional warning, it’s her lack of hysteria under the circumstances that is declared suspicious by men in power. As she’s first disbelieved, then charged without outright fabrication, Salomé’s film pivots from itchy whistleblower thriller to irate courtroom drama, with institutional misogyny as its binding thread.