‘The Hand of God’ Review: Paolo Sorrentino Gets Caught Between Nostalgia and Overstatement in His 1980s Coming-of-Age Memory Play

Todd Spangler NY Digital EditorJust in time for Halloween, supernatural comedy podcast series “Haunt the Johnsons” — starring Aisha Dee as a teen with paranormal powers who moves to the most-haunted town in America — is coming to Audible.The 16-episode scripted series launches exclusively as an Audible Original on Oct. 7.

Hearthstone games, is being nerfed in patch 21.3.While Mindrender Illucia previously allowed players to swap their hand and deck with opponents until the next turn, PC Gamer has spotted that balance issues mean the card is getting a totally new battlecry.Instead of entirely swapping cards, Mindrender Illucia will now “replace your hand with a copy of your opponent’s until end of turn”.These changes address an issue where Priest players were using Mindrender Illucia to effectively skip an

Comfortable in his newly found friendship, Hatzín (Hatzín Navarrete), a teenager from Mexico City who traveled to Chihuahua’s northern state to reclaim his father’s remains, pretends to be upset and explains he’s decided to return home. He laughs several seconds later, tricking Mario (Hernán Mendoza), his boss and impromptu life mentor.

Richard Kuipers Firm messages about female liberty and self-determination are delivered with a gentle touch in “Yuni,” a compassionate and engaging coming-of-age tale about a 16-year-old schoolgirl who doesn’t know exactly what she wants to do with her life but does know that she’s not ready to follow tradition and become a teenage bride.

The world of mommy vlogging is getting pretty disturbing…

EXCLUSIVE: The Purge franchise architect James DeMonaco has crafted a personal film, which is an ode to cinema, based in his hometown of Staten Island, entitled This Is the Night and the Blumhouse release has a one-week theatrical run starting this Friday, Sept. 17 at Angelika’s Village East in New York City before hitting PVOD on Sept. 21 via Universal Pictures Home Entertainment.

To open: Ada (Milana Aguzarova), a young woman living in North Ossetia, is planted against the cement wall by the freeway. As the tumult of cars rushes by, a young man — the seemingly lovesick Tamik (Arsen Khetagurov) — calls for her.

health deteriorates. Meanwhile, Corey’s estranged father, Leonard, moves in with them to help care for Gloria.Corey and Leonard’s relationship quickly grows tense as it becomes clear to Corey that Leonard is not a good man and may even be dangerous.

AnnaSophia Robb is engaged!

Impeachment: American Crime Story,” the FX series premiering Tuesday, Ashford plays Paula Jones, the (brunette) Arkansas state employee who sued President Bill Clinton for alleged sexual harassment in 1994.It’s a tough role: Ashford’s Jones grapples with sexual trauma, emotional abuse from her husband and unrelenting ridicule from the press, who painted her as trailer trash and used her as a dimwitted pawn to try to bring down the president.And unlike Monica Lewinsky — portrayed in “Crime Story”

Directors mining their lives for a story is nothing new, but it’s always exciting to see that premise connect with viewers beyond its maker. Such were the audience reactions to Kenneth Branagh’s stirring revisit to the Belfast of his childhood: there were sobs, gasps, and so much laughter.

The multiple generations who grew up mesmerized by the underwater cinematic adventures of Jacques-Yves Cousteau will be able to learn a good deal more about the man’s life and work in Becoming Cousteau. Among the many gifts of Liz Garbus’ filled-to-the-gills documentary is the way it positions the French explorer as an initially unwitting pioneer of the environmentalist movement, which took shape in his literal wake.

Nick Vivarelli International CorrespondentFremantle, which is at Venice with two films in competition –– Paolo Sorrentino’s “The Hand of God” and “America Latina” by Damiano and Fabio  D’Innocenzo –– is ramping up its film side.The RTL Group-owned company “that everyone used to associate with [TV franchise] ‘Got Talent’ is becoming one of the biggest independent film production studios in Europe” says its COO Andrea Scrosati.It’s rising power in feature films isn’t being noticed because of

“I don’t like reality anymore. Reality is lousy,” teenager Fabietto Schisa (Filippo Scotti) says mournfully at a crucial, spiritually lonely moment in Paolo Sorrentino’s evocative new coming of age story, “The Hand Of God.” Sitting on a mountain, looking to the sky, the heavens, for answers, Fabietto should know.

In movies as disparate and vividly imagined as Il Divo, Loro, the Oscar winning The Great Beauty, as well as English language efforts like This Must Be The Place, Youth, and his TV miniseries The Young Pope and The New Pope  Paolo Sorrentino has always seemed to be a director with a large brush and even more of a Fellini influence in some cases.

Guy Lodge Film CriticAcross cinema’s long lineage of stories about young women attempting to shake parental control and seize their own destinies, few protagonists have needed to escape quite as viscerally as Ada, the unbearably put-upon heroine of Russian director Kira Kovalenko’s imposing sophomore feature “Unclenching the Fists.” In poor health and kept under literal lock and key by her widowed, loveless father, she fears time is running out for her to make a run for it — though where on

Twenty years ago, Paolo Sorrentino began his relationship with the Venice Film Festival when he brought his feature directorial debut, One Man Up, to the Lido. This year, The Great Beauty Oscar winner is in town with The Hand Of God, an autobiographical drama that recounts the filmmaker’s own youth and the tragedy of losing his parents as a teenager.

Nick Vivarelli International CorrespondentWhen Paolo Sorrentino was 16 he lost his parents in an accident involving the heating system in a mountain house where he always used to go to with them. But that weekend he didn’t go, because he wanted to watch his idol Diego Maradona and S.S.C Napoli play a soccer match in Tuscany.

Jessica Kiang Every generation rolls their eyes at the one after (who inevitably roll theirs back), but the striking thing about Dina Duma’s “Sisterhood,” which plants its eerily atmospheric growing-pains drama deep into Macedonian Gen-Z culture and lights it up with phone screens and insta posts, is how depressingly little the pressures of coming of age have changed.