‘The Lost King’ Review: Richard III’s Redemption Story Needs More Stephen Frears Magic [TIFF]

‘Power Of The Dog’ Producer Tanya Seghatchian To Lead London Film Festival Jury

Dozens of musicians, rappers and bands are set to entertain audiences on Manchester stages this October, with a jam-packed gig list from all genres and decades.

Till directed by Chinonye Chukwu and written by Chukwu, Keith Beauchamp, and Michael Reilly follows Mamie Till, a woman who moved the nation with her resilience in the face of her teenage son’s death. The film stars Danielle Deadwyler, Jalyn Hall, Whoopi Goldberg, and Haley Bennett.

Scooter Braun wishes he could have done things differently when it came to buying Taylor Swift’s music library.

“Watch What Happens Live” on Thursday night, Ripa alleged that she has been “targeted” and unfairly maligned due to her silence on the issue. “I wish I had set the record straight in real time,” she proclaimed.

A lakeside cabin, illicit substances, and a group of teenagers; that’s a set-up for a spooky tale as old as time. Audiences know the drill by now, and so does “My Best Friend’s Exorcism.” And there’s no better time to release a horror movie than in the lead-up to Halloween when audiences are looking to add a new title to their rotation of old genre favorites.

The life of Marilyn Monroe is one of Hollywood’s most enduring, intriguing and ultimately tragic stories, and it serves as the basis for Netflix’s film Blonde in which Ana de Armas stars as the beloved screen siren. Monroe passed away at age 36 in 1962, so those unfamiliar with the Some Like It Hot star’s tale will be wondering how Marilyn Monroe died.

seemingly vanished in 2014.Simmons became reclusive and suddenly stopped teaching at his fitness studio almost a decade ago.Austin looked back on her relationship with the aerobics teacher and how they “had so much fun together” through the years.“He would hug me every single time we ever got together. He was so kind and so sweet — just the greatest guy. And he loved my daughters who still always ask about him,” Austin recently told Fox News.“I adore him,” the mother of two added.

It’s the nature of most television to lose its edge, for a series to tumble backward as new shows push the envelope further than that original series could ever envision.

Her Majesty the Queen’s pallbearers have been praised for their service to the late monarch after carrying her 500lb coffin from Westminster Hall to St George’s Chapel – but there was more to their duty than carrying her coffin. The coffin bearers, some of whom flew over from Iraq for the Queen’s historic state funeral, were also tasked with something that wasn’t shown on cameras after the 96 year old’s monarch was lowered into the vault.

Mary Harron is too good a director to make a drab, conventional biopic, so it’s disappointing to report that with “Dalíland,” she’s done just that. It’s not a complete waste, and she manages to insert a handful of distinctive flourishes and memorable characters.

#MeToo has done a lot of good for culture in the five years since the movement’s birth. But there’s bad to take with that good, too, like the endless and awkward sloganeering that commodified the cause as a series of catchphrases: Dismantle the patriarchy; smash the patriarchy; burn down the patriarchy.

Every Tuesday, discriminating viewers are confronted with a flurry of choices: new releases on disc and on demand, vintage and original movies on any number of streaming platforms, catalogue titles making a splash on Blu-ray or 4K. This twice-monthly column sifts through all of those choices to pluck out the movies most worth your time, no matter how you’re watching.

Haute cuisine — the worst, right? Minuscule portions, inscrutable foams, and spheres scattered across gigantic plates festooned with equally baffling smears and powders, prices not to be looked upon by those with documented cardiac conditions. Worst of all is the pomposity, the highfalutin puffing-up of dinner from a source of sustenance and joy into a dense text meant to be pondered, analyzed, and described more than savored.

Michelle Williams and Paul Dano are stepping out for the premiere of their new movie at the 2022 Toronto International Film Festival!

Two Jamaican-Canadian brothers hailing from Scarborough, a neighborhood in Toronto, look up at a soaring transmission tower. The older sibling Francis (Aaron Pierre, “The Underground Railroad”) explains to his younger brother Michael (Lamar Johnson, “The Hate U Give”) that the higher you climb, the more the reverberations of the electricity buzz and shake you.

At first pass, “The Woman King” recalls those classic Disney animated fables. Though inspired by real-life warriors who guarded the Kingdom of Dahomey in 19th-century West Africa, the film hits many familiar notes: Ancient mythical land! Palace intrigue! Rebellious orphan! Tough-love mentors! Coming of age! Prince charming! Wicked villain! Good vs. evil showdown! It’s just that here, the tropes aren’t metaphors at all and the story isn’t an allegory. In the Sony Pictures release that premiered on Friday night at the Toronto International Film Festival, Oscar winner Viola Davis stars as General Nanisca, commander of the Agojie, an all-female army, and adviser to the young King Ghezo (John Boyega), who has recently ascended to the throne.

Owen Gleiberman Chief Film Critic If you’re a fan of “The Trip” and its sequels, those semi-improvised road comedies in which Steve Coogan and Rob Brydon play slightly exaggerated versions of their real-life selves, you’ll know that they’re about more than just two men driving through the European countryside, eating fabulous food, trying to top each other with their Al Pacino impersonations. Coogan, in particular, comes off as a fellow who, for all his larkish narcissism, is so steeped in history that it’s literally alive for him. And that’s the feeling that courses through “The Lost King,” the new movie written by Coogan and Jeff Pope and directed by Stephen Frears. They’re the team that gave us “Philomena” (2013), the sharp-tongued heart-tugger that cast Judi Dench as a real-life Irishwoman tracking down the son she’d been forced to give up for adoption 50 years before. That movie was fine (a tad too sentimental in my book), but “The Lost King” is a growth ring, a richer, stronger, and more moving piece of work, a historical detective story that carries the kick of a true-life “Da Vinci Code.”