‘The Moogai’ Review: Australian Social-Horror Is A Blunt Force Allegory About The Stolen Generations [Sundance]

Jazz Tangcay Artisans Editor Actor Josh Brolin and cinematographer Greig Fraser have documented the shooting of “Dune: Part One” and “Dune: Part Two” in a new coffee table book titled “Dune: Exposures.” Out Feb. 13, the book is published by Insight Editions and features rare on-set moments with the cast and crew. Brolin, who plays Warmaster Gurney Halleck in the two films, shares his on-set experience through poetry.

Filmmaker Matthew Vaughn’s spy film, “Argylle,” is in theaters now, and it hasn’t exactly lit up the box office, but we know the director has ambitious plans for the series. He’s already said that he hopes to connect “Argylle” to the world of his other spy series, “Kingsman.” Late last year, he revealed that he has one more spy franchise in the works that could connect all three into one inter-connected spy universe.

Matthew Vaughn is no stranger to spy films, having previously directed three ‘Kingsman’ movies. But even after a decade of working on those movies, he can’t seem to let the genre go, as his latest film, “Argylle,” is yet another fun romp in the world of superspies.

Travis Kelce is opening up about how he and Taylor Swift deal with so much attention!

Filmmakers have parsed the zombie genre from seemingly every angle possible. George A.

EXCLUSIVE: The Ford Foundation is coming through for documentary filmmakers in a big way.  

Some movies are Irish. “Kneecap” is Ireland.

PARK CITY – Movies that stick with you long after you watch them are nothing new. There are literally thousands of examples in the history of cinema.

Owen Gleiberman Chief Film Critic I will never forget the first time I saw Devo. It was October 14, 1978, and my college roommates and I were watching “Saturday Night Live.” The band, which I had never heard of (I would guess that was true of 98 percent of the people watching the show), came on in their yellow jumpsuits, stiff and mechanical, swiveling like angry androids as they performed their brutalist robo version of “(I Can’t Get No) Satisfaction.” When the song ended, one of the band members shot up his hand in what looked kind of like a Hitler salute.

“Let’s Be Clear” podcast Monday where the pair reflected on the odd chemistry between their characters Brenda and Brandon Walsh.“Brenda and Brandon were always so interesting because we had an interesting relationship,” Doherty said, prompting Priestley to bust into laughter. “There was this sexual undertone of Brenda and Brandon that to this day is hysterical.”Doherty, who portrayed Brenda for the first four seasons of the show, also recalled a fan at a convention asking her to sign a picture of the fictional siblings, recalling, “I was like, ‘This is inappropriate for brother and sister.'”The “Charmed” alum also referenced the 1992 Rolling Stone magazine cover she and Priestley posed for alongside the late Luke Perry.

HBO in November 2022 announced a third season for , which will bring a new installment of the Mike White-created anthology series to screens.

It’s notoriously difficult to make films about writers. Writing — literally sitting down at a keyboard and banging out words — is about as fun to watch as paint drying.

Zack Sharf Digital News Director Will Ferrell touched down at the Sundance Film Festival to world premiere the new documentary “Will & Harper,” which centers on the relationship between the beloved comedian and his best friend Harper Steele as they take a road trip. The two met during their days on “Saturday Night Live,” which Harper wrote for from 1995 to 2008.

Caroline Brew editor Lena Waithe, who is a juror at Sundance, believes the festival “really sets the tone for the year,” citing “Past Lives” as an example from last year. “Obviously, ‘Past Lives’ has done really well, surprisingly so to the business. It’s a quiet movie about home, friends, what would’ve happened if you would’ve stayed in one place versus going somewhere else,” Waithe said.

PARK CITY – There are multiple meanings to the title of Jesse Eisenberg’s latest directorial effort, “A Real Pain.” There is the pain that cousins Benji Kaplan (Eisenberg) and David Kaplan (Keiran Culkin) are experiencing over the passing of their beloved grandmother and there is the pain Benji is feeling over a horrifying incident in his cousin’s life. The most pressing example, however, is in David’s soul.

PARK CITY – Whatever your thoughts on Sam and Andy Zuchero’s “Love Me” few will dispute that for an independently financed film it’s a unique and creative achievement. At least a third of the movie is CG animation, another third is motion capture animation, and the final portion is live action.

William Earl administrator Growing up in an Indigenous Aboriginal family in Australia, nothing was scarier to horror director Jon Bell than the government. He recalls the “Stolen Generations,” a tragedy that Americans likely know little about. “The government would take light-skinned kids — or just any kids they could get their hands on — and rehouse them,” he said.

When is an aspiring sociopolitical satire so exasperated with what it’s supposedly lampooning that its anger and indignation threaten to undermine the irony of what it’s trying to ridicule? Directed by Austrian pair Daniel Hoesl and Julia Nieman, their Sahara dry, deadpan social satire, “Veni Vidi Vici” (Latin for “I came; I saw; I conquered”)— about the untouchable nature of the rich and powerful of the world, and how consequences for their actions have largely vanished — isn’t necessarily that film.

Steeped in what its audience might deem mature mythology, “The Pink Opaque,” a fantasy show aimed at teen audiences, comes on at 10:30 PM on the Young Adult Network every Saturday. Unfortunately for Owen (first played by Ian Foreman), a meek mixed-race middle school boy growing up in the 1990s, that’s past his strict bedtime.

There’s an odd tension and dichotomy coursing throughout the new documentary, “Frida,” an intimacy meets a standard-issue form: a lyrical, magical quality next to something just maybe too safely chronological for its own good. Carla Gutierrez’s new documentary, her directorial debut, is well-meaning and has a clear devotion and affection for her subject, the legendary Mexican artist Frida Kahlo, but as a primarily told cradle-to-grave story, it is doggedly linear and therefore often feels a little familiar.