‘The Outrun’ Review: Saoirse Ronan Soars In Nora Fingscheidt’s Understated Addiction & Recovery Drama [Sundance]

Perhaps the best compliment that you can give a narrative feature is to say that it feels like a documentary. Not to say the shot composition is uninspired and the subject dry, but it’s a way to spotlight just how you forget this is actually an actor reading written words, but instead, believe everything happening in front of you is real and true.

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.

“Ben Is Back” with Julia Roberts and “Beautiful Boy” starring Timothée Chalamet. A few years back at Sundance I saw the premiere of the awful “Four Good Days” starring Mila Kunis and Glenn Close.

Jesse Moss’ chilling and engrossing documentary “War Game” begins ominously, moves with urgency, and never lets up. The film begins with two suspicious men surveilling the capitol building in Washington D.C.

When the cast list was announced for Greta Gerwig’s “Barbie,” one name was left out that seemed to shock people—Saoirse Ronan. No, not because Ronan’s career made her an obvious choice to star in the film.

The first line of “Winner” says it all: “My name is Reality Winner.” This uninspired introduction to the character, an NSA employee who leaked classified documents surrounding Russian election interference to the media, sets the tone for what’s to follow. Susanna Fogel’s film is not actively bad, just aggressively bland.

Barbie.The film adaptation of the iconic toy franchise was released last year to huge acclaim and box office success, becoming the highest-grossing movie of the year.Ronan has previously worked with Barbie director Greta Gerwig, leading her two previous films Little Women and Lady Bird.Speaking to Variety, the actress addressed Timothée Chalamet‘s recent claim that he and Ronan were set for cameos in Barbie that never came to fruition, revealing that she was set to play a Weird Barbie alongside Kate McKinnon.“I don’t know what he was going to be, but I was definitely going to be a Weird Barbie,” she said. “I don’t know how to take that.

A raw examination of labor organization at its most powerful, pure, and fragile, “Union” is a look at union drama uncut and without any guardrails. Verité to a fault, directors Stephen Maing and Brett Story present the documentary with a detached remove that isn’t matched by the framing of the central conflict, and yet morsels of true inspiration still manage to tumble forth.

shoes were the stars of her look at .As 2024 comes in hot with award shows and red carpet events, many celebrities are parading around the this weekend. One notable attendee is , whose styling for the event defined .

Rebecca Rubin Film and Media Reporter Saoirse Ronan was knee-deep in lamb goo on the first day of filming “The Outrun,” a searing look at addiction that premiered on Friday at the Sundance Film Festival. Adapted from Amy Liptrot’s best-selling memoir, “The Outrun” centers on Rona, a recovering alcoholic who returns home to the Orkney Islands in Scotland after spending a hard-living decade in London. Eager to escape the temptations of her former life, she helps out on her father’s sheep farm, where she isn’t afraid to get her hands dirty.

Saoirse Ronan is opening up about her scrapped Barbie cameo!

Saoirse Ronan is stepping out to promote her new movie.

It all seems so idyllic at first and sensible, too. Mother of four Maria Gros Vatne narrates the opening minutes of “A New Kind of Wilderness” as the documentary shows videos and still photographs of her husband and kids romping through Norway’s unassuming fields, streams, and woods.

Neon is opening Origin on 130 screens and plans to expand the Ava DuVernay film, which premiered in Venice and had a excellent qualifying run in December.

In the space of just two movies, Jane Schoenbrun has established a completely unique aesthetic; from the opening credits alone, a riot of black light and neon pastels, it’s obvious that I Saw the TV Glow comes from the same mind that created the trippy 2021 cult hit We’re All Going to the World’s Fair. Anyone puzzled by the latter is advised to stay clear, since the follow-up is more vertiginously dizzying and twice as impressionistic, causing lots of head-scratching at its Sundance premiere. For those ready and willing to embrace its commitment to mood over logic, I Saw the TV Glow is a must-see, pairing the otherworldly ambience of Kyle Edward Ball’s Skinamarink with the morbid surrealism of Charlie Kaufman’s Synecdoche, New York. (If you know, you know.)

“These are the tales, the freaky tales,” repeatedly intones Oakland rap legend Too $hort over the interstitials of writer and directors Ryan Fleck and Anna Boden’s “Freaky Tales.” This Bay Area anthology film takes its title from the over nine-minute song, which is itself an extended chronicle of prominent personalities the rapper encounters. While the directing duo occasionally approximates something wild in their headrush of 1987 nostalgia, they do not earn the second line of the rap.

Guy Lodge Film Critic Pretty much anyone who grew up watching television has a vivid memory of that one show that, for a time at least, wouldn’t let go of their young imaginations — characters observed and fretted over like close friends, haunting images captured and embellished over time in the mind, cliffhanger endings that hit like harsh personal betrayals. A show doesn’t have to be especially good to resonate like this, provided it finds its viewers at the right place and time; eventually, most of us move on, that hard cultural grip giving away to the forgiving affection of nostalgia.

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.

Cynthia Littleton Business Editor Premieres of new and returning TV shows fell sharply last year while the number of movies getting a theatrical wide release went way up. The volume of TV programs in the true crime genre went through the roof and non-English language films are becoming a bedrock of streaming platforms. Those are among the notable content trends documented in the 2023 Year-End Film and TV Report released today by Luminate, the entertainment data and insights firm.

The Berlinale has announced the full line-ups of its Panorama, Forum and Generation sidebars for the 74th edition running from February 15 to 24. (scroll down for full list)