'The Owners': Film Review

Not since Jeff Goldblum stocked his penis in a jar or Bryan Cranston tore apart his meth lab has a fly played such a pivotal role on screen as in Mandibles (Mandibules), the latest comic whatchamacallit from French one-man-band Quentin Dupieux.

When his girlfriend can’t get pregnant, a trans man decides to carry the child in her stead in the French drama A Good Man. This is the latest feature from writer-director Marie-Castille Mention-Schaar.

“Nomadland” is the winner of this year’s People’s Choice Award at the Toronto International Film Festival.

Also Read: 'Nomadland' Film Review: Frances McDormand Hits the Road in Quiet, Lyrical DramaOver the last eight years in a row, and nine of the last 10 years, the TIFF People’s Choice winner has gone on to be nominated for the Academy Award for Best Picture, and has won three times: “The King’s Speech” in 2010, “12 Years a Slave” in 2013 and “Green Book” in 2018.

Jay Weissberg A 17-year-old Parisian girl of Algerian parentage struggles to negotiate the conflicting tensions between desire, familial expectation, peer pressure and heritage in debuting writer-director Kamir Aïnouz’s intermittently successful “Honey Cigar.” Refreshingly empowering in how it foregrounds the female gaze together with the young woman’s ownership of her sexual urges, the film too often falls back on paper-thin characterizations that trip up the director’s ambitious attempt to

Jimmy Fallon has been loving life with his family of four since becoming a father in 2013.The Tonight Show Starring Jimmy Fallon host and his wife, Nancy Juvonen, first welcomed daughter Winnie, and she became a big sister the following year when Frances arrived.After their eldest child’s arrival, the New York native opened up to Savannah Guthrie about why he and Juvonen opted to use a surrogate for both baby girls.“My wife and I had been trying a while to have a baby,” the Saturday Night Live

French cinema group UniFrance has condemned what it called the "violent reaction" online and on social media to Netflix film Cuties and has thrown its support behind the movie's director, Maïmouna Doucouré.

Are all relationships between older men and younger women abusive ones? Do the young women who take part in such relationships hold any level of responsibility? Is it "OK" to be attracted to somebody more than twice your age, and, if so, can you act on that desire? Is it too French to be asking such questions, especially in a movie? These are some of the many thoughts evoked by Spring Blossom (Seize Printemps), a provocative first feature from writer-director-actress Suzanne Lindon that depicts

Also Read: 'Nomadland' Film Review: Frances McDormand Hits the Road in Quiet, Lyrical DramaThe film begins with three sentences, and they’re all the context you’ll get and all the context you’ll need: “After the fall of the Ottoman Empire and the end of the First World War, the colonial powers sketched new borders for the Middle East. Over the following decades, greed and ambition for power gave rise to military coups, corrupt regimes, authoritarian leaders and foreign interference.

A modest French cousin to Erin Brockovich and Todd Haynes’ recent Dark Waters, Red Soil (Rouge) once again pits a tireless underdog against the forces of corporate greed and looming environmental catastrophe. The hook this time is that the underdog, played by the talented Zita Hanrot (Fatima), is fighting too close to home, with her own father a longtime worker at the factory that’s been dangerously polluting their region.

For her sixth feature film, French writer-director-actress Maïwenn (Polisse, Mon Roi) has definitely made one of her most introspective works yet.

Also Read: 'Nomadland' Film Review: Frances McDormand Hits the Road in Quiet, Lyrical DramaThey become fast friends, and then lovers.

Chloé Zhao’s “Nomadland” is a tiny indie film on a huge scale, an intimate drama set against the vast spaces of the American West.

Todd McCarthy Go-her-own-way director Chloé Zhao closes out her exceptional trilogy about the dispossessed and left-behind in the modern American West with Nomadland, a cool, contemplative look at contemporary American outcasts whose foothold in society grows more precarious with every passing year.

Peter Debruge Chief Film Critic“If you want to get more out of life,” advised Christopher McCandless, “you must lose your inclination for monotonous security and adopt a helter-skelter style of life that will at first appear to you to be crazy.

In almost no way does Chloé Zhao‘s quiet, enormous, deep breath of a movie, “Nomadland,” resemble “Blade Runner.” Except there’s this one moment: an outstanding speech in a film as attuned to vast wild silences as to conversation. Fern (Frances McDormand) is talking to her friend and fellow nomad Swankie (played, like many of the other roles by the real person on whom she is based).

Owen Gleiberman Chief Film CriticRobert Pattinson has a way of making scene-stealing entrances, sometimes halfway through a movie, like when he showed up in “The King,” wearing long orange-blond tresses and a twisted leer, as the Dauphin of France, a lewdly dissipated flyweight troublemaker. He does it again in “The Devil All the Time,” a drama of sin and salvation and crime and violence and a whole lot of other heavy Christian noir stuff, set in southern rural Ohio from 1957 to 1965.

The green-eyed monster is but one of the problems of the protagonist of My Best Part (Garçon chiffon), the directorial debut from French actor Nicolas Maury (from Netflix’ Call My Agent!). Constructed entirely around the layered central performance of Maury himself as the mercurial man-child protagonist, this is a bittersweet comedy-drama that manages to be hilarious in one scene and extremely touching in the next.

The line between homage and flat repetition can be thin. The Violent Heart, writer and director Kerem Sanga's third feature (premiering in competition at France's Deauville Film Festival), falls on the dull side of the dividing line.

Daniel D'Addario Chief TV CriticParis Hilton has been in the “due for a re-evaluation” stage of her career for far longer than she was evaluated in the first place.In 2008, a documentary about Hilton, entitled “Paris, Not France,” premiered at the Toronto International Film Festival; in it, Hilton, one of several women whose time in the limelight in the 2000s descended into an acrimonious war waged by and on the media, attempted to explain why she’d been treated unfairly.