‘The Patient’ Is a Tiresome Examination of Domhnall Gleeson’s Criminal Mind: TV Review

Peter Debruge Chief Film Critic No director has done more to deconstruct the myth of the suburban American family than Steven Spielberg. Dissertations have been written and documentaries made on the subject. And now, at the spry young age of 75, Spielberg himself weighs in on where his preoccupations come from in “The Fabelmans,” a personal account of his upbringing that feels like listening to two and a half hours’ worth of well-polished cocktail-party anecdotes, only better, since he’s gone to the trouble of staging them all for our benefit. Spielberg’s a born storyteller, and these are arguably his most precious stories. From the first movie he saw (“The Greatest Show on Earth”) to memories of meeting filmmaker John Ford on the Paramount lot, this endearing, broadly appealing account of how Spielberg was smitten by the medium — and why the prodigy nearly abandoned picture-making before his career even started — holds the keys to so much of the master’s filmography. More similar to Woody Allen’s autobiographical “Radio Days” than it is to European art films such as “The 400 Blows” and “Amistad” (the more highbrow models other directors typically point to when re-creating their childhoods), “The Fabelmans” invites audiences into the home and headspace of the world’s most beloved living director, an oddly sanitized zone where even the trauma — which includes anti-Semitism, financial disadvantage and divorce — seems to go better with fresh-buttered popcorn.

does, relying on more dynamic, albeit repetitive, scenes of her having to address the danger in her life.Much attention has been paid to Hillary and Chelsea Clinton’s executive-producing role in the film, a fitting match for a documentary on a female politician struggling against the status quo. Ghafari rages against the system in question, but one glance at her office and her peers, and it’s easy to see that her staff consists of mostly men.

As the nation mourns the passing of Queen Elizabeth II, today’s chart represents a historic moment being the first ever UK Official Chart published under a King, Charles III.

Peter Debruge Chief Film Critic In early 2021, while Americans were focused on the transfer of power back home, daredevil director Matthew Heineman (“Cartel Land,” “City of Ghosts”) assembled a crew and flew to Afghanistan to check in on the status of America’s longest war. At that point, Osama bin Laden had been dead a decade, the Taliban was weakened but not defeated, and the U.S.-trained Afghan Army was holding its own fairly well — and yet, nearly 20 years in, there was still no end in sight for American involvement. That changed almost as soon as Heineman arrived, as the Biden administration made plans to pull out. In that moment, what might have been another business-as-usual desert war doc — with routine patrols, precisely targeted drone strikes and soldiers expressing their ennui — shifted to something audiences hadn’t seen before. The title, “Retrograde,” refers to the process by which military forces extricate themselves from conflict, removing or otherwise rendering useless the equipment they’d used to engage the enemy. For Heineman, that meant capturing all kinds of cinematic sights: A brawny soldier smashes a heap of computer monitors, helicopters airlift vehicles out, and things go boom as a team tosses all remaining ammo into a trench, douses it in gasoline and lights the pile with a well-aimed rocket. The Taliban won’t be using these bullets.

Caroline Framke Chief TV Critic At first, Hulu’s “Wedding Season” seems to be a charming enough take on a British “Four Weddings and a Funeral”-style romantic comedy, complete with a hopeless romantic boy, his boisterous friend group, and the enigmatic American girl he falls for the minute he meets her at — where else? — a wedding. But both Oliver Lyttelton’s take on the setup and the American at its center have more up their sleeves than a charming meet-cute. The second that initial layer’s peeled, “Wedding Season” (not to be confused with Netflix’s recent movie of the same name) is off and running in another direction entirely — a murder mystery with roots in the kind of deep corruption that would give Jason Bourne nightmares. Whether or not it all hangs together will be for the audience to decide, with all eight episodes out Sept. 8 on Hulu (but only seven made available for critics ahead of its premiere). What is clear regardless of how the mystery ends, however, is the talent of its cast, and its charismatic lead in particular. 

Owen Gleiberman Chief Film Critic The title of Walter Hill’s “Dead for a Dollar” makes it sound like a spaghetti Western, and the picture opens with stunning vistas and a wistfully valorous neo-Morricone score that gives you the impression — maybe the hope — that it will be. It ends on a very different note: a series of titles explaining, with precise dates and details, what happened to each of the main characters, as if the film were based on a true story. It’s the “American Graffiti” gambit of treating fictional characters as though they were real, only in this case it ends up revealing something essential about the drama we’ve been watching. Namely, how it could be so avid, specific, and scrupulously carpentered…yet remote.

An Armani-clad Richard Gere cruising down the Pacific Coast Highway in a black Mercedes-Benz as Blondie’s “Call Me” blares, sets the tone not only for Paul Schrader’s classic neo-noir “American Gigolo,” but also, as Karina Longworth posits in the latest season of her podcast You Must Remember This, the erotic ’80s. So, of course, this deep into the era of reboots, the film was ripe for a television re-imagining.

Daniel D'Addario Chief TV Critic With its pulsing burble of Blondie music and its chilly aesthetic, the 1980 Paul Schrader film “American Gigolo” is a showpiece of what would soon be the Reagan decade. Some 42 years later, a TV adaptation feels lost in time, and searching for an argument for its existence. Starring Jon Bernthal and with a pilot written and directed by “Ray Donovan’s” David Hollander (whose ties to Paramount Television Studios were severed during production), “American Gigolo” is lead-footed, and prurient rather than hot. And Bernthal seems at sea here, an unusual look for a star whose coiled charisma has elsewhere served him well. His Julian Kaye — whose name is shared with Richard Gere’s character in Schrader’s movie — emerges from a 15-year sentence we’re told happened about a decade and a half ago, but nothing about Julian’s world feels of the present day, or of Earth. Julian, we understand, was wrongfully convicted; Rosie O’Donnell’s Detective Sunday is attempting to crack the case of what really happenned, while a swirling remembered attraction between Julian and Gretchen Mol’s Michelle threatens Julian’s chances at finding a post-prison equilibrium.

Colin Farrell suits up sharp for the premiere of his new movie, The Banshees of Inisherin, during the 2022 Venice International Film Festival on Monday (September 5) in Venice, Italy.

Dennis Harvey Film Critic Czech folk hero Jan Zizka’s story has been dramatized — and mythologized — in various forms many times, including a mid-1950s celluloid trilogy by Otakar Vavra that was arguably the local industry’s most ambitious production in those somewhat stodgy, pre-New Wave days. Purportedly the Czech Republic’s most expensive feature to date, Petr Jakl’s new “Medieval” portrays the same legendary figure in what’s anything but an old-school costume epic. Instead, this robust, assured enterprise offers a distant past in the brutally combat-driven action mode of “Gladiator” and “Braveheart,” its patriotic sentiments steeped in mud and blood. The economic realities for such a costly spectacular require a degree of formulaic creative decisions in line with current international audience tastes, while the casting of American and British actors in primary roles further waters down a distinctive regional character. Nevertheless, “Medieval” succeeds as a lively, handsome chunk of history (however freely imagined), with nary a dull moment between densely-packed intrigues, chases and battles. The Avenue will release this English-language spectacle on nearly 1,200 U.S. screens Sept. 9, simultaneous with rollout in several other territories.

Peter Debruge Chief Film Critic Just how polished does a career-spanning documentary about the anarchic underground filmmaker behind “Greaser’s Palace” and “Putney Swope” need to be? If you’ve seen any of Robert Downey’s films, the answer is obviously: not very. You might even say, the scrappier the better. So goes the thinking behind “Sr.,” a loose seemingly seat-of-your-pants portrait of the antiestablishment director (perhaps best known for siring “Iron Man” star Robert Downey Jr.) that sneaks up on ya, emotionally speaking, seeing as how it doubles as a kind of farewell exercise between the two generations (plus grandson Exton) in the months before Downey succumbed to Parkinson’s Disease.

Mo Gilligan is said to have split from his girlfriend of four years after spending months away from their shared home in Britain trying to crack America. The Masked Singer judge, 34, reportedly broke up with ex-Hollyoaks actress Sophie Wise, 27, after they moved in together at the start of this year. The rumours come after Mo was said to be in huge demand by US television executives after he caught their eye while filming the pilot for new gameshow That’s My Jam in Los Angeles.

Matthew Heineman’s latest documentary, “Retrograde,” opens with a pan from left to right across the mountain ranges of Afghanistan. Audio clips overlay soundbites from four generations of Presidents discussing the American invasion of the Middle East, from the purposeful threat-neutralizing of the Dubya years to Obama-era fatigue to the wavering defeatism of Trump to Biden’s resolution for withdrawal.

Forget the overly poetic title, Makbul Mubarak’s terrific Indonesian thriller Autobiography — which premieres in the Venice Film Festival’s Horizons section — is a genuine discovery here, a taut and elegantly staged two-hander that transcends regional politics to make a profound comment on the state of the world today.

Mo Gilligan has reportedly "secretly split" from his girlfriend of four years Sophie Wise as he tries to crack America.The comedian, 34, and former Hollyoaks actress, 27, are said to have "amicably" broken up, after moving in together this year – with Mo's work commitments and travel for new projects to blame. Mo, who hosted the Brit Awards for the first time earlier this year, will present the upcoming UK version of game show That's My Jam, which will air on the BBC but is being filmed in Los Angeles.