‘Winner’ Review: Emilia Jones Can’t Really Rescue An All-Too-Safe Biopic Treatment [Sundance]

It looks like Joel Edgerton has another drama in the vein of “The Boys In The Boat” and “Thirteen Lives” up next. The actor will co-star with Felicity Jones in “Train Dreams,” Black Bear‘s adaptation of Denis Johnson‘s 2011 novella.

Investigative documentaries are some of the most interesting films you can watch. There’s no need to create artificial drama, as the subjects are real, and you can’t help but get swept up in the investigation.

In the ‘80s, everyone was scared of Satanists. You know, the whole Satanic Panic era.

“BS!” exclaims Bryce Dallas Howard’s spy novelist Elly Conway when she learns the real identity of the titular secret agent in “Argylle.” For once in the film, her character’s savant-like gift for understanding exactly what the audience should feel tracks. Here, that’s disbelief tinged with disappointment.

The idea of youth escaping into a large section of woods so as to start life anew is a plot device not at all unexplored prior, seen in films as recently as 2013’s “The Kings of Summer,” while literature will always have “My Side of the Mountain. “In “Penelope, “the concept gets the episodic treatment, but if the premiere is any indicator, this is one project with the potential to captivate in its own unique way.

It might come as a surprise to most that the skirmish between Russia and Ukraine has been active for nearly a decade. However, international headlines would raise awareness to new heights upon Russia’s invasion of its neighbor in February of 2022.

Guy Lodge Film Critic Amid the surfeit of films about women’s rights and men’s abuses of power that have emerged in the wake of the #MeToo reckoning, we haven’t yet seen one quite like “Black Box Diaries.” A tightly wound, heart-on-sleeve procedural documentary, Shiori Ito‘s directorial debut identifies a world of systemic iniquities through the prism of a single, long labored-over case of sexual assault — crucially, the director’s own. That raw first-person perspective, untempered by the interests of another filmmaker and given narrative rigor by Ito’s substantial journalistic skills, makes “Black Box Diaries” not just a damning analysis of patriarchal power structures in contemporary Japan, but a vivid evocation of the day-to-day psychological swings and breaks that come with living as a survivor.

Love Island star Chyna Mills and Strictly Come Dancing professional Neil Jones, 41, have shared adorable new snaps of them taking their baby girl swimming.The doting parents posted heart-warming pictures of their little one, Havana, splashing around in the pool as Chyna captioned the images: "Our little family." The 25-year-old was beaming as she stunned in a black swimsuit and cuddled her fiancé, Neil, and their daughter in the water.The TV couple welcomed their bundle of joy at the beginning of October 2023 and took to social media to share the exciting news. Posting a black and white image of her daughter's toes, Chyna, 24, penned: "Our hearts are so full." The couple then revealed that they called their baby girl Havana Jones, sharing the sweet reason why they named her after Cuba's capital.Talking to HELLO!, Neil explained: "Cuba is the home of dance and very multicultural, so it was perfect; it sums us up." Chyna and Neil also got engaged at the start of last year and revealed they were expecting their first baby together in April.The professional dancer recently shared that he's excited to finally tie the knot with Chyna, and they're even close to deciding on the date for the big day.

The premise of the documentary “Will & Harper” is so simple that it almost seems presentational, self-serving, or stunt-y. The idea is, after 30 years of friendship, comedian Will Ferrell learns, through a personal email, that an old friend and former “Saturday Night Live” writer, then Adam Steele (yes, the dead name is used at first), is coming out as a trans woman.

It’s safe to assume that, were one to simply look at the film’s runtime or consider the basic concept surrounding the documentary “Daughters,“ there’s presumably much more to this than a simple film about a Father-Daughter dance organized for one particular group of incarcerated men and their children, separated by prison walls and an ocean of distance both physically as much as emotionally. Such dance events are commonplace; normally held annually as a way for fathers to bond with their young girls within a setting not unlike a homecoming dance or prom, most could be seen as little more than an excuse for a large group of children to burn off energy as they dash around a gymnasium to any number of DJ-provided pop hits, but there are equal parts undeniable connections made throughout the course of the evening as well as a memory both will, in all likelihood, forever cherish.

Every human being, to some degree, takes for granted their loved ones, those who are present in their lives. But appreciating the fragility of who you have, and for the brief time you may have them, is difficult to consider when you’re a teenager trying to live your life and discover your place in the world.

Pending Woody Allen’s final and absolute cancellation, few directors have emerged to take his place as an erudite and literary artist whose work combines snappy wordplay, base sex jokes and a philosophical willingness to stare into the abyss. Jesse Eisenberg staked a tentative claim to that throne with his 2022 debut When You Finish Saving the World, an amiable but scrappy political satire about a left-wing mother and son, but his follow-up makes a stronger case, being much more adult, less broadly scripted, and as depressing as Woody Allen circa Stardust Memories (which his sophomore film as director obliquely resembles, with its talk of chance, fate and irony).

For the best part of 60 years, Sir David Jason has been delighting viewers of all ages with his impeccable on-screen presence and finesse for commanding an audience. Whether it was tickling a childish funny bone with kids comedy series Do Not Adjust Your Set, delighting viewers as wheeler-dealer Del Boy Trotter in Only Fools and Horses, or getting to grips with his inner detective as DI Jack Frost in A Touch of Frost — there’s no denying that David has become a firm fan favourite in countless households.

An exploration of the generational trauma surrounding the “stolen generations” of Aboriginal children by the Australian government, Jon Bell’s feature debut “The Moogai” fits all the criteria of what we would, perhaps pejoratively, describe as “elevated horror.” A fraught term, and one that would need more than the length of this review to dive into, it nevertheless seems apt for a film that so blatantly makes its subtext into text.

Men can be overbearing. Some of us know this firsthand because, with a bit of self-awareness, we can recognize we have, at least at some point, been the pompous bloviating jackass while more introverted people, sometimes women, silently sit and endure our blowhard monologues.

more minutes.” Not once, until I saw “My Old Ass,” which premiered Saturday night at the Sundance Film Festival.Director Megan Park’s otherwise dreamy teen romance flick with a time-travel twist was chugging along quite sublimely, and then it abruptly stopped like someone cut power to the building.Without giving too much away, my hunch is that writer-director Park ended her film, which is produced by Margot Robbie’s LuckyChap, the way she did in order to avoid being lumped in with a particularly tired young-adult sub-genre. Running time: 88 minutes. Not yet rated.That’s the right idea.

Peter Debruge Chief Film Critic The U.S. government decided to make an example of Reality Winner, giving the former NSA translator a five-year prison sentence. So it’s only fair that director Susanna Fogel should be able to make an example of her, too — only this time, to very different ends.

Matt Donnelly Senior Film Writer The Sundance Film Festival prides itself on being a place of innovation and discovery, and this year’s 40th anniversary celebration has an entry that could well check both boxes – “Ponyboi,” a genre-blending road movie featuring writer and star River Gallo. Gallo plays the titular Ponyboi, an intersex sex worker hustling to survive in New Jersey. His days are spent with pregnant best friend Angel (Victoria Pedretti) working a strip mall laundromat; his nights with his secret lover and aspiring pimp, Angel’s baby’s father Vinnie (Dylan O’Brien).

PARK CITY – To suggest that director Jack Bergert and co-screenwriter Dani Goffstein are playing with fire with the first act of their feature film debuts is an understatement of massive proportions. We haven’t walked out of a movie at a major film festival since before the pandemic, but if we weren’t assigned to review “Little Death” we might have.

Anyone with more than a passing interest in the weird and wonderful will have seen, if not heard of, the Patterson-Gimlin footage, the cryptoozological equivalent of the Zapruder film. Shot in 1967 in the forests of Northern Carolina, it purports to show a large, ape-like creature with an elongated forehead striding purposefully into the trees. Unlike an ape, the creature walks upright, and, unlike the furtive behavior of any other forest creature, it has the casual air of the average human being popping over to the 7-11 to pick up a gallon of milk. Most people who see the footage wonder what the hell this damn thing is, but the sibling directors of Sasquatch Sunset have a couple more questions that they’d like answered. Like, where is it going? And what does it do all day?