‘The Substance’ review: Fearless Demi Moore in showbiz satire
Filmmaker Coralie Fargeat is fascinated by butts. “The Substance,” her Cannes-winning gross-out joke about an aging Hollywood actress with a high threshold for self-inflicted pain,…
Emmys review: Eugene and Dan Levy hosted positive show with age theme
On Sunday night from the Peacock Theater, the 76th edition of the Primetime Emmy Awards were broadcast, and let’s all take a moment to appreciate…
Review: Sara Porkalob shines in ‘Dragon Lady’ at Geffen Playhouse
Three generations of women are assembled in Sara Porkalob’s “Dragon Lady,” the first in her three-part series of musicals about what she refers to as…
‘Look Into My Eyes’ review: Complex profile of NYC psychics
As Lana Wilson’s documentary about psychics “Look Into My Eyes” opens, a gray New York sky hovers above a nondescript building. A modest yellow glow…
‘How to Die Alone’ review: Natasha Rothwell on seeking self-acceptance
In “How to Die Alone,” creator-star Natasha Rothwell (“Insecure,” “Saturday Night Live”) plays Melissa, or Mel, described by Hulu, where it premieres Friday, as “a…
‘Seeking Mavis Beacon’ review: Tracking down a typing legend
Role models come in all shapes and sizes, invariably saying more about the nature of influencing than the person setting the example. A hearty thank-you,…
‘The Front Room’ review: Brandy’s return to horror is stolen
“Are you f— kidding me?” a character whispers to herself, disbelievingly, in “The Front Room” (she’s played by singer-actor Brandy Norwood, returning to horror movies…
‘His Three Daughters’ review: Coon, Lyonne and Olsen excel
Set inside a cramped New York apartment where adult sisters on the brink of estrangement await their father’s last breath, “His Three Daughters,” from writer-director…
Review: ‘Memnon’ restores forgotten African hero to Greek myths
For its 18th annual outdoor theater production, the Getty Villa has reached beyond the surviving canon of ancient Greek and Roman plays. Taking center stage…
‘Fight Night’ review: Kevin Hart leads fact-stretching series
On Oct. 26, 1970, the night Muhammad Ali made his comeback fight in Atlanta against Jerry Quarry, a houseful of party guests, including some heavy…
‘English Teacher’ review: A sweet, funny look at high school educators
There have been shows about teachers in every era of television, going back to “Our Miss Brooks” and not even including all the many series…
Review: ‘Reagan’ movie is historical hooey — and a slog
There’s political idolatry, and then there’s the canonization in movie‘s clothing that is Sean McNamara’s faith-tinged bio-epic “Reagan,” which follows its subject, played by Dennis…
FIFA delay again review of Palestinian call to suspend Israel | Football News
The FIFA Council has delayed making a decision on a Palestinian bid to suspend Israel from international football until October.World football’s governing body FIFA has…
‘Close Your Eyes’ review: A Spanish master returns, potently
The first feature that Victor Erice directed, 1973’s “The Spirit of the Beehive,” begins in the 1940s, when a traveling cinema arrives in a small…
Babe Ruth ‘called shot’ Yankees jersey sells for record $24 million
Babe Ruth’s New York Yankees jersey from his supposed “called shot” home run in the 1932 World Series has sold for $24 million, cementing its…
‘The Crow’ review: Remake has too much muck, not enough myth
The dirty secret of urban hellscape movies drenched in rain and blood is that when it comes down to it, they don’t so much trigger…
‘The Killer’ review: John Woo remakes his own action classic
After years in the wilderness, director John Woo has been back at target practice, and if his aim isn’t what it once was, it’s worth…
Review: Geffen’s Tarell Alvin McCraney era starts strong
Playwright and Oscar-winning screenwriter Tarell Alvin McCraney (“Moonlight”) was appointed artistic director of the Geffen Playhouse last year, but the McCraney era really began on…
A rabbi and an older student find reciprocity in the playful 'Between the Temples'
Supplying the unfussy warmth of a mismatched Hal Ashby rom-com, director Nathan Silver's breakthrough soars on performances by Jason Schwartzman and Carol Kane. Source link