The Brutalist Report

Variety

• ‘Elton John: Never Too Late’ Review: The Original King of Pop Gets the Satisfying Documentary He Deserves [620d]
• Ben Stiller and David Gordon Green Blame ‘Cynicism’ in Hollywood Comedies for the Lack of Feel-Good Movies Like ‘Nutcrackers’ [620d]
• Marianne Jean-Baptiste is Worthy of Another Trip to the Oscars for Her Brilliant, Biting Performance in Mike Leigh’s ‘Hard Truths’ [620d]
• Elton John Says Donald Trump Calling Kim Jong Un ‘Little Rocket Man’ Was ‘Brilliant,’ but Urges People to Vote for a ‘Calmer, Safer’ America [620d]
• Pamela Anderson Weighs in on Being Minimized by Hollywood Until ‘Last Showgirl’: ‘I Underestimated Myself Too’ [620d]
• Belgian Films Put on a Show of Force at Festivals as Global Co-Productions Increase [620d]
• Nicole Kidman Unable to Accept Venice Acting Prize in Person Due to Mother’s Death: ‘My Heart Is Broken’ [620d]
• Dakota Johnson ‘Basically Overdosed’ on Caffeine While Filming Her Directorial Debut ‘Loser Baby’ [620d]
• A Master of Deception: ‘Marco, The Invented Truth’ Explores the Life of a False Concentration Camp Survivor [620d]
• 50 Cent Plays Surprise Set at Pop-Up Shop in New York [620d]
• ‘Familiar Touch’ Review: An Exquisite Study of Living With Dementia That Puts Its Perspective In the Right Place [621d]
• Brett Goldstein on His Toronto Romance ‘All of You’: ‘I Rarely Say This — I’m Really Proud of It’ [621d]
• Vietnamese Director Duong Dieu Linh’s ‘Don’t Cry, Butterfly’ Scores Top Venice Critics’ Week Prize [621d]
• How Anderson .Paak’s Son Inspired His Directorial Debut, ‘K-Pops!’ [621d]
• Toronto Looks to International for Growth [621d]