The Brutalist Report

Variety

• We Survived ‘Baby Invasion’: Inside Harmony Korine’s Insane Experimental Film That Earned an 8.5-Minute Standing Ovation at Venice [356d]
• ‘Cloud’ Review: An Online Grift Has IRL Consequences in Kiyoshi Kurosawa’s Compellingly Wonky Thriller [356d]
• California Passes Law Requiring Consent for AI Digital Replicas of Dead Performers [356d]
• ‘Zurawski v Texas’ Review: A Disquieting Documentary on the First Patient-Plaintiffs Seeking Abortion Rights Since Roe v. Wade [356d]
• ‘Baby Invasion’ Review: Harmony Korine’s Latest Brain-Barf Synthesizes a Career’s Worth of Big Ideas [356d]
• Jude Law Is Officially Back After 7-Minute Standing Ovation at Venice for Fighting White Supremacy in ‘The Order’ [356d]
• ‘The Order’ Review: Jude Law and Nicholas Hoult in an Explosive Crime Drama About the White-Supremacist Cult of the 1980s [356d]
• Fatman Scoop, ‘Be Faithful’ Rapper, Dies After Collapsing on Stage [356d]
• It Takes Time to Become a Hero in Venice Days Feature ‘To Kill a Mongolian Horse’ [356d]
• Telluride Doc ‘The White House Effect’ Reveals How George H.W. Bush Administration Deliberately Destroyed an Opportunity to Stop Climate Change [356d]
• Voice Actor Jennifer Hale on Video Game Strike and AI Fears: ‘You’re Using Technology to Take Away Our Ability to Feed Our Kids’ [356d]
• Ghosts of Germany’s Past Evoked in Venice Films ‘Riefenstahl,’ ‘September 5’ [356d]
• ‘Battleground’ Review: The Cure is Often Worse Than the Disease in a Turgid WWI Medical Drama [356d]
• ‘The White House Effect’ Review: How the U.S. Government’s Global Warming Fight Went Cold [356d]
• Roland S. Martin Enlists Social Media Political Sensation Knowa De Baraso for Black Star Network [356d]
• Box Office: ‘Deadpool & Wolverine’ Topping Charts in Sixth Weekend as ‘Reagan’ and ‘Afraid’ Post Quiet Opening Days [356d]
• Beatlemania Is Back in ‘TWST – Things We Said Today,’ but Don’t Expect Another Pop-Music Doc (EXCLUSIVE) [356d]
• ‘And Their Children After Them’ Review: A Delinquent Crime Echoes Through the Years In an Overblown Youth Melodrama [356d]
• Israeli Director Amos Gitai Dismisses Calls for Venice Title ‘Why War’ to Be Boycotted [356d]
• Harmony Korine Says Hollywood Is Starting to ‘Crumble Creatively’: ‘Movies Are No Longer the Dominant Art Form’ [356d]
• WWE Bash In Berlin 2024 Livestream: Here’s How to Watch the Pro Wrestling Event Online [356d]
• Jude Law Says Neo-Nazi Crime Thriller ‘The Order’ ‘Needed to Be Made Now’: ‘Sadly, the Relevance Speaks for Itself’ [356d]
• ‘The Wasp’ Review: Naomie Harris and Natalie Dormer Play Old Friends With Fresh Grievances [356d]
• Thomas Vinterberg Says Venice’s Own Flooding Concerns Made It ‘Obvious Choice’ for Launch of Climate Change Miniseries ‘Families Likes Ours’ [356d]
• Oasis Warns Against Reselling as Fans Report Technical Issues Getting Tickets for Reunion Tour [356d]
• Marco Bellocchio’s ‘May I Say? Chapter Two’ Debuts Clip Ahead of Venice Premiere (EXCLUSIVE) [356d]
• ‘Conclave’ Review: Ralph Fiennes, Looking Tortured, Leads a Tense Search for a New Pope [357d]
• ‘The Friend’ Review: Naomi Watts Inherits a Handful in a Dog Movie That’s Really About Accepting Mortality [357d]
• Pharrell Is a Lego and Robbie Williams Is a Monkey in Two Music Biopics Aiming for Oscar Attention [357d]
• Zoe Saldaña Has Arrived for Her Oscar Moment in the Best Picture Contender ‘Emilia Pérez’ [357d]