Movie and TV show reviews

O’Dessa,” set to premiere on Hulu a week following its SXSW debut, symbolizes the conclusion of an era for its studio. This production was born within the studio from alumni of “Beasts of the Southern Wild.” Essentially, it represents a vestige of a period when Searchlight Pictures took interest in second films from filmmakers whose daring debuts they had acquired at Park City in the mid-2010s. Although this strategy was commendable, not many of these sophomore projects left significant impacts: Benh Zeitlin’s sequel to “Beasts,” titled “Wendy,” didn’t make a big splash, and the creators of the innovative duo behind “Sound of My Voice,” Zal Batmanglij and Brit Marling, shifted their focus to television after “The East.

In my career as an actor, I found myself frequently typecast due to my ethnically diverse background, being offered roles that were stereotypical and monotonous,” Sriram explains. “I was often given parts such as the young woman in a headscarf whose parents had arranged marriages or the doctor in various productions. These roles didn’t ignite my passion, so I thought if I truly wanted to be a doctor, I could just become one. Not only would it provide me with a better income, but it would also alleviate some of my parents’ concerns.

The group on set erupted in shared laughter. “Well, well, well,” the actor remarked, wanting to confirm he wasn’t alone in his thoughts. His speech had a unique blend of Southern charm, reminiscent of both a preacher and a laid-back surfer.

Opinions about the R-rated movie “Mickey 17” were divided among critics and viewers. The film received a ‘B’ rating on CinemaScore and an impressive 79% approval rating on Rotten Tomatoes, but these figures don’t paint a promising picture for its longevity in theaters. This is concerning because “Mickey 17” reportedly required an additional $80 million to promote, and it needs to generate between $275 million and $300 million worldwide just to turn a profit during its theatrical release, as stated by industry insiders familiar with comparable projects.

Matthew and Greg aren’t the main romantic pair in the movie, instead it’s Connor and Olivia (played by Zoey Deutch), a waitress he’s had feelings for, who work together at the same restaurant as Greg. While he’s chatting up a customer named Jenny (Ruby Cruz) during her shift, this leads to an evening where all three end up at his apartment. A game of truth or dare under the influence of marijuana results in both women staying overnight. Connor wakes up to find Jenny beside him, while Olivia has once again disappeared, but he can’t help but think that their night together was a one-time fling.

Just as the documentary filmmakers were preparing for its Park City premiere, Peltier was granted clemency by President Joe Biden just before he left office. This unexpected development forced the filmmakers to quickly revise their documentary, adding fresh content at the last minute.

As a passionate movie enthusiast, I’ve always admired Ben Affleck’s acting skills, but there was a time, about nine years ago when he took on the role of ‘The Accountant,’ where his performance struck me with a unique twist of irony. You see, Ben has this knack for playing characters that come off as stiff and square at times, with an understated emotional range. But it’s precisely these qualities that make him a flawless fit for Christian Wolff, the autistic savant accountant who handles the books for criminals.

In this role, he masterfully portrays Wolff’s extraordinary numerical abilities and his ruthless efficiency as an action hero. What makes it even more intriguing is that the character’s quirks and peculiarities mirror some of Ben Affleck’s own acting traits, making the performance all the more captivating.

Initially captivating is the swift and thrifty manner in which the characters are introduced amidst ongoing action, using everyday chatter that subtly reveals their unique traits and potential conflicts. Behind the wheel, the taciturn Tyler (Mitchell Cole), fresh from military training, collects his three closest friends shortly after their graduation in his Jeep Cherokee. A heated online argument erupts over whether a lone man with a rifle could outmatch 50 hawks, setting the stage for future events. The intellectually curious James (Phineas Yoon) attempts to rationalize this absurd scenario, while sitting shotgun. In the backseat, Fisher (Noah Toth), with his playful nature, strives to keep the game engaging, and beside him, Day (Akira Jackson), appearing easygoing, smoothly adapts to whatever discussion unfolds, moving effortlessly between this debate and her own plans for the future.

Throughout history, art and folklore have consistently depicted a sorrowful sacrifice that sheds light on human character. This was evident in both “The Last Unicorn” and Ridley Scott’s “Legend” from the ’80s, and it’s been the symbolic role of these enchanting creatures for at least five centuries, since the creation of the renowned “Hunt of the Unicorn” tapestries. The latest addition to this theme is the darkly humorous and tragic film “Death of a Unicorn,” directed by Alex Scharfman, which falls neatly within A24’s quirky art-house genre. This movie uses the title’s tragic tale as a means to produce an extremely eccentric and unabashedly gruesome horror flick.

Instead, we could say: In “The Accountant 2”, Ben Affleck once again portrays Christian Wolff, an autistic criminal with a genius for mathematics. During a specific scene, his acting left the Texas audience at SXSW in fits of laughter and standing ovations.