‘Bobi Wine: Ghetto President’ Review: A Ugandan Pop Star Fights the Power

Former University of California Los Angeles basketball player Jalen Hill has passed away after taking a mental health break — and going missing in Costa Rica.

NXIVM sex cult leader Keith Raniere is arguing he’s being mistreated in jail so the prison can stop him from fighting back in court!

Adam Levine’s former yoga instructor has more to say about his awful behavior!

Ricki Lake is looking back on her own career journey as part of her new podcast series, and she's looking forward to the self-reflective journey alongside some famous friends.Lake recently sat down with ET's Nischelle Turner and opened up about her new podcast series, — which she's hosting alongside The Ellen DeGeneres Show alum Kalen Allen.In the podcast, Lake will reexamine her show that ran for 11 seasons and cemented itself in pop culture. The show pioneered the DNA test results segments long before Maury Povich popularized it on his show, and Lake had some of daytime TV's most memorable guests.Looking back at her time as host, Lake reflected on how she was only 24 when she was first handed the mic, and never in a million years did she think it'd blow up the way it did.«No, I didn't think it was going to be this big huge hit. I never have anticipated any of my success, nor have I calculated the next move,» she said.

Patricia Heaton's humanitarian trip to Kenya required nearly a nine-hour commercial flight, followed by a two-hour flight on a smaller plane and then nearly a three-hour car ride. An arduous trek, for sure, but nothing compared to the dire predicament facing children in those drought-stricken regions desperately attempting to stave off a malnutrition crisis.The star teamed up with World Vision to help provide aid in the communities she visited, particularly in Kalapata and Nakorio. Heaton tells ET she got «quite an exuberant welcome» following the long journey, and the people's good-hearted nature was immediately on display when they took her hands and started dressing her in exquisite beaded headdresses.«It was sort of unexpected,» she tells ET.

Sylvester Stallone and Jennifer Flavin have agreed to a peaceful termination of their union.According to court documents obtained by ET on Thursday, both parties agreed to keep their divorce from getting contentious, out of an interest in the wellbeing of their family.«The parties agree that it is in the best interests of each of them individually, and more importantly collectively as a family, to resolve all issues attendant to the dissolution of their marriage in a dignified, amicable, and private manner out-of-court,» the document shared.In August, ET confirmed that Flavin had filed for divorce in Florida. «Upon information and belief, the Husband has engaged in the intentional dissipation, depletion and/or waste of marital assets which has had an adverse economic impact on the marital estate,» the divorce docs read. «Pursuant to Section 61.075, Florida Statues, equity dictates that the Wife be compensated and made whole by receiving an unequal distribution of the marital assets in her favor. Moreover, the Husband should be enjoined from, selling, transferring, assigning, encumbering, or dissipating any assets during the pendency of proceedings.»Flavin requested at the time that she be able to continue living in their home in Palm Beach, Florida and that Stallone not move anything from their marital assets.Stallone responded to the news in a statement to ET, saying, «I love my family.

Gwyneth Paltrow is doing just that in her new Instagram pic. The  actress shared a black-and-white photo of herself in a bikini, jumping for joy as she prepares to celebrate her 50th birthday later this month. «Musings on a milestone,» Paltrow captioned the pic before directing followers to her  blog where she discussed how she files about marking the big birthday.«I remember my mother’s 50th birthday very clearly. I suppose it was the first 'big' birthday I was able to celebrate with her as an adult. It was upstairs at Michael’s, an early LA food-scene star, a place both my parents loved.

Ready to move forward. Adam Levine’s former yoga instructor Alanna Zabel wants to put his past flirty texts behind her after claiming he once revealed he wanted to “see her naked.”

Baby love! Odette Annable was surrounded by friends and loved ones as she celebrated her pregnancy with a sprinkle shower in Texas.

Is it… is it possible Donald Trump may not actually get away with something??

Not-so-mixed messages. Maren Morris got real about the less pleasant aspects of using social media amid her public spat with Brittany Aldean.

Few movie dramas in recent years have generated as much fevered online speculation as Andrew Dominik’s Marilyn Monroe movie Blonde.

Wynonna Judd is reflecting on her mother’s death, five months after Naomi Judd died by suicide. In an upcoming interview with People Magazine, Wynonna detailed what life has been like without her mother. Naomi was 76 when she died.

Start your engines: RuPaul’s Drag Race UK is in full swing!

Jake Lockett is the hot new star of Chicago Fire and the longtime series’ showrunners are opening up about the mystery surrounding his character Sam Carver.

Julia Fox is not playing games when it comes to her 2022 Milan Fashion Week looks.

Harry Styles and Olivia Wilde appear to still be together!

“Abbott Elementary’ star Sheryl Lee Ralph reflected on having Sidney Poitier as a director for her film debut “A Piece of the Action” at the premiere Wednesday of the documentary film “Sidney.”“When I met him, he did not let me down,” Sheryl Lee Ralph told TheWrap at the Academy Museum of Motion Pictures premiere, noting that at the time she was a “newbie” to the industry. “A lot of people you meet, they let you down.

Former Riverdale and Diary of a Wimpy Kid actor Ryan Grantham has been sentenced to life behind bars without the possibility of parole for 14 years for the 2020 killing of his mother.

Guy Lodge Film Critic If you found yourself wide awake in the wee small hours with personal demons rattling in your brain, and you picked up the phone to share them with a patient, neutral stranger, Tessa Thompson’s measured, calming voice is more or less exactly what you’d hope to hear on the other end of the line. As Beth, a night-shift volunteer for a crisis helpline, the actor’s naturally gentle, benevolent presence is the chief asset of Steve Buscemi’s minor-key chamber drama “The Listener” — not that she has a host of elements to compete with in what amounts, on screen at least, to a one-woman show.  Thompson’s unforced credibility isn’t shared, however, by a flat, superficial script that treats an assortment of mental health ailments as quirky conversation fuel. Each anguished call that Beth takes, over the course of one long, dark night of assorted souls, is written less like a recognizable human exchange than as an actor’s heightened audition piece, and played out as such by a voice-only ensemble stacked with distractingly recognizable names. Though the global pandemic is only incidentally mentioned, “The Listener” plays in all aspects like a project conceived in the most self-searching and self-indulgent depths of the isolation era. It’s hard to imagine audiences wanting to enter that headspace now.

Guy Lodge Film Critic At the 1987 Conservative Party Conference in Britain, then Prime Minister Margaret Thatcher issued one of the most grimly memorable quotes of her career: “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” For many of us, it’s a line that now sounds so archaically out of step with contemporary life as to be comical — that “inalienable right” wording ironically appropriated by many a queer-rights cause — though you need only look at Florida’s recent Don’t Say Gay bill to know that Thatcher’s sentiments live among us still. A frank, piercing debut from British writer-director Georgia Oakley, “Blue Jean” is a Thatcher-era period piece that crisply evokes that climate of politically propagated homophobia without preserving it in amber: It effectively puts the past in tacit dialogue with the present.

Guy Lodge Film Critic Not many films hit an emotional crescendo around the publication of a Pitchfork review, but Bill Pohlad’s “Dreamin’ Wild” is sufficiently sincere and embedded in musical nerdery to make it work. As onetime brother act Donnie and Joe Emerson huddle with their family around a 30-years-late evaluation of the album they recorded as teenagers, one particular critical reference sends them giddily reeling: “To twist a Brian Wilson phrase,” it reads, “[the album] is a godlike symphony to teenhood.” For fortysomething Donnie, who has spent his whole adult life scrambling for anyone to listen to his music — let alone love it — the mere mention of his musical hero in relation to his work is a crowning triumph: Donnie, as played by a typically disheveled, downcast Casey Affleck, looks briefly, guardedly happy for a moment, and this often melancholic film is suddenly suffused with well-being.

Guy Lodge Film Critic Gianni Amelio was in his late sixties when he came out as gay a few years ago. The announcement preceded the release of his documentary “Happy to Be Different,” which worked toward an overriding sunniness in contemplating the trials and challenges of being gay in Italy at various points in the 20th century. In turning to a gay-themed narrative project, Amelio narrows the focus and dims the mood: “Lord of the Ants” takes as its subject the gay Italian author Aldo Braibanti, and the social and legal opposition he faced over his sexuality in mid-1960s Rome. Solemn, stately and perhaps a little stifled, it’s the kind of queer statement you might expect from a veteran filmmaker who wasn’t until relatively recently out and proud, and is rather poignant for that.

Guy Lodge Film Critic Even the most solidly founded of marriages can be strained and shattered by the death of a child. For handsome, wholesome Japanese couple Taeko and Jiro, however, that tragedy shows up all the fault lines that were already in their young relationship, and that’s before living ghosts of the past show up for both partners. Koji Fukada’s “Love Life” unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving. As such, this agreeable but overlong pic finds the Japanese writer-director still struggling to regain the form of his jolting 2016 Cannes prizewinner “Harmonium.”

Guy Lodge Film Critic Friendships can be as changeable and temperamental and outright dramatic as grand romances, though they tend to get a bland rap on screen — with friends, for most screenwriters, merely convenient constants, there to support protagonists through matters of supposedly more consequence. If substantial platonic relationship studies are rare, ones about men are rarer still. And if that comes down to a social convention rather than a cinematic one, that’s integral to the power and poignancy of Martin McDonagh’s searing “The Banshees of Inisherin,” a film that traces the tortured breakup between two best pals in remote rural Ireland with all the anguish and gravity of the most charged romantic melodrama — its high, unleashed emotions all the more startling in a world where men don’t speak their feelings.

Guy Lodge Film Critic “L’Immensità” is director Emanuele Crialese’s first feature film in 11 years, and only his fifth in a quarter-century: The gifted Italian, best known to international audiences for his splendid, richly felt Ellis Island immigrant saga “Golden Door,” has never been one for unconsidered or impersonal projects. At first glance, then, one might wonder what drew him out of hibernation for a film that, with its trim runtime and small-scale domestic narrative, belies a title that translates as “immensity.” This 1970s-set story of a 12-year-old navigating his gender identity while his mother battles mental health demons is too palpably pained and heartfelt to be called slight, but it’s sensitive and peculiar in ways that feel fragile — occasionally splintered and swamped by an elaborate setpiece, or the outsize star magnetism of arguably its secondary lead, one Penélope Cruz. 

Guy Lodge Film Critic While waiting to pick up five-year-old Leila from judo practice, personable 40-ish schoolteacher Rachel introduces herself to another parent as Leila’s stepmom, before backtracking to awkwardly correct herself. Later, when a kindly stranger on a train remarks on the resemblance between the two, Rachel doesn’t bother clarifying, merely accepting the benign compliment. Her relationship to Leila is both unremarkably simple and complicated by an absence of clear language for it: She’s dating the girl’s father, and the attachment between woman and child has grown perhaps stronger than the relationship on which it depends. It’s the kind of delicate everyday situation that rarely occupies the centre of a film, and in the superb “Other People’s Children,” writer-director Rebecca Zlotowski negotiates it with warm intelligence and compassion.

National Geographic Documentary Films has announced the acquisition of worldwide rights to Bobi Wine: The People’s President, following its Venice Festival premiere.

National Geographic Documentary Films has acquired the rights to “Bobi Wine: The People’s President,” a political documentary about the Ugandan opposition leader that premiered at the Venice Film Festival this weekend. Nat Geo acquired the film ahead of Bobi Wine appearing at the Telluride Film Festival when the film will make its North American debut this weekend.

Guy Lodge Film Critic Rather like the arc of the moral universe, “Argentina, 1985” is long, but bends toward justice. Effectively dramatizing the country’s landmark Trial of the Juntas, history’s first instance of a civilian justice system convicting a military dictatorship, Santiago Mitre’s broad, sprawling, heart-on-sleeve courtroom saga may draw from the same nightmarish period of history that has informed much of Argentine cinema’s most essential, haunting works — from 1985’s Oscar-winning “The Official Story” to last year’s “Azor” — but eschews any subtle arthouse stylings for a storytelling sensibility as robustly populist as anything by Sorkin or Spielberg. Small wonder, then, that Amazon Studios has boarded a film clearly aiming to be both a domestic smash and an international crossover hit — buoyed by the reliable star power of Ricardo Darín, his signature suaveness tempered by a walrus mustache and boxy ‘80s frames as Julio Strassera, the dogged prosecutor who took on this charged, against-the-odds case. Though a warmly received premiere in competition at Venice will set it on the right path, “Argentina, 1985” is, appropriately enough, a people’s film about people’s justice, balancing tear-jerking historical catharsis with touches of droll domestic comedy, and set to draw crowds on enthusiastic word of mouth.

Guy Lodge Film Critic Six decades into a career of over 40 films, the last thing you might request of a new feature from 92-year-old documentarian Frederick Wiseman is that it surprise us. Yet after a run of expansive, richly process-oriented observations of mostly American institutions and communities, his new film, “A Couple,” upends expectations of his work in what feels an almost mirthfully perverse number of ways. For starters, it’s laser-focused on just one person, not a heaving collective of human labor and activity. It’s short — very much so, in fact, barely stretching past an hour. Also, lest we be burying the lede, it’s not a documentary. Wiseman’s first ever narrative feature sees him collaborating with French actor-writer Nathalie Boutefeu on a biopic of sorts: a portrait of Leo Tolstoy’s anguished wife Sophia, dramatizing her marital dissatisfaction and psychic pain with with a lyrical, literate ear.

Guy Lodge Film Critic Just before director Christopher Nolan’s upcoming “Oppenheimer” plants a fixed image of Ted Hall in the popular imagination, along comes Steve James’s sensitive, studious documentary “A Compassionate Spy” to preemptively set any records straight. Unpacking the life and work of the prodigious teenage Manhattan Project physicist who passed key information about the endeavor to the Soviet Union — cuing an adulthood dogged by suspicion and secrecy — the film demonstrates its director’s characteristic nose for strong material and knack for gripping, straightforward storytelling. If the filmmaking is more televisual than in James’s best work, with its flourishes limited to some unnecessary dramatized passages, that should be no impediment to “A Compassionate Spy” commanding a sizable audience on multiple platforms. 

Guy Lodge Film Critic “Gigi & Nate” begins with two leaps. The first is out of terror, when Gigi, a capuchin monkey at a sad-sack roadside petting zoo, tries to steer clear of her “caretaker.” The second is the sweet leap of boy-joy that 17-year-old Nate Gibson takes off a rocky ledge and into a pond. In this amiable, if unnecessarily manipulative, movie about the human-animal bond — as well as the different forms resilience can take — that fateful second leap will lead the young man and the monkey to each other.Gigi is rescued by a woman who works for an organization that provides service animals to people with disabilities.

One of the most stirring moments in Christopher Sharp and Moses Bwayo’s documentary Bobi Wine: Ghetto President — a film full of stirring moments — is the sight of Bobi Wine on the back of a truck, spearing through the back-blocks of Uganda with a copy of the country’s constitution held aloft. As a new Member of Parliament, he believes in that document. People all over the country, he insists, believe in that document. Through imprisonment and torture, he holds fast to the belief that if Uganda only followed its own rules — as set out clearly in this very constitution, which both he and President Museveni promised at different times to uphold — the country would be saved.