Movie Reviews: Celebs Rumors

a true-crime story about a serial killer, but a new movie directed by Anna Kendrick does a number on that familiar genre. Rather than being about the monster himself, or even one of his victims, the film is centered around a person he did not murder — someone who got away.Running time: 89 minutes.

The Florida Project.” Endlessly entertaining and frequently hysterical, “Anora” is one of the year’s best films and a formidable Oscar contender.Like caviar, it’s not for everybody. This unsentimental, less-straightforward “Pretty Woman” starts with a panning shot of topless lap dancers and includes plenty of sex (the funny kind) and choice language that’s the opposite of politically correct.

“Joker: Folie à Deux” hit a sour note for some audiences.The highly anticipated “Joker” sequel, which hit theaters on Friday, is underwhelming at the box office, and for those who did see the movie, they weren’t staying long. Social media users took the internet by storm to share why Joaquin Phoenix, who reprised his role as the Joker, and Lady Gaga, who played Harley Quinn, didn’t cut it for them. “Guys, me and my wife are at the view, and we’re going to watch ‘Joker 2’ and the screening before us, everyone’s leaving.

wrote on X that movie theater staff “reported 11 people walking out and 1 person vomiting” during the screening.“If the #Terrifier3 event impacted you please let us know if you need more support at this time,” the distribution company wrote in its statement. The message was shared alongside a post from the movie’s official X account that showed an image displaying a warning for “extreme violence and excessive gore.” It read: “If you are feeling unwell, please find a member of staff.

in the last one.Joaquin Phoenix won an Oscar for playing the traumatized loser who is essentially Robert De Niro in “The King of Comedy,” plus clown makeup. So, let’s milk it for all it’s worth.But the truth is that the whack-job Gothamite with no Batman to battle is more weird than he is involving.Aimless, Arthur whispers, glares, yells, rails against the world and does his creepy laugh again and again with nothing to show for it.

How To Train Your Dragon” and “Kung Fu Panda.”Around the time “Dragon” was released in 2010, I began preferring DreamWorks to the critically worshipped Pixar and its yappy Ivy League blobs.Like that cold-blooded-but-heartwarming adventure about a one-winged fire-breather, “Robot” doesn’t set out to be the class know-it-all that back-pats adults with puns and overly clever “a-ha!”s.Instead, writer-director Chris Sanders (of, you guessed it, “Dragon”) goes right for his character’s souls — and ours.Roz is a futuristic robo-assistant, like an Alexa or Siri, who can walk, assimilate and help around the house. However, she’s not of much use when her shipping package washes ashore on a faraway island inhabited only by animals.The android is nibbled, scratched, chased, attacked and rained on.

the likely final movie from the genius director of “The Godfather” and “Apocalypse Now” versus the obvious reality that his new film is a catastrophe.As with every awful movie that wobbles on the stilts of good intentions, you can guess what wins. “Megalopolis,” for all its high-minded ideals, is impossible to like.

Clooney moaned at the Venice Film Festival when asked about his paycheck, er, sorry, his movie.Really, the pair should send Apple CEO Tim Cook an Edible Arrangement for saving them the embarrassment of what would have been a giant flop.“Wolfs,” a so-called comedy written and directed by Jon Watts in which Clooney and Pitt play rival New York fixers tasked with discreetly disposing of a dead body, is a dreadful, laugh-free slog that tests the limits of what star power alone can salvage.The A-list presence of Brad and George cannot mask the elementary school dialogue they utter, the jumbled tone and Dollar Store aesthetic. In fact, their attachment to this compost only exacerbates its many, many problems. The boldface names suggest a certain level of quality — or, at the very least, competence — that this movie does not meet.

Maleficent: Mistress of Evil” with Angelina Jolie, has carved a niche in cool, edgy projects that are that rare combo of popular and prestigious. His performance here, scary and siren-like, is a smash.And Kidman is a natural fit for Romy, who starts out proper and rigid and then gets wilder — showing up unannounced and drenched in rain at Samuel’s bartending job and dancing at a club.Reijn, who has another scrumptious winner after “Bodies Bodies Bodies,” doesn’t decide whether we should be happy for Romy or not, or if what the exec is doing is liberating or reckless.

a madcap comedy about the 90-minute dash leading up to the 1975 debut episode of “SNL,” the show’s famously enigmatic creator is lionized. Michaels, the most important behind-the-scenes comedic force of the past 50 years, is placed on an innovator pedestal alongside the likes of Steve Jobs and Mark Zuckerberg, only without their personal downsides.He’s portrayed as an optimistic young underdog with an improbably bold vision: a completely live, weekly sketch series starring inexperienced, unpolished nobodies in a desert island of time-slots.His “This is Sparta!” speech comes during the climax, when Lorne (Gabriel LaBelle) is grilled by NBC exec David Tebet (Willem Dafoe) about what “Saturday Night Live” exactly is.Lorne, finding his confidence in real time, tells doubting David it’s discovering a hot new comic at the back of a bar downtown, or being swept up by the music at a tucked-away jazz club.“It’s everything you think is going to happen when you move to the city,” says a then-30-year-old Michaels.

Oscar-winning “All Quiet on the Western Front,” is a master entertainer who’s allergic to lulls. Every second is dripping with drama. His flair for grandiosity that shown so brilliantly in that World War I epic is back with a vengeance at St.

Hillbilly Elegy”) the viewer goes along with her for the ride, er, walk. “Nightbitch” is funny and lovably weird.A bigger issue than its oddball plot is that the film, which Heller also adapted, is one-note.

After 36 years of waiting, the juice is finally loose again in “Beetlejuice Beetlejuice,” this time racking up $110 million in its premiere weekend.The long-awaited Tim Burton sequel is the third-best opening weekend of the year, only behind box office triumphs “Inside Out 2” and “Deadpool & Wolverine.”Michael Keaton returns as the titular spirit and Catherine O’Hara and Winona Ryder also reprise their roles as Delia and Lydia Deetz, with newcomer Jenna Ortega playing the latter’s daughter, Astrid. Willem Dafoe, Monica Bellucci and Justin Theroux round out the cast.The Warner Bros.

The latest grungy fight drama to test the limits of unpleasantness is “The Cut,” which premiered Thursday at the Toronto International Film Festival.Running time: 99 minutes. Not yet rated.Bidding adieu to Middle Earth and the high seas, Orlando Bloom plays a troubled Irish boxer — in fact, he’s called The Boxer — who’s asked to return to the pro circuit after 10 years away for a splashy bout in Las Vegas.At the start, “The Cut” is an adequate, typical gloves-and-shoves picture.

co-starring Jennifer Lopez as Anthony’s hardworking mom Judy, is a veritable tear factory.You know what you’re in for when, after winning a national high school championship in Philadelphia at the start of the film, teenaged Anthony quietly ducks out of a banquet celebrating him.“Someone should tell him he won,” a college recruiter says.The humble kid, who always refused to wear a prosthetic leg, instead walks alone to the Philadelphia Museum of Art and stares at the monument to his fictional idol, Rocky Balboa.That’s the kind of underdog tale “Unstoppable” aspires to be — one in which the hero’s home life struggles are indistinguishable from the peaks and valleys of competition. One in which Adrian matters as much as Creed.Anthony’s version of those steps, by the way, is a mountain in Arizona where he was attending ASU as a walk-on with no guaranteed spot on the team.

make her Broadway debut as foxy Roxie Hart in the musical “Chicago.” The cast change came out of nowhere. And nobody knew if she could sing or dance.

controversial film “The Apprentice,” a drama about Trump’s rise as a New York real estate tycoon in the late 1970s alongside his cutthroat lawyer and mentor Roy Cohn and wife Ivana.Since May, the film has been treating the festival circuit like swing states, hoping to gain ground.It premiered at Cannes in the spring and then struggled to find American distribution. Three guesses why.

played to the hilt by Demi Moore (what’s wrong with her?!), is an Oscar winner turned fading fitness guru a la Suzanne Somers whose luxurious Hollywood home is plastered with giant portraits of her in her prime. After Elisabeth is abruptly fired from her TV job, “Sparkle With Elizabeth,” the gutted actress learns of an underground drug called the Substance that promises to create a younger, sexier doppelgänger of a person.

Winona Ryder) dad and Delia Deetz’s (Catherine O’Hara) husband from the first flick has just been chewed up by a shark. Lydia’s spouse Richard, with whom she has a daughter named Astrid (Jenna Ortega), was killed on an Amazon trek.

Running time: 103 minutes. Rated R (strong violent content, sexual assault, drug use and language throughout, and some sexual references). In theaters.Zoë Kravitz makes a killer directing debut with “Blink Twice,” a ripped-from-the-headlines thriller with glimmers of “Get Out” and “The White Lotus.”Often, when actors lurk to the shadows behind the camera, they wind up with a film that’s either kindergarten simple or far too complicated so as to prove they’ve got skills.

Alien: Romulus,” the latest installment in the 45-year-old franchise, opened in first place at the North American box office. The 20th Century Studios release earned an estimated $41.5 million in its first weekend, where it was playing in 3,885 locations in the U.S.

The Numbers.The film, which The Post called the franchise’s “best sequel in years,” was produced by original “Alien” director Ridley Scott, and co-written and directed by Fede Álvarez.The $80 million film goes back to the basics of isolation, paranoia, survival and tactile creatures, instead of “unwieldy” extraterrestrial mythology, movie critic Johnny Oleksinski wrote.Tthe sci-fi/horror flick follows space colonizers in a derelict space station coming face to face with “the most terrifying life-form in the universe” and stars Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn and Aileen Wu.The hit is another win for Disney, which has dominated the summer box office with films including “Deadpool & Wolverine” and “Inside Out 2.”Marvel Studios’ “Deadpool & Wolverine,” which had a three-week run in the No. 1 slot, was knocked down to No.

the most recent “Evil Dead.”And while watching them scurry about tormenting a group of unsuspecting space travelers brings on a feeling of déjà vu, it’s the happy kind. Well, happy and horrifying.Moviegoers would much rather be reminded of Ridley Scott and James Cameron’s respective “Alien” and “Aliens” — one of the greatest sequels ever made — than “Resurrection” or, perish the thought, “Aliens vs. Predator: Requiem.”Álvarez’s gripping film, which is set in between the first two movies, goes back to the franchise’s basics — isolation, paranoia, survival, tactile creatures — instead of expounding upon extraterrestrial mythology that became increasingly unwieldy, confusing and, frankly, beside the point.

Tár” and “Blue Jasmine” is stuck as the lead of the worst movie of the year — a grueling, 102-minute endurance test that’s as lifeless as the video game it’s based on.And Blanchett is not entirely free from blame either. She reads the lines, such as they are, like a TSA agent at the crack of dawn.

the Blake Lively flick to land on a streaming service. Rainy Sunday, pajamas, a scented candle, Ben & Jerry’s and, most vitally, no one around to judge you.Because the romantic drama, directed by and co-starring Justin Baldoni, is not very good by most known metrics of quality.

a cottage industry in Hollywood for decades. And Cooper is no Hannibal Lecter or Dexter.When Shyamalan wades into more cerebral territory — there’s talk of a “monster” inside of Cooper’s head, for instance, and he has visions of older women taunting him — the film turns even more preposterous than it already was.

getting ripped to shreds by critics.While retaking its cinematic crown will be a challenge, “Deadpool & Wolverine” is a giant, promising step forward for the franchise.Director Shawn Levy’s laugh-a-second movie is easily the best Marvel has delivered since 2021’s “Spider-Man: No Way Home,” and provides similarly nostalgic pleasures in its whiplash-inducing number of retro cameos — none of which I’ll spoil, for fear of my own life.Safer to reveal is that since the events of 2018’s “Deadpool 2,” Wade has been wading through his daily routine, lacking heroic purpose.Meta as ever, he also gives us a corporate refresher course. “Disney bought Fox, there was a boring rights issue, blahdeddy blah,” Deadpool says.

DC’s future Superman, David Corenswet.Without a doubt, these characters’ backstories and drives are vastly more compelling than those of 28 years ago. And the main trio’s opposing auras — Edgar-Jones’ damaged soul, Powell’s sensitive jock and Ramos’ heart of gold — marry beautifully. There’s greater moral complexity this time, too.

Scarlett Johansson and Channing Tatum, is best summed up by the next lyric of Frank Sinatra’s song.Let me play among the stars. Director Greg Berlanti’s romantic comedy, which imagines that Richard Nixon’s administration really did film a fake, backup moon landing in 1969, is a mystifying misfire all along the way from initial concept to end credits.Where his movie does achieve liftoff, however, is its charming pair of A-list leads, who are mostly immune to the deadly material.

2021’s “Coming 2 America,” the misguided sequel to “Coming To America,” it’s understandable that viewers approach Eddie Murphy’s new “Beverly Hills Cop: Axel F” with some trepidation.Unfortunately, they’re right to.Netflix has, once again, gotten its greedy hands on a cherished title, tossed in some celebs and lazily devalued it into an algorithmic afterthought.Everything uniquely special and hilarious about the 1984 fish-out-of-water hit is gone, replaced by commodity streaming mush that looks like every other ho-hum action-comedy right now.Another mediocre nostalgia grab.More and more I ask, though: How nostalgic is it, really, to see our favorite characters return worn out and weary in forgettable films? Who does that make feel good? Not me!Problem No. 1 is that Detroit police officer Axel Foley (Murphy) hasn’t changed enough since 1994’s dismal “Beverly Hills Cop III.”The only substantive difference is that he has an estranged adult daughter named Jane (Taylour Paige), a defense attorney in Beverly Hills, who gets into a dicey situation with a drug cartel.That’s why he leaves Michigan for the luxe California enclave, where director Mark Molloy stages overly wacky chase scenes (a helicopter flying in traffic) and beats tired gags to death.Axel desperately needed some new shtick.

a grizzly truffle forager and an underground criminal whose face is superimposed onto John Travolta.But Cage’s creepy, enigmatic Longlegs, with a squeaky voice and swollen face splotched by white paint, is on another messed-up level.Really, the entire addictive film, written and directed by Oz Perkins, is one of the best horror movies of the past several years. Neither shield-your-eyes torture porn nor a by-the-book slasher flick, “Longlegs” is powered by an ever-present sense of dread that never lets up, an engrossing story and fascinating characters.

Kevin Costner made a bold choice. He departed the most popular TV show in the country and decided to tell the sweeping story of American Western expansion in four interconnected films before anybody knew if the first one was any good. Well, by the end of “Horizon: An American Saga – Chapter 1,” which clocks in at more than three glacial hours, I could not fathom committing another 540 minutes of my time to this bloated ego trip.

Al Capone in 2020’s abysmal “Capone” — brings that same serpentine gargle to Johnny. He broods, snarls, spits out something unintelligible and repeats.“Come again?” we go.

Poor Things,” “The Favourite” and “The Lobster,” were, to varying degrees, eccentric, sexy and smart. The unbearably pretentious “Kinds of Kindness,” on the other hand, is a Euro-chic, albeit stylish, endurance test that will divide film buffs and outright appall mainstream audiences.

“I Am: Celine Dion.”The “My Heart Will Go On” singer, who suffers from a rare neurological disorder called stiff person syndrome that’s hindered her ability to sing and even walk, is at a physical therapy session in 2022 when she begins having a seizure. Facing downward on a massage table, the 56-year-old frighteningly convulses and writhes in pain until she can no longer move. Dion, curled up, moans in agony.A man then calmly tells her to squeeze his hand if she can hear him.“Do you want us to take out the cameras?” the physio asks the singer about the documentary crew.“I’m OK,” she mouths.Right then, Dion is clearly not OK.

Inside Out,” with a voice cast led by Amy Poehler, which returned it to the inventive glory days of “Toy Story” and “Ratatouille.” Almost a decade later, Pixar’s crisis is now existential. Its fortunes at the box office have plummeted, the movies often stink, it’s been forced to lay off staffers and is quickly losing its once-dictatorial grip on American childhoods.