‘Till the End of the Night’ Review: A Transgender Romance Meets a German Policier With Unconvincing Results

Pierce Brosnan, 69, and his stunning wife Keely Shaye Smith, 59, recently left fans gushing over their "couple goals" as the duo celebrated 21 years of happy marriage, after the actor posted an image of the happy pair to social media. Fans couldn't get enough of the candid snap, and many praised the couple for setting an example of what true love looks like.  Pierce and wife Keely posted a snap on social media that left fans gushing 'couple goals'One fan commented: "You and Keely have done a remarkable job of showing that fame and fortune have no impact on having a positive relationship. You are true role models in showing what a good marriage should be".Pierce clearly adores his wife and on Keely’s birthday, he posted a gorgeous picture of the couple cuddling with the caption: "I love you dearly.

Ben Savage is a married man! The 42-year-old Boy Meets World actor recently tied the knot with Tessa Angermeier.

Kim Kardashian and Kourtney Kardashian are sharing their thoughts on the recent rumors about their sister Khloé Kardashian rekindling her romance with Tristan Thompson. A close source to the family is now sharing some details about the recent controversies, and what the famous sisters really think about online speculations.An insider revealed to US Weekly that both Kim and Kourtney “aren’t surprised that Tristan is still trying to win Khloé back.

Gloria Estefan is opening up about her mental health. At the 2023 Simmons Leadership Conference in Boston, Estefan candidly spoke about her mental health and the moment that pushed her to get help. Christmas with the Estefans: The famous Latin family full of love and lots of musicGloria Estefan celebrates Emilio Estefan’s birthday with a sweet postYahoo! Entertainment reports that Estefan said that she’d never needed therapy until her mother died in 2017.

heads for the press this week! Prime Video's beloved-but-troubled bandmates try to keep up a united front while taking questions from reporters in ET's exclusive first look at this week’s episodes. Last week's installments ended just before the band released their album,, which Daisy (Riley Keough) and Billy (Sam Claflin) cowrote amid their contentious collaboration. The tension between them peaked when Billy kissed Daisy in the parking lot outside their recording studio and now carries into this week's release as well. «Why are you asking me about my clothes, man?» Daisy tells a reporter who inquires about the designers behind her coat and shoes.

Love Island star Olivia Hawkins sparked more split rumours after she attended a film premiere without Maxwell Samuda on Thursday night.  The couple left the Love Island villa ahead of the final earlier this month, however the couple have been spending some time apart after arriving back in the UK – sparking split rumours.  Olivia, 27, fuelled rumours of a split further as she walked the red carpet solo, looking stunning in a satin black dress with a pair of black heels and dramatic elbow length gloves.The star wore her brunette hair down in a slicked back style and wore a pair of gold earrings as she had her photo taken in central London. Max, 23, was spotted attending the Big Weekend launch party in London on Wednesday, while Olivia shared a video as she watched a football match in Brighton, after going home to see family following the celebrity-packed Love Island finale party in London on Monday.

Georgia Harrison bravely appeared on Thursday's episode of This Morning to talk about becoming a victim of revenge porn, and how this impacted her career and income. The former Love Island star's ex-boyfriend Stephen Bear, who won Celebrity Big Brother in 2016, was jailed for 21 months earlier this year for sharing a private sex video of them on his OnlyFans website, without her consent.

Jack Whitehall has opened up about his terrifying experience at the 2021 Brit Awards when his girlfriend Roxy Horner collapsed backstage.The comedian, 34, had been hosting the awards ceremony at the 02 Arena in London, when Roxy, 31, had to be rushed to hospital after her sugar levels began dangerously spiking. It was during this hospital trip that the model was diagnosed with Type 1 diabetes, a condition she has since been raising awareness of. Speaking about the scary experience, Jack told The Sun: "We found out [Roxy] had diabetes the night I was hosting the Brits.

Mod Sun’s fans are voicing their disdain for ex-fiancée Avril Lavigne’s new relationship with Tyga.

Lala Kent is setting the record straight on last night’s “Vanderpump Rules” episode.

The “Phineas & Ferb” revival is in good hands.

Comedian Trevor Noah, the former host of “The Daily Show,” has won the prestigious Dutch Erasmus Prize, becoming the first humorist awarded the honor since Charlie Chaplin in 1965, the foundation that selects the winner announced Thursday.

Paris Hilton is adding her voice to the chorus of women speaking out to reclaim their narrative from the media and the public.

Bella Giannulli is following in mom Lori Loughlin’s footsteps, as she stars in the short film, written and produced by filmmaker Emily Singer.«I have always been obsessed with movies, television, and theater. I spent a lot of my adolescence on sound stages and sets watching my mom work, but the thought of pursuing it as a career didn’t cross my mind until I was a teenager,» the 24-year-old tells ET. «At 16, I took my first acting class and that’s when it clicked. I finally felt like I fit in somewhere.

A shoulder to lean on! Megan Fox is thankful for her relationship with ex-husband Brian Austin Green — especially amid her drama with fiancé Machine Gun Kelly.

MindGeek, the parent of Pornhub, the world’s biggest porn site, and other adult entertainment platforms was acquired by a Canadian private equity firm called Ethical Capital Partners, or ECP, for an undisclosed amount.

It was perfectly fine for The View to talk about Hugh Grant and his scrotum resemblance during Thursday’s show. But bringing up his conduct on the Oscars beige carpet was apparently forbidden, angering a portion of its viewership.

A Punjabi and Bollywood actor is recovering from multiple stab wounds today after a man wielding a hatchet and knife attacked him outside a gym about an hour southeast of Los Angeles.

EastEnders viewers have taken to social media to share their theories that Albert Square newcomer Emma Harding (Patsy Kensit) may have ulterior motives as she continues to get close to daughter Lola Pearce (Danielle Harold). As Lola and her husband Jay Brown (Jamie Borthwick) cope with her terminal cancer diagnosis, Emma appears to have been doing her best to make things even more difficult for the pair. Having come back into her daughter's life after years apart, Emma has taken it upon herself to convince Lola that she can't trust Jay.

Def Leppard, suffered a head injury on Monday when he was attacked outside his hotel in Fort Lauderdale, Florida.According to a police report released by the Fort Lauderdale Police Department on Thursday, Allen was outside the Four Seasons Hotel smoking a cigarette in the valet section when the assailant then struck Allen «at a full run,» knocking Allen backward.Allen — who lost his left arm in a car accident in 1984 — subsequently suffered an injury when he struck his head on the ground after being hit.Max Edward Hartley, a 19-year-old Ohio resident visiting Florida, was arrested and charged with two counts of battery, four counts of criminal mischief, and a count of abusing an elderly or disabled adult.Hartley allegedly also assaulted another woman who attempted to come to Allen's aid after he was struck.According to the police report, Hartley allegedly knocked the woman to the ground as well before hitting her while she was down. The woman then tried to escape by running back into the hotel, before Hartley allegedly dragged her by her hair out of the lobby and onto the sidewalk, then ran from the scene of the crime.Hartley was arrested shortly after when security at the Conrad hotel found him allegedly damaging vehicles in their parking garage.Hartley was in Florida for Spring Break, according to police.

Gucci Mane has teased the return of his old rap style from 2006 in a nostalgic Instagram post.The post promoted an upcoming song, saying “06 Gucci back who ready?”Mane recreated the album artwork of his 2005 debut studio album ‘Trap House’ before two five-second-long snippets of the song that will be reminiscent of his old sound.The snippets suggested the trap pioneer still feels like he’s in his prime: “I feel like it’s me in ‘07, ‘08, and even ‘09.”A post shared by Gucci Mane (@laflare1017)The other snippet referred to Gucci Mane boasting about being “hard to kill”, suggestively alluding to his claim of killing Pookie Loc in self-defence in 2005. He rapped: “Still hard to kill/ The last n***a tried/ Go ask him, he didn’t survive.”The untitled track would be Gucci Mane’s second single of the year after the Kodak Black-assisted ‘King Snipe’.Gucci Mane has recently been occupied with running his label, 1017 Records, and building up its roster. The label last year recently released Mane’s ‘SoIcyBoyz’ album series, with its sixth and final instalment being 80 tracks long.

Brianne Howey is pregnant with her first baby!

The date for the 2023 Billboard Music Awards was just announced and Taylor Swift‘s fans are NOT happy with the news.

A horrific murder apparently wasn’t enough for this killer, so he returned to the crime scene and taunted the police…

Kim Kardashian is making the best of a tricky situation.

Guy Lodge Film Critic Trends in documentary-making have shifted radically since Nicolas Philibert’s “Être et Avoir” was a surprise arthouse hit two decades ago: That sweetly observational little film, following the ins and outs of a village elementary school over the course of a year, seems a quaintly modest proposition beside today’s more slickly immersive and narrativized nonfiction breakouts. If times have changed, however, Philibert has not. “On the Adamant,” his first feature in 10 years, finds him once more examining the human workings of a care-based institution from a reserved but compassionate distance, avoiding commentary and editorialization in favor of real-life character portraiture. It turns out to be the right approach for the institution under scrutiny: The Adamant, a day-care center in central Paris for adults with a variety of mental disorders, offering its visitors a range of therapy, education and cultural activity. The human subjects here are both expressive and highly vulnerable, open to the low-key, non-invasive presence of Philibert’s camera, and the film is content to be an undulating patchwork of their everyday moods and moments, rather than anything more strenuously conceptual. Suited to specialist distributors and streaming platforms, “On the Adamant” might not achieve the crossover success Philibert has found in the past, but it’s a warm reminder of his perceptive gifts: A premiere slot in Berlin’s main competition, alongside much sleeker, more formally ambitious fiction fare, effectively welcomes him back to the auteur leagues.

Guy Lodge Film Critic There’s a parched austerity to the landscape of the Australian outback, along with an embedded history of conflict between Indigenous and invading occupants, that makes it irresistibly well-suited to screen westerns. But there’s a loneliness to it, too, a sense that its quiet vastness could swallow you whole and without trace, that lends itself as easily to moody, smoky mystery. Aboriginal filmmaker Ivan Sen has twice before dabbled in the harsh, dry space where those genre possibilities overlap, in his features “Goldstone” and “Mystery Road.” In his latest, most accomplished film “Limbo,” he once more surveys the region with a critical eye, finding a history of racial injustice in its sharp cracks and long shadows. But the genre styling this time has been pushed all the way to stark, monochromatic stylization. This is outback noir — oblique, secretive and as hard-boiled as the ground is hard-baked — and Sen wears it well.

Guy Lodge Film Critic If any writer has ever retreated to a remote, idyllic rural pad with the intention of getting some work done, and proceeded to have a productive and creatively fulfilling time, it has certainly never happened in the movies. Leon, the callow young novelist at the center of Christian Petzold’s canny, many-layered new film “Afire,” is the latest in a long line of onscreen scribes to learn that lesson. But over the course of a hot, rainless summer by the Baltic coastline, the elusiveness of his imagined masterwork turns out to be far from his greatest problem: Writer’s block spills over into bitter social paralysis, exposing every facet of life he doesn’t yet know how to live, let alone write about. All the while, the surrounding woodsy landscape wilts and scorches, the threat of natural disaster lending an urgent pull to this dry, elegant comedy of manners — so dry, in fact, it’s just a breath of wind away from tragedy.

Guy Lodge Film Critic In time, stories like “20,000 Species of Bees” will come to feel as commonplace within the coming-of-age genre as tales of first love or heartbreak: a young girl, unhappy in her skin and at odds with her family, finally recognizes her gender over the course of one pivotal summer, and persuades others to recognize it too. For now, Spanish writer-director Estibaliz Urresola Solaguren’s mellow, softly piercing debut feature joins the likes of Céline Sciamma’s “Tomboy” and Emanuele Crialese’s “L’Immensità” in a select but growing canon of trans or nonbinary childhood studies. Unassuming and meanderingly character-oriented, the film doesn’t assert itself as an issue drama — in large part because, as Solaguren presents her eight-year-old protagonist’s gradual steps toward self-realization, her film doesn’t see much of an issue to begin with.

Guy Lodge Film Critic On stage, drag artist Aphrodite Banks is a femme fatale: Caked in war paint, with a waterfall of braids whipping around her waist, she’s possessed of the white-hot glare and forthright confidence to match her Amazonian height and bearing. Off stage, as Jules, he’s simply femme: that term for gay men who present or express themselves in a more feminine way, too often used as a slur or a dismissal even by their community brethren. (Open up a cruising app like Grindr and see how frequently “no fems” comes up as a requirement.) The former identity connotes swaggering strength; the latter, to many, delicate weakness. How those associations and stigmas battle each other in one man’s body is the driving conflict in “Femme,” a tense, sometimes startling revenge drama from British freshmen Sam H. Freeman and Ng Choon Ping.

Guy Lodge Film Critic Giacomo Abbruzzese’s debut feature is a hazily seductive, frequently dreamlike study of life in the French Foreign Legion, fixated on masculine bodies in synchronized and sometimes violently clashing motion. It is also called “Disco Boy.” You almost certainly wouldn’t choose that subject, tone and title for a film if you didn’t want viewers’ minds to immediately wander to “Beau Travail,” Claire Denis’ seminal Foreign Legion cine-ballet, with its climactic solo number set to a thumping Eurodance classic; even if you somehow made that error, you wouldn’t compound it with electro-scored terpsichorean interludes of your own. Choosing homage this direct for a first feature is a brazen move, but notwithstanding its openly derivative qualities, “Disco Boy” doesn’t want for boldness or surprise — Abbruzzese’s hot, fluxional command of sound and image keeps us curious.

Guy Lodge Film Critic Depending on the state of your own family network, the relationship between the trio of grown siblings at the center of “The Adults” may strike you as intensely, skin-crawlingly familiar or quite desolately alien. Either way, Dustin Guy Defa’s determinedly quiet family-reunion drama seeks to be discomfiting, gradually giving the viewer that hollow, lurching, pit-of-the-stomach feeling that either precedes a dreaded encounter or follows a disappointing one. That might not sounds like a good thing, but in the context of this small, expansively sad film, it is one: From that queasiness comes bristly tension, tautening and deepening what otherwise seems a low-key, low-stakes character study, and eventually a sweet, conciliatory sliver of hope too.

Guy Lodge Film Critic Last November, in a gesture that the actor himself described as “a symbolic, silly thing,” Sean Penn gifted one of his two Academy Awards to Ukrainian president Volodymyr Zelenskyy, to mark his emotional investment in the country as they continue to fight Russia’s invasion — attracting widespread mockery from social media and the entertainment press in the process. That this moment is not included in Penn and co-director Aaron Kaufman’s “Superpower,” a disordered, distinctly Penn-centric account of recent Ukrainian history, counts as one of the film’s few moments of self-awareness. As far as the rest goes, anyone watching this doc right after emerging from a two-year coma could be forgiven for identifying the Hollywood veteran as a key player in the conflict.

Guy Lodge Film Critic Anyone who has spent much time on Film Twitter recently might know that there are two recurring subjects sure to instigate discourse wars between certain moralistic Zoomers and their befuddled elders: on-screen relationships marked by significant age gaps, and on-screen sex scenes between partners of any age, largely condemned by youthful detractors as gratuitous narrative roadblocks. That demographic won’t be seeking out Emily Atef’s film “Someday We’ll Tell Each Other Everything,” a brazenly sensual May-December romance between a teenage ingenue and a middle-aged social outcast, though beyond the festival circuit, this pretty but somewhat dreary mood piece is unlikely to end up on many people’s radars at all.

Guy Lodge Film Critic “The Echo” — or rather, El Eco — is the name of a tiny rural village in Mexico’s Puebla state that sufficiently captivated Mexican-Salvadorean filmmaker Tatiana Huezo into filming it over the course of 18 months, observing its changes in weather, fortune and the temperament of its few, tightly bonded residents in fine, fraught degrees. But there’s more to the title of Huezo’s return to documentary filmmaking — following the major success of her 2021 fiction debut “Prayers for the Stolen” — than a mere marker of place: Examining the unique ties that bind farming families, where everyone’s welfare hangs on the same unkind elements, this exquisitely textured film observes how children’s lives echo those of their parents, repeating for generations on the same constantly inconstant land, until somebody breaks the pattern.

Guy Lodge Film Critic Even before last year’s Supreme Court overturning of Roe v. Wade, a recent international surge in films about abortion rights and the endangerment thereof — from period pieces like “Happening” to present-day portraits like “Never Rarely Sometimes Always” — almost seemed to anticipate such a devastating blow. In America in particular, where talk of abortion access has always been snarled up in extreme religious rhetoric and eternal red-blue division, it has never been a subject to be treated complacently. Urgent and unvarnished, Tracy Droz Tragos’ documentary “Plan C” is an early entry in what might be considered post-Roe cinema, focusing less on pro-choice ideology than on the practicalities of ensuring choice in a system increasingly stacked against the idea.