‘Dìdi’ Review: Fremont-Set Sundance Movie Recalls Being the Kid Brother in an Immigrant Household

Accomplished filmmaker Bao Nguyen takes us on a trip back to 1985 and the historic recording of one of the biggest charity records of all time, ‘We Are The World’, which united dozens of A-list artists to raise money for the African famine.Produced by Lionel Richie, one of the iconic artists and co-writer of the original song, Nguyen’s film uses archive material and contemporary talking heads (some interviewed in the original studio in which the record was made), including Richie himself.Headed to Netflix one day off of the recording’s 39th anniversary, the film is a nostalgic trip back to the heyday of ’80s music, the year in which the likes of Cyndi Lauper, Prince, Michael Jackson, Huey Lewis, Billy Joel, Journey, Kenny Loggins and more were dominating the American and international charts, and all are included here in some form.

Although they have been around forever, slasher movies are still met with a lot of snobbery from some genre fans. These films are often viewed as nothing more than gratuitous violence with disposable characters, weak plots, and watery visuals. Over the years there has been the occasional innovation, but the sub-genre remains a source of negativity for some. Writer and director Chris Nash seeks to change opinion with In a Violent Nature.As slasher movies go, In a Violent Nature truly is innovative.

As you probably know from this weekend, director/producer Matthew Vaughn is a very chatty man whe’llo reveal quite a few secrets. He already teased that he won’t direct his “Kick-Ass” reboot, but he does have a cast and director seemingly all set and he also revealed that “Deadpool 3” scares him a little bit because it has ideas similar to his “Kick-Ass” movie idea, hmmm.

Gabby was two years old when the Covid pandemic forced the country into a national lockdown. Being an only child, she didn't see any other kids for months.

By now, it should be evident that each passing year brings with it advancements in technology, landing anywhere on an imaginary graph containing the likes of the latest smartphone to a car that can brew a mean cup of coffee. One area that’s been hovering over the whole of humanity for far longer than a need for a house that dictates a grocery list is that of the afterlife; pondering what happens after each and every one of us shuffle off this mortal coil remains, quite possibly, an everlastingly unanswerable question, but for those left behind in the wake of a loved one’s passing, a more pressing matter would be the manner in which one deals with said loss, and how best to move on.

Sundance Film Festival’s lineups can often be dark affairs with edgy shocks, narcotics and strident political talking points. But one of the most soul-satisfying movies to premiere at the 2024 edition features no drug dealers, whistleblowers or bloodbaths. It’s about a sweet 93-year-old grandma who collects marbles and rides a mobility scooter.And, OK, yes she also holds a man at gunpoint.Running time: 97 minutes.

EXCLUSIVE: The Ford Foundation is coming through for documentary filmmakers in a big way.  

Peter Debruge Chief Film Critic Norman Jewison made movies that mattered. “Timing is everything,” the director told me, the one time we met. I’d been enlisted to host a long Q&A with Jewison at the American Cinematheque — and I was more than a little intimidated.

In 2019, Rose Glass announced herself to the world with the phenomenal Saint Maud. The film was an immersive character study of one lonely woman clinging to sanity in the wake of a personal trauma. Audiences loved Saint Maud with a common thread across all reviews being how hard it was to believe that it was only Glass’ feature debut. This year Glass returns with her second film, Love Lies Bleeding, which just debuted at Sundance. Whereas Saint Maud made a star out of lead Morfydd Clark, Love Lies Bleeding is set to do the same for Katy O’Brian.

It's been a big week for Kerry Katona, who went under the knife for a blepharoplasty, a surgery which removes excess skin from the eyelids. And someone who helped her make the decision to go ahead with the operation was a close friend Katie Price, who is no stranger to surgery and has undergone the procedure in the past. Chatting exclusively to OK! just hours after her surgery, which was performed at Pall Mall Medical in Merseyside, Kerry shared: "Katie said to me, ‘Getting your eyes done is a walk in the park,’ and it was actually.There was a slight bit of burning and that was it." “Seeing Katie in the flesh made me want to do it more because she looks amazing.

Jamie Foxx is back and better than ever!

David Schwimmer has never been known for his movies. Perusing the “Friends” star’s film resume is quick — and painful. There’s “Six Days Seven Nights,” “The Laundromat” and “Madagascar 3: Europe’s Most Wanted,” among other screen non-classics.But the actor’s undeniable charisma and uniqueness are finally put to proper full-length use in the demented “Little Death,” which has its world premiere Friday night at the Sundance Film Festival.

Rebecca Rubin Film and Media Reporter It took a lot of time — and hair — to transform Jesse Eisenberg and Riley Keough into Bigfoot. They spent several hours in the makeup chair to don the elaborate prosthetics needed to play two of the eponymous creatures in “Sasquatch Sunset,” a surreal comedic drama that premieres on Friday at the Sundance Film Festival.

Elsa Keslassy International Correspondent Brussels-based company Best Friend Forever has acquired international rights to Lenny and Harpo Guit’s new feature “Heads or Fails,” the duo’s follow-up to Sundance comedy “Mother Schmuckers.” Now in post, “Heads or Fails” tells the story of Armande Pigeon, a queen of shenanigans in Brussels who struggles to make ends meet because she can’t stop gambling on everything, always ending up on the wrong side of luck. When she teams up with Ronnie one night, everything changes – they win it all.

Peter Debruge Chief Film Critic Hailing from the country that gave us such grim social critics as Michael Haneke and Ulrich Seidl (fittingly, the latter serves as a producer here), Vantablack Austrian satire “Veni Vidi Vici” opens with a senseless homicide. It’s a startling scene, no less upsetting than the Scorpio killing that kick-starts “Dirty Harry” — except that in this case, the incident is calibrated as the darkest sort of comedy.

Kate McRae and The Kid LAROI have fans wondering if they are about to become a musical power couple.

A decade-long campaign to bring in safety measures on a road in Oldham where parents 'live in fear or their kids' has finally succeeded. Under Lane, which connects the Saddleworth village of Grotton to Mossley via Lees road, has long caused anxiety because of daily speeding incidents.

Chilean filmmaker Felipe Gálvez’s “The Settlers” is an incredible film by any measure. Still, it’s even more astonishing to consider when you see it as his directorial debut, which he wrote as well, with Antonia Girardi in collaboration with Mariano Llinás.

Owen Gleiberman Chief Film Critic The feelings some of us have about the Sundance Film Festival border on the religious. I don’t mean that we’re a cult; I mean that the force that Sundance represents is a religion worth believing in. By the end of the 1980s, the action/comedy/horror/fantasy grind of Hollywood cinema had become bloated and exhausting.

Caroline Brew editor SPOILER ALERT: This story contains minor spoilers for “Lift,” now streaming on Netflix. From “The Italian Job” to “The Fate of the Furious,” F. Gary Gray is no stranger to heist movies.