‘Love Machina’ Review : Doc About a Robotic Bust Becomes a Portrait of the Couple Who Created It

“BS!” exclaims Bryce Dallas Howard’s spy novelist Elly Conway when she learns the real identity of the titular secret agent in “Argylle.” For once in the film, her character’s savant-like gift for understanding exactly what the audience should feel tracks. Here, that’s disbelief tinged with disappointment.

Love Island viewers have labelled Mitchel Taylor a "child" after he became embroiled in an explosive row with Anton Danyluk.Tensions between the pair flared after Anton suggested that Mitchel was in the villa for "clout" rather than for a second shot at love. Mitch was less than impressed when Anton's comments made their way back to him, and confronted him with: "You are talking to Lib behind my back going against me and it's not really bro code" To which Anton fired back: "There is no bro code.There is right and wrong...I'm telling her my opinion." To which Mitch told him to keep his nose out of his business. Not backing down, Anton replied: "If your girl comes crying to me asking for advice I will give her my advice.

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

Owen Gleiberman Chief Film Critic I will never forget the first time I saw Devo. It was October 14, 1978, and my college roommates and I were watching “Saturday Night Live.” The band, which I had never heard of (I would guess that was true of 98 percent of the people watching the show), came on in their yellow jumpsuits, stiff and mechanical, swiveling like angry androids as they performed their brutalist robo version of “(I Can’t Get No) Satisfaction.” When the song ended, one of the band members shot up his hand in what looked kind of like a Hitler salute.

True Detective fans are speculating whether season four will see the return of one of the series’ most well-known characters, following some clear links between the different seasons.The fourth instalment in the crime drama series, titled True Detective: Night Country, aired earlier this month on HBO. Starring Jodie Foster in a lead role as Detective Liz Danvers, who is investigating the disappearance of eight men from an Alaskan research station, critical reviews of the series have been largely positive.After the second episode of the latest series aired on Sunday (January 21) some fans are beginning to notice links to the first season of True Detective, which starred Matthew McConaughey and Woody Harrelson and premiered in 2014.In the latest episode of True Detective: Night Country, Fiona Shaw’s character, Rose, is led by a mysterious presence to some missing bodies in the snow.

bringing up “Twilight” now that Stewart has been an Oscar nominee, however we first learned in the vampire saga that the actress does infatuation very well. She effortlessly gives off an “I’d die without you” aura, and there is a tractor-beam power in her stares. Behind O’Brian’s wild eyes, meanwhile, is a person who could either kiss you or brutally stab you to death.

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.

Todd Gilchrist editor Although it isn’t structured any differently from dozens of other cradle-to-grave documentaries about artistic luminaries, “Luther: Never Too Much” sheds light on much more than just the life and career of R&B singer Luther Vandross. Drawn largely from interview and performance footage of Vandross over his almost 40 years in entertainment, and bolstered and contextualized by retrospective talks will collaborators and confidantes, director Dawn Porter’s film exposes some uneasy truths about the music industry and the media we may now know, but whose seeming ubiquitousness at the time he was alive may be difficult to fully comprehend.

At first glance, “Love Lies Bleeding” might look like another Americana-steeped tale of lovers on the run. But a look beyond its sleek hardbodies reveals that director Rose Glass has once again made a monster movie, albeit one of a different character than the spiritual possession in her scorching debut “Saint Maud.” Here, Glass finds a Gothic-tinged tale of passion and pride burning brightly amidst the embers of the eighties.

Addie Morfoot Contributor In 2013, Angela Patton gave a TEDWomen talk that described a father-daughter dance for incarcerated dads and their daughters. That talk was viewed over a million times and inspired the documentary “Daughters,” which has its world premiere Monday at the Sundance Film Festival. In the film, Patton, who in the past decade has helped arrange approximately 15 Daddy Daughter Dances across the nation, and co-director Natalie Rae follow four young girls preparing for the event with their fathers in a prison in Washington, D.C.

Owen Gleiberman Chief Film Critic There was a time, in the ’90s, when indie film noir thought it was being hip by imitating the trappings of ’40s thrillers ­— the dark shadows, Venetian blinds and “slinky” femme fatales. But a true noir never really looks back; it’s always pushing forward, toward fresh new varieties of desire and dread. “Love Lies Bleeding” is like that.

Love Lies Bleeding is an intense, queer, unconventional love story between two unstable people. Directed and written by English filmmaker Rose Glass, and starring Kristen Stewart, Katy O’Brian, Ed Harris, Dave Franco, Jena Malone, and Anna Baryshinkov, the film explores the destructive nature of relationships marked by strong performances and a visually arresting narrative.

“The Greatest Night In Pop” is so entertaining and eminently watchable, and it’s as simple as that. Directed by Bao Nguyen, the acclaimed filmmaker of the Bruce Lee doc “Be Water,” the already-engaging subject matter doesn’t hurt: nearly 50 of the top American music artists in the world all in one room, recording a soon-to-be global hit single.

Siddhant Adlakha Between fascist propaganda, harassment campaigns, AI-generated Google results, and the collapse of digital publishing, it’s hard not to think of the internet as a wasteland. “Ibelin,” however, is a defining film about the positive side of the modern web experience, and connections forged online.

Peter Debruge Chief Film Critic Writer-director Sean Wang is tough on himself in “Dìdi,” a fresh and funny summer-before-freshman-year flashback that provides an Asian American angle on that Sundanciest of indie-film genres: the semi-autobiographical coming-of-age movie. In what feels like a cross between Bing Liu’s “Minding the Gap” and Jonah Hill’s “mid90s” — courtesy of the young director’s teenage desire to make skate videos — Wang serves up some of his most wince-inducing adolescent memories, from an aborted first kiss to the realization that he’d been trying to downplay his Taiwanese heritage.

Katherine Heigl recreated a key scene from her 2008 movie “27 Dresses” at a 2024 Emmys after-party in LA on Monday night.Heigl, 45, who attended the ceremony as part of a “Grey’s Anatomy” reunion, took center stage in her long Reem Acre red gown at the after-party by swinging her hips and dancing solo to Elton John’s 1974 hit song “Bennie and the Jets.”In “27 Dresses,” in which she co-starred opposite James Marsden, Heigl’s character, Jane, and Marsden’s Kevin bond over their love for “Bennie and the Jets.” They then get up on a bar and sing along to the tune — leading the crowd in a jumbled sing-along (Jane is barefoot) and ending the iconic scene by kissing each other.Earlier in the scene, Jane and Kevin totally mix up the song’s lyrics — Jane says “She’s got electric boobs” instead of “She’s got electric boots” — adding to the couple’s joy in their barroom.Heigl’s dance Monday night at the Emmys after-party was posted on Instagram by the party’s DJ, Benjamin Walker, who added: “I love a good rom-com so when I saw @katherineheigl, I knew IMMEDIATELY there was one song to end the night and one song only … #IYKYK #27dresses.”“27 Dresses,” which also co-starred Malin Akerman, Edward Burns and Judy Greer, was directed by Anne Fletcher and revolved around Jane, who’s “always the bridesmaid, never a bride” and has been in 27 weddings wearing different dresses.Eventually she falls in love with Kevin after he writes an article about her experience as a professional bridesmaid.The movie’s main characters reunited for an Entertainment Weekly photo shoot in 2019, and said they would be interested in doing a sequel, should the opportunity arise.“I want to do a sequel,” Heigl said at the time.

Rebecca Rubin Film and Media Reporter Netflix has acquired “Ibelin,” a documentary that premiered at the Sundance Film Festival. Benjamin Ree (“The Painter and the Thief”) directed the film, which centers on a Norwegian gamer named Mats Steen, who died of a degenerative muscle disease at the age of 25. According to the official logline, “his parents mourned what they thought had been a lonely and isolated life, when they started receiving messages from online friends around the world.” “Many of my favorite documentary films and series of all time have been distributed by Netflix,” Ree said in a statement.

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.

Peter Debruge Chief Film Critic If Ann Landers had it right, and hanging on to resentment amounts to letting someone you despise live rent-free in your head, then “Your Monster” is what happens when you kick open the door and let those feelings run amok. Drawing from personal experience, writer-director Caroline Lindy delivers a clumsy metaphor of a movie, in which a promising young actor named Laura Franco (“In the Heights” star Melissa Barrera) has her Broadway dreams derailed by a cancer diagnosis, only to discover a ferocious inner strength, courtesy of the beastly creature she finds hanging around her childhood home.

Getting impatient for Kenneth Lonergan to get his act together and make another great movie? Ghostlight should scratch that itch and more besides, being a funny, intelligent and yet at times almost unbearably sad movie that takes a searing family tragedy and spins it into a riveting redemption story that, while a little predictable in the more familiar second half, somehow never hits a false note. Although technically an ensemble piece, with a lovely cast of supporting players whose thespian antics will ring a bell with actors of all generations, it rests squarely on a powerhouse performance from Chicago stage veteran Keith Kupferer, whose career must surely about to enter a whole new phase, perhaps to the fill the void left by the late, great Brian Dennehy.