Sundance Review: Kitchen-Sink Whimsy In Charlotte Regan’s ‘Scrapper’

Tim McGraw, and the star had fans absolutely swooning over his tribute to his wife, Faith Hill, in honor of Valentine's Day.The singer looked back at one of the most special, and defining, moments of the very first years of their relationship for the special day.Tim took to Instagram to share a video in which he is reacting to watching him and Faith's first ever music video together, for their 1997 ballad It's Your Love.WATCH: Tim McGraw reveals sweet surprise for his daughtersMORE: Kelly Ripa wows in skin-tight green wetsuit in honor of Philadelphia Eagles for Super BowlAs soon as a clip from his fellow country star wife came up on his screen, the first thing he did was compliment her, saying: "Wow! How beautiful is my wife in this video, my gosh."He then looked back on the special moment, adding: "This is our first music video together, our first song we ever did together," and even admitted that making videos with Faith can be intimidating.MORE: Was Rihanna's son at Super Bowl 2023? Her family life revealedTim explained: "I'm always intimidated making videos with Faith just because she just is so beautiful, I mean… She just – the camera loves her," even adding: "I always call them 'the beauty and the beast' videos."A post shared by Tim McGraw (@thetimmcgraw)Tim couldn't help but gush over his wife of over twenty-five yearsHe further said: "That's always been a special song for us, and it will always be a special song to us."MORE: Travis and Jason Kelce's sad family history revealed ahead of Super BowlMORE: Goldie Hawn looks tiny alongside supertall grandson for family reunion"Forever grateful for this love and the memories.

Julia MacCary editor “Bridgerton” fans, rejoice! Netflix has released a premiere date, full trailer and first-look images for the upcoming prequel series “Queen Charlotte: A Bridgerton Story.” “Queen Charlotte: A Bridgerton Story” follows Charlotte’s rise to power and her monumental marriage to King George. The trailer invites viewers to “the story that started it all,” showing glimpses of Charlotte and George’s romance. At a virtual event on Valentine’s Day, showrunner Shonda Rhimes was joined by cast members Golda Rosheuvel (Queen Charlotte), India Amarteifio (Young Queen Charlotte), Corey Mylchreest (Young King George) and Arsema Thomas (Young Lady Danbury) to talk about the new series, its themes, actors’ inspiration and its relationship to the “Briderton” universe. The event also featured taped messages from Adjoa Andoh (Lady Danbury) and Ruth Gemmell (Lady Violet Bridgerton).

Dry Cleaning have announced a new EP called ‘Swampy’, out March 1 – pre order/save here.The new project will comprise two previously unreleased tracks, remixes and demos, serving as the follow-up to the band’s 2022 LP ‘Stumpwork’.Alongside the announcement, the London quartet have released new tracks, ‘Swampy’ and ‘Sombre Two’, which you can listen to below.“These two songs were recorded in the Stumpwork sessions and they feel like good companions to us,” the band said in a statement. “They share a dusty, desolate and spacey atmosphere.

Carrie Underwood loves to share snippets of her life online every now and then, and the singer delighted fans on Sunday when she revealed that her family had expanded!The 39-year-old and her husband Mike Fisher have welcomed a rescue dog named Charlotte. Taking to Instagram, Carrie shared adorable snaps of the pup, writing: "Meet Charlotte 'Charlie' Nilla Fisher…newest member of the family!"WATCH: Carrie Underwood reveals her very healthy daily lunch choice while on tour She continued: "I met her in Charlotte when the lovely people at @pincdogrescue brought some puppies to the venue to make us all smile.

Why do we always remember the arguments? If there’s a family spat at the Thanksgiving table, it’ll be remembered long after grandma’s gravy recipe is lost to the ages.

Some cinematic questions remain eternal. What’s in the briefcase in “Pulp Fiction“? What did Bob whisper in Charlotte’s ear at the end of “Lost In Translation“? And was there enough room on that floating door for Rose and Jack to survive in “Titanic“? As the film approaches its February 10 theatrical rerelease, James Cameron looks to put that mystery to bed in a new National Geographic special, “Titantic: 25 Years Later With James Cameron.” READ MORE: ‘Titanic’ 25th Anniversary Re-Release Trailer: James Cameron’s Oscar-Winning Epic Returns To Cinema In February EW has a breakdown of four different scenarios Cameron uses to recreate his film’s tragic scene and speculate if Jack indeed had a chance to avoid his chilly fate.

Although trans rights are now the subject of a simmering culture war in America and the U.K., that conflict is largely predicated on the increasing visibility of trans women at a time where self-ID is controversially becoming the norm. Stories of trans men, however, tend to go under the radar, and this remarkable New York-set debut from Chilean-Serbian director Vuk Lungulov-Klotz goes some way to redressing that imbalance. Featuring a pitch-perfect performance from Puerto Rican/Greek actor Lío Mehiel, so far mostly known for the Apple show WeCrashed and a number of shorts, U.S. Dramatic Competition entry Mutt feels like an important but — for reasons about to be explained — perhaps interstitial film in the history of LGBTQ+ cinema, being fully cognizant of the fact that it is set and was made in a between-time that reflects the lead character’s existential sense of limbo.

The Accidental Getaway Driver is one those rare, where-did-this-come-from films that every so often pops up to invigorate festivals and adventurous viewers on the lookout for something fresh and different. Generically, this is nothing new, a low-down gritty crime drama populated by cars, guns and desperate characters. But the movie, which premiered in the U.S. Dramatic Competition at the Sundance Film Festival, benefits considerably from being set in the rarely, if ever, filmed Little Saigon section of Orange County south of Los Angeles; a highly unlikely cast dominated by an octogenarian not looking for trouble; and, crucially, a noirish nocturnal milieu that injects the action with dread, even with a final stretch doesn’t really pay off with the kind of tension you expect from a crime drama. However, despite its lack of an exciting climax, this is a film that draws you in and offers sufficient satisfactions to attract genre aficionados and others keen to partake of some good new brew in an old bottle.

Genre comedies are a mixed bag, and for every cult gem like 2010’s Tucker and Dale vs. Evil, the Sundance Midnight strand has been known to throw in a bomb. In its opening moments, Andrew Bowser’s fourth feature threatens to be such a write-off, with achingly broad comic strokes and jokes that don’t really land as Bowser introduces his leading man: himself. The awkward slapstick tone is reminiscent of very early Peter Jackson—notably his wonky debut, Bad Taste—but once the story gets underway, and other characters join the frame, things become demonstrably better. To such a degree that the style and production values mature faster than Jackson’s did, blossoming into a likable romp reminiscent of the director’s first real studio movie, The Frighteners (1996).

There’s a certain type of dystopian sci-fi that turns up in Sundance every few years, a kind of ‘EPCOT on acid’ that causes a big ripple then rapidly fades away (see Escape From Tomorrow, a paranoid conspiracy thriller shot, guerrilla-style, in Disneyworld). Divinity, screening in the Next section, fits the bill exactly, a quirky mad scientist movie that, for all its attempts to be arty, darkly satirical and out-there, ends up as a kind of lo-fi companion piece to Don’t Worry Darling in its not-so-subtle skewering of American consumerism. Shot in grainy black and white, its chief draw is Stephen Dorff as you’ve never seen him before, and will likely never want to see him again.

Landscape with Invisible Hand is a unique story of survival under economic occupation of the Vuvv, an extraterrestrial race who aim to dominate humanity in every way except violence. Written and directed by Cory Finley (Bad Education, Thoroughbreds), the innovative, poignant film explores how humanity might handle an Earth-altering alien occupation and the resulting clash between class and commerce.

For anyone wondering how a film called Crazy Rich Asians ever came to be the poster child for diversity and inclusion, Randall Park’s humorous rebuttal is, almost literally, that film’s poor distant relation. Adapted from a comic book rather than a novel and with a cast of character actors rather than stars, Shortcomings even seems to admit its modest production values in the title. But for adventurous audiences, this rough-edged indie is a refreshing antidote to the horrors of the factory-farmed studio romcom, featuring a caustic male thirtysomething Asian-American lead whose messy love life should ring bells right across the age, gender and culture divide.

Breathing fresh life into the rom-com genre, Raine Allen Miller’s Rye Lane is a delight. Premiering at Sundance, it pays affectionate tribute to its forebears while injecting a youthful British energy reminiscent of seminal TV shows such as Skins. This is a sunny, irreverent take on life and love, following two strangers over the course of one eventful day, and more — though it’s at its most exhilarating when playing out in real time, Before Sunrise-style.

It is always a time for celebration whenever we get a new Nicole Holofcener film, and that is especially true of her latest one that stars Julia Louis-Dreyfus. You Hurt My Feelings which had its premiere Sunday night at Sundance, the pair’s second collaboration, with 2013’s Enough Said co-starring the late James Gandolfini being the first. In that film, and other Holofcener writing/directing efforts like Friends With Money, Lovely & Amazing, and perhaps my favorite, Please Give (not to forget the wonderful Can You Ever Forgive Me? which she co-wrote), they always focus on the quirky nature of our relationships with others in our lives. Holofcener just has always had a knack for getting right to the heart of things, often with a witty and wise, and truthful touch.

Brendon (Algee Smith) isn’t a bad kid. An aspiring artist living in Los Angeles, in his last month of high school, the pressures of his daily life, however, are beginning to overwhelm him.

EXCLUSIVE: Searchlight Pictures is in final talks to acquire Theater Camp, in a worldwide deal that will land in the $8 million range, with a theatrical release guarantee. Directed by Molly Gordon and Nick Lieberman, the film stars Gordon and Ben Platt as longtime best friends who return to an upstate run down theater camp which is imperiled when its founder lapses into a coma due to an unfortunate strobe light incident. Her son takes over, and he tries to stave off foreclosure even though he initially has little interest in greasepaint and the boards. The project grew out of Booksmart, another Gloria Sanchez production. Elbaum & Ferrell produced with PictureStart’s Erik Feig (who financed), Samie Kim Falvey, Julia Hammer, Ryan Heller, Maria Zuckerman, Noah Galvin, Gordon, Lieberman and Platt.

There is talent to spare in Alice Englert’s feature directorial debut, Bad Behaviour, and that is its biggest problem — it’s all over the place, rather than being channeled and controlled in productive ways. A fine cast, intriguing avenues of exploration, numerous artistic outbursts and a pronounced interest in the unusual are all to be found in this compulsively creative work, but the elements are not seized and shaped in ways that might have ultimately produced a coherent and satisfying whole. This first film gumbo by the eminent Jane Campion’s daughter has enough going for it to suggest that Englert has genuine talent behind the camera, but clarity of purpose is rather lacking.

JG Ballard meets Ben Wheatley in Brandon Cronenberg’s latest. Which is a bit of a surprise, since the two have already met: in 2015, in the latter’s dystopian satire High-Rise. There are (literal) shades of Nicolas Winding Refn, too, and a healthy smattering of body horror inherited from the old man, whose filmography Cronenberg Jr. raids to make an unlikely fusion of Videodrome and A History of Violence, two very opposing milestones in his father’s career.

Premiering in the World Dramatic Competition, Adura Onashile’s debut feature Girl takes place in Glasgow, Scotland, but, given its themes of identity and belonging, this tender story of a refugee mother and daughter might as well be happening anywhere. Though the production values are exceptional for a low-budget British movie, there is also the sense that, by leaning into her restrictions, Onashile has found an interesting way to tell her story, taking us into the claustrophobic, fishbowl lives of these two loners so that it is the outside world that seems strange and ‘other’ to us whenever we are faced with it.

Based on one of the most sensational and much-discussed short stories of recent times, which was heralded as the most-read story ever to appear in The New Yorker, Cat Person is a disarmingly creepy film with a disturbing edge that will surely trigger further discussion about contemporary dating and romantic protocols. Years ago, a little film like this would have found a modest but loyal following among young audiences. Now, however, its forthright presentation of the pitfalls of flashing yellow lights where male-female relations are concerned should make this a must-see and a subject of hot discussion at least among teens and young adults.