‘The Burial’ Review: Jamie Foxx And Tommy Lee Jones Lead Rousing David Vs. Goliath Deep South Legal Story – Toronto Film Festival

Story Ave starring Luis Guzman grossed $9.85k in a limited opening at one theater, Quad Cinema, with multiple sold-out shows. The first feature from director Aristotle Torres, which won for Best Cinematography at SXSW (see Deadline review) expands to Chicago and the Bronx next week, followed by LA and additional markets October 13.

Jamie Foxx’s health and love life are both in a great place right now.

Amy Nicholson “The Royal Hotel,” the setting of Kitty Green’s ulcer-inducing thriller, is a sun-baked bar in a rural Australian mining town surrounded by terrain so monotone that Canadian backpackers Hanna (Julia Garner) and Liv (Jessica Henwick) can’t keep their eyes open on the way in. The two young women arrive at their barmaid jobs with a sense palpable disorientation. They’ve quite literally woken up in Oz, and they don’t know the people, the customs, the nicknames for the local ales, or the way out.

Eurovision 2023 star Käärijä has teamed up with Tommy Cash for a new song and video – watch ‘It’s Crazy, It’s Party’ below.The singer became known for his huge Eurovision entry ‘Cha Cha Cha’, and has now returned with an even more intense second effort.“A big dream came true as I got to make a song with Tommy Cash,” he said in a statement about the new song.“I was on vacation after the Eurovision, sitting in a beach chair when I received a DM from Tommy. The song came together very quickly, and ‘It’s crazy, It’s party’ reflects both of our vibes.“Tommy is a top-notch artist, and I’ve learned a lot from him along the way.

TORONTO – Considering the explicit gravity of her previous films, “The Burial” is an unexpected detour for filmmaker Maggie Betts. Likely considered a dramatic comedy by most, the MGM release centers on a 1995 lawsuit where a Mississippi small businessman, Jeremiah Joseph O’Keefe (Tommy Lee Jones), took the Loewen Group, a Canadian funerals services company, to court.

Peter Debruge Chief Film Critic While it’s easy to imagine lawyers screaming “objection, your honor!” to the exaggerated courtroom theatrics of “The Burial,” good luck convincing audiences that this David v. Goliath legal showdown between a small-time Southern funeral home operator and an unethical Canadian billionaire should have played out any other way.

In the realm of road movies, family ties, and the complexities of sisterhood, the Hulu/20th Century Studio offers up Quiz Lady a film that charts a familiar course. Directed by Jessica Yu and penned by Jen D’Angelo, the film boasts an ensemble cast led by the undeniable talent of Sandra Oh and Awkwafina, supported by the comedic prowess of Will Ferrell, Holland Taylor, and Jason Schwartzman.

Released 20 years ago, Freaky Friday is a beloved movie that started a long-lasting friendship between its stars Jamie Lee Curtis and Lindsay Lohan. However, it almost looked very different!

John Hopewell Chief International Correspondent “On the Go,” a spirited, freewheeling road movie capturing the first lead performance in a movie of ‘Elite’ star Omar Ayuso, has clinched its first major sales, selling to Salzgeber for Germany, Austria and Switzerland, and to Cineplex for Taiwan. Paris-based MPM Premium picked up world sales rights to “On the Go” in the run-up to the Locarno Festival where it world premiered in its Filmmakers of the Present section.

EXCLUSIVE: We’re getting an exclusive first look at Paramount+’s Finestkind from Oscar winner Brian Helgeland, starring Jenna Ortega, Tommy Lee Jones, Ben Foster and Toby Wallace, ahead of its premiere Friday at the Toronto Film Festival. The film is set for a November premiere exclusively on Paramount+.

The trailer for Amazon’s Prime Video movie The Burial has arrived.

How can one small business stand up to corporations? It might seem an unlikely question for a funeral home, but even that industry faces these issues. Maggie Betts’ “The Burial” looks at what happens when a small funeral home encounters corporate entities determined to corner the market on death care. The film, premiering at the 2023 Toronto Film Festival, finds a skilled acting duo in leads, Tommy Lee Jones and Jamie Foxx.

Sophia Scorziello editor Jamie Foxx suits up for the latest trial – er, trailer – of Prime Video’s “The Burial.” The court room dramedy, which also stars Tommy Lee Jones, Jurnee Smollett and Alan Ruck, is set to premiere Sept. 11 at the Toronto International Film Festival.

An unlikely pair are taking on big business.

“This fella tried to bully me out of business,” Jeremiah O’Keefe says. “I don’t think I should be expected to stand for it.” His wife reminds him, “You’ve never sued anybody before in your whole life.”

It surprised no one earlier this year when Trent Reznor & Atticus Ross officially came on board to score David Fincher‘s “The Killer.” After all, the pair have scored all of Fincher’s films since 2010’s “The Social Network.” But it surprised audiences at the movie’s world premiere in Venice last weekend when Reznor & Ross’ work didn’t feature prominently in “The Killer” at all.

Numerous clips have been shared online regarding how self-importantly Aaron Sorkin and company took themselves while they were making “The Newsroom,” a show that practically announced itself as the last stand for human rights and journalistic decency in the world. Holding that impossible standard high in its third season is Apple TV+’s expensive hit “The Morning Show,” a program that makes it feel like if morning news in America falls, then the apocalypse is just around the corner.

Jamie Foxx had a beautiful beachy weekend with a new woman in his life! Well, not “new” as it turns out…

Thanks to science fiction, we all have a basic grip on the theory of the multiverse: the idea that there are innumerable parallel worlds in which the chances and choices of the past – the roads not taken, whether by ourselves or the dinosaurs – have split off into alternative stories, endlessly bifurcating into other pasts, other futures that must be peopled, most provocatively, with other versions of ourselves. It is an idea that has proved rich pickings for comic-book adventures, where peril can come from any available universe and there is always a chance of confronting a doppelganger, but German director Timm Kröger has returned to the theory – which dates back to the 1950s – to explore how mysterious, sinister and terrifyingly vast a proposal it really is. This is a theory of everything where everything – that familiar word – is infinite. Where nothing, in fact, is ever going to be “everything.”

Jessica Kiang Imagine that one of Hitchcock’s villains — say, the guy missing the tip of a pinkie in “The 39 Steps,” or the shrink who runs the institute in “Spellbound” — did not simply come from a place of murderous intent but from a different place altogether, perhaps another dimension. Imagine that villain’s supranatural malfeasance backdropped by jagged mountains, captured in black-and-white so crisp it could cut, and widescreen frames so wide whole Alpine ranges fit comfortably inside them. And imagine it all unfolding to a deliberately overpowering score, like Bernard Herrman and Scott Walker conceived a baby during a sonic boom.