‘The Outrun’ review: Saoirse Ronan is the year’s first Oscar contender

Twenty years ago, Ondi Timoner’s rock doc “Dig!” the wildly entertaining, sensationalistic portrait of the dysfunctional indie rock bands the Brian Jonestown Massacre and The Dandy Warhols and their strange love/hate relationship and rivalry, was a smash hit, at least critically, winning the Sundance Prize Grandy Jury Prize for Best Documentary and squarely landing the filmmaker on the map.

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.

Filmmakers have parsed the zombie genre from seemingly every angle possible. George A.

Filmmaker Asmae El Moudir, making her feature directorial drama, starts her non-fiction film “The Mother Of All Lies” as a modest family chronicle—an elevated home video of sorts. It is soon clear, though, that she has much more on her mind because the actual subject of her inquiry is the collective amnesia around a seminal event that changed Morocco forever, the 1981 Casablanca bread riots.

Some movies are Irish. “Kneecap” is Ireland.

“We Are the World” was a once-in-a-generation meeting of musical giants when it was recorded Jan. 28, 1985 — and released two months later on March 7 — to benefit African famine relief.Anyone who was anyone in music at that moment — a who’s who of legends, including everyone from Stevie Wonder, Diana Ross and Bob Dylan to Billy Joel, Tina Turner and Bruce Springsteen — showed up to support the cause.Written by Michael Jackson and Lionel Richie and produced by Quincy Jones and ’80s hitmaker Michael Omartian, the single sold a whopping 20 million copies.

A formally rigorous and free-associative dive into a decade’s worth of political fighting in the Congo, from roughly 1955 to 1965, Johan Grimonprez’s “Soundtrack to a Coup d’Etat” is a fascinating and sprawling historical overview. Eschewing the usual mix of contextual talking heads, the Belgian filmmaker and multimedia artist instead adopts its narrative approach from the jazz that flows freely throughout the film and helps frame the political struggles of the Congo.

It starts innocuously enough. “Krazy House,” the English-language debut of Dutch filmmakers Steffen Haars and Flip van der Kuil, launches with a ‘90s family sitcom parody that ribs their cheese and cringe.

China began loosening its one-child policy in 2015 until finally, in 2021, it abolished all restrictions on the number of children a family could have. Young Chinese filmmakers are beginning to grapple with the fallout of those prior decades in new fiction films that demonstrate how the Chinese family unit has been irreversibly transformed.

Every so often, a film comes along that, as if out of nowhere, leaves an unexpected impression and a need to find a moment to take in all that was witnessed fully; it’s a phenomenon that can come from any genre, any type of project, any filmmaker or subject, from battles in a galaxy far, far away to the intricate life story of a media tycoon. Sometimes, the smallest forms of art end up being the most effective, with “Sugarcane” a perfect example of how to draw in an audience to the film’s powerful message with moments as shocking as any entry into the world of horror.

When the cast list was announced for Greta Gerwig’s “Barbie,” one name was left out that seemed to shock people—Saoirse Ronan. No, not because Ronan’s career made her an obvious choice to star in the film.

told People magazine at Sunday night’s Sundance Film Festival premiere of the new documentary, “Super/Man: The Christopher Reeve Story.““And what sticks with me most,” he said, “was after that incredible warm welcome and that very long standing ovation that he received, his introduction — he followed it up with a wonderful speech about how cinema and movies are at their best when they not only entertain, but they inform and educate and address issues.”Among those in the audience applauding the “Rear Window” actor that night were Tom Hanks, Quentin Tarantino, Brad Pitt, John Travolta, Meryl Streep, Jim Carrey and Nicolas Cage.Reeve also remembered how clips from movies including “Coming Home” and “Terms of Endearment” addressed important human issues.“So that’s always stuck with me,” he told People.

An exploration of the generational trauma surrounding the “stolen generations” of Aboriginal children by the Australian government, Jon Bell’s feature debut “The Moogai” fits all the criteria of what we would, perhaps pejoratively, describe as “elevated horror.” A fraught term, and one that would need more than the length of this review to dive into, it nevertheless seems apt for a film that so blatantly makes its subtext into text.

Barbie.The film adaptation of the iconic toy franchise was released last year to huge acclaim and box office success, becoming the highest-grossing movie of the year.Ronan has previously worked with Barbie director Greta Gerwig, leading her two previous films Little Women and Lady Bird.Speaking to Variety, the actress addressed Timothée Chalamet‘s recent claim that he and Ronan were set for cameos in Barbie that never came to fruition, revealing that she was set to play a Weird Barbie alongside Kate McKinnon.“I don’t know what he was going to be, but I was definitely going to be a Weird Barbie,” she said. “I don’t know how to take that.

shoes were the stars of her look at .As 2024 comes in hot with award shows and red carpet events, many celebrities are parading around the this weekend. One notable attendee is , whose styling for the event defined .

Kobi Libii’s work on the sadly short-lived Comedy Central show “The Opposition with Jordan Klepper” always tended toward the confrontational. By donning the guise of right-wing media provocateurs, he highlighted the absurd internal contradictions of ideological hardliners.

Saoirse Ronan is opening up about her scrapped Barbie cameo!

Saoirse Ronan is stepping out to promote her new movie.

There’s commitment to the bit, and then there’s David and Nathan Zellner. The brothers’ latest film “Sasquatch Sunset,” billed to Sundance audiences as only “a year in the life of a singular family,” makes good on the filmmaking duo’s long desire to make a film about the legend of Bigfoot.

“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.