Sundance Film Festival Latest Celebrity News & Gossip

Muhammad bin Nayef Counseling and Care Center was founded by its namesake Prince Muhammad bin Nayef, as a pillar of Saudi Arabia’s new method for dealing with terrorism. Once released from Guantanamo Bay, prisoners — not unlike American convicts — tend to relapse back to their old, destructive behaviors.

hits Hulu March 4, will more likely make you hurl than send you racing for a cold shower.The title doesn’t describe the movie very well. “Fresh” is a familiar and somewhat successful horror film in the socially conscious mold of “Get Out.” There are shocks and suspense. When the twist — which will not be revealed here — arrived, I let out a loud expletive.

Equipped with a hazy aesthetic and archival footage galore, “Nothing Compares,” Kathryn Ferguson’s documentary about the early stardom of controversial singer-songwriter Sinéad O’Connor, celebrates the Irish artist’s commitment to shattering industry trends but ultimately fails to break away from traditionalism itself. “Nothing Compares” presents O’Connor as a pioneer, an artist whose foremost rationale for pursuing a career in music resided in her desire to craft art for the sake of social reform by way of personal catharsis.

Dressed all in black, Lilas Mayassi and Shery Bechara stand outside a restaurant while staring down at Mayassi’s phone, smiles painting their faces. The bandmates giggle to each other as Mayassi shows Bechara pictures of a woman she met at a nightclub the previous evening.

Playing in the Premieres section of this year’s Sundance Film Festival, “Sharp Stick,” produced during lockdown, was conceived by Lena Dunham and the film’s director of photography, Ashley Connor, starting from the base elements that were already available to them — namely a set of actors and locations. But while many quarantine-made films have appeared to embrace a “will this do?” aesthetic, implicitly relying on the audience’s sympathy and compassionate understanding to fill gaps and forgive compromises in production value, Dunham has instead created a work of art that comfortably fits within and plays with the limitations imposed by the pandemic.

Seemingly a rejection of monocausal history in that it twists the firehose nozzle all the way open to spray from any and every direction, “Riotsville, U.S.A.” is no less problematic from where it sits on the other side of that theoretical chasm. Grabbing at anything that conforms to the half-cooked epiphanies the documentary has from moment to moment, the path of the film’s discussion weaves through about a dozen provocative ideas without betraying much of an attempt to critically analyze any one of them.

Society teaches you to be polite. If someone offers you an oatmeal cookie, for example, you’re probably going to say, “Thank you,” and take it, even if you really dislike those chalky, unsatisfying discs.

I always see the nannies when I take my kids to the park. They’re hard to miss, over there on the park benches with the strollers and bags of snacks, gossiping and swapping war stories and strategies and shouting out admonishments to the cherubs they’re there to supervise.

One part autobiographical exorcism, two parts social warning, and a double-serving of real-world body horror, “Happening” combines just a handful of elements into a potent force. A bracing lead performance paired with patient yet informative directing accomplishes what few versions of this story could: it allows the story to tell itself without any heavy-handed monologuing or obsequious showboating.

“Mom, do you think I can be political?” asks teenage YouTube musician Ziggy Katz (a wide-eyed Finn Wolfhard) to his uptight mom Evelyn (the consistently stellar Julianne Moore). There’s no shortcut to sounding smart, she replies, you have to do the work.

“Jeen-Yuhs” premieres at the 2022 Sundance Film Festival.The mercurial rapper, 44, took to Instagram Friday morning, boldly declaring: “I’m going to say this kindly for the last time. I must get final edit and approval on this doc before it releases on Netflix.”Appearing to allege he’s been locked out of the creative process, West continued: “Open the edit room immediately so I can be in charge of my own image.