The Nightingale Review: Aussie Revenge Tale Pulls No Punches

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Its instructive to point out that The Nightingale is not for the faint of heart. Theres horrific violence abound; at one point early on, a rapist violates his victim while her baby screams in his ear. But in no way is this powerhouse another treatment of male violence filtered through an exploitaive male gaze. In her second film, after 2014s haunting The Babadook, Australian writer-director Jennifer Kent creates a womans revenge tale fueled by a righteous anger at the evil men do. Theres not a whit of audience coddling. Youve been warned.

Set in the harsh 1825 Tasmanian Outback, the film stars Aisling Franciosi the Italian-Irish actress best known as Game of Thrones Lyanna Stark as Clare, a 21-year-old Irish convict. Shes been sent to this remote penal colony of Van Diemens Land and enslaved by Lieutenant Hawkins (Sam Claflin), a British officer and boot-and-polish sadist. His slow rise in the ranks is a consistent sore point. So he takes out his frustration by brutalizing those in his charge, from underlings to prisoners. That most definitely includes Claire.

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At first, Hawkins is content to make the young woman his personal songbird, given that Clare sings like a nightingale while she serves him food and drink. And then the screaming starts. Claflin, the blond dreamboat Finnick Odair in The Hunger Games series, plays this colonial monster without dropping his charm and good looks, which makes him doubly scary. Its a bold gamble of a performance that pays off. Hawkins wears a surface sanity in public; he desperately wants that promotion. And its Clares hope that the pressure will persuade him to set her free, along with her husband Aidan (Michael Sheasby), a fellow convict, and their infant daughter.

When her dream of liberation is brutally squashed, Clare vows revenge. Thats when Kent and the splendid cinematographer Radek Ladczuk (shooting in the square-shaped, old-school Academy ratio) build a historical story of vengeance that shakes you to your core. The Nightingale extends from the tale of one woman in pursuit of a male predator to a broad condemnation of a system that exploits women and the indigenous people of Tasmania, all the while detailing how their world becomes one.

Clare chases Hawkins into the wilderness on her husbands unsteady horse, her trauma often reducing her to a fevered dream state that tests her survival at every turn. As a guide, she hires an Aboriginal tracker, Billy (a superb Baykali Ganambarr), who is reluctant to work for this half-crazed, racist woman who is likely to get him killed. Ganambarr, a dancer in an extraordinary acting breakthrough, builds a character whose grudge against the British begins to match Clares own. Watching the mutual hostility between these two antagonists soften into a fragile bond gives the film a fierce hold on viewers, and Kent never loses sight of the psychological wounds that fester underneath Clares odyssey. Its a shame that she diffuses the force of her storytelling with too many false endings. But as a devastating deconstruction of the complex nature of one womans retribution, The Nightingale is peerless.

Best TV to See in September 2019: Country Music Doc, The Deuce, Walton Goggins in The Unicorn

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Remember when September was the big month for new TV programming? (Gather round, children, and let Grandpa tell you about the days when there were only three networks!) Yes, the traditional pilot season is once upon us, which means laugh-tracked comedies, curious cop shows and Lost-like mysteries are once again upon us. Also on deck: Ken Burns delves into an august tradition of American music; a documentary looks at an icons impact on sport and culture; and an under-seen triumph returns to HBO with meticulous period recreations intact. Here are the sitcoms, procedurals, and other future Ill-binge-this-once-its-on-a-streaming-service favorites hitting the tube this month.

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American Horror Story: 1984 (FX, Sep. 18th)
Jocks in crop-tops, hair several stories high, New Wave synth music on the soundtrack it must be the Eighties on Ryan Murphys unstoppable horror anthology. He pays homage to cabin-in-the-woods slasher movies with the latest season, with the summer camp setting specifying the pool of references to Sleepaway Camp and its ilk. A cast of unsuspecting, nubile teens, including Murphy regulars Emma Roberts and Billie Lourd (along with Ryan TV newcomers DeRon Horton and Olympic skier-turned-actor Gus Kenworthy), will get hacked to bits by a masked assailant, but this being American Horror Story, there has to be more to it than that. Though taut midriffs and intermittent stabbings is, to be fair, plenty.

Country Music (PBS, Sep. 15th)
Americas preeminent longform-doc historian covered jazz in 2001; now Kens Burns is turning his sights on the other purely American genre of music. Country gets the full Burns approach with a top-to-bottom account of its formation, its social import, and its legacy in the present day. With an avalanche of rare preserved footage, exhaustive research, and color commentary from such luminaries as Garth Brooks, Loretta Lynn, and Willie Nelson, Burns has accomplished another herculean feat of posterity-building. He establishes a public record of all that his chosen topic means to the people at its center joy, heartbreak, hope, and everything in between.

The Deuce, Season 3 (HBO, Sep. 9th)
David Simon and George Pelecanos porn epic jumps ahead into the Eighties for its final season, when videotape revolutionized the industry by slicing production costs. Rising director Candy (Maggie Gyllenhaal) continues to gain in legitimacy, while sleazeball brothers Vincent and Frankie Martino (James Franco and James Franco, respectively) do the opposite as their business enterprises grow shadier and shadier. Porn starlet Lori (Emily Meade) goes mainstream as a video vixen on the hair metal scene, and the cops launch a new plan to clean up Times Square once and for all at the behest of Mayor Ed Koch. Times change, buildings rise and fall, but the one constant throughout everything: Sex sells.

Diego Maradona (HBO, Sep. 24th)
Diego Maradona has a solid claim to the title of historys greatest soccer player. (Fine, fine, football player.) This documentary goes one step further to posit him as one of the most fascinating figures in all of sport, exposing the agony and ecstasy of an unparalleled talent. From his childhood in the slums of Argentina, to his rise to stardom and the frenzied media spectacle surrounding it, to later-in-life scandals involving cocaine and La Cosa Nostra, its another comprehensive portrait from director Asif Kapadia, i.e. the man behind Senna, the jaw-dropping Formula-One-champ profile, and Amy, the Oscar-winning chronicle of Amy Winehouses life and times. In other words, audiences are expecting a gooooooooooal.

Emergence (ABC, Sep. 24th)
An airplane falls out of the sky and crashes on the Peconic Bay in Long Island. Out from the smithereens crawls a girl (Alexa Skye Swinton) with no memory of who she is or where shes come from. Theres a mystery afoot, probably related to the unexplainable electrical flares and odd lights in the nighttime sky, and local police chief Jo Evans (Fargo breakout Allison Tolman) wants to be the one to unravel it. Trouble is, shes taken a shine to the young survivor and offered her a home, tying some emotional knots into her deductive efforts. Uh-oh.

Prodigal Son (Fox, Sep. 23rd)
What if Hannibal Lecter was your dad? Thats the jumping-off point for this new crime procedural, in which ex-FBI profiler Malcolm Bright (Walking Dead alum Tom Payne) returns to the job when a new serial killer appears to be copycatting the murders Malcolms father (Michael Sheen) committed years earlier. Hell have to confront his mental demons and go face-to-face with his long-estranged, homicidal pop-pop if he wants to solve the case before the killer strikes again. But Malcolm cant shake the sneaking suspicion that his father may somehow be orchestrating all this from behind bars, and more troubling still, that he may be one of the pawns.

Room 104, Season 3 (HBO, Sep. 13th)
Sam Richardson, Luke Wilson, Arturo Castro, Paul F. Tompkins, and June Squibb number among the guests checking in at HBOs anything-goes anthology series this year. The show sticks to its one guiding principle all action takes place within a single suite at a singularly strange hotel but that parameter leaves a lot of space for flights of fantasy. This seasons trailer teases a growhouse FDA bust, multiple openings of the third eye, and at least one encounter with a well-renowned monster. Oh, and lots of bloodshed. The drama appears to be drifting towards the realm of horror, a fittingly unlikely pivot for a show thats thrived on its own unpredictability.

Stumptown (ABC, Sep. 25th)
The title refers to the nickname of Portland, Oregon, the city that down-on-her-luck veteran Dex Parios (Cobie Smulders) calls home. Unemployed and deep in debt, she gets the bright idea to scrape together some scratch as a private eye, using her skills learned from the military to pay the bills and support her brother (Cole Sibus) with Down Syndrome. One lowlife at a time, she cleans up the streets and dispenses sardonic one-liners; the project hasnt strayed far from its graphic novel origins. Shes a far cry from HIMYMs Robin Sparkles, in other words.

Sunnyside (NBC, Sep. 26th)
Kal Penn draws on his background as an entertainer, a political operator, and an Indian-American man for this sitcom about the red tape wrapped around the American dream. The shows creator also leads as Garrett Modi, a former New York City councilman booted from office due to drug charges. (To think: Kumar himself, getting high!) He finds his second act in a group of immigrants preparing to take their citizenship exams; they need help getting a leg up on the test, and he needs to do something meaningful. Do you think theyll end up teaching him as much as he teaches them? Have you ever watched a half-hour television comedy before?

The Unicorn (CBS, Sep. 26th)
For the record: Series lead Walton Goggins does not portray the snow-white one-horned horse of legend in this new comedy series. Rather, his character Wade is a comparably rare phenomenon in the adult dating world: handsome, a good father, gainfully employed and, after the tragic death of his wife, single. And this sitcom picks up at the point where the widower decides to get back in the game. Yes, he may have caught the eye of every single mom within a ten-mile radius. No, hes not done processing his own grief or figured out how to introduce a new woman to his youngsters. Who doesnt pine for a weekly dose of Walty G. once more?

The Radical Kindness of Steven Universe

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The title character of Steven Universe is an adolescent boy who, over the course of the Cartoon Network series first five seasons, developed the ability to fly, to conjure an impenetrable pink shield out of thin air, to use his saliva to heal injuries short of death (and sometimes beyond), to merge his body with a friends (in an act called fusion) so they can become even stronger as one than they are side-by-side, and more. But his greatest power and the reason the show became so adored that a follow-up film, Steven Universe: The Movie, will air on Labor Day, potentially leading into future seasons is both much simpler and much more remarkable:

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Steven is kind.

The animated series, created by Adventure Time alum Rebecca Sugar, has a complicated mythology involving the Gems, an alien race of women whose leaders, the four Diamonds, want to reshape the universe into something following their very rigid and orderly caste system. Thousands of years ago, we gradually(*) find out, a Gem known as Rose Quartz (Susan Egan) formed a rebellious group called the Crystal Gems to protect life on Earth from being conquered and eradicated by the Diamonds. By the time the series begins in the present day, Rose has sacrificed herself to give birth to half-human son Steven (Zach Callison), who is raised in part by failed rock-star dad Greg (Tom Scharpling) and in part by the three surviving Crystal Gems: the enigmatically cool Garnet (Estelle), uptight Pearl (Deedee Magno Hall), and immature Amethyst (Michaela Dietz). Steven inherited Roses gem, and her powers, but his age and the human half of his DNA make them slow to emerge. So in the shows earliest adventures, Steven is a glorified mascot to the Crystal Gems, along mainly for moral support and the occasional bit of improvised pubescent boy strategy.

(*) Most episodes are 11 minutes long, and Sugar slow-plays a lot of the backstory and major arcs by focusing the start of the series (and each ensuing season) on relatively light-hearted standalone adventures. Its a seasonal structure that classic genre shows like Buffy the Vampire Slayer, Veronica Mars, and The X-Files used so well back in the day, but thats unfortunately gone out of vogue in favor of pure serialization. (When Veronica came back this summer, it told a single, eight-episode story.) As a kids show with extremely nuanced themes, Steven Universe benefits greatly from how much time it lets you marinate in Stevens world before getting to the big topics. But a newcomer wouldnt be blamed for sampling the first few episodes and dismissing it as something much sillier and more superficial than what follows.

But even after he begins mastering his inherited powers, its clear that Stevens greatest asset to the team and the most appealing part of the whole series is his fundamental decency. Its not just that he prefers nonviolent solutions when Garnet or Amethyst would be content to smash the latest monster in their path. Its that his impulse is almost always to empathize and try to help, and to see the best in everyone he meets whether seemingly villainous Gems like the smug Peridot (Shelby Rabara) or humans like shiftless doughnut-shop worker Lars (Matthew Moy). Steven wants to be friends with everyone, and wants everyone to be friends, and more often than not, he succeeds. (Think Leslie Knope, but huskier and less intense.)

Heroes who are intrinsically good can prove intimidating to storytellers who need to generate conflict. Its why most of the attempts to make a post-Christopher Reeve movie about Superman involved making him angstier, or why, before Chris Evans came along, no one believed audiences would want to watch a hero as cornily forthright as Captain America. But when it works and hoo-boy, does it work on Steven Universe, whether youre a wide-eyed kid or a cynical adult the force of their virtue shines so brightly that it can be hard to imagine wanting anything even slightly less sincere.

Stevens empathy and his knack for accepting people on their own terms proves essential for a show that presents complex ideas in a manner its young audience will appreciate. Just like Buffy once used monsters as metaphors for adolescence, Steven Universe uses the Gems to talk about a variety of LGBTQ issues (among other things). Pearls unrequited love for Rose and her resentment of both Greg and Steven for taking Rose from her is subtly but clearly established, and is something she and the guys have to work through together. Gems are only meant to fuse with others like them (Ruby with Ruby, Pearl with Pearl), which makes the Crystal Gems habit of fusing with one another an abomination to the more traditional, repressed Gems. Yet Steven is thrilled when he sees Pearl and Amethyst fuse into the giant archer Opal. And when he accidentally fuses with best friend (and mutual crush) Connie (Grace Rolek) into the glamorous, intersex Stevonnie, it becomes a story about the importance of consent, with each of them frequently checking in with the other to be sure they want to stay this way a while longer.

Its a wonderful show for many reasons, but the curiosity and warm-heartedness of Steven is the crucial one.

Steven Universe: The Movie plays less as a sequel to the series so far than a Greatest Hits collection almost a primer for newcomers, even if it wont have the same impact on them that 160 bite-sized episodes of TV had on the veterans.

The movie takes place a few years after the Season Five finale, and early on features a long expository musical number about who everyone is and how they all got happy endings when last they appeared. Then along comes a mysterious new Gem who at times resembles Bugs Bunny at his most anarchic, at others the elastically cheerful Steamboat Willie-era Mickey Mouse. Her attacks give the Crystal Gems a kind of factory reboot that erases all the emotional progress they made during the series, forcing Steven to recreate important moments from their lives to bring them back to normal.

The structure of the movie can make it feel like a rehash of things the fans all know so well. (At one point, Steven even loudly complains that he is once again having to deal with the consequences of something his mother did.) Fortunately, its a rehash accompanied by a soundtrack of terrific original songs (co-written by, among others, Chance the Rapper, Aimee Mann, and Ted Leo) performed by Steven and friends. And if Im following in Stevens footsteps and looking for the best in this follow-up to those five wonderful seasons, Id look at the movie as the start of whatever Sugar wants to do with this world next. If its meant as a conclusion, its fun but inessential. But if its the start of a new phase of an older Stevens universe, then it makes sense to travel down memory lane with frequent musical interludes before pushing onto whatever comes after the happy ending.

The first four Steven Universe seasons are streaming on Hulu, while Season Five is available On Demand. Steven Universe: The Movie premieres September 2nd at 6 p.m. on Cartoon Network.

Watch Elites Stalk Strangers for Sport in Wild New Trailer for The Hunt

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Hilary Swank orchestrates an annual competition where elites try to track and kill everyday citizens in the new trailer forThe Hunt. The movie hits theaters September 27th, and marks the latest offering from Blumhouse, the production company behind horror films like Get Out andThe Purge.

The Hunt centers around twelve strangers many of them working-class and/or from the South who have been chosen by a shadowy group of elites for a sadistic purpose: Theyre brought to a remote manor to be hunted for sport. One of the hunted, Crystal (Betty Gilpin from the Netflix series GLOW) wises up to the elites plan and turns the tables on them, hatching a plot to go after the killers with the help of the other kidnapped strangers. Oscar-winning actress Hilary Swank stars as the leader of the elites and the films primary antagonist.

The film shares several credits with the post-apocalyptic television showThe Leftovers, with Craig Zobel credited as director andThe Leftovers creator Damon Lindelof (who also createdLost) penning the script with Nick Cuse. The film also stars Emma Roberts, Ike Barinholtz, Glenn Howerton and country musician Sturgill Simpson.

Shia LaBeouf Examines Turbulent Child Star Days in Honey Boy Trailer

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Shia LaBeouf wrestles with past demons, in the script and on the screen, in the new trailer for Honey Boy, the upcoming film based on his own experiences as a young actor.

The clip follows the fictionalized version of LaBeouf, Otis Lort, as he deals with family turmoil and the pressures of fame as both a child (Noah Jupe) and young adult (Lucas Hedges). LaBeouf himself appears as father James Lort, a former rodeo clown and felon who brings his son both inspiration and angst. Youre a fucking star, and I know it, the elder Lort tells Jupes character. Thats why Im here. Im your cheerleader, honey boy.

The preview traces the loose arc of the actors career from his ascent to stardom to eventual stint in rehab. It opens with Hedges on the set of a Hollywood action movie, filming a scene capped with a massive explosion; then in a montage, he swigs some alcohol, gets in a car crash and winds up yelling at the police from the back of a cop car: What am I being arrested for? You think youre hot shit? Cause you dont know how good I am at what I do!

Honey Boy, which premiered at the 2019 Sundance Film Festival and hits theaters November 8th, was directed by Alma Harel (Bombay Beach) from LaBeoufs screenplay. The cast also features singer FKA Twigs in her feature debut.

Eddie Murphy, Taylor Swift, Phoebe Waller-Bridge Announced in Saturday Night Live Season 45 Lineup

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UPDATE: Leslie Jones will not return to Saturday Night Live after five seasons on the show. Jones joined the cast in 2014 and quickly became a fan favorite, especially for her appearances on Weekend Update. Its unclear exactly why Jones decided to leave the cast ahead of its 45th season, though a source told The New York Post, Leslie has chosen to depart as she has several upcoming projects in the works and she thought its as the right time to go. Jones is reportedly prepping a new stand-up special, which is expected to hit Netflix next year.

**

Saturday Night Livehas announced its Season 45 lineup, kicking off on September 28th with Woody Harrelson in his fourth appearance as host and Billie Eilish in her first musical guest slot.

The host lineup also includes Fleabag andKilling Eve creator Phoebe Waller-Bridge, slotted in for October 5th, as well asStranger Things actor David Harbour (October 12th) and Kristen Stewart in her second time as host (November 2nd).

But perhaps the most notable announcement for SNL fans is Eddie Murphy, who will be hosting the show on December 21st for the first time since 1984. The former SNL cast member has repeatedly distanced himself from the sketch series where he made his name, appearing very briefly duringSNLs 40th anniversary special but otherwise not participating. (It was later revealed by Norm Macdonald, in 100-tweet-long Twitter monologue, that Murphy was originally slated to give a Bill Cosby impression but turned it down.)

Other musical guests this season include Taylor Swift, joining Waller-Bridge on October 5th, and Camila Cabello on October 12th. The musical guests for the November 2nd and December 21st shows have yet to be announced.

Watch Hailee Steinfelds Writerly Rebellion in New Dickinson Trailer

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Hailee Steinfeld captures Emily Dickinsons rebellious spirit in the new trailer for Dickinson, debuting this fall on Apple TV+. The series stars Steinfeld as the 19th century poet, who famously pursued writing against the wishes of her family, who wanted her to be a proper lady.

Set in the 19th century, Dickinson is a coming-of-age story that finds Emily Dickinson to be an unexpected hero for our millennial era, reads the show synopsis, and the trailer captures just as much. In it, Dickinson and her friends are shown dancing and skipping about to a fitting yet anachronistic hip-hop beat. The clip also features an excerpt from one of Dickinsons most notable poems, Wild Nights: Wild nights/Were I with thee/Wild nights should be/Our luxury.

David Makes Man Review: Portrait of A Boy, Interrupted

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The title of the wonderful new OWN drama David Makes Man is slightly misleading. Yes, its about a 14-year-old boy named David (Akili McDowell) struggling to become a man faster than he should have to, due to the complicated circumstances of his life. But David is just one of several names and identities our anxious and deeply sympathetic hero goes by.

To adults like his recovering addict mother Gloria (Alana Arenas) and his teacher Dr. Woods-Trap (Phylicia Rashad), he is David, a very smart but reserved boy doing his best at a magnet school for gifted kids where hes one of the few black students and comes from by far the most impoverished background. To friends at school like Seren (Nathaniel McIntyre), he is DJ, a class cut-up who cant always stop himself from taking a joke too far. And to everyone back at the projects where he lives with Gloria and little brother JG (Cayden Williams), he is Dai, reserved and odd but also considered a very promising prospect by the local drug crew.

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We see David shift between these personae instinctively, never comfortable in any of these worlds, but understanding how hes expected to present himself to each. While his story is mostly told in a raw fashion, creator Tarell Alvin McCraney sprinkles in bits of magic realism throughout. This includes interludes where David imagines himself code-switching in an awkward moment to tell people what he really thinks. In one episode, we even see his three main identities in a room together as school counselor Dr. Bree (Ruben Santiago-Hudson) tries to figure out what makes this kid tick. For much of that story, David, DJ, and Dai are all at odds with one another; occasionally, though, they speak in perfect harmony, because there are some truths universal to this young man no matter where he is and who hes trying to be.

That would be hard, having to split yourself like that, Dr. Bree suggests as he ponders the realities David has to straddle. Hard would be an understatement. Its exhausting, and among the things David Makes Man does so well is to portray just how much this wears on David, and how quickly his anxiety can turn to desperation when a piece of his very delicately-arranged life seems on the verge of falling out of place.

There are similarities to Moonlight, which McCraney co-wrote. David is not just a quiet kid unsure of where he belongs; hes allowed a local dope dealer, Sky (Isaiah Johnson), to assume the role of father figure in place of the useless man who wanted nothing to do with him and Gloria. Theres a lyrical, dreamlike quality to the storytelling, even in some of the most nerve-wracking moments. Yet the periodic glimpses of Davids fantasy life dont undercut the gravity of his situation; rather, they underline how badly hed like to escape, and how hard that will be to do. He dreams of being admitted to an elite high school with the well-to-do Seren, but Sky warns him about trying to help anyone but himself. (Recalling the schools glossy pamphlet, Sky asks, You see two black faces or one?)

This isnt always an easy show to watch, because David and Seren and so many of the other kids are so clearly vulnerable. Even Raynan (Ade Chike Torbert), the scowling underage dealer who wants a reluctant David to work for him, isnt nearly as powerful as he likes to make others think. But McCraney and his collaborators(*) do a superb job of etching in these different communities and the people in them, and of getting us to want to protect David in a way hed be afraid to ask anyone in his own life to do. Theres nuance and understanding to each group, so that Woods-Trap and another African-American teacher can have a casual argument about colorism, or so we see the space that gender-queer Mx. Elijah (Travis Coles) has carved for herself in the projects. (The only time the neighbors are thrown by her anymore is on the rare occasion that she has to wear mens clothes to conduct business outside her home.)

(*) Dee Harris-Lawrence (Unsolved: The Murders of Tupac and Biggie Smalls) is the hands-on showrunner. But the producers include Oprah Winfrey and Michael B. Jordan, whose first TV role of note was on The Wire as Wallace, a corner kid who would recognize a fair piece of himself in David.

The debut episode, written by McCraney and directed by Michael Francis Williams, runs an hour without commercials and can occasionally feel sluggish, particularly regarding a twist thats telegraphed long in advance. But the way it simply lingers in Davids worlds, and in his head, pays enormous emotional dividends in later episodes. Those installments arent quite as stylish as the premiere, but they allow for a touch more humor and whimsy, which proves a welcome trade-off.

The camera spends much of its time in close on Davids face, not allowing him to hide from us in the same way that he feels under constant interrogation from teachers, friends, and neighbors. That also asks a lot of a young and relatively untested actor like Akili McDowell. He has to convincingly be David, DJ, and Dai, conveying the weight that the character feels under any and all of those names. And he has to make you want to keep watching a story that is so much about his hard life, which requires him to communicate more through expression than the limited, halting dialogue hes often given. Fortunately, McDowell is more than up to the challenge, and makes David someone whos easy to root for even when he makes the kind of dumb mistakes any 14-year-old would.

In one episode, David does a presentation for Woods-Traps class about his background, the first time hes exposed so much of himself to his classmates. As part of the assignment, he recruits Seren and another friend to accompany him on an arrangement of Mary J. Bliges Your Child. He explains the choice by talking about how all of them are so often judged and made to feel like theyre nobody, but something as simple as a song on the radio can tell you that youre not a nobody. Something as simple as a TV show can do the same thing, particularly when a character like David is still such a rarity in a universe with 500-plus scripted TV shows and when the show is as good as David Makes Man.

David Makes Man debuts August 14th on OWN. Ive seen five of 10 episodes.

Universal Cancels The Hunt Release After Trump Criticism

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Universal Pictures announced Saturday that the studio has canceled its planned release for the upcoming horror film The Hunt, just a day after President Donald Trump seemed to criticize the movie and liberal Hollywood in a series of tweets.

In the aftermath of the El Paso and Dayton mass shootings, Universal paused their marketing push for the film, a Most Dangerous Game-inspired thriller about elites killing blue-collar people (deplorables, as theyre called in the trailer) for sport, Variety reports. On Saturday, Universal announced the films release would be scrapped entirely.

While Universal Pictures had already paused the marketing campaign forThe Hunt, after thoughtful consideration, the studio has decided to cancel our plans to release the film, Universal said in a statement.

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We stand by our filmmakers and will continue to distribute films in partnership with bold and visionary creators, like those associated with this satirical social thriller, but we understand that now is not the right time to release this film.

Universal Pictures decision follows Trumps tweets fueled by a Fox News report earlier that day that blamed liberal Hollywood for creating great anger and hate.

Liberal Hollywood is Racist at the highest level, and with great Anger and Hate! They like to call themselves Elite, but they are not Elite. In fact, it is often the people that they so strongly oppose that are actually the Elite, Trump tweeted, adding of The Hunt, The movie coming out is made in order. to inflame and cause chaos. They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!

Blumhouse, the production company behind The Hunt as well as Get Out, The Purge franchise and Paranormal Activity, has not yet commented on the films canceled release. The Hunt was due to arrive in theaters on September 27th; its unclear whether the films theatrical release is postponed or if it will eventually be released on video-on-demand or streaming services.

On Becoming a God in Central Florida: Kirsten Dunst Is Mad as Hell in New Comedy

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You have a fearsome energy, Krystal Stubbs is told midway through On Becoming a God in Central Florida, Showtimes new comedy about American dreams and delusions. Its meant as shameless flattery, but its also an accurate description of both Krystal and the superb performance that Kirsten Dunst provides in the role by far the greatest delight in an otherwise uneven and sluggishly-paced series.

When we meet Krystal, she is a harried former beauty queen juggling her marriage to insurance salesman Travis (a mulleted Alexander Skarsgard), care of their baby daughter Destinee, and a job at the off-brand local water park. Its not an easy life, nor a glamorous one (shes introduced wearing orthodontic braces and tacky clothes). But shes far more content with it than Travis, who has fallen under the spell of an Amway-like pyramid scheme called FAM, and is devoting most of his waking hours, and even the family savings, to a quest to obtain the luxurious life he believes hes owed. And when Travis gets in too deep, its up to Krystal to save herself and the family, at any cost.

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Earlier in her career, Dunst would surely have played one of the goggle-eyed FAM zombies, like Travis creepy young mentor Cody (Thodore Pellerin), who always seems to be lurking about with a cookie cake or some vapid motivational catchphrases. But On Becoming a God, created by Matt Lutsky and Robert Funke, turns Dunsts innate sunniness on its head. Yes, Krystal knows how to flash a pageant smile when its called for, but shes also far from the sucker that Travis, Cody, and everyone else takes her for.

An exhausted Travis argues that its a great thing for the marriage that his FAM work makes him too tired for sex, lamely insisting, You should be begging me not to get hard! Krystal coldly dismembers him with three words: I. Dont. Beg. And whenever Cody turns up, naively convinced that this will be the day that the obvious genius of FAM and its founder Obie Garbeau (Ted Levine) will become clear to Krystal, she fires a withering gaze at him that would be licensed as a deadly weapon in several states. She does not have time for any of his bullshit, but circumstances force her to grapple with it, anyway.

Its one of the best performances Dunsts ever given, verbally, physically, and emotionally. Krystals personality is all sharp edges, in contrast to the post-pregnancy voluptuousness that she uses as a weapon of last resort. And though she makes plenty of mistakes in trying to extricate herself from FAMs clutches get ready for another prestige cable show where each solution creates three new problems, and an inconvenient corpse or two may have to be creatively disposed of theres a fierce intelligence thats palpable to the audience, even when Krystals playing dumb for the many men (and a few women) who have unfair control of her future.

At first, On Becoming a God is strange and funny enough to merit a leading turn as good as Dunsts. The world of FAM is so bizarre when viewed from any rational perspective, and supporting players like Pellerin and Levine (sporting a mustache so impressively thick and unruly, Sam Elliott might feel insecure looking at it) add the necessary color and energy required to make it plausible that someone like Travis, or like Krystals friend Ernie (a terrific Mel Rodriguez), could fall so easily under its spell. There are acts of shocking violence against both man and beast, and surreal tableaux that could occur only in an adventure in the titular state of the union. And the show makes some strong satirical points early on about the lies we are conditioned to tell ourselves in order to pursue the fortunes to which we are allegedly entitled.

But the creative team soon runs out of new things to say about FAM, and about most of these characters. Theres some entertaining interplay between Krystal and Cody, and the way she learns to use all of her powers against him. But what you see in the first few episodes is mostly what you get throughout the season. And suddenly it is alot of time being spent in the company of these bumbling zealots and their ridiculous jargon. There are enough ideas and jokes to fill the two-hour screenplay that it feels like On Becoming must have begun life as. But the season runs seven and a half hours in total (each episode hovers close to 45 minutes), and eventually becomes as exhausting to sit through as Krystal finds Cody. Her contempt for the whole enterprise, and the verve of Dunsts performance, cut through some of this unpleasant cults inanity, just not enough. Theres a scene of black-comic gore in the premiere thats hilarious for its surprise; by the time the finale strikes a similar note, the show feels too labored for anything to be funny.

Its a great title, though, and one hell of a star turn from Dunst an inversion of the kinds of enthusiastic women shes played in everything from Bring It On to Fargo, but also a natural progression. You put up with enough nonsense in this life, and eventually you may become just as ruthless as Krystal Stubbs surprises everyone by being.

On Becoming a God in Central Florida debuts August 25th. Ive seen all 10 episodes.

The I-Land Trailer Spins Psychological Thriller as Fyre Festival Spoof

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The disastrous Fyre Festival inspires a fictional new spin in the trailer for The I-Land, a new series coming to Netflix on September 12th.

Created by Neil LaBute (Billions,In the Company of Men, 2006s The Wicker Man) and starring Kate Bosworth, Alex Pettyfer and Natalie Martinez, the show follows 10 people who mysteriously wake up on an uncharted island with no memory of how they got there, and their subsequent struggle to escape. The trailer opens with a glossy promotional clip inspired by the infamous Fyre Festival announcement video, before dissolving into a series of glitches and a montage of psychological turmoil.

Bosworth describedThe I-Land to ET Canada as sort of adventure sci-fi, but very grounded in character, which sounds a lot likeLost combined with that island sequence fromThe Incredibles. The trailer shows two shadowy figures following the 10 marooned islanders on surveillance channels, which suggests that their entrapment on the island was by design.

Netflix premiered its Fyre Festival documentary, Fyre: The Greatest Party That Never Happened, in January, around the same time that competing streaming service Hulu debuted its own documentary,Fyre Fraud. The two films earned a combined five nominations at the 2019 Emmys.

The Mandalorian: See First Trailer for Disney+ Star Wars Series

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The long-awaited first trailer for The Mandalorian, the Star Wars franchises upcoming Disney+ series, was unveiled during Disneys D23 conference Friday. The series arrives on the streaming service on November 12th.

After the stories of Jango and Boba Fett, another warrior emerges in theStar Warsuniverse.The Mandalorian is set after the fall of the Empire and before the emergence of the First Order, the series synopsis states. We follow the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic.

The Mandalorian stars Game of Thrones vet Pedro Pascal as the titular character, as well as Nick Nolte, Giancarlo Esposito, Werner Herzog, Gina Carano, Carl Weathers and the voice of director Taika Waititi.

Bounty hunting is a complicated profession, Herzogs character says, the lone dialogue spoken in the minute-long trailer. Dont you agree?

A behind-the-scenes preview of The Mandalorian previously screened during the Star Wars Celebration, which also featured the premiere of the first The Rise of Skywalker teaser.

#TheMandalorian, the first live-action Star Wars series, only on #DisneyPlus. Start streaming November 12. @TheMandalorian pic.twitter.com/JZsg6cikXA

Star Wars (@starwars) August 23, 2019

Disney+ also announced that the new season of the animated Star Wars series The Clone Wars would premiere in February 2020 on the streaming service.

Just announced at #D23Expo, the next season of The Clone Wars will premiere in February on #DisneyPlus. pic.twitter.com/Wuh08gVZaG

Star Wars (@starwars) August 24, 2019

Whered You Go, Bernadette: Blanchett-Led Bestseller Gets Lost in Translation

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Richard Linklater has already proved himself a master surveyor of the rocky terrain of motherhood think of the complexity of Patricia Arquettes Oscar-winning performance in his Boyhood. Adapting Maria Semples 2012 wild, reckless bestseller seems like a logical next step on that turbulent maternal highway, given that it told the story of an architect named Bernadette Fox. Shes the winner of a MacArthur genius grant for creating her 20-Mile House, constructed from materials sourced within 20 miles of the home. But when a tycoon bought the place and destroyed it, a crushed Bernadette retreated to Seattle, a place she riotously despises, to live in seclusion with her Microsoft-star husband and raising their teen daughter. The author fashioned her book out of letters, emails, texts, newspaper clippings, and police reports that kicked in when Bernadette went missing.

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Where did she go? Thats the book and the movie. And Linklater, who charted to perfection the chaotic course of a relationship in his landmark Before trilogy 1985s Before Sunrise, 2004s Before Sunset,2013s Before Midnight should be the ideal choice to bring the novel to the screen with all its mad, crazy-quilt exuberance in place, right?

Not so, as it turns out. Whered You Go, Bernadette, with a timid script by Linklater, Holly Gent, and Vincent Palmo Jr., reduces the book to a pedestrian run-through that never takes flight. Cate Blanchett plays Bernadette with her customary elegance, erudition, and acerbic wit, but her heroine has had her wings clipped. The narrative bumps in the book have been sanded off: Bernadettes husband, Elgin (Billy Crudup), a selfish cheater in Semples view, comes to the screen with his heart always in the right place. The snappiest scenes are between Bernadette and her daughter, Bee (a terrific Emma Nelson), Moms de facto best and only friend whos nonetheless been kept in the dark about her mothers past accomplishments. Its Bee, soon off to Choate Rosemary Hall in Connecticut, who pushes her parents to take a family trip. Bee is studying Shackleton at school and thinks Antarctica, of all places, will nudge Mom out of her rut.

In truth, Bernadette is hitting the breaking point, wrangling with a snob neighbor (Kristen Wiig) who falsely accuses her of running over her foot with her car. Worse, our suburbanite on the verge of a nervous breakdown has disastrously turned over the running of her life and finances to Manjula, a virtual assistant that turns out to be something far more sinister. Thats when Elgin brings in a therapist (Judy Greer) to stage an intervention, provoking Bernadette to run for her life and leave her family behind.

The conflict comes to a head in Antarctica, where Bernadettes family goes in pursuit of her. The trip through the dangerous seas of the Drake Passage is meant to symbolize Moms own surging inner journey. But Linklaters becalmed treatment of Bernadettes crisis never leaves a doubt of smooth sailing ahead. A father to three daughters, the director has stated he sees the film as an intense portrait of motherhood, and hes simply too good at what he does not to let his soulful artistry show through. But something crucial is missing. Semples book is also about the damage done by a career-stifled mother not just to herself, but to her husband, daughter, neighbors, and everyone whose lives she touched. Its the human devastation that gets short shrift in a movie that turns the hot, hilarious, out-for-blood Bernadette into the thing she hates most: conventional.

Silicon Valley Goes to Washington in Season Six Trailer

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Silicon Valley goes to Washington, D.C. in the latest trailer for the sixth and final season of the HBO tech-savvy comedy series.

The teaser offers a send-up of Facebook founder Mark Zuckerbergs infamously awkward testimony in front of Congress, with Pied Piper CEO Richard Hendricks (played by Thomas Middleditch) causing havoc on Capitol Hill as the tech community answers lawmakers questions.

He looks like a child in a messy custody hearing, Martin Starrs Gilfoyle quips of Hendricks CSPAN appearance.

The trailer doesnt forecast much in terms of Season Six plot, but Hendricks reveals a portion of his plans to Congress: I promise I will end this tyranny by creating an internet of the people, by the people and for the people, so help me God.

The seven-episode sixth and final season of Silicon Valley premieres October 27th.

D.A. Pennebaker, Legendary Documentarian, Dead at 94

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D.A. Pennebaker, a champion of the cinma-vrit approach to documentary, which emphasized intimate portraits of its subjects, died Thursdayfrom natural causes, his son Frazer confirmed to Rolling Stone. He was 94.

Chronicling rock stars and political operatives, Pennebaker sought to strip away the artifice both in nonfiction films and from the famous figures who populated his movies to craft deceptively casual snapshots of people we thought we knew. Whether in Dont Look Back (about Bob Dylans 1965 tour of England) or The War Room (a look behind the scenes of Bill Clintons 1992 presidential campaign), his handheld camera made viewers feel as if they were along for the ride as history was taking place. Concert films such as Monterey Pop and Ziggy Stardust and the Spiders From Mars captured the passion and inventiveness of rock musics cultural zenith, while 2001s Startup.com (which he produced) examined the internet bubble of the late 20th century through the deteriorating friendship of two entrepreneurs. No matter the film, though, Pennebaker was open to the randomness of life to provide unpredictability and energy to his fly-on-the-wall portraits. As he said in 2017, Half the things that happened to me, that I look back on and were really good, were all kind of I think of as luck. Chance.

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Donn Alan Pennebaker was born July 15, 1925, growing up in Chicago to a father, a successful photographer, who divorced his mother when he was still a boy. I didnt want to be what he was, Pennebaker later admitted. He had no time for a family. After studying engineering at Yale, he worked as a carpenter for about a decade before deciding to focus on writing and painting. Eventually, he turned his attention to filmmaking, which led to his first short, 1953s Daybreak Express, about an elevated New York subway line. Scored to Duke Ellington, the non-narrative Daybreak Express was an early indicator of Pennebakers ability to meld music with images, and soon he teamed up with fellow documentarian Robert Drew and others to form Drew Associates, a collective that advocated for a new kind of nonfiction cinema unfussy, lacking polish or traditional talking-head interviews that offered viewers direct, unvarnished access to the films subject.

Pennebaker put that theory into practice on Primary, a 1960 documentary about the Democratic primary in Wisconsin, in which he served as a cameraman. Even more importantly, it was while working on that film that he helped create a lighter, portable sound-recording camera a crucial development in the history of nonfiction filmmaking. It was the synch that really changed documentaries, Pennebaker explained to Film Comment, later adding that, before Primary, [E]verything had to be lip synched when we edited. We had to find the synch. Nothing was even cued. So that was a big problem.

No longer encumbered, he was able to work much more quickly and freely, which he did brilliantly when he signed on to direct a film about Dylan as he toured Britain in 1965. The two men had a handshake deal but no formal plan regarding what Pennebaker would shoot. Dylan was important that was the first thing I was convinced of, the filmmaker recalled. I wanted to find out more about him, and I didnt know any other way. Asking questions was no good; I wanted to watch Dylan in as intimate a way as possible.

The resulting film, Dont Look Back, is one of the quintessential rock movies of the 1960s, tagging along with the young singer-songwriter just as hes ditching his persona of a folk-singing poet and preparing to embrace electric guitars. The Dylan we meet in the documentary is magnetic, surly, exceptionally witty and, above all, unguarded in a way he never would be again. As for the films iconic opening, in which Dylan holds a series of cue cards printed with some of the lyrics to Subterranean Homesick Blues as the song plays on the soundtrack, it became the model for the modern music video.

Dont Look Back took more than a year to find a distributor many balked at its shaky, gritty look but despite its lofty reputation now, Pennebaker never conceived the film as a salute to the voice of a generation or as a conventional rock doc. What I thought was, this person is trying to generate himself, Pennebaker told The New York Times in 2016. Hes trying to figure out who he is and what he wants to do. So I filmed him talking to people and listening to people. When the concerts came, I would only shoot little parts of them. I didnt want it to be a music film. I wanted it to be a film about a person who was finding out who he was.

In Dont Look Backs wake, Pennebaker became an in-demand filmmaker among rock artists, whether shooting the 1967 Monterey Pop Festival for Monterey Pop or witnessing the power of David Bowie and Depeche Modes concerts. But his tastes were wide-ranging: He also made a film about John DeLorean, 1981s DeLorean, in which Pennebaker followed the car designer around Europe as he showed off his namesake vehicle. And then there was 1983s Rockaby, about the preparations to stage a Samuel Beckett play. It was also during this time that he married Chris Hedegus, who had been his collaborator since the late 70s. They continued their creative partnership for the next several decades, peaking with 1993s The War Room, which spotlighted Clintons chief strategists James Carville and George Stephanopoulos and gave a rare glimpse into how a modern campaign is waged. The film earned Pennebaker his only Oscar nomination.

Pennebaker may have trained his cameras on political figures and other newsworthy subjects, but he insisted that his films werent works of advocacy but, rather, simple reporting. Whatever happens when youre shooting necessarily becomes part of your film because its what you saw, he said in 2016. Were not making a sermon. I think thats the failure in a lot of current documentaries. Theyre sermonizing, and for perfectly understandable reasons they want people to act better, or whatever. Its the same reason the bishops sermonize, but thats not our kind of filmmaking.

He backed up his claim in recent films like Startup.com (which Hedegus co-directed alongside Jehane Noujaim) and Unlocking the Cage, which located the personal, human story within the national headlines. Unlocking the Cage followed attorney Steve Wise as he fights for animal rights through the court system, but as always Pennebaker wanted to look at the individuals rather than the larger apparatus. It also helped that he was often captivated by the people he documented. Could I make a film about somebody I didnt like, or whose political message I disagreed with? Probably, he once said. But it wouldnt be as much fun to do.

Pennebaker received his only Emmy nomination in 2004 for Elaine Stritch at Liberty, and the following year the International Documentary Association awarded him with its Career Achievement Award. In 2013, he received an Honorary Oscar. But perhaps the strongest indicator of his legacy is the number of homages made to his work, particularly Dont Look Back, which has been spoofed and copied in everything from Bob Roberts to Im Not There. And while others would often credit him for being a groundbreaking documentarian, he never liked the word documentary being used to describe his vivid, candid films.

For me, I think of them as home movies, he said in 2015, because theyre made by one person and not made with the expectancy of a large return. Theyre made the way music is written, or books. Its just one persons take on whats going on around them. You shouldnt be the adversary, with a lot of equipment to protect you. You should really be vulnerable just as the people you film are vulnerable.

I Am Patrick Swayze Trailer: Demi Moore, Sam Elliott Pay Tribute to Actor

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The official trailer for I Am Patrick Swayze, a documentary produced by the Paramount Network on the life and career of the beloved late actor, has arrived. The film airs August 18th at 9 p.m. ET.

I Am Patrick Swayze pays tribute to several of Swayzes iconic roles, including Johnny Castle fromDirty Dancing, Sam Wheat inGhost and the drag queen Vida Boheme inTo Wong Foo, Thanks for Everything! Julie Newmar. Several of Swayzes friends and former co-stars among them Demi Moore, Sam Elliott, Rob Lowe, Jennifer Grey and Kelly Lynch appear in the documentary, along with his widow Lisa Niemi and brother Don Swayze.

Patrick had something about him that was very rugged, says Moore in the trailer, but that also had that beautiful, gentle, sensuous ability to move.

He charmed everyone, says Lynch. Hed find a way in, and make you just fall in love with him.

The film also tackles Swayzes profound athletic abilities as a gymnast, ranch-hand, ballet dancer, and mixed martial artist, all of which made his untimely death to pancreatic cancer in 2009 all the more tragic.

Hed be bubbly and fun, and then as soon as hes by himself and alone, he would just crash, says Niemi, who first met Swayze when they were teenagers at his mothers Texas dance studio.

I Am Patrick Swayze premieres at the San Antonio Film Festival on August 2nd before airing on the Paramount Network.

Sean Spicer to Compete on Dancing With the Stars

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ABC will assist in the rehabilitation of former White House Press Secretary and known liar Sean Spicer by allowing him to compete on Dancing With the Stars.

Spicer served as President Donald Trumps press secretary for the first six months of his presidency, during which he lied about Trumps inauguration crowd size and repeated Trumps false claim that Barack Obama wiretapped Trump Tower. He also infamously claimed Adolf Hitler didnt even sink to using chemical weapons, and upon the release of the Mueller Report, it was revealed that Spicer also lied about who made the decisions to fire Michael Flynn and James Comey.

After leaving the White House, Spicer began trying to ingratiate himself back into popular culture, going on Jimmy Kimmel Live and in September 2017, making a cameo during Stephen Colberts Emmy monologue, which was roundly criticized. After the show, Late Late Show host James Corden elicited a mini backlash of his own when he was photographed jokingly kissing Spicers cheek.

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On Twitter, longtime Dancing With the Stars host Tom Bergeron expressed dismay with the decision to include Spicer in the cast. He claimed that in a conversation with the shows new executive producer, he suggested DWTSought to be a joyful respite from our exhausting political climate and free of inevitably divisive bookings from ANY party affiliations. While Bergeron said he thought he and the producer were in agreement, he quipped, Subsequently (and rather obviously), a decision was made to, as we say in Hollywood, go in a different direction.

Bergeron acknowledged that casting decisions are ultimately up to the producers, saying, We can agree to disagree, as we do now, but ultimately its their call. Ill leave it to them to answer any further questions about those decisions. He added, For me, as host, I always gaze into the cameras lens and imagine you on the other side, looking for a two hour escape from whatever life hassles youve been wrestling with. Thats the connection, and a responsibility, which I take very seriously, even if I occasionally season it with dad jokes.

Some thoughts about today pic.twitter.com/aCQ4SHrGCI

Tom Bergeron (@Tom_Bergeron) August 21, 2019

Interestingly, ABCs decision to tap the former mouthpiece for the Trump administration for Dancing With the Stars comes amidst reports that its parent company, Disney, has been wringing its hands over the political leanings of its various subsidiaries. In August alone, Variety reported that a Disney executive was worried that Taika Waititis World War II satire, Jojo Rabbit, might alienate Disney fans, while ESPN host Dan Le Batard ripped the Disney subsidiarys no politics policy while discussing the racist send her back chant a Trump crowd broke into at a recent rally.

Anyway, along with Spicer, the new season of Dancing With the Stars will also feature James Van Der Beek, Christie Brinkley, Queer Eyes Karamo Brown, former NBA star Lamar Odom, country singer Lauren Alaina, ex-Fifth Harmony member Ally Brooke, former NFL star Ray Lewis, Mary Wilson of the Supremes and comedian Kel Mitchell. The new season will premiere September 16th on ABC.

Eddie Murphy Becomes Blaxploitation Icon in Dolemite Is My Name Trailer

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Eddie Murphy embodies the wild true story of Rudy Ray Moore in the trailer for My Name Is Dolemite, the new Netflix film based on the comedian and Blaxploitation filmmaker. The comedy, which premieres in September at the Toronto International Film Festival, also features Wesley Snipes, Mike Epps, Craig Robinson, Snoop Dogg, Tituss Burgess, DaVine Joy Randolph, Keegan-Michael Key, Chris Rock and T.I. among its all-star cast.

The clip opens with Moore (Murphy) conceptualizing his new alter-ego Dolemite, a cane-swinging, Kung fu-fighting pimp in an attempt to reignite his struggling stand-up career. Whatever it takes, Im ready to do it, he proclaims. I got to be totally outrageous.

Elsewhere, he flaunts a soon-to-be-signature catchphrase (Dolemite is my name, and fucking up motherfuckers is my game) and uses the character in his racy stand-up albums including 1970s risqu Eat Out More Often. Its filthy, an executive tells him of the cover. Youve got a product here you cant sell or promote.

Moores ambitions continue to swell, and he recruits a writer (Key) and director (Snipes) to create a film, 1975s Dolemite, that places the pimp character in a setting inspired by 1970s Los Angeles. The trailer hints at the films numerous production strains and comedic hijinks all on its way to becoming a box office success.

Craig Brewer (Hustle & Flow, Black Snake Moan) directed Dolemite Is My Name from a script by Scott Alexander and Larry Karaszewski. While Netflix has yet to announce a wide release, the film is expected to his the streaming service and select theaters this fall.

Best Movies to See in Aug.: Hobbs & Shaw, The Kitchen, Springsteen Musical

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August was once a virtual graveyard for major releases. Thats not the case for this 2019 end-of-summer month, people. Nope. No sirree. This August is packed to bursting with noteworthy selections. Indie bloodbaths? Horror-anthology scarefests? Several character pieces bedecked with festival plaudits? Yes, yes, and yes. Also: were getting new movies from Richard Linklater or The Babadooks Jennifer Kent. And for those in need of a laugh, a few tweens have some very, very bad words theyd like to share with you. Heres whats coming to a theater near you.

After the Wedding (Aug. 9th)
Isabel (Michelle Williams), the cofounder of an Indian orphanage, travels back to the states to win the favor of potential benefactor (Julianne Moore). She invites the visitor to attend her daughters wedding the next day. Over the course of the weekend, layers upon layers of false pretenses get peeled back to reveal a shocking connection, a mistake two decades old, and a life hanging in the balance. Adapted from a Danish-language Academy Award nominee by Bird Boxs Susanne Bier, this gender-flipped take on the material strikes the same balance of high chamber drama and page-turning paperback intrigue.

Blinded by the Light (Aug. 14th)
Bruce Springsteen gave a voice to post-industrial smalltown America but that doesnt mean a British-Pakistani teenager named Javed (Viveik Kalra) whos suffering through Thatcher-era malaise cant also love the music of our nations blue-collar troubadour! Sure, the young mans friends and family balk at the cross-cultural interchange. But they just dont understand how Springsteens rebel-poet attitude and singular rock & roll style speaks to him and his fellow Born-to-Runners. The man himself has said that this musical from Bend It Like Beckhams Gurinder Chadha captures the spirit of his songs beautifully. Praise doesnt come any higher than that.

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Fast & Furious Presents: Hobbs & Shaw (Aug. 2nd)
Get two, two, two USDA-certified beefsteaks for the price of one! This Fast & Furious spin-off pits Dwayne Johnsons special agent and Jason Stathams villain-turned-ally against a former MI6 operative (Idris Elba) whos gained your run-of-the-mill cybernetically enhanced superpowers. Mission: Impossible Fallouts Vanessa Kirby is also along for the ride. People get punched. Macho one-liners get uttered. Things get blown up a lot. Each new F&F installment pushes the boundaries of physics and plausibility just a bit further. This entry may be the one where they simply chuck anything resembling reality right off the cliff.

Good Boys (Aug. 16th)
Office alumni Gene Stupnitsky and producer/cowriter Lee Eisenberg bring the world a bawdy R-rated comedy featuring kids not yet old enough to buy a ticket for it. Tween besties Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) get in big trouble when they lose a camera drone its a long story. To get it back, theyll have to survive a paintball onslaught, a perilous visit to a frat house, and their first traumatizing glimpses of porn. Its all the hilarity and humiliation of pre-pubescence, coming from fouler mouths.

The Kitchen (Aug. 9th)
Hells Kitchen, circa the late 70s. A trio of mob wives (Melissa McCarthy, Tiffany Haddish and Elisabeth Moss) watch as their husbands get carted off to the Big House. So while the men are stuck doing time behind bars, they decide to form a criminal empire of their own to put food in their kids mouths. Turns out theyre pretty good at this whole racketeering thing. If the cast makes it sound like a comedy and the premise makes it sound like a Widows clone, rest assured that neither charge sticks. Hell hath no fury, et cetera.

Luce (Aug. 2nd)
It sounds like a ethics class thought experiment come to life: A suspicious teacher (Octavia Spencer) finds a bag of illegal fireworks in a school locker. She points the finger at a star student named Luce (Kevin Harrison Jr.). Is she singling him out because of the essay he wrote, in which he appears to advocate the use of violence to spur social change? Or has she mentally put him in a box because hes a former African child soldier who was adopted by two well-meaning white liberals (Tim Roth and Naomi Watts)? Like it or loathe it, Julius Onahs controversial adaptation of an Off-Broadway play is guaranteed to start a conversation.

The Nightingale (Aug. 2nd)
Director Jennifer Kent (The Babadook) weaves another story about a woman under extraordinary duress but the similarities stop there. Her latest takes the form of a 19th-century brush Western, as an Irish prisoner (Aisling Franciosi) in an Australian penal colony tracks down the monstrous man (Sam Claflin) that raped her and murdered her husband days earlier. As for her aboriginal guide (Baykali Ganambarr), he has his own reasons for wanting payback. Kents film shares both of their pain and rage, not once shying away from the brutality or ugliness of her situation. Brace yourself.

Ready or Not (Aug. 21st)
The indie horror stalwarts known as Radio Silence Matt Bettinelli-Olpin and Tyler Gillett bring us the story of a blushing bride (Samara Weaving) cant wait to start her new life with the perfect groom (Mark OBrien). First, however, shes got to win over his family. All she has to do is survive a night from hell as the clan of ultra-wealthy eccentrics (including Andie MacDowell and Adam Brody) hunt her for sport. Who likes their scares spiced up with class tensions, relationship squabbles, and pitch-black physical humor involving hair-trigger crossbows?

Scary Stories to Tell in the Dark (Aug. 9th)
From Alvin Schwartzs millennial-beloved series of books comes this adaptation binding multiple tales of the macabre in one waking nightmare. Suburban teens rouse the malevolent spirits hiding in a cursed diary and let loose a menagerie of terrors: Harold the homicidal scarecrow, a ghoul dubbed the Jangly Man, a bulbous red facial blemish containing a chilling surprise that can never be unseen, etc. Our Spielbergian heroes have to get to the bottom of a legend regarding a family and a cursed young woman or die trying! [Cue black cat screech, chains rattling, wind howling through dead branches]

Whered You Go, Bernadette (Aug. 16th)
To the outside observer, it would appear that Bernadette Fox (Cate Blanchett) has it all: a loving husband (Billy Crudup), a MacArthur Genius grant, a gorgeous Seattle home. But communication has grown strained, she hasnt done any architecture work in years, and her agoraphobia has turned the house into an exceptionally lovely prison. Its enough to make a woman want to vanish into thin air which she does without warning. Its up to baffled spouse (Billy Crudup) and daughter (Emma Nelson) to track her down. Welcome to Richard Linklaters A Woman on the Verge of a Breakdown.

Lodge 49 Season 2 Review: And Now Our Moment of Zen

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Dreams are important, right? Sean Dud Dudley asks midway through the second season of AMCs Lodge 49. This isnt just a metaphorical discussion for Dud (Wyatt Russell), a shaggy former pool cleaner whose optimism never flags even though hes technically homeless and barely survived a shark attack at the end of Season One. No, Duds best friend Ernie Fontaine (Brent Jennings) has recently told him about a man who paints images from his own prophetic dreams, then watches the paintings come true. So dreams are both important and real to Dud and to Lodge 49, an addictively strange, nigh-indescribable drama whose ongoing existence feels like a dream that somebody painted into the Peak TV landscape.

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The core plot, such as it is, involves Dud and Ernies membership in a local fraternal order that has like the guys themselves, and Duds sister Liz (Sonya Cassidy), and the entire world around them seen much better days. The first season (now streaming on Hulu) was practically half over before anything resembling a story appeared. Season Two starts in a crazy place, with a perfect celebrity cameo, before jumping back six weeks to begin the long, meandering, and yet utterly watchable tale of how our heroes wound up in this particular jam. In general, TV overuses this kind of in media res opening, but its extremely useful for a series that leans much more on vibe than story to throw down an early narrative marker like this.

Yet if Lodge 49 often seems to be about nothing, it also manages to say a lot about everything: hopes and dreams and disappointments, and finding reasons to go on when there doesnt seem to be much point. The tiny nature of it all is a feature, not a bug, as the series teeters between the naive idealism of Dud and the hard-earned cynicism of Ernie and Liz. This year, Liz gets a job at a new theme restaurant, whose name, Higher Steaks, feels like the creative team winking at the idea that the series should be more eventful. There is a bit more plot this time, and also a bit more openness to the idea that there could be something genuinely magical about the Lodge.

But even as we meet the dream painter (played by Cheech Marin) and get occasional glimpses of some kind of donkey unicorn, the focus remains on the three core characters and their friends, from Lizs motley but loyal restaurant pals to Lodge 49s flaky but well-meaning apothecary Blaise (David Pasquesi) and Connie (Linda Emond), the ailing reporter torn between Ernie and new Lodge boss Scott (Eric Allan Kramer). Where too many current dramas move slowly because they dont have enough plot to fill a full season, Lodge 49 takes its sweet time because its more interested in the feeling of being in this place and around these people than it is on finding out what happens next. Thats placing a very large burden on the actors, the writers, and the directors to make this leisurely stroll feel worthwhile, but Lodge 49 succeeds at almost every turn (*).

(*) The start of the new season periodically checks in on Connies adventures at Lodge 1 in England, and those scenes are the first time the show has made me impatient for something to happen already.

In particular, Season Two confirms the amount of electricity radiating from Cassidy in every scene about Lizs attempt to find happiness in a profoundly disappointing life. Liz isnt part of the lodge, and Ernie already exists as Duds philosophical counterweight. So she could easily feel extraneous, like the one regular on a superhero show who doesnt know the main characters secret identity. But Cassidy is so funny in depicting Lizs barely-repressed rage that her subplots always play as a bonus, rather than a distraction. Like Dud, Ernie, Scott, and even many of us watching at home, shes looking for a world that doesnt seem to exist anymore, if it ever did. Shes just louder and more impatient in her search than they are. (Dud and Lizs favorite shared activity is watching TV on her living room couch; suffice it to say that hed probably enjoy Lodge 49 a lot more than she would.)

Over time, Lodge 49 develops a soft spot for almost everyone. Scott keeps gassing on about how to make the lodge great again, but the new season also depicts the emotional burden that leadership places on him. Ernie works as a salesman for a plumbing supply company where his co-workers constantly make him die a little inside, but we find out that his boss Bob (Brian Doyle-Murray) recently took an online poetry class, and now, Bob says, I see poetry everywhere.

Thats just how Lodge 49 works. Its a show about small people living small lives, but it also sees poetry everywhere.

Lodge 49 returns to AMC on August 12th. Ive seen four episodes.