#mercy-2024-film

#mercy-2024-film

Soderbergh has become such a prolific, tirelessly resourceful, and altogether uncategorizable filmmaker that you have to wonder why the mechanics of the break-in still inspire him.

In a bustling Boston café, Charlie is instantly smitten with Emma, who is quietly reading a novel. He approaches her, gushing about the book, only to realize she hasn't heard him.

After a terrible family tragedy, she learns that it's less about the place, specifically, and more about the idea to never take anything for granted. The Madison has your answer-though it's not so straightforward. Starring Michelle Pfeiffer and Kurt Russell, the latest series from Sheridan surprisingly begins by treating the state much like any Lifetime Christmas movie would.

Emma drops an absolute bombshell in the midst of a game where they're asked to reveal the worst thing they've ever done. Soon everyone around her starts to question how well they really know her.

In a straightforward metaphor for all the ways Black culture has been co-opted by whiteness, the raucous pleasures and sonic beauty of the juke joint attract the interest of a trio of demons they wish to literally leech off of the talents and energy of Black folks.

The first thing you notice about undertone is how quiet it is; not just in its audio mix, but in how it's shot - primarily steady wide shots that slowly pan across empty rooms, allowing your eyes to frantically scan for something amiss. It's an understated form of filmmaking that allows for the movie's scares to hit all that much harder.

"The AI Doc: Or How I Became an Apocaloptimist," co-directed by Oscar-winning film-maker Daniel Roher and Charlie Tyrell, examines the promises and risks of AI through a personal lens, while bringing together some of the most influential voices shaping the global AI conversation. The film arrives at a moment when AI systems are being adopted faster than regulatory frameworks can keep pace, raising urgent questions about safety, governance and social impact.

We believed that the fans would just eat this alive if we did it justice,

A false music cue or an overworked script can turn the most powerful story banal. You don't find those slip-ups in Sundance as often as they occur in other places-all five of the current nominees for Best Documentary at the Oscars premiered at Sundance-but the festival also isn't immune to those missteps either. In this dispatch are three works from the US Documentary competition

In a small Australian town, two queer kids-Naim (Joe Bird) and Ryan (Stacy Clausen)-share furtive glances and intense kisses in an abandoned mill. Oftentimes, violence, like the rough play fighting they often engage in, incites their sexual passions, which they must conceal in their fiercely religious town. Their adolescent passion turns deadly, however, when Naim discovers Ryan cheating on him with the preacher's son; so naturally the jilted teenager spitefully reports his lover's tryst.

When Pratt's character, Chris Raven, wakes up, barefoot and strapped into an electric chair sitting in the middle of an oddly large room that looks a bit like the holodeck, he's informed by an IMAX-sized AI judge (Ferguson) that he has 90 minutes to prove he didn't kill his wife (Annabelle Wallis). In this world, the incarcerated are guilty until proved innocent. They've cut lawyers and juries out of the equation as well.

Director Adam Meeks came across a rare piece of good news in the hellscape that is the opioid epidemic: the Ohio drug courts that help to rehabilitate addicts through a system of non-judgmental support and a strict, yet not unforgiving, schedule. His feature debut Union County an extension of a 2020 short shows the positive outcome of treating addiction as a problem to be solved, rather than a lifestyle choice to be demonised.