Film News 2024-09-06

• ‘The Cut’ Review: Orlando Bloom Stars in Boxing Drama About Psychological Battle Outside the Ring
  Indie Wire
• ‘Bonjour Tristesse’ Review: Once Adapted by Otto Preminger, Françoise Sagan’s Novel Gets Another Cinematic Freshening
  Indie Wire
• ‘The Luckiest Man in America’ Review: Paul Walter Hauser Rigs a Classic Game Show in a Sleazy Contained Thriller
  Indie Wire
• ‘Nutcrackers’ Review: David Gordon Green Returns to Heartfelt Cinema and Gives Ben Stiller His ‘Uncle Buck’ Moment in the Process
  Indie Wire
• TIFF Opening Night Screening Interrupted by Protesters Criticizing Festival Sponsor RBC
  Indie Wire
• ‘Went Up the Hill’ Review: Vicky Krieps and Dacre Montgomery Confront Trauma (and Each Other) in Chilly Ghost Story
  Indie Wire
• ‘Fight Night’ Review: Peacock’s Old-School Heist Series Works Best as a Binge
  Indie Wire
• Actor Embeth Davidtz Knew the Story of ‘Don’t Let’s Go to the Dogs Tonight’ in Her Bones — and Had to Direct It
  Indie Wire
• Munich Olympics Film ‘September 5’ Being So Timely Is a ‘Coincidence,’ Stars John Magaro and Leonie Benesch Say
  Indie Wire
• Will ‘Joker: Folie à Deux’ Be a Crafts Contender This Awards Season?
  Indie Wire
• Led by ‘Beetlejuice Beetlejuice,’ September Box Office Wants to Pick Up Where Summer Left Off
  Indie Wire
• ‘Stranger Eyes’ Review: Singaporean Surveillance Crime Thriller Morphs Into a Moving Meditation on Our Human Dislocation from Each Other
  Indie Wire