Film News 2025-09-07

• ‘Roofman’ Review: Crime Pays, but Only Briefly, in a Superficial Crowdpleaser Based on a True Story
  Indie Wire
• ‘Wake Up Dead Man’ Review: Rian Johnson’s Third Knives Out Mystery Is a Darker, Poe-Inspired Tale for the Age of Disinformation
  Indie Wire
• ‘The Studio,’ ‘The Penguin,’ and ‘Severance’ Lead Night 1 at the 2025 Creative Arts Emmys
  Indie Wire
• ‘Rental Family’ Review: Brendan Fraser Sells Happiness in a Gig Economy Drama About the Reality of the Roles We Play
  Indie Wire
• ‘Becoming Human’ Review: Biennale-Developed Cambodian Debut Ponders Life Beyond Cinema
  Indie Wire
• ‘Winter of the Crow’ Review: Lesley Manville Goes Jason Bourne in a Richly Atmospheric Soviet Era Thriller
  Indie Wire
• ‘The Choral’ Review: A Low-Key Crowdpleaser About Life During Wartime
  Indie Wire
• ‘The Lost Bus’ Review: Paul Greengrass’ Version of Hell Is Real
  Indie Wire
• Jim Jarmusch’s ‘Father Mother Sister Brother’ Wins Venice Film Festival Golden Lion: Full Winners List
  Indie Wire
• ‘Julian’ Review: Heartfelt Tragedy Takes an Odd Trip Through Illness and LGBT Rights in the Digital Age
  Indie Wire
• Why Jay Duplass Returned to Directing After 14 Years with ‘The Baltimorons’
  Indie Wire
• ‘Carolina Caroline’ Review: Samara Weaving and Kyle Gallner’s Passionate Chemistry Elevates a Well-Trod Lovers-on-the-Run Script
  Indie Wire