The Brutalist Report

Variety

• Bad Bunny Brings Puerto Rico to Los Angeles’ SoFi Stadium With Surprise Guest Ivy Queen: Concert Review [1398d]
• ‘Sisu’ Review: The Road Runner Versus Nazis [1398d]
• T Bone Burnett’s NYC Tribute to Bob Dylan, With Sara Bareilles and Oscar Isaac Among the Cast, Is Worthy of a Bard: Concert Review [1398d]
• Oscar-Winning Composer Rachel Portman on Sound of Antoine Fuqua’s ‘King Shaka’ [1398d]
• Tennessee High Court Vacates Ruling to Require Police to Publicly Release Naomi Judd’s Death Investigation [1398d]
• ‘The Kings of the World,’ ‘Stuntwomen’ Triumph at Zurich Film Festival [1398d]
• ‘Bones and All’ Helmer Luca Guadagnino Slams the ‘Silliness’ of Armie Hammer Insinuations [1398d]
• Composer Marc Shaiman Explains How ‘Sleepless in Seattle’ Influenced ‘Bros’ Movie Score [1398d]
• ‘White Noise’ Director Noah Baumbach Says He Never Saw Don DeLillo’s Novel as ‘Unfilmable’ at New York Film Festival’s Opening Night [1398d]
• Danielle Deadwyler Gives an Oscar-Worthy Performance in ‘Till,’ But Will Enough Voters Watch the Film? [1398d]
• How ‘Hocus Pocus 2’ Used Folklore, Spiders and Snakes to Update Witchy Looks From the Original [1398d]
• Brad Pitt’s ‘Bullet Train’ Hits $100 Million at Domestic Box Office [1398d]
• ‘Cinema Has a Fascination With Sexist Violence’: Why Stuntwomen Are Often Cast as Victims [1398d]
• Box Office: ‘Smile’ Chomping Into $19 Million, Billy Eichner’s ‘Bros’ Debuting at No. 4 [1398d]
• Charlotte Gainsbourg Explains Lure of ‘The Almond and the Seahorse,’ Learning From Lars von Trier, Shooting Doc About Mother Jane Birkin [1398d]