Paul Greengrass' gritty, live-wire directing style is something of a trademark, and it's put to efficient use in "22 July," a layered, dense look at the savage terrorist attack that rocked Norway on that date in 2011. Telling the story from multiple angles, Greengrass' spare, sobering film -- premiering simultaneously in select theaters and on Netflix -- seeks and mostly succeeds in highlighting extremism while finding humanity and resolve within the grief and chaos.
Before sitting down with Monica Lewinsky on stage at the Vanity Fair New Establishment Summit on Tuesday, Australian comedian Hannah Gadsby, whose affecting Netflix comedy special "Nanette" was the talk of the summer, described their meeting as such: "a former comedian in conversation with a former punchline."
Netflix Chief Content Officer Ted Sarandos didn't have a lot of details to offer on the projects being prepped by Barack and Michelle Obama for his streaming service but indicated that the content won't necessarily be "political."
Bob Iger shared the stage with presidential historian Doris Keans Goodwin at Tuesday's Vanity Fair New Establishment Summt, but he didn't want people to read into it.
There's a reason "A Star is Born" was made (and remade and remade), meaning a new version needn't reinvent the wheel. Director-star-co-writer Bradley Cooper is shrewd enough not to try, crafting a pleasantly satisfying movie and splashy big-screen showcase for Lady Gaga, in a role that capitalizes on her musical talents as few others could.
Stop if you've heard this one: A "distinctly American" mass-entertainment institution thrives for years, before its business model gets undermined by new technology. Only with "The Circus," an oddly timely PBS documentary, it's the "greatest show on Earth" that fell victim to a new delivery system -- namely, television.
