Here’s Meryl Streep and Tracey Ullman onstage at the Broken Social Scene 20th anniversary tour of “You Forgot it in People” singing “Anthems for a Seventeen-Year-Old Girl”???
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Ryan Lattanzio
4,058 posts
Ryan Lattanzio
@ryanlattanzio
Executive editor and co-host of “Screen Talk” @indiewire. Garden-variety firecracker. “You know I can’t handle hard news before noon.”
New York, NY
Joined February 2009
- “You must, in fact, stand in front of the public and God and obliterate yourself.”
- The best film I’ve seen at Sundance so far is Aaron Schimberg’s A DIFFERENT MAN, a the-universe-is-a-cruel joke Charlie Kaufman-esque theater comedy with a terrific Sebastian Stan, Adam Pearson, and Renate Reinsve. It’s sick in the head but the heart wants what it wants.
- THE SUBSTANCE is body horror insanity that makes Brundlefly look quaint. Prepare for a Demi Moore renaissance and an exhilarating Margaret Qualley in this disgusting, brilliant feminist Hollywood satire, the first movie I’ve loved on the ground at Cannes. @davidehrlich’s review:‘The Substance’ Review: Margaret Qualley Helps Demi Moore Feel Young Again in an Epic, Audacious, and Insanely Gross Body Horror Masterpiece trib.al/8VNIaoZ
- SWALLOW is a must-see for fans of body horror, RED DESERT, JEANNE DIELMAN, and Hitchcock blondes. Here's my chat with Haley Bennett, who is seriously great, and director Carlo Mirabella-Davis.With Arthouse Shocker #Swallow, Haley Bennett Tackles the Feminine Mystique in a Breakout Performance bit.ly/3auij9e
- The intensity of Renate Reinsve’s total psychic collapse in ARMAND is my favorite thing to happen at Cannes this year.#Cannes: Renate Reinsve’s full-throated turn as a single mother engulfed by the fallout of an elementary school spat exceeds even her work in the great "Worst Person in the World." Read our review for #Armand here: trib.al/Y5A7BKg
- BEAU IS AFRAID is kind of stunning?? I don’t have much else to add right now. There’s a usage of Mariah Carey that people are going to lose their minds over and that probably accounted for 1/35th of the budget.
- He said MY POLICEMAN isn’t “a gay story about these guys being gay.’ It’s about love and about wasted time to me.” Those remarks — and his performance — suggest H*rry St*les didn’t understand the assignment. My #TIFF22 review.‘My Policeman’ Review: It’s Time for a Citizen’s Arrest on Harry Styles’ Acting Career bit.ly/3xidy0q
- Get ready for Penélope Cruz’s performance as Enzo Ferrari’s jilted, trigger-happy wife in Michael Mann’s pretty gripping latest, which should secure her an Oscar nom and is her most fascinatingly unhinged turn since VICKY CRISTINA BARCELONA. Many closeups on a pained woman!#Ferrari Review: Penélope Cruz Steals the Wheel from Adam Driver’s Automaker in Michael Mann’s Racing Opera trib.al/IzLIKSk
- Buckle up — or whatever the equivalent tennis term is — for CHALLENGERS, a feature-length shrine to the brilliance and hotness of Josh O’Connor, Zendaya, and Mike Faist. It’s Luca’s most pulsing movie. One scene set in a windstorm still has me writhing on the floor of my brain.
- Spoke with one of my favorite actresses — Isabelle Huppert! — about one of my favorite movies — THE PIANO TEACHER! — and she told told me films aren’t “meant to give good feelings” and that she doesn’t “particularly like when people smile too much or are happy onscreen.” Amen!Isabelle Huppert Looks Back on ‘The Piano Teacher’: ‘I Don’t Think Film Is Meant to Give Good Feelings’ bit.ly/3SZTzvT
- We need to talk about Jacob Tremblay's father. https://t.co/1xyyHIvJB8
- THE KILLER is like a JEANNE DIELMAN of assassin movies, obsessed with what happens when a glitch in your routine blows up your carefully calibrated days and ways. Plus, Fassbender’s character loves The Smiths. Relatable for us all. Here’s my review!‘The Killer’ Review: David Fincher Executes a Sleek If Small Michael Fassbender Thriller Armed with Existential Futility trib.al/M6iDN7a
- Ira Sachs’ PASSAGES is a searing relationship triangle drama so bruising I’m telling people at #Sundance it’s basically like a gay version of Mike Nichols’ “Closer,” set in Paris — nonstop fighting, fucking, crying, pleading. One of the very best queer films of the fest.
