Entertainment

Movie Review: Channing Tatum and Kirsten Dunst bring humanity to true-crime tale ‘Roofman’

Lindsey Bahr, The Associated Press 4 minute read Yesterday at 11:45 AM CDT

Down on his luck divorced dad who resorts to crime is becoming familiar territory for Channing Tatum as an actor. In “Logan Lucky” his mark was the Charlotte Motor Speedway. In “Roofman,”in theaters Friday, it’s McDonald’s. In both films, there’s a young daughter he wants to impress. The big, heartbreaking difference is that “Roofman” isn’t just some fun, eccentric caper — it’s based on a wild true story, involving a prison escape, a six-month secret stay inside Toys “R” Us and a local girlfriend who was none-the-wiser to his criminal ways.

The film, directed by Derek Cianfrance, who co-wrote the script with Kirt Gunn, takes some important liberties in telling the story of Jeffrey Manchester, though many of the wildest beats did actually happen, including offering up his coat to a McDonald’s employee he was robbing. It’s suspected that he hit over 40 of the fast-food joints across the country before he was nabbed in North Carolina.

After escaping from prison, where he was serving a 45-year sentence (mostly stemming from kidnapping charges), he really did live behind a bike display in a Charlotte Toys “R” Us, ate baby food to survive, decorated his makeshift bed with Spider-Man sheets and eventually started venturing out into the town and attending a local church where he began dating a single mom.

In “Roofman,” Jeffery’s life of crime starts with a minor humiliation. Already divorced, the U.S. Army veteran asks his daughter what she wants for her 6th birthday as she’s blowing out the candles, which just seems to be setting himself up for failure. She wants a bike, which is out of his price range, and he has the grand idea to start robbing. It works until it doesn’t.

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Alan Doyle wants to try everything once, so he co-wrote the musical ‘Tell Tale Harbour’

Nicole Thompson, The Canadian Press 7 minute read Preview

Alan Doyle wants to try everything once, so he co-wrote the musical ‘Tell Tale Harbour’

Nicole Thompson, The Canadian Press 7 minute read Updated: Yesterday at 12:48 PM CDT

TORONTO - To hear Alan Doyle tell it, he's stumbled into all his creative pursuits since the success of his folk-rock group Great Big Sea. 

The name and voice recognition he earned fronting that band got him opportunities: as an actor in Ridley Scott's 2010 film adaptation of "Robin Hood," as the composer for the CBC sitcom "Son of a Critch," as an author with three memoirs published so far and a fourth on the way. 

"I'm a guy in a band, that's my main job," he says. "All the other stuff has come to me. I never went looking for any of it." 

The latest thing to come to him? A starring role in a musical he co-wrote. 

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Updated: Yesterday at 12:48 PM CDT

"Tell Tale Harbour" star and musician Alan Doyle checks his hair and warms up his voice ahead of the musical's opening performance at the Royal Alexandra Theatre in Toronto, on Tuesday, Sept. 23, 2025. THE CANADIAN PRESS/Sammy Kogan

‘The Last Frontier’ TV series: A plane crash, a jailbreak and CIA secrets unfold in freezing Alaska

Mark Kennedy, The Associated Press 5 minute read Preview

‘The Last Frontier’ TV series: A plane crash, a jailbreak and CIA secrets unfold in freezing Alaska

Mark Kennedy, The Associated Press 5 minute read Yesterday at 9:55 AM CDT

NEW YORK (AP) — The new Apple TV+. series “The Last Frontier” begins with a plane crash in remote Alaska and a scramble for survivors. We learn the plane was carrying a nasty bunch of federal inmates. Then we find out that the nastiest of them is part of a vast CIA conspiracy.

The action hardly lets up in what's being called a cross between “Con Air”and “The Fugitive.” Showrunner Jon Bokenkamp piles crisis after crisis in a nifty bit of hyper-aggressive storytelling.

“I am just super self-conscious about not wanting to bore the audience,” he says. “I really like something that has a kinetic energy. Sometimes I have to remind myself to slow down.”

Jason Clarke stars

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Yesterday at 9:55 AM CDT

This image released by Apple TV+ shows Haley Bennett, left, and Jason Clarke in a scene from "The Last Frontier." (Apple TV+ via AP)

This image released by Apple TV+ shows Haley Bennett, left, and Jason Clarke in a scene from

Movie Review: ‘After the Hunt’ is less hot-button farce than tragedy

Jake Coyle, The Associated Press 5 minute read Preview

Movie Review: ‘After the Hunt’ is less hot-button farce than tragedy

Jake Coyle, The Associated Press 5 minute read Wednesday, Oct. 8, 2025

It’s not so often that the font of a movie’s opening credits is, itself, a provocation.

But in Luca Guadagnino ’s muddled but darkly absorbing “After the Hunt,” the white Windsor Light Condensed lettering against a black background, with cast in alphabetical order and soft jazz playing, is immediately recognizable as the style of a Woody Allen movie opening.

In the juggling act to follow in “After the Hunt,” where Guadagnino will playfully twirl a twisting narrative of alleged sexual assault, cancel culture, privilege in academia and Gen Z victimization, the credits are not so much an opening salvo than they are an introductory wink.

Like many an Allen film, “After the Hunt” is set among a well-educated, self-involved class. It takes place around Yale University. But unlike Allen’s anxious, existential, chattering characters, Guadagnino’s cocktail party collection of professors and students is a more scheming and unpleasant lot.

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Wednesday, Oct. 8, 2025

This image released by Amazon MGM Studios shows Julia Roberts in a scene from "After the Hunt." (Yannis Drakoulidis/Amazon MGM Studios via AP)

This image released by Amazon MGM Studios shows Julia Roberts in a scene from

Movie Review: Tonatiuh dances away with ‘Kiss of the Spider Woman’

Lindsey Bahr, The Associated Press 5 minute read Preview

Movie Review: Tonatiuh dances away with ‘Kiss of the Spider Woman’

Lindsey Bahr, The Associated Press 5 minute read Wednesday, Oct. 8, 2025

The part of Luis Molina, the gay prisoner with a penchant for Hollywood’s Golden Age at the heart of “Kiss of the Spider Woman,” has been good to actors over the years. It’s what got William Hurt his first best actor Oscar, for Héctor Babenco’s 1985 film adaptation. Several years later, Brent Carver would win a Tony for John Kander and Fred Ebb’s Broadway musical.

Perhaps it shouldn’t be a surprise, then, that the standout in Bill Condon’s “Kiss of the Spider Woman” (in theaters Friday) is the person playing Molina. Still, it takes a special kind of actor to make such an immediate impact as Tonatiuh, a relative newcomer, does in this film. They don’t even need all the window dressing of the fantasy movie musical sequences to make their scenes come alive.

“Kiss of the Spider Woman,” has had many lives, first as a novel by Argentine writer Manuel Puig, published in 1976 and widely banned. It imagines the meeting of two cellmates in an Argentine prison, Molina a romantic dreamer, and Valentín ( Diego Luna ), a Marxist revolutionary. They develop an unlikely bond as Molina recounts the plot to his favorite movie: A fictional musical called “Kiss of the Spider Woman” starring the fictional screen siren Ingrid Luna (played by Jennifer Lopez ).

The latest is an adaptation of the Broadway musical, with Condon and late playwright Terrence McNally co-credited for the script. Set in Argentina in 1983, amid the military dictatorship’s war on its political opponents, the film alternates between the dreary reality of the prison cell and the lavish MGM-styled musical world in Molina’s imagination. Valentín resists hearing about it at first — too busy being serious and reading Lenin. “Well, that sounds fun,” Molina deadpans, before throwing out his own quote, “The struggle is not over until all men are free.” No, it’s not Lenin, it’s Cyd Charisse in “Silk Stockings.”

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Wednesday, Oct. 8, 2025

This image released by Roadside Attractions shows Jennifer Lopez, left, and Tonatiuh in a scene from "Kiss of The Spider Woman." (Roadside Attractions via AP)

This image released by Roadside Attractions shows Jennifer Lopez, left, and Tonatiuh in a scene from

Music Review: Khalid bounces back with complex look at love in ‘After Sun Goes Down’

Mark Kennedy, The Associated Press 3 minute read Preview

Music Review: Khalid bounces back with complex look at love in ‘After Sun Goes Down’

Mark Kennedy, The Associated Press 3 minute read Wednesday, Oct. 8, 2025

If you want to know how far Khalid has traveled in a year, just look at his album covers.

His summer 2024 16-track “Sincere” showed the R&B star solo, in black and white, looking at the camera equal parts faded and standoffish. In his new one, out Friday, he's at the center of a crowd of sweaty dancers and lovers, clearly in his element. He's looking at the camera, but this time inviting us in living color, his hair blue.

The 17-track “After the Sun Goes Down” is an upbeat, slightly throwback meditation on love in all its forms — lusty, ecstatic, devoted, flirty, defiant, apprehensive, revengeful and even post-passion cold. It's a welcome return after his dour last outing.

One big thing that's different this time is that Khalid is publicly out and proud, a change that has given his music a directness. “You’re my type, fly dark and handsome,” he sings in “Momentary Lovers.” On the opening cut, “Medicine,” he's lovesick: “You got me feeling stimulations I never felt.”

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Wednesday, Oct. 8, 2025

This image released by Right Hand Music Group/RCA Records shows "After the Sun Goes Down" by Khalid. (Right Hand Music Group/RCA Records via AP)

This image released by Right Hand Music Group/RCA Records shows

Rush adds two more Toronto dates on its reunion tour

David Friend, The Canadian Press 2 minute read Preview

Rush adds two more Toronto dates on its reunion tour

David Friend, The Canadian Press 2 minute read Wednesday, Oct. 8, 2025

TORONTO - Rush is doubling down on its hometown.

Only a couple of days after Geddy Lee and Alex Lifeson surprised fans with plans for a Rush reunion tour, the pair has added 11 extra shows, including two more nights in Toronto.

The rockers say they'll play Scotiabank Arena on Aug. 11 and 13, 2026, which extends their run at the Toronto venue beyond the previously announced shows on Aug. 7 and 9.

The four nights are the only Canadian dates on Rush's schedule.

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Wednesday, Oct. 8, 2025

Geddy Lee (right) holds a discussion with fellow Rush band member Alex Lifeson, as he promotes his book "My Effin' Life" in Toronto, on Thursday, Dec. 7, 2023. THE CANADIAN PRESS/Chris Young

Geddy Lee (right)  holds a discussion with fellow Rush band member Alex Lifeson, as he promotes his book

Movie Review: Rose Byrne goes deep and dark as an overburdened mom in ‘If I Had Legs I’d Kick You’

Jocelyn Noveck, The Associated Press 5 minute read Preview

Movie Review: Rose Byrne goes deep and dark as an overburdened mom in ‘If I Had Legs I’d Kick You’

Jocelyn Noveck, The Associated Press 5 minute read Wednesday, Oct. 8, 2025

How DO you juggle it all? Mothers tend to get asked that question — often in a chipper tone, expecting a chipper response. Rarely do those asking stick around to hear that perhaps those juggling balls are hovering precariously, about to crash to the ground.

One senses that Linda, the overburdened mom embodied by a brave and committed Rose Byrne in Mary Bronstein’s “If I Had Legs I’d Kick You,” would freely expand on that — if anyone cared. But Linda is nobody’s priority.

She’s certainly not her husband’s priority; a cruise captain, he phones in from afar, checking that she’s properly caring for their ill child and freely admonishing her when she's not. A working therapist, she’s certainly not the priority of her patients in various stages of crisis.

She’s also not the priority of doctors supervising her daughter’s illness — an eating disorder so severe that the child needs a feeding tube. Even the contractor who’s allegedly fixing that hole in Linda’s ceiling puts her at the bottom of the list.

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Wednesday, Oct. 8, 2025

This image released by A24 shows Rose Byrne in a scene from " If I Had Legs I'd Kick You." (Logan White/A24 via AP)

This image released by A24 shows Rose Byrne in a scene from

House committee adds language, security checks to ‘Lost Canadians’ bill

David Baxter, The Canadian Press 4 minute read Wednesday, Oct. 8, 2025

OTTAWA - A House of Commons committee is recommending that most adults eligible for birthright citizenship under the "Lost Canadians" bill meet the same standards on language, knowledge of Canadian history and security checks facing immigration applicants.

On Tuesday, MPs on the immigration committee adopted the Conservative amendment to Bill C-3, which will now go back to the House of Commons for approval.

The bill responds to a 2023 Ontario court ruling overturning a Stephen Harper-era law which prohibited Canadians born abroad from passing down citizenship if their children were not born in Canada. The government did not appeal the decision.

The "Lost Canadians" legislation, meant to replace the 2009 law that was deemed unconstitutional, would set new rules on citizenship by descent.

Movie Review: Bigelow’s ‘A House of Dynamite’ lights a fuse that doesn’t quite ignite

Jake Coyle, The Associated Press 5 minute read Preview

Movie Review: Bigelow’s ‘A House of Dynamite’ lights a fuse that doesn’t quite ignite

Jake Coyle, The Associated Press 5 minute read Tuesday, Oct. 7, 2025

In Kathryn Bigelow’s “A House of Dynamite,” when a mysterious missile launches from the Pacific and begins bearing down on the Midwest, the biggest threat initially at the White House is a pile of paper work.

The ho-hum response that kicks off Bigelow’s firecracker of a film is quickly shattered. But that transition from routine to imminent danger, replayed three times over in this “Rashomon” meets “Dr. Strangelove,” is the defining register of Bigelow’s urgent, if heavy-handed nuclear wake-up call.

Words across the screen open the film, noting that global powers once worked to decrease nuclear weapons. “That era is now over,” declares the movie.

You might be thinking: As if we didn’t have enough to worry about. But no matter how many other existential concerns might be making a restful night of sleep a thing of pure fantasy, filmmakers have long been particularly attuned to the threat of nuclear warfare. “A House of Dynamite” joins a cinematic lineage going back to “Dr. Strangelove” and “Fail Safe” in 1964. And it comes amid a modern revival of big-screen nuclear anxiety including 2023’s “Oppenheimer” and preceding James Cameron’s announced plans to make “Ghosts of Hiroshima.”

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Tuesday, Oct. 7, 2025

This image released by Netflix shows Rebecca Ferguson in a scene from "A House of Dynamite." (Eros Hoagland/Netflix via AP)

This image released by Netflix shows Rebecca Ferguson in a scene from

Rolando Villazón directs opera at the world’s top houses while still singing

Ronald Blum, The Associated Press 5 minute read Preview

Rolando Villazón directs opera at the world’s top houses while still singing

Ronald Blum, The Associated Press 5 minute read Tuesday, Oct. 7, 2025

NEW YORK (AP) — Tenor Rolando Villazón was singing the title role in Massenet's “Werther” in 2006 at Nice, France, when he started thinking about how he would direct the opera.

“I said, ‘oh, this last act is very difficult. He shot himself and keeps singing for 40 minutes.' And so, what would I do?” he recalled. “And I started inventing, creating for fun a staging.”

Nearly two decades later, Villazón is making his Metropolitan Opera directing debut in Bellini's “La Sonnambula,” which opened Monday night with a standout cast of Nadine Sierra, Xabier Anduaga and Alexander Vinogradov.

“He is very sensitive to singers,” Sierra said. “Maybe some directors, because they’re not singers or they were never singers, it’s hard for them to really relate to the psychological struggle that some singers, we deal with on stage. We want to make our characters as believable as humanly possible through the actions that we show, but sometimes it’s hard to do that because you also have to sing high notes.”

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Tuesday, Oct. 7, 2025

This image released by the Metropolitan Opera shows soprano Nadine Sierra, standing, rehearsing with director Rolando Villazón for his new production of Bellini’s “La Sonnambula" in New York on Sept. 23, 2025. (Jonathan Tichler/Metropolitan Opera via AP)

This image released by the Metropolitan Opera shows soprano Nadine Sierra, standing, rehearsing with director Rolando Villazón for his new production of Bellini’s “La Sonnambula

US-Audiobooks-Top-10

The Associated Press 2 minute read Tuesday, Oct. 7, 2025

Nonfiction

1. 107 Days by Kamala Harris, narrated by the author (Simon & Schuster Audio)

2. The Let Them Theory by Mel Robbins, narrated by the author (Audible Studios)

3. Separation of Church and Hate by John Fugelsang, narrated by the author (Simon & Schuster Audio)

‘Roofman’ tells a stranger-than-fiction story with rigorous accuracy and a whole lot of toys

Jake Coyle, The Associated Press 7 minute read Preview

‘Roofman’ tells a stranger-than-fiction story with rigorous accuracy and a whole lot of toys

Jake Coyle, The Associated Press 7 minute read Wednesday, Oct. 8, 2025

TORONTO (AP) — The lengths writer-director Derek Cianfrance goes to create immersive environments for his actors has grown into a kind of legend. After making the much-improvised doomed romance of “Blue Valentine” (2010), Michelle Williams said she would have to remind herself that she was never, actually, married to Ryan Gosling.

Cianfrance’s last feature, 2016’s “The Light Between the Oceans,” was shot almost entirely at a remote New Zealand lighthouse. The making of that film did lead together its stars, Michael Fassbender and Alicia Vikander. So did Cianfrance’s “The Place Beyond the Pines,” with Gosling and Eva Mendes. Method filmmaking can produce real-life results.

But Cianfrance’s ways are for a purpose. He wants his actors, as much as possible, to live in a movie. For his latest film, “Roofman,” starring Channing Tatum and Kirsten Dunst, that approach was especially important because the story was so far-fetched.

“I wanted to immerse the entire cast in this story because it’s a crazy story,” Cianfrance said in an interview. “Jeff’s actions are kind of unbelievable. I felt like just for me, to have my suspension of disbelief, I needed to be down there. I think that’s why I do a lot of this immersion because I need to believe it. I need to believe it’s actually happening.”

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Wednesday, Oct. 8, 2025

FILE - Channing Tatum, left, and Kirsten Dunst pose for a portrait to promote the film "Roofman" during the Toronto International Film Festival on Sept. 7, 2025, in Toronto. (AP Photo/Chris Pizzello, File)

FILE - Channing Tatum, left, and Kirsten Dunst pose for a portrait to promote the film

Movie Review: ‘Tron’ franchise returns in a dazzling, action-packed sequel with plenty of nostalgia

Mark Kennedy, The Associated Press 4 minute read Preview

Movie Review: ‘Tron’ franchise returns in a dazzling, action-packed sequel with plenty of nostalgia

Mark Kennedy, The Associated Press 4 minute read Tuesday, Oct. 7, 2025

“Tron: Ares” may have the tagline “No Going Back” but Disney doesn't like to leave money on the table. So here we are, going back with a third entry in a cult franchise that's somewhat trapped between the human and digital worlds.

Ride-or-die Tron-iacs are going to need a few things to be happy — the cool motorbikes that kick off light walls, those glowing Frisbee things attached to everyone's back, and, of course, Jeff Bridges. Director Joachim Rønning gives us all those things and much, much more. Maybe too much.

“Tron: Ares” bites off so much — a light cycle chase through downtown Vancouver, a laser attack by a massive, hovering vehicle, a Jet Ski pursuit, dozens of crushed police cars and endless flipping between Earth and no less than three computer grids — that it gets a bit deafening and numbing after two hours, like a late-stage Marvel movie.

How do you go back and yet forward at the same time? The filmmakers have rather cleverly done that by incorporating plot points from the first two movies and building out with new characters and blurring the divide between flesh and digital worlds.

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Tuesday, Oct. 7, 2025

This image released by Disney shows Jodie Turner-Smith, center, in a scene from "Tron: Ares." (Disney via AP)

This image released by Disney shows Jodie Turner-Smith, center, in a scene from

Julia Roberts, Andrew Garfield and Ayo Edebiri on sex, lies and academics in ‘After the Hunt’

Lindsey Bahr, The Associated Press 6 minute read Preview

Julia Roberts, Andrew Garfield and Ayo Edebiri on sex, lies and academics in ‘After the Hunt’

Lindsey Bahr, The Associated Press 6 minute read Tuesday, Oct. 7, 2025

VENICE, Italy (AP) — Andrew Garfield would like everyone to know about his gesticulating. Not in his performance as a Yale philosophy professor accused of sexual misconduct in “After the Hunt,” but while discussing an actor’s responsibility to comment on the work they’re putting out in the world.

It’s a blue-sky day outside the luxurious Hotel Cipriani and Garfield is seated alongside his co-stars Julia Roberts and Ayo Edebiri discussing a film that has, for better or worse, become the topic of some spirited debates. Just a few days prior at the Venice Film Festival, journalists at a press conference asked Roberts and filmmaker Luca Guadagnino if the film undermines the feminist movement.

“I don’t think it’s the actor’s responsibility at all to express anything in public. Ever,” Garfield said, using his hands for extra emphasis. “Please, tell them about the gesticulation.”

Roberts chimed in: “The hair as well.” (It was bouncing).

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Tuesday, Oct. 7, 2025

This image released by Amazon MGM Studios shows Ayo Edebiri, from left, Julia Roberts and director Luca Guadagnino on the set of "After the Hunt." (Yannis Drakoulidis/Amazon MGM Studios via AP)

This image released by Amazon MGM Studios shows Ayo Edebiri, from left, Julia Roberts and director Luca Guadagnino on the set of

Apple TV app – Top Movies

The Associated Press 1 minute read Tuesday, Oct. 7, 2025

Top Movie Purchases and Rentals (US)

1. Weapons

2. Downton Abbey: The Grand Finale

3. The Fantastic Four: First Steps

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