The movie chronicles the shuttering up of New York City’s most beloved record store, Other Music, which took exquisite pride in championing the kind of musicians whose work you wouldn’t find at Tower Records across the street. The owners and employees acted as indie curators, relishing every opportunity to geek out over thousands of obscure musicians, personally selecting albums based on their customers’ tastes and inclinations. 

The final chapter in a decade-long superhero saga and the remake of a big-screen classic could topple box-office records during a summer movie season expected to be dominated by Walt Disney Co. Avengers: Endgame from Disney’s Marvel Studios kicks off Hollywood’s parade of potential blockbusters on Wednesday, and it is expected to start with a bang. Industry experts say Endgame will likely deliver the biggest opening weekend ever in the United States and Canada.

Us is murkier and messier and more ambitious. You could intuit as much from the perplexing extended teaser that gave a splashing glance at the evocative, nightmarish imagery. Indeed, Peele’s focus as a visual storyteller has sharpened. He amplifies the more stunning frames in Us with a pulsating score that signals foreboding, menace, and misery. Even a shot as conceptually simple as a blood-red candy apple dropping into the sand sparks waves of meaning. He stages an agonizingly slow zoom-out of countless rabbits in cages so powerfully and confidently that you feel overwhelmed by the palpable dread of unspoken sadism. 

The movie Green Book explores racial inequality, Roma reveals the emotional toll placed on domestic workers, and RBG chronicles the fight for women’s rights. The messages in the three Academy Awards contenders are no accident. All were produced and financed by Participant Media, a pioneer among a group of companies aiming to advance social missions through movies.

Any dramatic series that starts with the hero wielding a gun in his underwear in the middle of the desert already has a lot going for it. When you add an outstanding cast, top-quality writing and a dark strain of humor, it's hard to think of any other television series that comes close to the magnificent achievement of Breaking Bad. That the series sustained this exceptional level of quality for five seasons is little short of a miracle.

The International Science and Engineering Fair or ISEF, put on by the Society for Science and the Public, draws 1,800 students from 80 countries every year to compete in all levels of science including Environmental Science, Becker told AsAmNews. Inventing Tomorrow’s director, Laura Nix, and producers had the tremendous task of finding just a few projects to feature among the more than 1 million students who compete for a spot at ISEF every year. In the final cut of the film, just four projects and their creators were featured.

The film 9-22, is about a Washington, D.C.-based lawyer who ends up fighting for his life, as he struggles to investigate the untold, dark history of U.S.-Iran relations in the 1980s to save his client (an imprisoned former Navy Special Operations pilot). 9/22/1980 was the date Saddam Hussein invaded Iran and started the Iran-Iraq war. 9/22 was also the name of Saddam Hussein’s chemical warfare program’s code name. 

Based off the best-selling book of the same name by Kwan (who served as an executive producer of the film), the romantic comedy follows American-born Chinese economics professor Rachel Chu (Constance Wu, “Fresh Off the Boat”) as she joins her boyfriend Nick Young (Golding) on a trip back to his hometown Singapore for his best friend’s wedding. Nick forgets to tell Rachel a minor detail, however, that his family is one of the wealthiest in the country. 

As some news sources struggle to maintain profitable business models, public broadcasting continues to offer in-depth coverage of important issues. Because its primary mission is public service and not profit, it can remain independent of corporate influences without sensationalizing news issues to boost ratings. As such, public channels are more highly trusted than commercial channels for the accuracy, reliability and impartiality of their news coverage.

Evolving movie-watching habits have brought new buyers in recent years, with Netflix and Amazon.com Inc leading the march of digital outlets to Sundance. The streaming services had started to outbid Weinstein Co for standout films. Filmmakers prospered as Amazon paid $12 million for “The Big Sick” and Netflix paid $12.5 million for “Mudbound” in 2017. This year, it was unclear whether those outlets will replace Weinstein as the pacesetters.