Shoaib

 It’s hard to believe that Prince Andrew would agree to such an open-ended interview with the BBC, and even more astonishing that he thought it went well! What kind of mindset leads someone to make statements like “I don’t sweat” and “It was a convenient place to stay,” and then think, “I really nailed that”? We can guess the kind of environment he’s in—the royal bubble, which is quite insulated. Despite this, Prince Andrew has a whole PR team at his disposal. These professionals presumably understand the real world and know how to navigate potential pitfalls. So why did they let this happen? It seems Prince Andrew and his team entered the interview believing it was a smart move, but the outcome was so disastrous that Charlie Proctor, editor-in-chief of Royal Central, likened it to “a plane crashing into an oil tanker, causing a tsunami, triggering a nuclear explosion level bad.” The film “Scoop,” directed by Philip Martin and based on Sam McAlister’s book “Scoops: Behind the Scene...

 Before Judd Apatow dominated the comedy scene with films centered on eternally immature men, there was Peter Farrelly. Alongside his brother Bobby, Farrelly created a range of films that could be charmingly humorous—albeit sometimes inappropriate—such as “Dumb and Dumber” and “There's Something About Mary.” However, his solo venture, “Movie 43,” is often remembered as a notorious disaster. Since then, Farrelly has explored television, won an Oscar for “Green Book,” and tackled the dramatic Vietnam War era in “The Greatest Beer Run Ever.” Now, he has returned to the familiar territory of outdated male-centric comedies with “Ricky Stanicky.” “Ricky Stanicky” comes across as a throwback, but not in a way that evokes fond memories. Instead, it feels like a rehash of overused jokes and clichés, lacking any fresh or clever insights. With Farrelly sharing writing duties with five other writers and two additional contributors credited with the story, it’s hard to pinpoint exactly where th...

 I’m not outright accusing the writers of “Bad Boys: Ride or Die” of relying on A.I., a sensitive topic in Hollywood right now. However, if a computer had crafted this blockbuster sequel, the result might not be very different.  “Ride or Die” serves as a more straightforward continuation of 2020’s “Bad Boys for Life” than many might anticipate. It ticks all the boxes typical of this genre, but it does so in a way that feels disappointingly lackluster, shying away from any fresh or innovative ideas. While it does come alive at times thanks to its energetic visuals and editing, it ultimately lacks the spontaneity and creativity needed, opting instead to play it safe and avoid taking risks. It seems there was a third choice: Ride, Die, or Just Coast. In "Ride or Die," many elements closely reflect those from the previous film, starting with the dizzying drive through Miami that kicks off both stories and culminating in a near-fatal encounter for a cherished character. In the las...

 If you’re lucky enough to attend an early screening of John Krasinski’s new film, “IF,” you may be greeted with a short introduction by the writer/director, asserting that the film is expressly for all the “girl dads” out there. Having now seen it, that much is true: despite its family-friendly brief, “IF” is less for kids than for the adults of kids — the girl dads, if you will — who want something that feels a little more mature than “Minions” but doesn’t scare the kids away. Far from it; it might just bore them to tears. It’s a bold shift for Krasinski, who’s already transitioned from sitcom lead to successful director with the “Quiet Place” series, and yet, looking at the man himself, it makes perfect sense. This is the guy who started a little feel-good news show from his house during the pandemic (that he then sold to ViacomCBS for a presumed truckload of money), after all. He’s the kind of all-American aw-shucks new dad who dipped his toe into the horror genre, and now want...

I travel by air every couple of months, and always think about a single, burning question: What makes for a great airplane movie? Not movies about being on planes. Movies to be watched on planes, making bearable the three or nine hours spent in a tin can, squashed on all sides, munching tiny pretzels and trying not to order yet another gin and tonic. “The Ministry of Ungentlemanly Warfare,” the latest offering from the director Guy Ritchie, is a perfect airplane movie. That is not a compliment, but it’s not exactly a dis. Some movies shouldn’t be watched on planes — slow artful dramas, or movies that demand concentration and good sound (please do not watch “The Zone of Interest” on your next flight). But you’ve got to watch something, and for that, we have movies like this one. Ritchie hasn't always focused on making films centered around airplanes. His earlier works, energetic and irreverent comedies like “Lock, Stock and Two Smoking Barrels” and “Snatch,” were best enjoyed in a l...

 The Toronto International Film Festival has showcased the world premieres of “Unstoppable,” “The Fire Inside,” and director Sydney Freeland’s “Rez Ball,” signaling a strong resurgence of the “inspired by true events” sports drama. Co-written with Sterlin Harjo, co-creator of “Reservation Dogs,” the film draws from the nonfiction book “Canyon Dreams,” which chronicles a season of basketball for the Chuska High School Warriors, a Navajo team that clinches the state championship in New Mexico. From the outset, viewers can anticipate the film's emotional journey, beginning with the introduction of the teammates and their struggles. We first meet Nataanii Jackson (Kusem Goodwind), the star player grappling with the loss of his mother and sister, who were killed by a drunk driver a year prior. Next is his best friend, Jimmy Holiday (Kauchani Bratt, who brings a delightful charm), who juggles a job at a burger restaurant before school to help support his single mother, Gloria (Julia Jone...