Though the film opens in the middle of Julie’s story, it soon catapults backwards in time, as the soon-to-be college graduate realizes, hey, maybe medical school is not for her. In fact, maybe many things she thought were right or correct or fulfilling are not. Call it “Millennial Ennui: The Movie,” but the great trick of Trier’s wonderful film and Reinsve’s fully realized performance is how acutely it recognizes a truth that doesn’t adhere to tossed-off designations....

Haddish’s attorney, Andrew Brettler of Lavely & Singer, sent the following statement to IndieWire: “Plaintiff’s mother…has been trying to assert these bogus claims against Ms. Haddish for several years. Every attorney who has initially taken on her case — and there were several — ultimately dropped the matter once it became clear that the claims were meritless and Ms. Haddish would not be shaken down. Now, [the mother] has her adult daughter representing herself in this lawsuit....

Satoko (Hiromi Nagasaku) and Kiyokazu (Arata Iura) are a middle-class couple grappling with infertility in contemporary Tokyo. While Satoko desperately wants a child, Kiyokazu’s sperm (along with any sort of fathering streak) is blocked, leading them to consider alternate modes of conception. Kiyokazu is too terrified of the idea of an invasive surgery, leading them to call off a trip to Sapporo and stare down the barrel of childlessness. But there’s an option....

The film follows all the adventures that stem from that clever idea, many of them rooted in the wildness of not just turning into, again, a giant red panda, but of being a teenager coming of age and all the outsized emotions and obsessions that accompany that. It’s specific, yes, but it’s also so rooted in genuine human experiences that it can’t help but appeal to a very wide audience. But making the PG-rated film did indeed feel like a risk, one Shi eagerly dug into....

Disney reduced the price to $5.99 last weekend and it bested “Old” (Universal/$5.99), which also dropped its price from $19.99. M. Night Shyamalan’s thriller placed #2 on two charts, #4 at Vudu (which charts by revenue; it was second to “Free Guy” there among non-PVOD titles). Two of the year’s most acclaimed international releases — Julia Ducournau’s Cannes winner “Titane” (Neon/$6.99) and Mia Hansen-Love’s “Bergman Island” (IFC/$6.99) — debuted this week but didn’t come close to the top 10 on any chart....

The study, “Forever Changed: COVID-19’s Lasting Impact on the Entertainment Industry,” was conducted by the agency’s data and analytics division, UTA IQ. It surveyed a nationally representative sample of 1,000 U.S. adults ages 18-54. Its key findings suggest that consumers plan to watch more TV and movies across more platforms and more genres in their post-pandemic lives, compared to their habits prior to the pandemic. Consumers also expect more diverse storytelling and a more participatory relationship between them and the TV and film and celebrities they admire....

In other words, it should be the perfect moment in time to set a reboot (or resurrection) of the “V/H/S” films, a found footage anthology series that mined the scuzziness of the camcorder age for two installments of unsettling gonzo fun before it betrayed its roots and went online with 2014’s “V/H/S: Viral.” Alas, not even a spot-on Slap Chop parody or Timo Tjahjanto’s whacked out tribute to the glory days of FMV can save this fourth episode from marking the new low point of its franchise, as “V/H/S ’94” so badly smudges the line between creepy throwback and self-amused goof that you’d need a DVD to see the difference....