Saturday, September 19, 2026

‘Darlene Love: I Know Where I’ve Been’ Review: A Stirring Pop Doc Traces How the Great Singer of ‘He’s a Rebel’ and Other Classics Reclaimed Her Name

 "Darlene Love: I Know Where I've Been" is a documentary about one of the greatest singers in pop music history, but it's also a deep look at the idea of identity in the music world.Darlene Love made some of her biggest hits in the early 1960s, when she was part of the Phil Spector hit factory.She was in a group called the Blossoms, who Spector used in 1962 to sing "He's a Rebel." This song became the model for the Wall of Sound that Spector was famous for.The song was meant to be sung by the Crystals, but they were 3,000 miles away in New York, so Spector rushed things and gave the song to the Blossoms, even though he officially credited the Crystals.


Darlene Love sang "He's a Rebel" with a strong, confident voice that grew stronger and more powerful, almost like she was showing admiration for the bad boys she sang about.

It's no surprise that Kenneth Anger used this song in "Scorpio Rising" and made her sing about Jesus.Her voice was as powerful as the Wall of Sound she helped create.She sang lead on another Crystals song, "He's Sure the Boy I Love," and did backing vocals on many other Spector songs.In 1963, she sang "Christmas (Baby Please Come Home)," which is considered one of the greatest Christmas songs ever recorded.


She was credited on that song, but the album "The Phil Spector Christmas Album" came out on November 22, 1963, the day JFK was assassinated.

The record didn't do well, and Spector stopped distributing it after a few weeks.The album was almost forgotten until it was reissued by Apple Records in 1972.Even though she was on the album's biggest song, her name was still missing.


Thirteen years ago, Morgan Neville's documentary "20 Feet from Stardom" honored the backup singers in rock 'n' roll, especially the Black ones who often stayed in the background.

Darlene Love was one of them and played a big part in the film.When the movie won an Oscar for best documentary, she gave a memorable speech at the Academy Awards.


"20 Feet from Stardom" showed that these artists didn't become stars, but it suggested they might have if things had been different.

Darlene Love's situation was a bit different.She was in the background but also a real star.She was out front, leading some of the most magical pop songs of the 20th century.But her name was erased, so her identity was also lost.You could recognize her voice, but she was right in front of you and still invisible.


"Darlene Love: I Know Where I've Been" shows how she lived with the mix of fame, unfairness, missed chances, broken dreams, strength, and finally getting the recognition she deserved.

The movie, like her life, is a special journey and makes you feel closer to the heart of pop music.


Love is now 85 years old, but in the documentary, which is based on a recent interview with her (along with a lot of old footage), she seems timeless.

With her orange-blonde curls and glowing face, her smile, laugh, and personality are full of life, and she doesn't look old at all.She met Paul Shaffer when David Letterman loved "Christmas (Baby Please Come Home)" and decided to have her perform it on his late-night show in 1986, a performance that became an annual tradition."


The documentary shows Love performing with Shaffer and his band in the Power Station studio.

She sings new versions of some of her most important songs.Her voice is amazing, still powerful and strong.Love also tells her own story well.She understands what she lost—more than just credit, but also the life she might have had.Yet she has moved past sadness and found a way to keep going.


The film's director, Barry Avrich, takes us back to the time of radio (he gives a nice tribute to it in the opening credits), when you'd hear a voice coming out of the radio, and that voice had a strong effect on you.Love, born Darlene Wright in 1941, moved between Los Angeles and Texas, and spent her first 15 years in church, listening to gospel music as much as Aretha or Ray Charles.She joined the Blossoms in the late 1950s, and they sang backup on many classic songs, starting with Sam Cooke's "Everybody Likes to Cha Cha Cha" and then on "Chain Gang," "Rockin' Robin," "Monster Mash," and "Johnny Angel."


From there, they worked with Phil Spector.

They sang backup for him and also replaced the Crystals and Bob B.Soxx and the Blue Jeans, for whom Love sang lead on the beautifully soft "Why Do Lovers Break Each Other's Hearts." Spector was a very intense and often scary person (though he was also very talented), and the way he treated his female singers, moving them around like they were pieces on a game board, had several purposes.It made Spector the main star (he was the first producer to do that).It let him keep the money for himself.And in a bigger way, it was his (racist) way of treating all his singers like they were forced to work for him.


Love became a big part of "Shindig!", the popular rock and roll TV show that let performers be wild and fun (Shaffer gives a great memory of it).

She sang backup on songs like "Monday, Monday" and the Beach Boys' "In My Room." She also went on tour with other Spector singers and started a serious relationship with Bill Medley of the Righteous Brothers.Onstage, she had a confident, playful energy.


Her career had many chances she missed, including one that feels like a conspiracy, though it's presented in an interesting way in "I Know Where I've Been." Love was originally supposed to record "River Deep, Mountain High" for Phil Spector.

But at the last minute, he changed the singer to Tina Turner.That song ended up being a major failure, which effectively ended Spector's influence.The theory is that Turner's version had too much R&B style for the pop charts of 1966.Love, with her smoother pop-soul voice, would have made it a hit.Ah, the idea of what could have been!The documentary shows how Spector became more of a creepy figure over time and kept controlling her, even going as far as buying out her contract with someone else.There's no doubt Spector's songs helped her career, but the way he managed it also limited her success.


Love was still singing in the early 1970s, and we hear her do a powerful version of "I'll Be There." But as the peak of R&B faded, so did her opportunities.

She was married several times and had four kids, two of whom got involved in the L.A.gang scene and ended up in prison.(They eventually came back and had success.) Love ended up cleaning houses.Still, she was never forgotten.Bruce Springsteen and Steven Van Zandt, longtime fans, took an interest in her (they are spoken about a lot in the film).She started her career again by performing on cruise ships, which led to the 1984 jukebox musical revue "Leader of the Pack," where she was a main part when it started in Greenwich Village's Bottom Line.It became a big hit.The documentary hints that it was also successful on Broadway (which is not true; it failed there), but Darlene Love was finally recognized.


Her big break came from the exciting performances of "Christmas (Baby Please Come Home)" on Letterman, with bigger choirs each year, and her 2011 induction into the Rock 'n' Roll Hall of Fame.

Suddenly, everyone knew who Darlene Love was.


"I Know Where I've Been" finishes the journey.

It's a movie that really moves you — in awe of her amazing voice, in understanding the big and small forces of the time that kept her from being recognized, and in realizing what could have been, which should never stop us from being amazed by what actually was.

‘Murderous’ Review: Neil LaBute’s New Film Is Undone by Its Overly Familiar Premise and Obvious Plot Machinations

 Best-selling novels like Jean Hanff Korelitz's *The Plot* and stage thrillers like Ira Levin's *Deathtrap*, among others, show that taking someone else's work can lead to serious or even dangerous problems.Neil LaBute, known for movies like *In the Company of Men* and *Nurse Betty*, brings another version of this idea to life with his new film, which had its first showing at the Oldenburg Film Festival.


The movie takes place in one setting and only has three main actors.

It reminds people of earlier works by LaBute, like Joseph L.Mankiewicz's *Sleuth* and Hitchcock's *Rope*.However, it doesn't match up to those older films.It feels like a weak stage thriller with a plot that's too easy to guess.


The story starts with a chapter called "Him." Marian, played by Gia Crovatin, a frequent LaBute co-star, is a filmmaker who made a famous horror movie called *Murderous*.

She's successful and lives in a beautiful old mill with a red Porsche in her driveway.One day, Norman, played by Thomas Sadoski, arrives unexpectedly and says he wants to talk.He traveled all the way from Iowa for this.


Marian is uncomfortable with the visit, but she lets him in.

He reminds her they were in school together and had a short romantic relationship.He praises her home, noting she has no personal stuff like photos.Instead, she has valuable items like those once owned by famous writers—like Truman Capote and Willa Cather.She even has Shirley Jackson's letter opener.You wonder where Chekhov's gun is.


After some small talk, Norman gets to the point.

He asks if she thought he wouldn't see her movie, which won awards and made her famous.He claims he came up with the original idea and even worked with her on flipbooks of scenes.He says he still has them somewhere.He thinks they should agree on some sort of payment.


The situation becomes sexual.

He reminds her she cheated on him during their relationship.She takes it as a chance to push back.She asks, "Is that what you want to make up for things?A blow job?" He thinks for a moment and says, "I wouldn't hate it."


What happens next is too much of a spoiler to reveal.

But it ends in a sudden and shocking way.


In the second chapter, "Her," another visitor arrives—Lila, played by Jordan Baker.

She says she's a fan and wants to get some DVDs signed, including one for her son.Marian lets her in, and they talk about her film and the movie business.This part allows Marian to vent about dealing with clueless distributors and marketers, which feels like the most honest and personal part of the movie.


The film gives away too many clues about Lila's real identity, or at least how Marian sees her.

These hints are not subtle and feel forced, especially in a live theater setting where such tricks might work better with an audience eager to be played.


But they feel forced and fake in this context, and even with the actors' best efforts, *Murderous* feels more like a performance exercise than a naturally developing thriller.

It never moves beyond its sense of tight, confined storytelling, and with its weak setup, it would have worked better if it had been shorter—around 107 minutes is too long.

‘Resident Evil’ Racing Toward Healthy Box Office Haul for Zach Cregger’s Reboot

Resident Evil aims to make a strong start at the box office during its opening weekend.


Sony Pictures is releasing Zach Cregger's horror-survival movie based on the video game on Friday in about 3,500 theaters across North America.

The studio expects the movie to earn around $40 million in its first three days.This estimate matches what third-party tracking services have reported, though some have raised their guesses recently as excitement grows, possibly leading to an opening near $50 million or more.The movie's production cost is $75 million.


Austin Abrams stars in Resident Evil, directed by Zach Cregger, along with Zach Cherry, Kali Reis, and Paul Walter Hauser.

The story follows a medical courier (played by Abrams) trying to deliver a valuable item while dealing with a deadly virus in Raccoon City.This film aims to continue Cregger's successful streak, following his Oscar-winning horror film Weapons and his well-received movie Barbarian.


Resident Evil is a reboot of the film franchise based on Capcom’s video game series that started in 1996.

The first live-action movie was directed by Paul W.S.Anderson in 2002, starring Milla Jovovich.It opened with $17.7 million domestically and eventually made over $100 million globally.Jovovich starred in five sequels before Kaya Scodelario led the 2021 reboot, Resident Evil: Welcome to Raccoon City, which didn't perform as well at the box office.


The latest Resident Evil movie has a strong rating, with a 96 percent approval score from critics on Rotten Tomatoes.

Frank Scheck of The Hollywood Reporter called it a "propulsive, simultaneously terrifying and hilarious thrill ride" that shows Cregger’s talent and sense of humor.


Cregger expressed confidence in the movie's reception at the Los Angeles premiere, saying, "I felt pretty confident.

We'll see. Maybe I'm delusional, but I don't think so.I've seen the movie, and I like it."

This movie is expected to make a bigger impression in the early fall than the previous week's top movie, Practical Magic 2, which ended a six-weekend winning streak for Spider-Man: Brand New Day.

Earlier this week, the Tom Holland-led Spidey movie moved to the top of the all-time domestic box office chart, surpassing Star Wars: Episode VII — The Force Awakens.


Another film opening wide is the stop-motion animated sequel Shaun the Sheep: The Beast of Mossy Bottom, coming to theaters from GKIDS.

Friday, September 18, 2026

‘The Traitors: New Blood’ EPs Break Down NBC Premiere, Sweetening the Pot for the Faithful and Why the Civilian Cast ‘Played Hard Straight Away’

 SPOILER ALERT: This post contains spoilers for the two-hour series premiere of NBC’s “The Traitors: New Blood,” now streaming on Peacock.


“The Traitors” castle isn’t just for the rich or famous anymore.

Peacock’s Emmy-winning franchise has moved to NBC, with “The Traitors: New Blood,” a new season featuring only everyday people in a game of murder, chaos, and big money.


In the show’s two-hour premiere, host Alan Cumming welcomed 22 players who were clearly eager to get started.

He immediately threw them into the action by putting them in a tough situation.Because the show is so popular internationally, the players knew exactly what to do and where to go.The creative team wanted them to feel right at home.


Executive producer Sam Rees-Jones told Variety that making the players feel comfortable helped them focus and play hard right away.


At the first roundtable, Cumming secretly chose Tomica Adams, a pilot from Boston, and Joe Vanella, a funeral director from New York, as the first Traitors of the season.

Later, during a midnight meeting in the turret, he told them a third Traitor was coming and asked them to pick that person.In addition to their first murder (RIP Kim Daily, who pretended to be a college basketball coach but was actually a lawyer), the Traitors also selected two “accomplices” to try and join them.


Katie Fites, a 23-year-old marketing manager from Florida, and Xavier Scruggs, a former baseball player turned analyst, had to work together and compete against each other to prove they were worthy of joining the Traitors.

The big test came in the second hour when they had to deceive the Faithfuls by secretly taking a book about crime and punishment and giving it to the Traitors.The premiere ends with the audience waiting to see if they can get the book out without being caught.


For sure, the Faithfuls have already been hurt.

In addition to Kim Daily’s murder, there was a tense first roundtable where Mississippi realtor Kriste Lewis attacked San Diego construction manager Madeline Kostopulos over a comment she thought proved she was a Traitor.Kostopulos’ ally, New York business executive Victor Vollbrechthausen, also got in trouble for quickly grabbing a shield in the first challenge.The vote nearly split evenly between the two.


Below, “The Traitors: New Blood” executive producers Rosie Franks, Mike Cotton, and Sam Rees-Jones explain how they adapted the show for broadcast, why they gave players a reason to identify Traitors for the first time, and how having all-civilian players made the game more personal.


Being on broadcast means the episodes are about 41-42 minutes long, including commercial breaks.

That’s different from Peacock episodes, which can be over an hour.How did the time limit affect the story and the flow of the show?


Mike Cotton: That was one of our biggest challenges.

The game is the same—it’s a day in the castle.There’s always breakfast, someone is killed, there’s a mission, a roundtable, and the Traitors meet in the turret.We didn’t change how the game was played.But we had to think about how to create exciting moments that would keep the audience hooked.We spent a lot of time planning how to make each episode end on a cliffhanger without making it feel like a drama.We always treated it like a murder mystery, but we designed it to feel like a drama.We had to figure out where those key moments would go in each episode to make it exciting.One thing we didn’t want to do was make it feel like a drama by cutting it up that way.


We didn't want to rush through the episodes or try to fit everything into a short time.

We still wanted to take our time and really get to know the characters, and I think we did that.


Courtesy of Euan Cherry/NBC  

This season, you don't have the advantage of knowing the celebrities' backstories to help you get ready.

In the first episode, one of the players holds a card asking if they want to play as a Traitor or a Faithful.Was that something you always did, or is it new for this season?


Sam Rees-Jones: No, that was new for the players.

What we liked about this version is that Alan invited them.He sent out these invitations, so it should feel like they're really being invited to this wild experience in the Highlands of Scotland.And in that invitation, they had to choose whether they wanted to be a Traitor or a Faithful.


Rosie Franks: Alan always asks them in the "gold chats" by the fire in the premiere what role they want to play in the game.

But this felt like a really nice connection from the start, with the raven flying across America dropping the invitations, and this is like their answer to that invitation.

Rees-Jones: We only choose people to be Traitors if they want to be, because it’s a tough job.There’s a lot to do, so they should really want to be a Traitor.But we always tell everyone that once they start playing, they could be made a Traitor at any time.As you saw at the end of Episode 1, we picked our first two Traitors, and then let them decide who the third one would be, which turned out to be Katie and Xavier.


Cotton: That’s true.

It’s harder to decide who the first Traitors should be when they’re just regular people we don’t know from TV or reality shows.It comes down to casting and getting to know them well.We don’t choose the Traitors until everyone arrives at the castle.They’ve been on the train, and we’ve seen how they interact.Everyone has had a deep conversation with Alan about whether they want to be a Traitor or not.


The uncertainty also affects how the cast looks for Traitors.

Celebrities often have relationships or conflicts that can help them guess who the Traitors are.But in this first episode, the cast didn’t know who to accuse at the first roundtable.


Franks: What’s exciting is that everyone starts with a fresh start.

It’s a game about who you are, and they can be anyone they want.We’re learning about them, and so are the viewers.It’s fair for both the players and the audience, which makes it really fun to watch.You feel like you’re part of the game.


One big difference between the celebrity and civilian versions is how money plays a role.

Watching celebrities play for money doesn’t have the same feeling because for some, $250,000 could change their life, while for others, it might not matter much.But for the “New Blood” cast, money means a lot.After the first challenge, they added $50,000 to the prize pot.Mark Zgoda said, “That’s a full person’s salary already added.” That money really matters to these players.How does it change how they play?


Rees-Jones: We loved that moment, and I’m glad you mentioned it.

It showed exactly how they feel about the game, the challenges, and the money.For them, the money means a lot.In terms of the game, it means they all have to work hard to build up the prize pot.But it also means betrayal hurts more.Because the game depends on the Faithfuls and the Traitors working together to increase the prize pot, which can be worth a whole year’s salary in one mission.When someone betrays, it hurts even more.Watching them put their all into the challenges, no matter their age or ability, was amazing.You could see how much it meant to them by the end of Episode 1 when they won a lot of money.


Alan also mentions in the premiere that for the first time, each Traitor who is banished from the castle gets a $15,000 bonus added to the prize pot.

Is that extra money on top of the possible $250,000 they can earn?


Rees-Jones: Yes, it’s added to the $250,000.

We’ve talked about this for a while.The main thing is getting a Traitor out.But we thought it would be interesting to give them an extra incentive.

That could be the key to whether someone speaks up or stays quiet during the roundtable if they know there's more money involved.

Franks: Exactly!


In the first episode, as soon as they arrive at the castle, you let them walk around freely.

But after a few seasons, the cast has been watching from home and they clearly know the place well.A few even knew which book to pull to open the secret room in the library.Does that kind of familiarity with the castle cause any problems?

Cotton: I love that they knew the castle!

It's a real place.It's not like it's a "Big Brother" house that's rebuilt every year.So I think we all love the fact that they felt right at home right away and that they knew the game and the way it works.Every year is a different murder mystery, so we plan a lot to keep the players on their toes.But we never change the core game of Traitors versus Faithfuls.The overall rhythm stays the same, but every season we add new twists and turns to keep them guessing, even if they think they know everything about the castle and the game.


Rees-Jones: I think it actually helped the cast a lot.

Having a sense of familiarity made them feel comfortable in their surroundings and they played hard right from the start.


James and Oliver Phelps are here!

Fred and George Weasley from the "Harry Potter" movies are seen being mischievous in the premiere.What can you tell us about their role this season?

Rees-Jones: That's their role!

They're mischievous, mysterious castle creepers.


What a cool job title to have.


Rees-Jones: Yeah, it was just a fun, tongue-in-cheek way to extend the murder mystery world.

You have Alan's castle, and you imagine in that world there would be people who take care of the castle.So there's some fun to be had with little scenes that can be included throughout the season.


Cotton: One of the things I'm most excited about with the NBC version is that we get to expand this world to a wider audience.

In the U.K., the show has become a big shared viewing experience, like a family hit.People gather with their kids to watch the show.Although it's about betrayal and murder, there are also elements of "Harry Potter" and magical fantasy in the show as well.So I feel like who James and Oliver are, and the world they're from, fits nicely with the world of "The Traitors" too.


In the first challenge, there is a fake crate filled with salmon.

Was this an acknowledgment that there wasn't enough salmon in Scotland for the previous casts, who complained about the lack of smoked salmon at breakfast before?

Franks: It's always about the salmon!


It's hard not to make that connection, given how much the last celebrities talked about it!


Franks: Yes, we do like putting in little Easter eggs like that for the fans.


In previous seasons, the show's music has been appropriately moody but generic.

"New Blood" has covers of real songs, including Justin Timberlake's "Cry Me a River" at a particularly dark moment.Was this something new allowed in the broadcast version?

Franks: That was one of the things we were really excited about in making the show feel familiar but also fresh.

We were able to use some commercial music in this version.I don't know how you felt watching it, but I feel like there's a shift in the tone, and I think the commercial music definitely helps with that.


You don't often talk about why you chose the Traitors, but you let them pick two accomplices to audition for the third Traitor spot.

We don't yet know who wins, but what did you think about their two choices, Katie and Xavier?

Cotton: I love that the Traitors chose Katie and Xavier because they chose almost completely opposite people.


The height difference alone!

You can barely fit them both in the same camera frame.


Cotton: Right!

They are so different that it was surprising and really exciting for us when it happened.


Should we be worried that, physically, the book they have to steal is almost as big as Katie?

It seems like it might be hard for her to sneak away with it!


Cotton: You'll have to wait and see what happens!

The Master and Margarita Movie

The Master and Margarita


Original title: Master i Margarita

2024 | 2h 36m

Directed by Michael Lockshin
Screenplay by
Michael Lockshin
Roman Kantor
Based on
The Master and Margarita
by Mikhail Bulgakov
Produced by
Ruben Dishdishyan
Leonard Blavatnik
Anatoly Akimenko
Starring
Yevgeny Tsyganov
Yuliya Snigir
Claes Bang
August Diehl
Cinematography
Maxim Zhukov
Edited by
Dmitri Komm
Dmitriy Slobtsov
Music by Anna Drubich
Production
companies
Mars Media
Amedia
Distributed by Atmosfera Kino

Release date
September 18, 2026 (United States)
Country of origin
Russia
Languages
Russian
German
Latin
Aramaic
Also known as
Master & Margarita
Filming locations
Moscow, Russia
Production companies
Mars Media
Amedia
Running time 157 minutes
Budget 1.2 billion
Box office 2.33 billion

The Weight Movie

The Weight

2026 | R | 1h 55m

Genre: Action, Adventure, Crime, Drama, Thriller


Directed by

Padraic McKinley

Screenplay by

Matthew Booi

Shelby Gaines

Story by

Matthew Booi

Leo Scherman

Matthew Chapman

Produced by

Simon Fields

Nathan Fields

Ryan Hawke

Jonas Katzenstein

Maximilian Leo

Starring

Ethan Hawke

Russell Crowe

Julia Jones

Austin Amelio

Avi Nash

Lucas Lynggaad Tonnesen

George Burgess

Cameron Brady

Avy Berry

Alec Newman

Sam Hazeldine

Cinematography Matteo Cocco

Edited by

Padraic McKinley

Matthew Woolley

Music by

Shelby Gaines

Latham Gaines

Production

companies

Fields Entertainment

Under The Influence

Augenschein Filmproduktion

Distributed by Vertical

Release dates

January 26, 2026 (Sundance)

September 18, 2026 (United States)

Running time 113 minutes

Countries Germany

United States

Language English

Daniel and the Fiery Furnace Movie

Daniel and the Fiery Furnace

Original title: Daniel

2026 | PG-13 | 1h 48m

Genre: Drama

Directors

Daniel KoomanMatthew Kooman

Writers

Daniel KoomanMatthew Kooman

Stars

Mena Massoud

Elijah Alexander

Zaki Ali


Producers

Daniel Kooman

producer

Matthew Kooman

producer

Travis Mann

producer

Mena Massoud

producer

Michael W. Smith

executive producer

Preyojeet Bhattacharya

line producer

Ashley Bratcher

consulting producer

Composer

Tyler Michael Smith

Cinematographer

Supratim Bhol

cinematographer

Production Designer

Ranjit Singh

production designer

Costume Design

Nitin Kartikeya

costume designer

Gurpreet Kaur

costume designer

Makeup Department

Gurpreet Kaur

hair: Makeup and Prosthetic Designer

Suraj Nayak

makeup artist

Nikita Pandey

makeup & hair

Chirag Samant

hair stylist

Production Management

Kapil Hanwat

production manager

Rohit Raut

unit production manager

Release date

September 18, 2026 (United States)

Countries of origin

Canada

United States

Language

English

Also known as

Daniel & the Fiery Furnace

Production companies

Unveil Studios

Pinnacle Peak Pictures