casino 5

casino 5 JOHNSON CITY, Tenn. (AP) — John Buggs III's 15 points helped East Tennessee State defeat Austin Peay 79-57 on Saturday night. Buggs shot 4 for 7 (3 for 5 from 3-point range) and 4 of 4 from the free-throw line for the Buccaneers (6-2). Jaden Seymour scored 13 points and added 11 rebounds. Quimari Peterson had 13 points and went 6 of 11 from the field. Javascript is required for you to be able to read premium content. Please enable it in your browser settings. Get updates and player profiles ahead of Friday's high school games, plus a recap Saturday with stories, photos, video Frequency: Seasonal Twice a weekTheir ages vary. But a conspicuous handful of filmmaking lions in winter, or let’s say late autumn, have given us new reasons to be grateful for their work over the decades — even for the work that didn’t quite work. Which, yes, sounds like ingratitude. But do we even want more conventional or better-behaved work from talents such as Francis Ford Coppola? Even if we’re talking about “Megalopolis” ? If Clint Eastwood’s “Juror #2” gave audiences a less morally complicated courtroom drama, would that have mattered, given Warner Bros.’ butt-headed decision to plop it in less than three dozen movie theaters in the U.S.? Coppola is 85. Eastwood is 94. Paul Schrader, whose latest film “Oh, Canada” arrives this week and is well worth seeking out, is a mere 78. Based on the 2021 Russell Banks novel “Foregone,” “Oh, Canada” is the story of a documentary filmmaker, played by Richard Gere, being interviewed near the end of his cancer-shrouded final days. In the Montreal home he shares with his wife and creative partner, played by Uma Thurman, he consents to the interview by two former students of his. Gere’s character, Leonard Fife, has no little contempt for these two, whom he calls “Mr. and Mrs. Ken Burns of Canada” with subtle disdain. As we learn over the artful dodges and layers of past and present, events imagined and/or real, Fife treats the interview as a final confession from a guarded and deceptive soul. He’s also a hero to everyone in the room, famous for his anti-Vietnam war political activism, and for the Frederick Wiseman-like inflection of his own films’ interview techniques. The real-life filmmaker name-checked in “Oh, Canada” is documentarian Errol Morris, whose straight-to-the-lens framing of interview subjects was made possible by his Interrotron device. In Schrader’s adaptation, Fife doesn’t want the nominal director (Michael Imperioli, a nicely finessed embodiment of a second-rate talent with first-rate airs) in his eyeline. Rather, as he struggles with hazy, self-incriminating memories of affairs, marriages, one-offs with a friend’s wife and a tense, brief reunion with the son he never knew, Fife wants only his wife, Emma — his former Goddard College student — in this metaphoric confessional. Schrader and his editor Benjamin Rodriguez Jr. treat the memories as on-screen flashbacks spanning from 1968 to 2023. At times, Gere and Thurman appear as their decades-young selves, without any attempt to de-age them, digitally or otherwise. (Thank god, I kind of hate that stuff in any circumstance.) In other sequences from Fife’s past, Jacob Elordi portrays Fife, with sly and convincing behavioral details linking his performance to Gere’s persona. We hear frequent voiceovers spoken by Gere about having ruined his life by age 24, at least spiritually or morally. Banks’ novel is no less devoted to a dying man’s addled but ardent attempt to come clean and own up to what has terrified him the most in the mess and joy of living: Honesty. Love. Commitment. There are elements of “Oh, Canada” that soften Banks’ conception of Fife, from the parentage of Fife’s abandoned son to the specific qualities of Gere’s performance. It has been 44 years since Gere teamed with Schrader on “American Gigolo,” a movie made by a very different filmmaker with very different preoccupations of hetero male hollowness. It’s also clearly the same director at work, I think. And Gere remains a unique camera object, with a stunning mastery of filling a close-up with an unblinking stillness conveying feelings easier left behind. The musical score is pretty watery, and with Schrader you always get a few lines of tortured rhetoric interrupting the good stuff. In the end, “Oh, Canada” has an extraordinarily simple idea at its core: That of a man with a movie camera, most of his life, now on the other side of the lens. Not easy. “I can’t tell the truth unless that camera’s on!” he barks at one point. I don’t think the line from the novel made it into Schrader’s script, but it too sums up this lion-in-winter feeling of truth without triumphal Hollywood catharsis. The interview, Banks wrote, is one’s man’s “last chance to stop lying.” It’s also a “final prayer,” dramatized by the Calvinist-to-the-bone filmmaker who made sure to include that phrase in his latest devotion to final prayers and missions of redemption. “Oh, Canada” — 3 stars (out of 4) No MPA rating (some language and sexual material) Running time: 1:34 How to watch: Opens in theaters Dec. 13, running 1in Chicago Dec. 13-19 at the Gene Siskel Film Center, 164 N. State St.; siskelfilmcenter.org Michael Phillips is a Tribune critic.

TORONTO — Canada's main stock index lost nearly 250 points Thursday, led by weakness in energy and base metals, while U.S. markets also fell. The S&P/TSX composite index closed down 246.99 points at 25,410.71. In New York, the Dow Jones industrial average was down 234.44 points at 43,914.12. The S&P 500 index was down 32.94 points at 6,051.25, while the Nasdaq composite was down 132.05 points at 19,902.84. “I think the markets had some time to now digest where rates could be going into the near term,” said Adelaide Chiu, portfolio manager, vice-president and head of responsible investing at NEI Investments. On Wednesday, the Bank of Canada announced an outsized half-percentage point interest rate cut and signalled it would slow the pace of cuts going forward. “With the policy rate now substantially lower, we anticipate a more gradual approach to monetary policy if the economy evolves broadly as expected," said Bank of Canada governor Tiff Macklem. And in the U.S., the monthly report on consumer inflation came in largely as expected, helping set the stage for a quarter-point cut by the U.S. Federal Reserve next week. Globally, interest rate cuts are moderating as inflation reaches targets, Chiu said. On Thursday, the European Central Bank cut rates by a quarter of a percentage point while the Swiss National Bank cut by half a percentage point. A year ago, market watchers couldn’t have predicted just how much equities would rise in 2024, said Chiu. “Earnings growth itself has been quite modest, but the market has done very well,” she said. “It’s really a movement of the interest rates that has really impacted valuations for a lot of these companies in the market.” Now, the news is largely focused on the incoming U.S. president and whether his threatened tariffs will come to pass, Chiu said. The Canadian dollar traded for 70.48 cents US compared with 70.65 cents US on Wednesday. The January crude oil contract was down 27 cents at US$70.02 per barrel and the January natural gas contract was up eight cents at US$3.46 per mmBTU. The February gold contract was down US$47.30 at US$2,709.40 an ounce and the March copper contract was down a penny at US$4.20 a pound. -- With files from The Associated Press This report by The Canadian Press was first published Dec. 12, 2024. Companies in this story: (TSX:GSPTSE, TSX:CADUSD) Rosa Saba, The Canadian Press

Red Bulls go into MLS Cup final with distinctly Canadian flavour in front office

Generation Income Properties CEO David Sobelman buys $17,889 in stockTheir ages vary. But a conspicuous handful of filmmaking lions in winter, or let’s say late autumn, have given us new reasons to be grateful for their work over the decades — even for the work that didn’t quite work. Which, yes, sounds like ingratitude. But do we even want more conventional or better-behaved work from talents such as Francis Ford Coppola? Even if we’re talking about “Megalopolis” ? If Clint Eastwood’s “Juror #2” gave audiences a less morally complicated courtroom drama, would that have mattered, given Warner Bros.’ butt-headed decision to plop it in less than three dozen movie theaters in the U.S.? Coppola is 85. Eastwood is 94. Paul Schrader, whose latest film “Oh, Canada” arrives this week and is well worth seeking out, is a mere 78. Based on the 2021 Russell Banks novel “Foregone,” “Oh, Canada” is the story of a documentary filmmaker, played by Richard Gere, being interviewed near the end of his cancer-shrouded final days. In the Montreal home he shares with his wife and creative partner, played by Uma Thurman, he consents to the interview by two former students of his. Gere’s character, Leonard Fife, has no little contempt for these two, whom he calls “Mr. and Mrs. Ken Burns of Canada” with subtle disdain. As we learn over the artful dodges and layers of past and present, events imagined and/or real, Fife treats the interview as a final confession from a guarded and deceptive soul. He’s also a hero to everyone in the room, famous for his anti-Vietnam war political activism, and for the Frederick Wiseman-like inflection of his own films’ interview techniques. The real-life filmmaker name-checked in “Oh, Canada” is documentarian Errol Morris, whose straight-to-the-lens framing of interview subjects was made possible by his Interrotron device. In Schrader’s adaptation, Fife doesn’t want the nominal director (Michael Imperioli, a nicely finessed embodiment of a second-rate talent with first-rate airs) in his eyeline. Rather, as he struggles with hazy, self-incriminating memories of affairs, marriages, one-offs with a friend’s wife and a tense, brief reunion with the son he never knew, Fife wants only his wife, Emma — his former Goddard College student — in this metaphoric confessional. Schrader and his editor Benjamin Rodriguez Jr. treat the memories as on-screen flashbacks spanning from 1968 to 2023. At times, Gere and Thurman appear as their decades-young selves, without any attempt to de-age them, digitally or otherwise. (Thank god, I kind of hate that stuff in any circumstance.) In other sequences from Fife’s past, Jacob Elordi portrays Fife, with sly and convincing behavioral details linking his performance to Gere’s persona. We hear frequent voiceovers spoken by Gere about having ruined his life by age 24, at least spiritually or morally. Banks’ novel is no less devoted to a dying man’s addled but ardent attempt to come clean and own up to what has terrified him the most in the mess and joy of living: Honesty. Love. Commitment. There are elements of “Oh, Canada” that soften Banks’ conception of Fife, from the parentage of Fife’s abandoned son to the specific qualities of Gere’s performance. It has been 44 years since Gere teamed with Schrader on “American Gigolo,” a movie made by a very different filmmaker with very different preoccupations of hetero male hollowness. It’s also clearly the same director at work, I think. And Gere remains a unique camera object, with a stunning mastery of filling a close-up with an unblinking stillness conveying feelings easier left behind. The musical score is pretty watery, and with Schrader you always get a few lines of tortured rhetoric interrupting the good stuff. In the end, “Oh, Canada” has an extraordinarily simple idea at its core: That of a man with a movie camera, most of his life, now on the other side of the lens. Not easy. “I can’t tell the truth unless that camera’s on!” he barks at one point. I don’t think the line from the novel made it into Schrader’s script, but it too sums up this lion-in-winter feeling of truth without triumphal Hollywood catharsis. The interview, Banks wrote, is one’s man’s “last chance to stop lying.” It’s also a “final prayer,” dramatized by the Calvinist-to-the-bone filmmaker who made sure to include that phrase in his latest devotion to final prayers and missions of redemption. “Oh, Canada” — 3 stars (out of 4) No MPA rating (some language and sexual material) Running time: 1:34 How to watch: Opens in theaters Dec. 13, running 1in Chicago Dec. 13-19 at the Gene Siskel Film Center, 164 N. State St.; siskelfilmcenter.org Michael Phillips is a Tribune critic.

Lance Morrow, a journalist, author and essayist who helped define Time magazine’s once-dominant place in American commentary, using a historian’s eye and taut prose to distill the country’s tragedies, triumphs and evolving culture, died Nov. 29 at his home in Spencertown, New York. He was 85. The cause was prostate cancer, said his wife, Susan Brind Morrow. Morrow was both observer and narrator during a more than seven-decade career that included books and memoirs, more than 20 years with a coveted back-page column in Time, and, later, time as a contributing writer to outlets such as the Wall Street Journal. His reportage and essays were often written with a grand and literary sweep that sought to capture a moment or a mood, whether the horror of the Sept. 11, 2001, terrorist attacks or the collective grief after the explosion of the space shuttle Challenger in 1986. “The shuttle crew, spectacularly democratic (male, female, black, white, Japanese American, Catholic, Jewish, Protestant), was the best of us, Americans thought, doing the best of things Americans do,” Morrow wrote in Time. “The mission seemed symbolically immaculate, the farthest reach of a perfectly American ambition to cross frontiers. And it simply vanished in the air.” As an author, meanwhile, Morrow peered deeply inward – giving readers a sense of a man who felt privileged and burdened. In his 2023 autobiography “The Noise of Typewriters,” he recounted his place in a golden age of print journalism when Time ruled the newsstands. He was, he said, a proud chronicler of the American Century. Yet there were shadows. In “Heart: A Memoir” (1995), written after a second heart attack, he turned his health crises into a deeper exploration of his psyche: despair from his witness to bloodshed in the Balkans and elsewhere and his long-held anger at his parents, a well-connected Washington couple he described as distant and constantly bickering. “An accumulation of palpable rage” had churned up and tried to “kill” his heart, he wrote. “Taking it as a kind of tribute, a sacrifice of myself to the rage god.” (He had a third heart attack shortly after the book was published.) Morrow arrived at Time magazine in 1965, two years after landing a job out of college at the Washington Star. The magazine was near the peak of its influence, with co-founder Henry Luce no longer editor but serving as chairman of parent company Time Inc. Morrow soon became a star byline, covering the 1967 riots in Detroit and the Vietnam War. As the Watergate scandal began to unfold before the 1972 presidential election, Morrow and Hugh Sidey ended a piece with a cri de coeur to the American electorate. “There is a somewhat depressing loss of innocence in failing to expect more from the nation’s public officials,” they wrote. “Somewhere in all of this huge indifference, the principle of moral leadership may be sinking without a trace.” In 1976, Morrow became a regular essayist for Time’s back page – a showcase spot that was seen as the magazine’s intellectual touchstone for the week. Morrow embraced the role. He infused his columns with references as diverse as Archimedes and Elvis. A column in 1979 on Iran’s Islamic Revolution avoided geopolitical hand-wringing and tried to put the toppling of the Western-supported monarchy in the context of other revolutions through history. In 1981, he wrote about modern celebrity gossip and followed the historical trail back to the Olympian quarrels of Zeus and Hera. Morrow’s views leaned conservative at times, including questioning the continued need for affirmative action. But he could give his imprimatur to liberal-backed initiatives such as environmental regulations and efforts to battle climate change. After the 9/11 attacks, Morrow issued what amounted to a call to arms. His piece, “The Case for Rage and Retribution,” was part of an entry that won Time a National Magazine Award for special issue coverage. “A day cannot live in infamy without the nourishment of rage. Let’s have rage,” Morrow wrote. “What’s needed is a unified, unifying, Pearl Harbor sort of purple American fury – ruthless indignation that doesn’t leak away in a week or two, wandering off into Prozac-induced forgetfulness or into the next media sensation.” Morrow left the Time staff in the mid-1990s but remained for more than a decade as a special writer on contract. Over his career, he was part of more than 100 cover stories and seven “Man of the Year” (now “Person of the Year”) profiles, including one of Soviet leader Mikhail Gorbachev in 1988. (He also wrote a “Women of the Year” story in 1976 that included first lady Betty Ford and tennis champion Billie Jean King.) Until earlier this year, Morrow produced a steady flow of columns for the Wall Street Journal, City Journal and others. In one of his last pieces, he took stock of President Joe Biden’s decision in July to bow out of the presidential race. “In this debacle, Biden’s laurels are withered; he does not deserve much glory,” he wrote in City Journal. Morrow also adopted the journalistic profile of an elder statesman – with a slightly jaded take on the profession’s trajectory in the internet age. “Being there is one of the imperatives of journalism,” he wrote in “The Noise of Typewriters.” “Or it used to be, before the age of screens, which changed everything. Being there is still a good idea.” ‘THINGS HAVE HAPPENED’ Lance Thomas Morrow was born in Philadelphia on Sept. 21, 1939, and raised in Washington. His father was a journalist whose jobs included Washington editor of the Saturday Evening Post and who later worked as a speechwriter and adviser to Nelson Rockefeller during his tenures as New York governor and vice president. His mother was a syndicated journalist for Knight newspapers and a writer. In books and essays, Morrow described his parents’ marriage as roiled by arguments and overshadowed by their mutual career ambitions. He recounted that for one summer, before he turned 10 years old, he and his older brother were left nearly alone at a family cottage with no electricity on Chesapeake Bay. Once a week, his father brought in supplies by car. “The past was full of grievances,” Morrow once said. “It lashed out, sometimes in the dark. The past was insane.” But his childhood also put him at the center of Washington’s political life. He was a Senate page, sometimes hustling down to the cafeteria to bring dishes of vanilla ice cream to Lyndon B. Johnson, then a Democratic senator from Texas. Morrow’s father sometimes loaned his car to the Rev. Martin Luther King Jr. when the civil rights leader was visiting the capital. As a teenager, Morrow was once part of a touch football game in Georgetown with the Kennedys. “I have done nothing memorable in my life, and yet all around me, things have happened,” he said. Morrow received a bachelor’s degree in English from Harvard University in 1963. He already had his first bylines before college working a summer job at the Danville News in central Pennsylvania. From 1963 to 1965, he was on the staff of the Washington Star, where one of his colleagues, future Washington Post reporter Carl Bernstein, became a lifelong friend. Morrow won the National Magazine Award in the essays and criticism category in 1981 for his columns at Time. He was finalist for the same award in 1991 for a cover story on the nature of evil – a project that included extensive interviews with Holocaust survivor and writer Elie Wiesel. Morrow returned to the subject in the book “Evil: An Investigation” (2003), which examined how factors including religion, literature and politics have influenced perceptions of malice and hatred through the ages. His other books include “The Chief: A Memoir of Fathers and Sons” (1985), a recollection of his relationship with his father; “Fishing in the Tiber” (1988), essays on American myths and history; and “The Best Year of Their Lives: Kennedy, Nixon, and Johnson in 1948” (2005), on how events in 1948 shaped three future presidents. From 1996 to 2006, Morrow was a professor of journalism at Boston University. His marriage to Brooke Wayne ended in divorce. He married Susan Brind, a journalist and writer, in 1988. Other survivors include two sons from his first marriage; and three grandchildren. In “The Noise of the Typewriters,” Morrow described journalism in almost Zen terms as a hunt for a defining moment of clarity. “Never be certain there is no meaning. Never be certain about anything too quickly. All journalism implies a concealed metaphysics – even a theology: All truth is part of the whole,” he wrote. “All is in motion. Be tolerant of chaos. Be patient. Wait for stillness. This is Journalism 101, according to me.” We invite you to add your comments. We encourage a thoughtful exchange of ideas and information on this website. By joining the conversation, you are agreeing to our commenting policy and terms of use . More information is found on our FAQs . You can modify your screen name here . Comments are managed by our staff during regular business hours Monday through Friday as well as limited hours on Saturday and Sunday. Comments held for moderation outside of those hours may take longer to approve. Please sign into your Sun Journal account to participate in conversations below. If you do not have an account, you can register or subscribe . Questions? Please see our FAQs . Your commenting screen name has been updated. Send questions/comments to the editors. « PreviousNone

Each week on Polygon, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home. This week, Maria , Pablo Larraín’s biopic on the life and career of opera singer Maria Callas starring Angelina Jolie, comes to streaming on Netflix. If virtuoso sopranos aren’t to your liking, not to worry: There are plenty more exciting new releases to watch this week on streaming and VOD. The holiday action comedy Red One starring Dwayne “The Rock” Johnson and J.K. Simmons drops onto Prime Video this week, while the religious horror thriller Heretic starring Hugh Grant comes to VOD. That’s not all — Atlantics director Mati Diop has a new documentary on Mubi, and the Catholic thriller Conclave is available to stream on Peacock! Here’s everything new that’s available to watch this weekend! Table of Contents New on Netflix Maria It Ends with Us Carry-On New on Hulu Sugarcane New on Max Joker: Folie à Deux New on Disney Plus Elton John: Never Too Late New on Prime Video Red One New on Peacock Conclave New on Mubi Dahomey New on Criterion Channel It’s Not Me New to rent Venom: The Last Dance Heretic The Best Christmas Pageant Ever New on Netflix Maria Where to watch: Available to stream on Netflix Genre: Biopic Run time: 2h 4m Director: Pablo Larraín Cast: Angelina Jolie, Pierfrancesco Favino, Alba Rohrwacher Director Pablo Larraín continues his trilogy of biopics about important 20th-century women with opera singer Maria Callas. Starring Angelina Jolie, Maria follows the titular opera singer as she hallucinates a young filmmaker and tells him her life story. Callas was the subject of a number of scandals, including an affair with Aristotle Onassis — Jackie Kennedy Onassis’ husband. Which is fitting, since Larraín directed a biopic about Jackie Kennedy back in 2016. It Ends with Us Where to watch: Available to stream on Netflix Genre: Romantic drama Run time: 2h 10m Director: Justin Baldoni Cast: Blake Lively, Justin Baldoni, Jenny Slate Raise your hand if your social media algorithms think that just because you like to read, you must love Colleen Hoover’s books. It Ends with Us is based on Hoover’s bestselling 2016 novel, which follows a florist in an abusive relationship who reconnects with her first love. Despite what the TikTok edits would have you think, it’s actually about breaking the cycle of domestic abuse. Carry-On Where to watch: Available to stream on Netflix Genre: Crime thriller Run time: 1h 59m Director: Jaume Collet-Serra Cast: Taron Egerton, Jason Bateman, Sofia Carson This one’s for all you “ Die Hard is a Christmas movie” people out there! In this new Netflix thriller, a TSA agent cheerily shows up for a Christmas Eve shift — only to get threatened by a mysterious stranger into smuggling a dangerous package onto a flight. If he doesn’t follow orders, says the stranger through an earpiece, his girlfriend will be killed. But as the agent continues to defy the stranger, the consequences heighten. Nothing says holiday cheer like high-octane thrillers, apparently! New on Hulu Sugarcane Where to watch: Available to stream on Hulu Genre: Documentary Run time: 1h 47m Directors: Emily Kassie, Julian Brave NoiseCat Cast: Julian Brave NoiseCat, Ed Archie NoiseCat, Charlene Belleau This documentary follows an investigation into the Canadian Indian residential school system, which came under fire in 2021 following the discovery of several unmarked graves on the grounds of a school run by the Catholic Church. Sugarcane documents the national outcry against a system designed to destroy Indigenous communities, and the efforts by said communities to reconcile with the horrors inflicted upon them. New on Max Joker: Folie à Deux Where to watch: Available to stream on Max Genre : Psychological thriller Run time: 2h 18m Director: Todd Phillips Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson Arthur Fleck (Joaquin Phoenix) is back — and this time, he’s got a girlfriend! Todd Phillips’ sequel to 2019’s Joker picks up two years after the previous film, with Arthur still in custody at Arkham State Hospital awaiting trial for murder. Upon meeting Harleen “Lee” Quinzel (Lady Gaga), Arthur finds himself torn between his attraction to her (and her subsequent attraction to the Joker) and his uncertainty as to whether he wants to be the Joker anymore. Question is, does Joker: Folie à Deux land the punchline, or is this curtains for Arthur’s story? From our review : The truth, whether or not Phillips would want to admit it, is that his rapt framing of Phoenix’s performance, his dedicated homage to ’70s grit and ’60s musical fantasy, the smugness of a script that omits the punchline from a knock-knock joke and submits that as smart character commentary — these things are not so distant from the rule-of-cool, Easter-egg-hiding, smug-quip-dropping world of comic book cinema as he would like to imagine. Joker and Folie à Deux are no less indulgent than any other films resting on the legacy of generations of work-for-hire comics artists whose output currently falls under the ownership of the Warner Bros. Discovery conglomerate. Phillips just wants you to think it is. New on Disney Plus Elton John: Never Too Late Where to watch: Available to stream on Disney Plus Genre: Documentary Run time: 1h 42m Directors: R.J. Cutler, David Furnish Disney’s newest musician documentary is all about Elton John. The musician looks back on his career, going back to his really early days to the preparations for his final concert. He gets candid about his mental health, closeted sexuality, and drug abuse. The movie debuted at the Toronto International Film Festival earlier this year. New on Prime Video Red One Where to watch: Available to stream on Prime Video Genre: Holiday comedy Run time: 2h 3m Director: Jake Kasdan Cast: Dwayne Johnson, Chris Evans, Lucy Liu Dwayne “The Rock” Johnson’s Christmas action movie looks a little bit like Rise of the Guardians meets Taken . In Red One , a secret organization protects the balance between the real world and mythological figures like Santa Claus and the Headless Horseman. But when Santa gets kidnapped right before Christmas, one of Santa’s security details enlists a tracker to help him find Father Christmas himself. New on Peacock Conclave Where to watch: Available to stream on Peacock Genre: Mystery thriller Run time: 2h Director: Edward Berger Cast: Ralph Fiennes, Stanley Tucci, John Lithgow Ralph Fiennes stars in All Quiet on the Western Front director Edward Berger’s latest thriller as Thomas Lawrence, a cardinal tasked with convening a secluded conclave in order to decide on the appointment of a new pope. As interfactional disputes between the cardinals amassed give rise to conspiracies and questions, Thomas must weigh the future of the church against the weight of his own conscience. New on Mubi Dahomey Where to watch: Available to stream on Mubi US Genre: Documentary Run time: 1h 8m Director: Mati Diop Cast: Gildas Adannou, Morias Agbessi, Maryline Agbossi Atlantics director Mati Diop returns with a new documentary about colonialism, culture, and history as a living subject. Dahomey chronicles the return of 26 plundered treasures to the Republic of Benin — formerly the African kingdom of Dahomey. Diop’s film asks whether or not the return of these items, which number among thousands of other artifacts taken from Africa, is sufficient restitution for despoilment of the continent and its people. New on Criterion Channel It’s Not Me Where to watch: Available to stream on Criterion Channel Genre: Biographical short Run time: 41m Director: Leos Carax Cast: Leos Carax, Denis Lavant, Nastya Golubeva Carax Director Leos Carax’s ( Holy Motors , Annette ) biographical short is a free-form retrospective of his career, looking back over the past 40 years of his life and films to meditate on the nature of time, art, and mortality. Originally intended for an exhibition at the Pompidou Museum that never happened, It’s Not M e is Carax’s answer to the question, “Where are you at, Leos Carax?” New to rent Venom: The Last Dance Where to watch: Available to rent on Amazon, Apple, and Vudu Genre: Superhero action Run time: 1h 50m Director: Kelly Marcel Cast: Tom Hardy, Chiwetel Ejiofor, Juno Temple Tom Hardy returns for one last outing as the long-tongued parasitic vigilante. Following the events of Venom: Let There Be Carnage , Eddie Brock (Hardy) and the Venom symbiote are still on the run. Hunted by both the military and a mysterious extraterrestrial threat known as the Xenophage, Eddie and Venom must work together once more to survive and clear their name. From our review : The original Venom found success in the mess of Hardy’s gutsy performance straining against stakes as mundane as Eddie interacting with his ex and her aggressively normal new boyfriend, after they watched him feverishly climb into a restaurant’s lobster tank. Last Dance , however, removes every human consideration from the equation of Eddie’s life — every social tie, every personal goal, every stake smaller than “aliens and the government are trying to kill us.” Heretic Where to watch: Available to rent on Amazon, Apple, and Vudu Genre: Horror thriller Run time: 1h 51m Directors: Scott Beck, Bryan Woods Cast: Hugh Grant, Sophie Thatcher, Chloe East Stop me if you’ve heard this one: Two Mormon missionaries walk into a man’s house right before a snowstorm. After realizing they’ve been trapped, the missionaries are forced to participate in a twisted game for survival or be executed. No, you’ve never heard that one before? Well then, you gotta watch this movie— it’s wild! The Best Christmas Pageant Ever Where to watch: Available to rent on Amazon, Apple, and Vudu Genre: Holiday comedy Run time: 1h 39m Director: Dallas Jenkins Cast: Kynlee Heiman, Sebastian Billingsley-Rodriguez, Judy Greer Six unruly siblings suddenly decide to join the church’s Christmas pageant, much to the chagrin of most of the town. But the pageant director is determined to make this show the best Christmas pageant ever ( ba-dum tss ) and shows the siblings some kindness that they rarely get from the rest of the town. Now that’s the true meaning of Christmas! The Best Christmas Pageant Ever is based on a 1972 children’s book of the same name. Entertainment Movies Polygon Lists Polygon Picks What to WatchTech billionaire Elon Musk spent at least $270 million to help Donald Trump win the US presidency, according to new federal filings, making him the country's biggest political donor. SpaceX and Tesla CEO Musk, the world's richest person, was an ardent supporter of Trump's White House campaign -- funneling money into door knocking operations and speaking at his rallies. Javascript is required for you to be able to read premium content. Please enable it in your browser settings.