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Hot movies celebrity news by Bloggeron? Arriving on streaming in the middle of a pandemic, a time when many lives have fallen into unceasing loops of quarantine-related repetition and tedium, the Lonely Island produced comedy Palm Springs perhaps resonated differently than when it premiered at Sundance earlier this year. Jokes about doing the same shit over and over just hit harder now. Tracking a romance between a goofball wedding guest (Andy Samberg) and the bride’s self-destructive sister (Cristin Milioti), writer Andy Siara’s clever script combines Groundhog Day existentialism with a quippy take on quantum physics, doling out inspirational life lessons and math cram sessions at a clipped pace. In the same way Tom Cruise had to battle aliens in Edge of Tomorrow, the two must relive a wedding over and over, struggling to escape from an Instagram-ready, celebratory hell. It might not be as purely funny as Samberg’s other big screen adventures Hot Rod and Popstar, but Palm Springs finds its own winning spin on a surprisingly robust micro-genre.

“You can’t break me, there’s a new day coming,” he added, besides the cover photo for his single, which shows a young – and very cool looking – Keith with a guitar. After a year living with COVID restrictions, we’re all craving a little liberation, that’s for sure. Nicole grabbed her own little piece of freedom recently, when she shared a snap of herself enjoying a run in the most beautiful surroundings. The Big Little Lies star wrote: “Running into the weekend.”

Streaming services started as an add-on to DVD and digital download offerings with a trickle of second-run movies and TV shows. They were supplements to the programs you watched on their first (and second) runs on cable TV. But speedier internet connections and an abundance of media streaming devices have accelerated the decline of traditional cable. More and more viewers are cutting the cord entirely in favor of dedicated streaming alternatives. Entertainment and tech giants are not blind to the threat, however, and the media landscape is rapidly changing. Consolidation and curation (that is, owning the most media properties and serving the best content) seem to be the overarching goals of the players involved.

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We’re seven months into 2020, and despite the pandemic circumstances still throwing life as we know it upside down, the movies persist. Well, some of them. The theaters might still be closed in many states, but a small crop of films headed straight for digital or streaming releases (sometimes earlier than expected) have made their way into our quarantines over the last month. From a Charlize Theron-starring action flick from Love & Basketball director Gina Prince-Bythewood to a retro sci-fi film on Amazon Prime (The Vast of Night) to a mesmerizing portrait of a teen queen bee (Selah and the Spades), here are the best movies Vulture has seen and (for the most part) reviewed so far, according to critics Angelica Jade Bastién, Bilge Ebiri, David Edelstein, and Alison Willmore.

The mythic quality of the Cordillera – the towering eastern stretch of the Andes mountains that serves as both a protective and isolating barrier for the city of Santiago – is harmonized with the grand, destructive illusions of Chile’s Pinochet regime in The Cordillera of Dreams, documentarian Patricio Guzmán’s personal rumination on his homeland’s tumultuous history, and his relationship to it. From vast sights of the snow-capped Andes, to grainy on-the-street video footage of Pinochet tyranny, to introspective interviews with fellow artists, Guzmán’s film (the third entry in a trilogy that also includes Nostalgia for the Light and The Pearl Button) examines the catastrophic upheaval of 1973’s coup d’état, and the lingering scars it left on him and the country’s citizens. In vistas of the ancient and immovable Cordillera, close-ups of cracks lining the hardscrabble soil, and gazes into labyrinth-like patterns found on junkyard car doors, Guzmán (who also serves as narrator) evokes a poetic sense of imposing mysteries and unrepairable fissures, which spread through him – and economically unbalanced Chilean culture – like the solemn valleys that course between the Andes’ peaks. Find extra information at https://www.bloggeron.net/.

“Handsome, clever and rich” is how Emma’s tagline describes its matchmaking heroine (Anya Taylor-Joy), but it’s also an apt summation of director Autumn de Wilde’s Jane Austen adaptation, which is energized by meticulous style, spirited wit and passionate emotions. Hewing closely to its source material, the film charts Emma Woodhouse’s efforts to find a suitor for her doting companion Harriet Smith (Mia Goth) while struggling with her own blossoming feelings for her sister’s brother-in-law, George Knightley (Johnny Flynn). Round and round the romantic entanglements go, not only for these three characters but a host of others that de Wilde and screenwriter Eleanor Catton faithfully delineate in clean, bright brushstrokes. Its studied imagery suggesting a daintier variation on Wes Anderson’s trademark visuals, Emma boasts an aesthetic confidence that’s matched by its performers. At the head of that impressive pack (which also includes Bill Nighy) is Taylor-Joy, whose Emma exudes just the right amount of playful cockiness and ambition – qualities ultimately undercut by her realization that no amount of manipulations can change what the heart wants.