Aurelia Butler
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Amazon Gains Creative Control Over the James Bond Franchise
The British family that has for decades held complete control over everything involving the globe-trotting superspy is relinquishing it to Amazon.The British family that has steered the James Bond franchise for more than 60 years, zealously protecting the superspy from the indignities of Hollywood strip mining, has agreed to relinquish control to Amazon.The deal, which was announced Thursday morning, comes after a behind-the-scenes standoff between Barbara Broccoli, who inherited control of Bond from her father, and Amazon, which gained a significant ownership stake in the franchise in 2021 as part of its $8.5 billion purchase of Metro-Goldwyn-Mayer. Ms. Broccoli and her brother, Michael G. Wilson, another Bond producer, had chafed at some of the ways in which Amazon hoped to capitalize on the property, The Wall Street Journal reported in December.In a statement released by Amazon, the siblings and the tech giant said they had agreed to form a new joint venture to house Bond; the parties will remain co-owners. But Amazon MGM Studios “will gain creative control” after the transaction closes later this year. Ms. Broccoli and Mr. Wilson previously had ironclad creative control, deciding when to make a new Bond film, who should play the title role and whether remakes and television spinoffs got made.They also had final say over every line of dialogue, every casting decision, every stunt sequence, every marketing tie-in, and every TV ad, poster and billboard.Daniel Craig in “No Time to Die.” The movie marked the end of a five-film series with him in the lead role. No decisions have been made about a successor.Nicola Dove/Metro Goldwyn Mayer Pictures, via Associated PressMike Hopkins, head of Prime Video and Amazon MGM Studios, thanked the siblings for their “unyielding dedication” to the franchise and said the company looked forward “to ushering in the next phase of the legendary 007 for audiences around the world.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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Review: Vikingur Olafsson and Yuja Wang, Side by Side
Vikingur Olafsson and Yuja Wang appeared at Carnegie Hall with a unified approach to works by Schubert, John Adams, Rachmaninoff and more.When two pianists appear together in concert, the usual setup is for the curves of their instruments to hug in a yin-yang formation. The musicians face off across the expanse, some nine feet apart.But when Vikingur Olafsson and Yuja Wang brought their starry duo tour to Carnegie Hall on Wednesday evening, just inches separated them. They sat side by side, their pianos splayed out in opposite directions like the wings of a butterfly, with the players in the middle.Olafsson and Wang didn’t look at each other much during the performance, and Wang, who was closer to the audience throughout, did feel like the dominant presence and sound in this duet. But their physical closeness registered in a consistently unified approach to their richly enjoyable program.There was balanced transparency in even the most fiery moments of Schubert’s Fantasy in F minor. Olafsson and Wang’s rubato — their expressive flexibility with tempo — felt both spontaneously poetic and precisely shared in the passage when serenity takes over in the first movement of Rachmaninoff’s “Symphonic Dances,” with the yearning melody that’s given to the alto saxophone in the work’s fully orchestrated version.Their styles were distinguishable, even if subtly. In sumptuously vibrating chords in the first movement of Schubert’s Fantasy, Olafsson’s touch was a little wetter and more muted, Wang’s percussive and as coolly etched as a polygraph. Cool, yes, but she could also be lyrical, as in the delicate beginning of Luciano Berio’s “Wasserklavier,” which opened the concert.Short, gentle, spare pieces by Berio, John Cage (the early “Experiences No. 1”) and Arvo Part (“Hymn to a Great City”) gave the program a meditative spine. Those were interspersed with three substantial anchors: the “Symphonic Dances,” which Rachmaninoff set for two pianos as he was writing the orchestral version; the Schubert Fantasy; and John Adams’s “Hallelujah Junction.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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‘The Unbreakable Boy’ Review: Surmounting Hardships With Joy
This family drama by Jon Gunn, based on a true story, is told from the perspective of a young boy with autism.The title character in “The Unbreakable Boy” is a whirlwind, a handful, a lot. Austin, an eighth grader with autism, is often in overdrive, whether he’s counting toys or rattling off the courtroom monologue from “A Few Good Men.” He also has a genetic brittle-bone disorder that frequently lands him in the emergency room. Crucially, though, these challenges never diminish his spirit. Played with exuberance by Jacob Laval, Austin is a disrupter and catalyst, a lesson in joyful mettle to everyone around him — especially his parents (Zachary Levi and Meghann Fahy).Jon Gunn, the writer-director and a practiced hand in the inspirational genre (“Ordinary Angels”), adapted the memoir by Scott LeRette, Austin’s father, but flipped the perspective to the boy’s. There are well-deployed bursts of kid’s-eye-view animation and humorous asides, but mainly the story, set in Oklahoma, dispenses its lessons in gratitude, self-forgiveness and sobriety with straightforward sincerity. Sometimes that works, and sometimes it lands with a thud.This is also the story of a marriage. As narrated by Austin and revealed in flashbacks, his parents’ courtship traveled an ultra-brief road from meet-cute to pregnancy, and Scott and Teresa didn’t so much fall in love as do the right thing. Raising Austin spurs them to grow up, although Scott, with his increasing dependence on alcohol, is clearly the laggard. Some might find it comforting that Scott has an imaginary friend (Drew Powell), a cross between a drinking buddy and a voice of conscience. Others will find it merely distracting.Fahy, as the more grounded parent, lends understated warmth to this pleasant but plodding family drama. Amid the gentle nods to churchgoing, 12-step programs and the Japanese art of kintsugi (the mending of broken items using precious metals that accentuate the cracks), “The Unbreakable Boy” could have benefited from a stronger infusion of Austin’s vitality.The Unbreakable BoyRated PG. Running time: 1 hour 49 minutes. In theaters. More
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‘Compensation’ Review: Still Rebellious
Finally getting a theatrical run, Zeinabu irene Davis’s 1999 film about two Black couples in Chicago in two different eras earns its landmark status.As a word, “Compensation” evokes labor. In the director Zeinabu irene Davis’s beautifully woven drama of the same name, work does get its close-ups. But it is the loves, labors and vulnerabilities two couples in two different eras experience that make this black-and-white film from 1999 such an elegant and presciently inventive work.Michelle A. Banks, a pioneering deaf theater actor, portrays both Malindy, a dressmaker in 1910, and Malaika, an aspiring graphic designer in the 1990s. John Earl Jelks (“Exhibiting Forgiveness”) plays Arthur, a migrant up from Mississippi, and Nico, a children’s librarian in contemporary Chicago.Each couple meets sweet on the shore of Lake Michigan. (Scenes were shot at Indiana Dunes National Park.) With a fishing rod strapped to his back, a mandolin in his hand and a straw hat atop his head, Arthur looks like a folk troubadour as he heads toward Malindy and her young friend Tildy (Nirvana Cobb) napping nearby. He asks Malindy if she wants some of the fish he’s caught. After trying to make herself understood by signing, Malindy writes on a chalkboard that she can’t hear. Arthur looks at the sign and tells her sheepishly he can’t read. It’s an impossibly poignant moment in a film about the intersections of the deaf and the hearing worlds, the Black middle and working classes, but also the educated and the soon-to-be-educated.For Nico and Malaika’s encounter, the film leans on a bit of rom-com charm. (“Compensation” was written by Marc Arthur Chéry, the director’s frequent collaborator and spouse.) Looking serious, Malaika moves through tai chi forms, Nico jogs by, smiles, stops, jogs back, beaming. She is not impressed as playful thought-bubble intertitles make plain.Davis uses the form of early silent movies to evocative and economic effect. How do you shoot a period picture on a tight budget? Imbue rich archival stills with the sounds of life — babies gurgling, horses clomping, train whistles sounding. Add a beguiling musical score while you’re at it. Scenes of the early 1900s are buoyed by the composer-pianist Reginald R. Robinson’s ragtime notes; the late ’90s by Atiba Y. Jali’s percussive, African-centered grooves. (The movie is open captioned.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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Souleymane Cissé, Celebrated Malian Filmmaker, Dies at 84
He won multiple awards during his 50-year career, including the jury prize at the Cannes Film Festival, and spent his life championing African cinema.Souleymane Cissé, an award-winning writer and director who became the first Black African filmmaker to win the Jury Prize at the Cannes Film Festival, died on Wednesday in Bamako, Mali. He was 84.His death was confirmed by François Margolin, a French film producer and a close friend of Mr. Cissé’s.Mr. Cissé had just appeared at a news conference on Wednesday morning to present two prizes ahead of the Pan-African Film and Television Festival of Ouagadougou, known as Fespaco, where he had been set to head the jury.After the news conference — where he was “talking and joking” — Mr. Cissé went to take a nap and didn’t wake up, Mr. Margolin said.Mr. Cissé was catapulted to worldwide fame with the release in 1987 of “Yeelen” (“Light” in his native Bambara). The film won the jury prize at Cannes and was nominated as the best foreign film in the 1989 Spirit Awards. The director Martin Scorsese called the film “one of the great revelatory experiences of my moviegoing life.”Mr. Cissé had been energetic until the end of his life, Mr. Margolin said, working and traveling around the world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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Drake’s Tentative Comeback, Plus: New Music From the Weeknd and More
Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeLast week saw the release of “Some Sexy Songs 4 U,” the collaborative album from Drake and the Toronto R&B singer and songwriter PartyNextDoor, a longtime collaborator. For the most part, the sound is a vintage one for Drake, feeling something like a retreat to a comfort zone: moody heartbreak soul bathed in self-loathing and suspicion.It’s an album that, from a distance, appears to exist in a space totally parallel to the dominant narrative of his last year, which is the toxic and very popular beef he’s had with Kendrick Lamar, which seemed to culminate this month with Lamar’s five Grammy wins for “Not Like Us,” followed by his performance of the song at the Super Bowl halftime show.But there are a handful of songs on this new album that suggest Drake is already looking at musical pathways forward, or away, from that bumpy stretch.On this week’s Popcast, a conversation about Drake’s post-Kendrick predicament and the ways he might move on. Plus: a host of promising new albums that have brightened up the beginning of the year from artists like the Weeknd, Central Cee, Oklou, Skaiwater and OsamaSon.Guest:Joe Coscarelli, The New York Times’s pop music reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More
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‘The Quiet Ones’ Review: Getting Swindled in Copenhagen
Inspired by a real heist, this Danish thriller has more moving parts than it can keep track of.The Danish heist thriller “The Quiet Ones” centers on a big score that involves using garbage trucks to block the major roads in Copenhagen to buy the thieves enough time to raid a cash-handling firm. The many moving parts get the better of the filmmakers.The director, Frederik Louis Hviid, opens the movie with a display of self-defeating virtuosity: a robbery filmed in a single take entirely from the inside of an armored van. (That vantage point stops making sense once the drivers exit the vehicle, but Hviid doesn’t seem like the kind of filmmaker to cut away from a showboating shot for the sake of narrative logic.)One year later, Slimani (Reda Kateb), the man responsible for the van robbery, recruits Kasper (Gustav Giese) to game out the break-in at the cash-handling firm. Kasper is a family man and a boxer, and his competitive streak inspires him to maximize the take. Slimani is a hardened criminal made less menacing by Kateb’s faltering rhythms in English, the gang’s lingua franca. The bulk of “The Quiet Ones” is set in 2008, occasioning a lot of dubiously relevant references to the financial crisis.The heist takes up more than 20 minutes of screen time, but Hviid — who has to juggle the robbers at the firm, the garbage truck drivers, the police and a security guard (Amanda Collin) — makes a hash of the competing perspectives. The road-blocking gambit is barely shown, and Collin’s character, fleshed out specifically for this moment, is forgotten for much of the sequence.The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.The Quiet OnesNot rated. In Danish, English and Swedish, with subtitles. Running time: 1 hour 50 minutes. In theaters. More
