Aurelia Butler

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    Stream These 9 Movies Before They Leave Netflix in July

    A bunch of major titles are leaving for U.S. subscribers this month, including films by George Lucas and Ang Lee. See them while you can.Two of the biggest movies of the 1970s and one of the biggest of the ’80s are among the movies leaving Netflix in the United States in July; other highlights include a family favorite, a comic book oddity and an unconventional biopic. (Dates indicate the final day a title is available.)‘Abducted in Plain Sight’ (July 14)Stream it here.This true-crime documentary became such a must-watch (and must-discuss) sensation on Netflix, it ended up spawning a limited series dramatization on Peacock. It’s not hard to see why: This is truly stranger-than-fiction stuff, detailing how the 12-year-old Jan Broberg was abducted by a neighbor and family friend, Robert Berchtold — and then, somehow, abducted again by the same man several years later. The internet outrage surrounding the film (and blaming Broberg’s parents) missed the point; the director Skye Borgman sensitively and intelligently explores how Berchtold used brainwashing and grooming to commit his shocking crimes.‘Big Eyes’ (July 23)Stream it here.In an era of increasingly dreary, paint-by-numbers biopics, the works of the screenwriters Scott Alexander and Larry Karaszewski seem like oases in the desert — witty, insightful, poignant and frequently cockeyed portraits of unconventional subjects like Larry Flynt, Andy Kaufman and Rudy Ray Moore. This 2014 effort reunited the writers with their “Ed Wood” director, Tim Burton, telling the story of the artist Margaret Keane, whose wildly popular and undeniably distinctive paintings were originally believed to be the work of her monstrous husband, Walter. Amy Adams plays Margaret with sympathy and grace, while Christoph Waltz’s turn as the egomaniacal Walter is the best work he has done outside of the Tarantino-verse.‘American Graffiti’ (July 31)Stream it here.This 1973 coming-of-age comedy-drama was a mind-boggling launchpad. First and foremost, it started a movement of ’50s nostalgia (even though it is set in 1962, it still feels like the ’50s) that continued through the decade with the likes of “Grease” and the film’s unofficial TV spinoff, “Happy Days.” It was also a big break for several members of its then-unknown cast, including Candy Clark, Richard Dreyfuss, Harrison Ford, Ron Howard, Paul Le Mat, Mackenzie Phillips, Charles Martin Smith and Cindy Williams. And perhaps most important, it was the first big hit for its co-writer and director, a quiet young California filmmaker named George Lucas, who based the picture on his own youth as a Modesto hot-rodder. Its critical and commercial success allowed him to take on his dream project, a sci-fi epic called “Star Wars,” and well, you know the rest.‘Fatal Attraction’ (July 31)Stream it here.This erotic thriller from Adrian Lyne was one of the most successful pictures of 1987 — and one of the most controversial, prompting heating conversations about its depictions of adultery and mental illness that moved from movie listings to opinion pages and magazine covers. The story is simple: Michael Douglas stars as a family man whose seemingly offhand weekend extramarital affair with Glenn Close turns into a matter of literal life and death. It is a deeply flawed picture — Close’s nuanced characterization outclasses the paper-thin caricature she’s given, and critics of the era were right to call out the cheap-thrills ending as a cop-out — but a nevertheless fascinating snapshot of the era’s sexual mores and moral paranoia.‘The Great Wall’ (July 31)Stream it here.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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    Balmain’s New ‘Lion King’ Collection Marks 30th Anniversary of Disney Movie

    A new Balmain collection pays homage to the Disney film on a milestone anniversary. Plus, a preppy designer makes a comeback.For Olivier Rousteing, the creative director of Balmain, the Parisian luxury house, South Africa is a long way from home. But the country is close to his heart.“My passport is French,” said Mr. Rousteing, 38, on a phone call from Paris. “But my blood is African,” added the designer, who learned relatively late in life that he is of Somalian and Ethiopian descent.The coastal Western Cape region of South Africa provided inspiration for Mr. Rousteing’s latest style collaboration: a Balmain collection developed in partnership with Disney to promote the 30th anniversary of the “The Lion King,” which was released in June 1994.The project was a kind of spiritual homecoming for the designer, as well as the realization of a childhood fantasy. Mr. Rousteing was 9 when he first saw the film. It taught him some valuable lessons. “Take nothing for granted,” he said. “Through your journey there will be obstacles and challenges, but trust in yourself, never give up.”His limited-edition collection, influenced by artisanal African textiles, patterns and silhouettes, was conceived to reflect the movie’s characters and pervading themes. Its ready-to-wear and couture pieces — which include zebra-stripe coats and jackets, a densely fringed raffia dress and a bustier gown patterned with familiar “Lion King” characters — are showcased in a short film shot near Cape Town and featuring models from across Africa.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 Voices of A.I. Are Telling Us a Lot

    What does artificial intelligence sound like? Hollywood has been imagining it for decades. Now A.I. developers are cribbing from the movies, crafting voices for real machines based on dated cinematic fantasies of how machines should talk.Last month, OpenAI revealed upgrades to its artificially intelligent chatbot. ChatGPT, the company said, was learning how to hear, see and converse in a naturalistic voice — one that sounded much like the disembodied operating system voiced by Scarlett Johansson in the 2013 Spike Jonze movie “Her.”ChatGPT’s voice, called Sky, also had a husky timbre, a soothing affect and a sexy edge. She was agreeable and self-effacing; she sounded like she was game for anything. After Sky’s debut, Johansson expressed displeasure at the “eerily similar” sound, and said that she had previously declined OpenAI’s request that she voice the bot. The company protested that Sky was voiced by a “different professional actress,” but agreed to pause her voice in deference to Johansson. Bereft OpenAI users have started a petition to bring her back. More

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    A New Norman Mailer Documentary Explores His Thorny Legacy

    “How to Come Alive With Norman Mailer” hits on an ingenious structure that avoids hagiography even as it includes friends and family.Given the hagiographic bias of most celebrity documentaries, “How to Come Alive With Norman Mailer” (in theaters) sails into choppy waters. The director Jeff Zimbalist had to figure out a way to sum up one of the 20th century’s most admired, and most notorious, cultural figures. Mailer’s legacy as a novelist, speaker, filmmaker and pop culture icon — the movie reminded me how often he’s mentioned in “Gilmore Girls” — is full of bad behavior and also brilliant work, and making a film about such a person seems nearly impossible in our nuance-averse climate.The key is to play with the documentary’s structure, eschewing the usual soup-to-nuts setup. “How to Come Alive With Norman Mailer” is admittedly designed as a roughly chronological recounting of the writer’s life, covering all the highlights: six wives (one of whom he famously, horribly stabbed with a penknife), nine children, a stint in the military, best-selling novels, a fascination with brawling, combative TV appearances, opinions about God and machines and Americans’ midcentury impulse toward conformity.But Zimbalist hits on a great idea: arrange the film in terms of what Mailer’s friends, enemies and acquaintances believe his “rules for coming alive” might be. The author’s life and legacy can thus be traced through those rules, and his evolution as a person — and he did evolve, constantly, insatiably — starts to make more sense. What emerges is a portrait of a man as often at war with himself as with his family, friends and countrymen, driven relentlessly toward machismo and always spoiling for a fight. This is not a person you can present neutrally to an audience.There are seven rules, announced in intertitles, including, “Don’t Be a Nice Jewish Boy,” “Be Wrong More Than You’re Right” and “Be Willing to Die for an Idea.” It’s an appealing structure, and the many interviewees discuss the ways Mailer embodied them, supported by archival film and interviews with the man himself. There’s a lot of footage to work with. By midcareer, Mailer was ubiquitous on camera; as one person notes, he seemed to never turn down an opportunity to be interviewed or share his views publicly.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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    Kinky Friedman, Musician and Humorist Who Slew Sacred Cows, Dies at 79

    He and his band, the Texas Jewboys, won acclaim for their satirical takes on American culture. He later wrote detective novels and ran for governor of Texas.Kinky Friedman, a singer, songwriter, humorist and sometime politician who with his band, the Texas Jewboys, developed an ardent following among alt-country music fans with songs like “They Ain’t Makin’ Jews Like Jesus Anymore” — and whose biting cultural commentary earned him comparisons with Will Rogers and Mark Twain — died on Thursday at his ranch near Austin, Texas. He was 79.The writer Larry Sloman, a close friend, said the cause was complications of Parkinson’s disease.Mr. Friedman occupied a singular spot on the fringes of American popular culture, alongside acts like Jello Biafra, the Dead Milkmen and Mojo Nixon. He leered back at the mainstream with songs that blended vaudeville, outlaw country and hokum, a bawdy style of novelty music typified by tracks like “Asshole From El Paso” and “We Reserve the Right to Refuse Service to You.”With a thick mustache, sideburns, a Honduran cigar and a broad-brimmed cowboy hat, he played his own version of Texas-inflected country music, poking provocative fun at Jewish culture, American politics and a wide range of sacred cows, including feminism — the National Organization for Women once gave him a “Male Chauvinist Pig Award.”Mr. Friedman in performance in 1975.Richard E. Aaron/Redferns, via Getty ImagesBehind the jokes, he had serious musical talent. He sang with a clear, deep voice, modulated with a gentle twang, and played guitar in a spare, straightforward style borrowed from one of his idols, Ernest Tubb.He toured widely in the 1970s, with his band and solo, including on the second leg of Bob Dylan’s Rolling Thunder Revue in 1976. He performed on “Saturday Night Live” and at the Grand Ole Opry — Mr. Friedman claimed to be the first Jewish musician to do so (though in fact others, including the fiddler Gene Lowinger, had beat him to it).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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    ‘A Family Affair’ Review: A Rom-Com With a Third Wheel

    When Zara (Joey King) realizes that her mom (Nicole Kidman) is dating her boss (Zac Efron), she tries to split them up.Joey King is a bit of a unicorn: a genuine movie star brought into being by Netflix. As far as movies are concerned, the streamer does make a lot of them, but often seems at a loss to promote them or the actors. But in 2018, King starred in the Netflix-produced “The Kissing Booth” and made enough of an impression to power two sequels.“A Family Affair,” King’s newest film on the streaming service, may appear to be a kind of lab experiment — how does the buoyant actress react when thrown into a pool with Hollywood luminaries? King is not exactly outclassed by Nicole Kidman, Kathy Bates and Zac Efron. But the movie’s script, by Carrie Solomon, puts her at a disadvantage.Set in Los Angeles, “A Family Affair” finds King’s character, Zara, stuck in a personal assistant loop with Chris Cole (Efron), an action movie hunk who seems even more shallow and self-absorbed than the average caricature of such types. As is often the case in such arrangements, their relationship is creepily close; in the opening scene, Zara is late delivering the expensive but insincere gift Chris is about to bestow on a girlfriend he’s dumping.The movie serves up a light critique of Hollywood. Discussing Chris’s latest project, Zara repeats the log line, “It’s like ‘Die Hard’ meets ‘Miracle on 34th Street,’” to which her pal replies, “So it’s not about anything.”The beacons of integrity here are Zara’s mom, Brooke (Kidman), described by Zara in one of her frequent outbursts as a “Pulitzer Prize, National Book Award whatever,” and Zara’s paternal grandmother, Leila (Bates). Important plot point: Brooke is a widow who hasn’t been on a date in a long time. One afternoon, while dusting the house, Brooke is interrupted by Chris (semi-repentant, he’s looking for Zara, whom he’s just fired for the umpteenth time); they hit the tequila together and erotic attraction flares up. Awkward.But there’s “something real” between them, they insist to Zara, whose reaction to this development is vehemently off the charts. Until her grandmother gives her a good talking to, King’s character has three modes: peeved, indignant and grossed out. You could almost call the movie “The Longest Eye Roll.” (By contrast, Kidman, once a consistently expressive actress, performs with an inertia that could be read as a form of serenity.)King gets to show a little charm in the final third of the movie, and it’s refreshing. But every now and then you wonder whether “A Family Affair,” directed by Richard LaGravenese in a mode that vaguely recalls the work of Nancy Meyers, might have been more compelling as, instead of a rom-com, a drama about an entitled, manipulative daughter who almost ruins the lives of those around her.A Family AffairRated PG-13 for adult themes and language. Running time: 1 hour 51 minutes. Watch on Netflix. More

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    Buzz Cason, Songwriter Best Known for ‘Everlasting Love,’ Dies at 84

    As a performer, he was a leading figure in the early days of Nashville rock ’n’ roll. He later found success as a writer, producer and publisher.Buzz Cason, a guiding force in the early days of Nashville rock ’n’ roll and a writer of the pop standard “Everlasting Love,” a surging profession of undying devotion that reached the pop Top 40 in four consecutive decades, died on June 16 at his home in Franklin, Tenn. He was 84.His death was announced by the Country Music Hall of Fame and Museum. The announcement did not specify a cause.A pivotal figure in Nashville’s evolution as a recording hub, Mr. Cason had a hand in virtually every facet of the music industry. He sang, wrote and published songs, as well as producing records and operating his own recording studio.He had his biggest success as the writer, with Mac Gayden, of “Everlasting Love.” The R&B singers Robert Knight (1967) and Carl Carlton (1974) recorded hit versions of the song, as did Gloria Estefan (1995) and the ad hoc pop duo Rex Smith and Rachel Sweet (1981). U2 released a stripped-down take of “Everlasting Love” as one of two B-sides of the 1989 single “All I Want Is You.”“We didn’t know what we had,” Mr. Cason said of the song in an interview at an event held in his honor at the Country Music Hall of Fame in 2014. “It was a really great radio song.”“Everlasting Love,” in its many versions, has received more than 10 million plays to date, according to the music rights organization BMI. It is among the most successful songs in any genre to come from Nashville.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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    Trump Biopic ‘The Apprentice’ Nears Distribution Deal

    “The Apprentice,” a dramatized origin story about Donald J. Trump, has faced fierce criticism from the former president and his allies.Hollywood executives love to characterize themselves as fearless. The truth is that they spend most of their time trying to minimize risk.It’s why theaters are clogged with vacuous sequels. It’s why so many Hollywood power players hide behind P.R. people. And it’s why all of the big movie studios and streaming services — and, in fact, most indie film companies — declined to distribute “The Apprentice,” a dramatized origin story about Donald J. Trump that the former president has called “malicious defamation” and showered with cease-and-desist letters.But the movie business still has at least one wildcatter: Tom Ortenberg.Mr. Ortenberg, 63, and his Briarcliff Entertainment are pushing to complete a deal to acquire “The Apprentice” for wide release in theaters in the United States in September or early October — close enough to the presidential election to bask in its heat, but far enough away to avoid final-stretch media overload. Briarcliff’s pursuit of the $16 million film was confirmed by five people involved with the sale process, who spoke on the condition of anonymity to discuss a private negotiation.“Tom’s got more courage than most people in Hollywood combined,” said Stephen Galloway, the dean of Chapman University’s film school. “His interest in this kind of movie involves business, of course. He sees money to be made by leveraging millions of dollars in free publicity. But part of it is wanting to do his bit. He’s liberal and cares about social issues.”Hurdles remain, the people cautioned. “Apprentice” producers cobbled together the money to make the movie from various sources. One was Kinematics, an upstart film company backed by Dan Snyder, the former Washington Commanders owner — and a Trump supporter. Kinematics, which invested about $5 million, would need to sign off on the Briarcliff deal and has balked, calling the offer subpar, according to the five people involved in the sale process. The Kinematics snag was reported earlier by a Puck newsletter.So producers have put together a package to buy out Kinematics at a premium. The sides are now haggling over terms, including the timing of payment.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