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    ‘Imaginary’ Review: Bear Necessity

    An imaginary friend causes real trouble in this creepy haunted-house picture.Past and present trauma fuse in Jeff Wadlow’s “Imaginary,” the latest in the Blumhouse catalog of reliably creepy horror movies whose fans typically expect well-executed jump scares, fun plot twists and the occasional rubbery monster. What they probably don’t expect is the sophisticated allegory that “Imaginary” appears to be flirting with — and comes close to pulling off — before losing its nerve.Or maybe it’s my imagination gone supernova alongside that of little Alice (a delightful Pyper Braun) and her stepmother, Jessica (DeWanda Wise), a writer and illustrator of children’s books. After Jessica’s father is settled in a care facility, she and her family — including a rebellious teen (Taegen Burns) and a guitar-playing husband (Tom Payne) who smartly buzzes off on tour when things get hairy — move into her childhood home. Almost immediately, Alice is conversing with a stuffed teddy bear she finds in the basement, an imaginary friend whose increasingly sinister games stir memories Jessica has long suppressed.On one level, then, we have a mildly embellished haunted-house picture, entertainingly realized mainly with puppets and other practical effects. There’s also the familiar eerie neighbor (here played by the wonderful Betty Buckley) whose job is to help us make sense of the story’s woo-woo logic. What’s also playing out, though, are the lonely struggles of a stressed-out second wife, who is Black, to connect with the distant, sometimes resentful white stepdaughters whose mentally ill birth mother is not entirely out of the picture.In that sense, the movie’s devolution into, by my count, at least three attempted endings suggests some dithering over whether to deliver the logical conclusion to Jessica’s sacrificial trajectory, or ease the transition to a possible sequel. As to which prevails, you’ll have to use your imagination.ImaginaryRated PG-13 for weaponized scissors and a gargantuan spider. Running time: 1 hour 44 minutes. In theaters. More

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    ‘Damsel’ Review: Yet Another Strong Female Lead

    Millie Bobby Brown is a daring princess in a fairy tale that unspools its surprises far too soon.“There are tales of chivalry, where the heroic knight saves the damsel in distress,” a young woman’s voice intones as “Damsel” begins. “This is not one of them.”Oh, well, thank goodness, I thought, sarcastically and, perhaps, a bit uncharitably. Somewhere in my head I heard Miranda Priestly: Strong female lead? Groundbreaking.I like a scrappy heroine as much as anyone, but leading with that foot — we’re not like the other girls, we’re the cool girls — is starting to feel stale. “Damsel” isn’t bad, but it feels a bit gnawed upon. Directed by Juan Carlos Fresnadillo (“28 Weeks Later”) from a screenplay by Dan Mazeau, it’s an action movie starring Millie Bobby Brown as Elodie, a princess from a poor kingdom ruled by her father (Ray Winstone) and stepmother (Angela Bassett). She consents to marry the handsome prince from a much wealthier realm, only to discover something far darker is at play here.There are elements of “Damsel” — including a few shots — that remind me of one of the best feminist action movies in recent memory: “Ready or Not.” In that film, released in 2019, the heroine marries into a rich family, only to discover their family traditions include a pretty horrific ritual that she must endure to survive till morning. This plot runs along similar lines, but in a fairy-tale kingdom where Robin Wright is the queen and also there are dragons. (One bit also echoes “Eyes Wide Shut,” but this is not that kind of movie.)Elodie is a princess in the latter-day Disney mold: a smart girl who can ride horses, read books, decipher a map and outsmart a trap. She is resourceful and strong and spends a lot of time figuring out how she can escape. At the beginning of the film, she is obedient and obliging and corseted; by the end, she is in a much smaller skirt and taking no guff. In short, she has become self-actualized.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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    Steve Lawrence, Who Sang His Listeners Down Memory Lane, Dies at 88

    With his wife, Eydie Gorme, and sometimes on his own, he kept pop standards in vogue long past their prime. He also acted on television and on Broadway.Steve Lawrence, the mellow baritone nightclub, television and recording star who with his wife and partner, the soprano Eydie Gorme, kept pop standards in vogue long past their prime and took America on musical walks down memory lane for a half-century, died on Thursday at his home in Los Angeles. He was 88.The cause was complications of Alzheimer’s disease, said Susan DuBow, a spokeswoman for the family. He had been diagnosed with early-stage Alzheimer’s in 2019.Billed as “Steve and Eydie” at Carnegie Hall concerts, on television and at glitzy hotels in Las Vegas, the remarkably durable couple remained steadfast to their pop style as rock ’n’ roll took America by storm in the 1950s and ’60s. Long after the millennium, they were still rendering songs like “Our Love Is Here to Stay,” “Just in Time” and “One for My Baby (And One More for the Road)” for audiences that seemed to grow old with them.Mr. Lawrence and Ms. Gorme recording in the 1960s. As Steve and Eydie, they performed at Carnegie Hall, on television and in Las Vegas.via Michael Ochs Archives/Getty ImagesMr. Lawrence, a cantor’s son from Brooklyn, and Ms. Gorme, a Bronx-born daughter of Sephardic Jewish immigrants, met professionally in 1953 as regular singers on “The Steve Allen Show” a late-night show on NBC’s New York station that would go national the next year as “Tonight.” Their romance might have been the plot of an MGM musical of the ’40s, with spats, breakups, reconciliations and plenty of songs.When they finally decided to get married, Mr. Lawrence and Ms. Gorme faced a roadblock, as they recalled in a dressing-room interview with The New York Times at the Desert Inn in Las Vegas in 1992.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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    Met Opera’s Orchestra Will Tour Asia for the First Time

    After the pandemic forced the cancellation of a tour planned for 2022, the ensemble will visit Japan, South Korea and Taiwan in June.The coronavirus pandemic forced the Metropolitan Opera to shut its doors for more than a year and a half. It also upended plans that had been in the works for the Met Orchestra’s first Asian tour.Now, that idea is being revived. The Met announced on Thursday that the orchestra and its music director, Yannick Nézet-Séguin, would visit South Korea, Japan and Taiwan in June, performing the music of Bartok, Wagner, Debussy and others alongside star soloists.The Met musicians have toured overseas just twice since 2000. Peter Gelb, the company’s general manager, said that, beyond showcasing them, the tour was meant to help the Met expand its network of fans abroad.“It’s important that we serve our global constituency with live performances in person when we can,” he said. “It’s very good for the morale of the orchestra to be able to perform in major cities of the world.”The tour, which includes stops in Seoul, Taipei, Tokyo and Hyogo, Japan, will feature more than 110 orchestra players, as well as the mezzo-soprano Elina Garanca, the soprano Lisette Oropesa and the bass-baritone Christian Van Horn. The program includes concert performances of Bartok’s “Bluebeard’s Castle” and excerpts from various operas, including Wagner’s “Der Fliegende Holländer” and Debussy’s “Pelléas et Mélisande,” as well as Jessie Montgomery’s “Hymn for Everyone.”Last year Nézet-Séguin, who became the Met’s music director in 2018, led a company tour, the first since 2002, in Europe. (A 2021 tour there had also been canceled by the pandemic.) “Bringing live music and performances to audiences around the world is my passion,” he said in a statement.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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    Oscars 2024: Print Your Ballot to Make Your Predictions

    Best Picture

    ☐ “American Fiction” ☐ “Anatomy of a Fall” “Barbie”

    ☐ “The Holdovers”

    ☐ “Killers of the Flower Moon”

    ☐ “Maestro”

    ☐ “Oppenheimer”

    “Past Lives”

    ☐ “Poor Things”

    “The Zone of Interest”

    Best Director

    Jonathan Glazer,

    “The Zone of Interest” Yorgos Lanthimos, “Poor Things”

    Christopher Nolan, “Oppenheimer”

    Martin Scorsese,

    “Killers of the Flower Moon”

    DJustine Triet,

    “Anatomy of a Fall”

    Best Actor

    Bradley Cooper,

    “Maestro”

    Colman Domingo, “Rustin”

    Paul Giamatti, “The Holdovers”

    Cillian Murphy, “Oppenheimer”

    Jeffrey Wright, “American Fiction”

    Best Actress

    Annette Bening, “Nyad”

    Lily Gladstone,

    “Killers of the Flower Moon”

    Sandra Hüller,

    “Anatomy of a Fall”

    Carey Mulligan,

    “Maestro”

    Emma Stone,

    “Poor Things”

    The New York Times

    2024 Oscars Ballot

    Best Supporting Actor

    Sterling K. Brown, “American Fiction” Robert De Niro, “Killers of the Flower Moon”

    Robert Downey Jr., “Oppenheimer”

    Ryan Gosling, “Barbie”

    Mark Ruffalo,

    “Poor Things”

    Best Supporting Actress

    ☐ Emily Blunt,

    “Oppenheimer” Danielle Brooks, “The Color Purple” America Ferrera, “Barbie”

    Jodie Foster, “Nyad”

    Da’Vine Joy Randolph, “The Holdovers”

    Original Screenplay

    ☐ “Anatomy of a Fall”

    ☐ “The Holdovers” ☐ “May December”

    “Maestro”

    “Past Lives”

    Adapted Screenplay

    “American Fiction”

    ☐ “Barbie”

    ☐ “Oppenheimer”

    “Poor Things”

    “The Zone of Interest”

    Animated Feature

    ☐ “The Boy and the Heron”

    O “Elemental”

    ☐ “Nimona”

    ☐ “Spider-Man: Across

    the Spider-Verse” “Robot Dreams”

    Production Design

    □ “Barbie”

    “Killers of the Flower Moon”

    ☐ “Napoleon”

    ☐ “Oppenheimer”

    “Poor Things”

    Costume Design

    ☐ “Barbie”

    ☐ “Killers of the Flower Moon”

    ☐ “Napoleon”

    ☐ “Oppenheimer”

    ☐ “Poor Things”

    Cinematography

    “El Conde”

    ☐ “Killers of the Flower Moon” ☐ “Maestro”

    ☐ “Oppenheimer”

    “Poor Things”

    Editing

    “Anatomy of a Fall”

    “The Holdovers”

    “Killers of the Flower Moon”

    “Oppenheimer”

    “Poor Things”

    Makeup and Hairstyling

    ☐ “Golda”

    ☐ “Maestro”

    ☐ “Oppenheimer”

    “Poor Things”

    “Society of the Snow”

    Sound

    “The Creator”

    “Maestro”

    “Mission: Impossible. Dead Reckoning Part One”

    ☐ “Oppenheimer”

    ☐ “The Zone of Interest”

    Visual Effects ☐ “The Creator”

    ☐ “Godzilla Minus One” “Guardians of the Galaxy Vol. 3”

    00

    “Mission: Impossible. Dead Reckoning Part One”

    ☐ “Napoleon”

    Original Score

    “American Fiction”

    “Indiana Jones and

    the Dial of Destiny”

    ☐ “Killers of the Flower Moon”

    “Oppenheimer”

    “Poor Things”

    Original Song

    “The Fire Inside”

    (“Flamin’ Hot”)

    “I’m Just Ken” (“Barbie”) “It Never Went Away” (“American Symphony”)

    ☐ “Wahzhazhe (A Song For My People)”

    (“Killers of the Flower Moon”)

    “What Was I Made For?” (“Barbie”)

    Documentary Feature

    “Bobi Wine:

    The People’s President” “The Eternal Memory” “Four Daughters” “To Kill a Tiger”

    “20 Days in Mariupol”

    International Feature “The Teachers’ Lounge,” Germany

    “lo Capitano,”

    Italy

    “Perfect Days,”

    Japan

    “Society of the Snow,” Spain

    “The Zone of Interest,” United Kingdom

    Animated Short

    “Letter to a Pig”

    ☐ “Ninety-Five Senses” “Our Uniform” “Pachyderme”

    “War Is Over! Inspired by the Music of John & Yoko”

    Documentary Short

    “The ABCs of Book Banning” “The Barber of Little Rock” “Island in Between” “The Last Repair Shop”

    “Nai Nai & Wai Po”

    Live-Action Short

    “The After” “Invincible” “Knight of Fortune”

    “Red, White and Blue” “The Wonderful Story of Henry Sugar” More

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    ‘Glitter & Doom’ Review: Romance With an Indigo Girls Soundtrack

    Songs by the Indigo Girls soundtrack a musical romance.There’s nostalgic art. Then there’s art that seems like somebody thawed it after 30 frozen years. “Glitter & Doom” doesn’t yearn for some older time. It’s pure time-warp: a gay musical-love-dramedy that could’ve screened all summer at the old Philadelphia art house where I used to work, plunked amid the queer independent-filmmaking bonanza that helped make the early-to-mid-1990s seem like every gay thing was possible. The movie’s got an earnest, amateurish case of the feel-good gosh-gollies that would have made sense playing down the hall from movies as different (although not that different) as “Go Fish” and “Wigstock,” “Zero Patience” and “The Incredibly True Adventure of Two Girls in Love” and — God help us all — “Claire of the Moon.” The two dozen or so songs in “Glitter & Doom” aren’t new (but aren’t based on Tom Waits’s 15-year-old live album, either). They’re by the Indigo Girls. Many of them are songs the Indigo Girls made a certain kind of popular during the years of that very bonanza. And what the movie does with them is call attention to the emotional mountain range of Emily Saliers and Amy Ray’s songwriting.Is theirs music that ever said “engine for movie about young man who wants to skip college to join circus and falls for young troubadour who paints window frames?” Not to my ears. But ask me if I thought this same music would be throwing the heart-swelling uppercut it does in a blockbuster about sentient dolls. Both “Barbie” and the final sequence of a particularly exhilarating episode of “Transparent” use the same Indigo Girls hit (“Closer to Fine”) in a way that proves the power of this music to gather together, win over, wear down, wind up. It’s music that, because it’s so true and melodically harmonized, transcends what The Times’s Lydia Polgreen identified, with ardor, as the cringe of its naked feeling.No one in “Glitter & Doom” needs a winning over. Its blood gushes with that kind of cringe. Glitter (Alex Diaz) is the juggling, jaunting, camera-obsessed circus aspirant. On the dance floor at a nightclub neoned to the max, he connects with Doom (Alan Cammish), the melancholic folkie. What ensues is nearly two hours of the false starts and second-guessing that romances use as sealant. The movie, which Tom Gustafson directed and Cory Krueckeberg wrote, weaves together various Indigo Girls songs from various eras in order to lubricate communication. Michelle Chamuel did the rearranging, and her seamlessly merging “Prince of Darkness” with “Shed Your Skin” and “Touch Me Fall” constitutes real innovation. She and the filmmakers have gleaned how much ambivalence suffuses Saliers and Ray’s catalog, how often and how intensely it calls on fear, damage and anger to negotiate with courage and hope, how powerfully that ambivalence resides in the way that Ray’s sharper, huskier voice can both lurk beneath and entwine the solar clarity of Saliers’s. I mean, the film’s called “Glitter & Doom.” To that end, Diaz is a brighter, more open singer than Cammish, whose voice has a spiked outer register.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 Film Christopher Nolan Doesn’t Want You to Watch

    Nolan’s short film “Larceny” has not been shown publicly since a 1996 film festival. With the director in position to win his first Oscar, its cast and crew want to preserve that mystery.Before Christopher Nolan became a celebrated director — before “Inception” penetrated the land of dreams, “Interstellar” played with the laws of physics and “Tenet” warped all sense of chronology — there was “Larceny.”In 1995, Nolan directed “Larceny” with a group of friends he had met through the film society at University College London. It is about eight minutes long, was shot in black and white with 16-millimeter cameras and involves an apartment burglary.That is essentially all the public information about the film. After a screening at the Cambridge Film Festival in 1996, it vanished.In the decades since, Nolan, 53, has become known for his expansive cinematography and mind-bending plots in movies like “Memento,” the “Dark Knight” trilogy and “Dunkirk.” He is expected to win his first Oscar on Sunday for “Oppenheimer,” a three-hour biopic about a theoretical physicist that made nearly a billion dollars.The popularity of Nolan’s work has made the elusiveness of “Larceny” maddening for fans who want to watch his entire filmography, and perhaps gain insight into his early development as a filmmaker.“When I meet God, I won’t ask about the scrolls from the Library of Alexandria, I’ll shake him down for this lost film,” Dan DeLaPorte wrote on Letterboxd, a website where people rate and review movies.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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    ‘Kung Fu Panda 4’ Review: Trouble in Juniper City

    Jack Black’s Po faces a new adversary, a chameleon voiced by Viola Davis, in the latest installment of this popular animated franchise.“Kung Fu Panda 4,” like previous installments of this DreamWorks franchise, punches above its weight.Once again starring Jack Black as the gullible martial arts master Po, the animated film melds together wisecracking comedy and sprightly action sequences with a message of kindness, inner peace and self-discovery.In this movie, directed by Mike Mitchell, Po grapples with his new responsibility as the spiritual leader of the Valley of Peace, taking the place of his mentor Shifu (Dustin Hoffman). Shifu urges Po to name a successor, but Po is reluctant to give up a life of butt-kicking in exchange for doling out wisdom.The halfhearted search for Po’s replacement is cut short with the arrival of a thieving fox, Zhen (Awkwafina). Threatened with jail time, she offers information on a mysterious new villain, the Chameleon (Viola Davis), who threatens to take over the Valley with the power of Po’s previous adversaries combined.As Po and Zhen set out for the Chameleon’s palace in faraway Juniper City, Po’s two guardians — his biological father, Li Shan (Bryan Cranston) and adopted father, Mr. Ping (James Hong) — follow him in comical pursuit.Witty gags abound (there’s a standout “bull in the china shop” sequence), and Black and Awkwafina make a charming lead duo, particularly when Po encounters the sights, sounds and bountiful food of Juniper City. The art direction is also a step above the typical animated blockbuster. But what’s missing are the antics of Po’s “Furious Five” compatriots from the earlier films, like Angelina Jolie’s Tigress and Jackie Chan’s Monkey, who are written off in this installment.Still, don’t expect a total downgrade: This is an enjoyable “Kung Fu Panda” movie, even if it’s missing some of the pizazz of the earlier ones.Kung Fu Panda 4Rated PG. Running time: 1 hour 34 minutes. In theaters. More