Aurelia Butler

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    Stream These Ryan O’Neal Movies

    The actor became one of the most bankable stars in Hollywood, and proved himself equally adept at drama, comedy and action.Ryan O’Neal’s death Friday at the age of 82 followed decades in which the actor was better known for his personal life (and struggles) than for his work. But few stars shone brighter in the 1970s, when O’Neal — originally known for his role on the prime-time soap opera “Peyton Place” — became one of the most bankable stars in Hollywood, and proved himself equally adept at drama, comedy and action. Here are a few of his finest films from that period, and where to stream them.‘Love Story’ (1970)Rent or buy it on major streaming platforms.Television-to-film crossovers were rare in the 1970s, and O’Neal only landed the role of Oliver Barrett IV, a Harvard blue-blood who falls in love with a working-class Radcliffe girl, after several bigger names had passed, and at the insistence of the screenwriter Erich Segal and O’Neal’s co-star, Ali McGraw. It’s easy to see why she fought for him; their chemistry is sweet but potent, and carries this lightweight story of young romance and terminal illness above its corny, weepy components. It became the highest-grossing movie of 1970. Critics were mostly unimpressed but The Times’s Vincent Canby praised O’Neal as “an intense, sensitive young man whose handsomeness has a sort of crookedness to it.” That’s an apt summary of not only O’Neal’s performance here, but also his entire appeal.‘What’s Up, Doc’ (1972) / ‘The Main Event’ (1979)Stream “What’s Up Doc” on Max. Rent or buy “The Main Event” on major streaming platforms.Barbra Streisand, left, with O’Neal in “What’s Up, Doc?”Warner Bros.After the smashing success of “Love Story,” O’Neal teamed up with the director Peter Bogdanovich (himself white-hot off the success of “The Last Picture Show”) for the first of three memorable collaborations. “What’s Up, Doc?” paired O’Neal with Barbra Streisand in a rollicking homage to the screwball comedies of the ’30s and ’40s — specifically the Cary Grant-Katharine Hepburn team-up “Bringing Up Baby,” from which Bogdanovich lifted the central dynamic of, in his words, “an uptight professor and a screwy girl.” It was the perfect vehicle to showcase O’Neal’s range; his turn as the musicologist Dr. Howard Bannister was 180 degrees from Oliver Barrett IV, a study in frenetic farce that somehow never crosses the line from cartoony to caricature. His chemistry with Streisand was so potent that they reunited seven years later for the boxing rom-com “The Main Event,” and while its director Howard Zieff proved to be no Bogdanovich, the reunion affirmed that O’Neal’s skills as a light screen comedian were all but unmatched in the era.‘Paper Moon’ (1973) / ‘Nickelodeon’ (1976)Stream “Paper Moon” on Max. Rent or buy “Nickelodeon” on major streaming platforms.O’Neal with Tatum O’Neal, right, in “Paper Moon.”Paramount PicturesIn the meantime, Bogdanovich and O’Neal followed “What’s Up, Doc?” with this adaptation of the novel “Addie Pray,” about a con man crossing Kansas selling Bibles to widows, with his precocious maybe-daughter in tow. Bogdanovich cast O’Neal’s real-life offspring Tatum in the latter role, masterfully capitalizing on their built-in rhythms and spiky relationship; they’re wonderful together, and it’s a joy to watch O’Neal’s gleefully amoral swindler begin to begrudgingly care for the smart-mouthed kid. (Tatum would win the Academy Award for best supporting actress for the role — at 10 years old, the youngest winner of a competitive Oscar to date.) Three years later, Bogdanovich and O’Neal teamed up for the last time to make “Nickelodeon,” an affectionate valentine to the earliest years of Hollywood, inspired by Bogdanovich’s interviews with the legends of the silent era. It was not as well-received as their earlier pictures, but it remains a delightful mash-up of film history and slapstick comedy, with a charmingly seat-of-his-pants turn by O’Neal as an incompetent lawyer who stumbles into a career as a screenwriter and film director.‘Barry Lyndon’ (1975)Rent or buy it on major platforms.O’Neal in “Barry Lyndon.”Warner Bros.Some cynics were skeptical of Stanley Kubrick’s decision to cast the decidedly 20th-century O’Neal in the title role of his adaptation of William Makepeace Thackeray’s 18th-century-set novel. But Kubrick, as usual, saw something more in O’Neal — or perhaps he saw the link between his “Paper Moon” con man and the title character, a social-climbing rogue who uses his good looks to marry into considerable money. The actor’s razor-sharp comic timing was rarely so elegantly deployed, and he clearly relished the opportunity to turn his matinee-idol image on its head, deftly conveying a character ultimately undone by his own moral rot.‘A Bridge Too Far’ (1977)Rent or buy it on most major platforms.For his dramatization of the failed Operation Market Garden during World War II, the director Richard Attenborough gathered an eye-popping, all-star cast that included James Caan, Michael Caine, Sean Connery, Elliott Gould, Anthony Hopkins, Gene Hackman, Laurence Olivier, Robert Redford and Liv Ullman. That’s not an easy group to make an impression in, but O’Neal pulls it off. As Gen. James M. Gavin, one of the leaders of the American faction of the Allied operation, O’Neal takes a direct approach to the material, eschewing the theatrics of many castmates and honing in on Gavin’s straight-shooting style and somewhat cynical worldview.‘Tough Guys Don’t Dance’ (1987)Stream it on Amazon Prime Video.As the ’70s rolled into the ’80s, O’Neal’s commercial successes grew more rare, and he found himself fronting fewer big movies — so he made his leading roles count. One of the strangest was this bleakly funny riff on hard-boiled crime noir, written and directed by Norman Mailer (adapting his own novel). “Tough Guys” is notorious in some circles for an out-of-context moment that went quite viral (a take that O’Neal reportedly begged Mailer not to use), but that grand, oddly melodramatic moment is indicative of the wild tonal ride that is “Tough Guys,” which feels like the bastard child of David Lynch, Douglas Sirk, Dashiell Hammett, and Mailer in the midst of a particularly rough hangover. O’Neal ends up being the steadying force of this unorthodox stew, and his grounded performance frequently keeps the picture from floating off into the ether.‘Zero Effect’ (1998)Rent or buy it on major platforms.In the ’90s and through to the end of his life, O’Neal’s acting was increasingly consigned to television work and small supporting roles. But he turned out to be a fine character actor as well, and one of the best films of that period is this clever, melancholy mash-up of comedy, drama and mystery from the writer-director Jake Kasdan. Bill Pullman plays Daryl Zero, “the world’s most private detective,” a brilliant but reclusive Sherlock Holmes type; Ben Stiller is the Watson to his Holmes. O’Neal turns up as Gregory Stark, a millionaire who hires Zero to find the key to his safe deposit box. As is customary for such characters, there’s more to this man than meets the eye, and O’Neal bracingly does what only the best actors can do: he projects furtiveness, while seeming to have nothing to hide. That duality and complexity was part of what made him such a special and distinctive screen presence for so long. More

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    Hear the Best Albums and Songs of 2023

    A playlist of 124 songs from our three critics’ lists to experience however you wish.Olivia Rodrigo was one of only a handful of artists our three critics could agree on!Chantal Anderson for The New York TimesDear listeners,In the spirit of holiday excess and end-of-the-year summation, we’re about to make Amplifier history. Because today’s newsletter features — can I get a drumroll? And maybe an effect on my voice that makes me sound like one of those announcers at a monster truck rally? — our longest playlist everrrrr.It’s 124 songs. Eight hours and 15 minutes of music! That’s longer than watching “Killers of the Flower Moon” twice in a row! (Do not recommend, that sounds emotionally exhausting.)For the past few weeks, Jon Pareles, Jon Caramanica and I have been putting together our lists of the best songs and albums of the year. As usual, we’ve agreed on some things — the pop-punk princess Olivia Rodrigo’s punchy “Guts” and the rock absurdists 100 gecs’ outrageous “10,000 gecs” were the only two albums that appeared on all three of our lists — and diverged on a lot of things. For example, my esteemed colleague Caramanica believes that the second best song of the year is “World Class Sinner/I’m a Freak,” the vacant-eyed comeback hit from Jocelyn, a fictitious pop star from the doomed HBO series “The Idol.” To quote Adam Sandler in “Uncut Gems,” I disagree.But that variety — even those diverging opinions — is precisely what makes today’s playlist so fun. There’s truly something here for everybody, whether it’s the kaleidoscopic sound of the K-pop It Girls NewJeans, the incendiary folk of Allison Russell, the xx singer Romy’s emotionally charged dance music, the British rapper Central Cee’s smooth cadences, the Nigerian star Asake’s optimistic Afrobeats, Bailey Zimmerman’s arena-sized country, the vivid, prickly indie-rock of Speedy Ortiz … I could go on and on (and on), but I’ll let the music speak for itself.I won’t be providing commentary on each song, because there are 124 of them, but luckily we’ve already written about all of this music on our lists of best albums and best songs. (Non-Spotify listeners can find YouTube links there, too; and remember, Spotify offers an ad-sponsored tier, so you can always listen there for free, too.)There are two ways to experience this enormous playlist. You can just press play and go through it in order, getting a sense of each critic’s individual tastes and sensibilities. Or — and I think this is the best way — you can put it on shuffle and allow yourself to be surprised. I won’t promise you’ll like everything you hear; in fact, I guarantee there will be at least a few songs on here that will make you wonder if the New York Times pop music critics should get our ears examined. But that’s part of the fun of year-end lists, too. If we all agreed on everything (like, say, Jocelyn), there wouldn’t be any point in making them!What I will guarantee is that if you make it through this entire playlist, you will feel caught up on the music released in 2023. And, who knows, you just may discover your favorite song of the year.Listen along on Spotify.Drag racing through the canyon, singing “Boys Don’t Cry,”LindsayBonus TracksIs this music not new enough for you? We’ve got even more recently released tracks on today’s Playlist. Listen to new music from Adrianne Lenker, Nicki Minaj, Idles and more, here.Also, these lists focused on pop — in the widest sense of the word — but if you’re looking for even more variety, check out Giovanni Russonello’s list of the year’s best jazz albums. More

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    Senate Introduces Long-Awaited Bill Promising Changes for Ticket Buying

    The Fans First Act would require disclosures about fees and the location of tickets, strengthen a law banning bots and set stiff penalties for violations.The United States Senate introduced a long-awaited bill on Friday promising consumer protections for tickets to live entertainment events, after more than a year of complaints about high fees, out-of-control prices and deceptive selling practices in the entertainment world.The bill, called the Fans First Act, would require sellers to disclose the full price of a ticket, including all fees; indicate what seat or section a customer is gaining access to; and say whether a ticket is being offered by its original or “primary” seller, as opposed to a reseller or broker.The bill, introduced by John Cornyn, Republican of Texas, and Amy Klobuchar, Democrat of Minnesota, along with four others, would also strengthen an existing law banning the use of computer bots, a tactic frequently used by scalpers; require ticket sellers to offer full refunds when an event is canceled; set thousands of dollars in penalties for abuse; and require the Government Accountability Office to study the ticketing market and make recommendations.The proposed law comes as ticketing has become a hot-button issue for voters and lawmakers, with prices at record highs and the selling practices of both primary ticketing companies — like Ticketmaster, which tends to represent artists and venue box offices — and resale marketplaces like StubHub and Vivid Seats having come under fire.At a Judiciary Committee hearing in January, two months after Ticketmaster’s system crashed during a Taylor Swift presale, senators from both parties pilloried an executive from Live Nation — which owns Ticketmaster — and called the company a monopoly that harms consumers. Separately, the Justice Department has been conducting an antitrust investigation of Live Nation.At his State of the Union address in February, President Biden said, “We can stop service fees on tickets to concerts and sporting events and make companies disclose all the fees upfront.” And in June, under pressure from the White House, ticket sellers including Ticketmaster and SeatGeek agreed to introduce “all-in pricing” for tickets.That scrutiny has developed as the concert industry had its biggest year ever, with the trade publication Pollstar saying that gross ticket sales for the Top 100 worldwide tours were $9.17 billion in 2023, up 46 percent from the year before, and 65 percent from 2019, before the Covid-19 pandemic disrupted the industry.The new Senate bill proposes steep civil penalties for violations, to be enforced by the Federal Trade Commission and state attorneys general. According to the bill, those penalties could include $15,000 per day during which a violation occurs, along with $1,000 per event ticket advertised or sold; those fines could amount to as much as five times the listed cost of a ticket.“The current ticketing system is riddled with problems and doesn’t serve the needs of fans, teams, artists or venues,” Mr. Cornyn said in a statement. “This legislation would rebuild trust in the ticketing system by cracking down on bots and others who take advantage of consumers through price gouging and other predatory practices and increase price transparency for ticket purchasers.”Ms. Klobuchar added, “From ensuring fans get refunds for canceled shows to banning speculative ticket sales, this bipartisan legislation will improve the ticketing experience.”In addition to Mr. Cornyn and Ms. Klobuchar, the cosponsors of the bill include two additional Republicans (Marsha Blackburn of Tennessee and Roger Wicker of Mississippi) and two Democrats (Ben Ray Luján of New Mexico and Peter Welch of Vermont).The new bill joins a number of other proposed laws in both houses of Congress, which would need to be reconciled for any to become law. In July, the Ticket Act, requiring the upfront disclosure of the full price of a ticket, passed the Commerce Committee. In the House of Representatives this week, another bill calling for transparency in ticket prices passed the Energy and Commerce Committee.The new Senate bill has been in negotiations for months, and some activists have privately complained about its compromises. The bill bans “speculative” selling, in which resale brokers list tickets for sale without actually having them in hand, betting that they can fulfill the order later. But it still allows “concierge” services in which brokers charge fans to wait in a digital line for them, a process that consumer advocates say puts ordinary customers at a disadvantage.Still, the bill has broad support throughout the music industry, including from venue and artist groups; the Recording Academy, the organization behind the Grammy Awards; and Fix the Tix, a coalition of many talent and industry groups.Live Nation, which has called for government action to reform the ticket market, also said it supports the bill, saying, “We believe it’s critical Congress acts to protect fans and artists from predatory resale practices, and have long supported a federal all-in pricing mandate, banning speculative ticketing and deceptive websites, as well as other measures.” More

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    Nicki Minaj and Drake Reunite, and 10 More New Songs

    Hear tracks by Tems, Idles, Adrianne Lenker and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage, and The Amplifier, a twice-weekly guide to new and old songs.Nicki Minaj featuring Drake, ‘Needle’Thirteen years ago, on her debut studio album “Pink Friday,” Nicki Minaj recruited her Young Money labelmate and fellow rising star Drake for the galvanizing hit “Moment 4 Life.” They join forces once again on “Needle,” a noticeably more laid-back and atmospheric track from Minaj’s long-teased “Pink Friday 2,” which demonstrates how both of these rappers — and the sound of rap music itself — have changed in the intervening years. Drake calls back to the island cadences of his “Views” era, lilting a somewhat strained metaphor: “You’re like a needle, life’s a haystack.” Minaj raps as if on cruise control, characteristically dexterous (“Poppin’ out like a cork/duckin’ ’em like Björk”) if zoologically confused; Nicki, it was a swan dress! LINDSAY ZOLADZTems, ‘Not an Angel’Afrobeats turns inward in the Nigerian songwriter Tems’s “Not an Angel” — an emphatic good-riddance song with lines like, “I was alone when I was with you,” “All you did was give me nothing” and “Right now it’s going nowhere but the graveyard.” Programmed percussion and a moody guitar lick carry her rising resentment and self-realization: “I’m not an angel — I’m just a girl that knows the truth,” she sings, moving into sync with the beat as she pulls away from her ex. JON PARELESWishy, ‘Spinning’Can a band be classified as shoegaze if its head is in the clouds? Such is the delightful paradox posed by Wishy, a promising new group from Indiana releasing its debut EP “Paradise” next Friday. Echoing the spirit of millennial dream-pop acts like the Pains of Being Pure at Heart and A Sunny Day in Glasgow, Wishy’s latest single “Spinning” layers textured guitar, a driving breakbeat and Nina Pitchkites’s airy vocals to create a sumptuous sound. “Spinning around on the kitchen floor,” she sings. “I don’t know what I’m dancing for.” Prepare to do the same. ZOLADZIdles, ‘Grace’The British band Idles generally play sinewy, irascible post-punk songs, but every so often the singer Joe Talbot confesses to vulnerability, as he does in “Grace.” It’s a secular prayer: “No God, no king/I said love is the thing,” Talbot sings. He both longs for and offers refuge and compassion; behind him, the band gnashes and clatters and eventually erupts, but his determined humility lingers. PARELESElephant Gym featuring Yile Lin, ‘Happy Prince’Elephant Gym, a bass-guitar-drums trio from Taiwan, plays a nimble, jazzy kind of math-rock, paced by the hopscotching bass lines of KT Chang and the guitar counterpoint of her brother Tell Chang. “Happy Prince” is loosely based on a children’s story by Oscar Wilde. With bright-eyed guest vocals by Yile Lin, from the band Freckles, “Happy Prince” breezes along, shifting meters and taking chromatic turns; every so often, it explodes. PARELESNnamdi, ‘Going Crazy’A snippet of children singing “We’re all going crazy” led the Chicago pop experimentalist Nnamdi to come up with “Going Crazy.” It appears at assorted speeds, over assorted chords and drum-machine beats, as he croons in falsetto about how “I been up working harder every night” and “I just want to have a little fun” — a workaholic’s jovial complaints. PARELESUsher and H.E.R., ‘Risk It All’It hardly gets more old-school than “Risk It All,” a duet from Usher and H.E.R. — from the soundtrack to “The Color Purple” — that’s happy to risk vocal close-ups: call-and-response, tag-teaming, overlapping, sharing. Little more than piano chords accompany the duo, who sound like they were singing to each other in real time throughout the song, though they couldn’t resist overdubbing some extra harmony vocals. Even so, there’s an unadorned, intimate physicality to the romantic sentiments. PARELESAdrianne Lenker, ‘Ruined’This sparse, movingly fragile song from the Big Thief frontwoman Adrianne Lenker is a dispatch from the most devastating kind of obsession: “Can’t get enough of you,” Lenker sings in a warbled falsetto. “You come around, I’m ruined.” Accompanied by just a haunting piano and eerie, echoing effects, Lenker’s plain-spoken vulnerability becomes, by the end of the song, a kind of strength. ZOLADZEliza McLamb, ‘16’Eliza McLamb, a songwriter who’s also a podcaster, revisits a period of severe teenage trauma — her mother’s mental illness, her own self-destructive compulsions — in “16”; it’s from her album due in January, “Going Through It.” Deep, sustained synthesizer tones accompany her breathy voice, offering the stability — or numbness — she longs for. PARELESKaren Vogt, ‘We Coalesce’Layers of wordless, echoey vocal loops, with hints of modal melody, are the makings of “We Coalesce,” one of the eerie, undulating pieces Karen Vogt recorded while mourning her cat. PARELESVijay Iyer Trio, ‘Prelude: Orison’If Vijay Iyer’s music was big for you this year, it was probably thanks to “Love in Exile,” the much-beloved album he released with Arooj Aftab and Shahzad Ismaily. Though cool-blooded and almost ambient, that LP was swept by an undercurrent of disquiet — a feeling the pianist embraces even further in his other working trio, with the bassist Linda Oh and the drummer Tyshawn Sorey. Their 2021 debut, “Uneasy,” was an itchy and stimulating affair inspired, as Iyer said ahead of its release, by the awareness “that this thing Americans love to call freedom is not what it appears to be.” Well, wait. Is there some paradox lurking here? How is instrumental music that sounds so elevated and indirect supposed to upend our most basic assumptions? To which another question might provide the response: Processing the news these days, have you felt angry, frustrated or helpless? If that resonates, this trio’s music would like to help you make some sense of that sensation — and maybe even sidestep it, pushing toward some kind of confrontation. (“Uneasy” includes “Combat Breathing,” a rhythmic call-to-action inspired by Black Lives Matter organizers.) The new, tempo-slurring “Prelude: Orison,” is languid, diaphanous, harmonically canted. Whenever it briefly resolves, it starts the cycle over again. It’s as if this band wants to both seduce you and discomfit you, stripping you of everything but the ability to think and see for yourself. GIOVANNI RUSSONELLO More

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    Best Jazz Albums of 2023

    The year’s most thrilling albums were made by artists pushing beyond borders, teaming with new collaborators and making bold statements of their own.That thing we keep calling “jazz” refuses to stop overrunning its borders, reworking itself, showing up in new forms identifiable only by the most basic strands of their DNA. All of its subcultures churned out inspired work this year; many show up below.

    1. Chief Xian aTunde Adjuah, ‘Bark Out Thunder Roar Out Lightning’It’s fitting, in this moment, that the hardest-hitting album on this list would be a celebration of Indigenous identity, resilience and resistance. For Chief Adjuah (formerly Christian Scott), “Bark Out Thunder Roar Out Lightning” is also his first hard break from jazz, a category he has been trying to slip his entire career. Here he sits with the other tradition that raised him: the “maroon” community of New Orleans’s Black masking Indians, commonly known as Mardi Gras Indians. This is Adjuah’s first LP without any trumpet. Instead he circles up with a group of family and longtime collaborators, revisiting classics from the call-and-response Black Indian repertoire and adding his own, newfangled rallying cries over plucked kora strings and charging drums.2. Jaimie Branch, ‘Fly or Die Fly or Die Fly or Die ((World War))’Jaimie Branch had nearly finished mixing this album — the third studio record from her trumpet-cello-bass-drums quartet, Fly or Die — when she died suddenly in 2022. It would be hard to imagine a more rousing and generous parting gift. Branch (like Adjuah) was a declarative trumpeter who had only recently embraced her unrefined-but-rewarding singing voice. With it she entreats us to love, to agitate and to put ourselves on the line.

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    Watch Emma Stone Do a Carefree Dance in ‘Poor Things’

    The director Yorgos Lanthimos narrates this sequence that puts the star and Mark Ruffalo awkwardly on the dance floor.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.How do you go about choreographing a dance sequence for a character who has never danced before? That was the challenge in this moment from “Poor Things,” which stars Emma Stone as a woman with the mind of a baby who, moment by moment, begins to find her footing.In this scene, Bella Baxter (Stone) is at dinner with Duncan Wedderburn (Mark Ruffalo), her beau of sorts. As she hears the beat of the music and sees others dancing, Bella’s body begins to instinctively move. Suddenly, she’s on the dance floor herself, doing moves she seems to be inventing that are both oddball and intriguing.“The dance, because she’s doing it for the first time, just felt like it should be something quite primitive, slightly babylike,” the film’s director, Yorgos Lanthimos, said in an interview.He collaborated with the choreographer Constanza Macras, with whom he also worked on “The Favourite,” to create the right mix of synergy and chaos in the movement.Lanthimos said that he and the cinematographer Robbie Ryan used a wide-angle lens on a camera mounted on a large metal dolly as they followed the stars. Not only did the movements need to be choreographed, but the cast also had to dance around the roving camera in a way that ensured nobody got hurt.Read the “Poor Things” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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    5 Children’s Movies to Stream Now

    This month’s picks embrace the holiday season, including an installment of the “Diary of a Wimpy Kid” franchise and a remake of “The Velveteen Rabbit.”‘Diary of a Wimpy Kid Christmas: Cabin Fever’Watch it on Disney+.The latest release in Jeff Kinney’s mega-successful “Diary of a Wimpy Kid” franchise of books, movies and merchandise (Tote bags! Board games! Stress balls!) is this animated holiday tale in which a middle schooler, Greg Heffley (voiced by Wesley Kimmel from “The Mandalorian”), gets trapped in his house with his family when a blizzard blows into town. Just before he got snowed in, Greg and his BFF, Rowley (Spencer Howell), accidentally damaged a snowplow after sending a giant snowball rolling down a hill. Greg and Rowley flee the scene, and Greg spends his time cooped up worrying that he’ll be caught by the authorities and won’t get the video game he covets for Christmas. Luke Cormican (“Teen Titans Go!”) directed this animated film, and Kinney wrote the screenplay. There’s enough humor, tension and relatable family dynamics to keep both longtime “Wimpy Kid” fans and little ones who are new to the series entertained.‘Merry Little Batman’Watch it on Amazon Prime.The director Mike Roth (“Regular Show”) brings a slight punk rock aesthetic to this animated tale of a young Damian Wayne (voiced by Yonas Kibreab), the 8-year-old son of Batman and Talia al Ghul, who longs to become a superhero like his father. In this iteration of the DC legend, Batman/Bruce Wayne (Luke Wilson) is a bearded, flannel-wearing, overprotective hipster dad who rid Gotham of all crime before his son was born. When Batman gets a mysterious call about an emergency on Christmas Eve, his trusty aide, Alfred (James Cromwell), helps him suit up, and little Damian is all alone at home (yes, there are plenty of nods to “Home Alone”). Soon it’s time for Damian to stop goofing around, so he puts on his golden utility belt and goes out to fight crime like his father taught him to. He meets villains like the Joker (David Hornsby) and Bane (Chris Sullivan), and learns that, as his dad tells him, being a superhero takes “focus, responsibility and sacrifice.” The rollicking energy and comedy make this film, produced by Warner Bros. Animation, a superhero holiday movie that kids — and their bearded hipster parents — should have fun watching.‘Dashing Through the Snow’Watch it on Disney+.This one may not go down in history as a holiday classic, but it has enough over-the-top goofiness to entertain school-age kids while you bake a pie or do some work over the winter break. Eddie Garrick (Chris Bridges, known as Ludacris) is a Scrooge of a dad. He can’t stand carolers, and he’d much rather celebrate Juneteenth or Arbor Day than Christmas, a.k.a. “the chicken wing of holidays.” Eddie is a social worker in Atlanta whose family was burgled by a mall Santa when he was a kid — hence his hatred for the holiday. He’s now reluctantly separated from his wife, Allison (Teyonah Parris, “The Marvels” and “Candyman”), so he’s spending Christmas Eve with his adorable daughter, Charlotte (Madison Skye Validum), who just loves Santa. This being a pretty silly, predictable tale, you will not be on pins and needles waiting to see if Garrick comes to embrace the holiday spirit, but Bridges is compelling enough to hold your attention. The comedian Lil Rel Howery is Nick/Santa, a character who may be another burglar or derelict but who also may be the real St. Nick. Oscar Nuñez plays a villainous politician, and Mary Lynn Rajskub, Marcus Lewis and Ravi Patel are his goons. Tim Story (“Barbershop,” “Think Like a Man”) directs this film from a script by Scott Rosenberg (“Venom”).‘The Velveteen Rabbit’Watch it on AppleTV+.This special, which combines live action and animation, brings Margery Williams’s classic 1922 story to a new generation. A shy, lonely boy named William (Phoenix Laroche) becomes even more timid when his family moves to a new town where he knows no one. William gets a stuffed Velveteen Rabbit for Christmas, and the two become fast friends. One night when William goes to sleep, the rabbit (voiced by Alex Lawther, “Andor”) comes alive and meets the other toys in the playroom, including Wise Horse, voiced by the Oscar-nominated actress Helena Bonham Carter. William’s real world is live action; the rabbit’s is stop-motion animation. When William and the rabbit interact, it’s an illustrated realm that brings their worlds together. Long before “Toy Story,” Williams’s tale depicted the deep bond between children and their most cherished toys, revealing truths about friendship and love. It’s all very sweet and a bit earnest, which means it’s perfect holiday-season viewing. Tom Bidwell (“My Mad Fat Diary”) wrote the script, and Jennifer Perrott and Rick Thiele directed.‘A Christmas Mystery’Watch it on Max.The small, fictional town of Pleasant Bay, Ore., is scandalized when Santa’s magical golden sleigh bells — the community’s prized possession — go missing. A young boy found the bells a century before, and ever since, they have been on display in the local museum. The citizens believe that the bells bring peace and luck to the town. Because George (Drew Powell) has a history of theft and is a janitor at the museum, he is accused of stealing the town treasure. He has a son, Kenny (Santino Barnard), whose best friend, Violet (Violet McGraw, “M3gan”), recruits friends to help her find the actual thief and get George home for Christmas; after all, it was her father (Eddie Cibrian), the town sheriff, who arrested George. There’s a “Goonies” vibe happening, with the kids on a quest to solve a mystery since the adults don’t have a clue. If George isn’t the culprit, maybe it’s the museum director, Mr. Martin (Oscar Nuñez from “Dashing Through the Snow”) or the shifty Mayor Donovan (Beau Bridges). The story, writing and performances are a bit hokey, but that shouldn’t stop youngsters from rooting for Violet and her friends to save the day. More