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      How Accurate Is the Science in ‘Twisters’?

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      Sean Waugh holds a laptop with green, red and yellow weather radar looping as his driver rumbles down an Oklahoma highway in their government-issued truck. The vehicle holds 50 gallons of fuel, so they can chase storms all day. A rectangular cage with metal mesh covers the truck in an attempt to protect the team from hail. Hanging off the front of the hail cage are weather instruments that look like the horn of a rhinoceros charging into a storm.The truck, called Probe One, points in one direction, and a companion, Probe Two, points in another. Tall grass flows like ocean waves, and the stop sign at a crossroads wobbles. The sky is dark gray with a hint of green. Lightning flashes on all sides.The radio cracks. “Probe One, you want us to go?”“Yes, go now,” says Dr. Waugh, a researcher with the National Severe Storms Laboratory.As they disappear into the mist, another storm chaser emerges: Reed Timmer, who has a large social media following, pulls in front in one of his tank-like trucks, called the Dominator.It’s just the scientist, the YouTube star and a lonely farmhouse.Sean Waugh’s job is to get close to storms. He’s lately become a Hollywood movie consultant in his spare time.Reto Sterchi for The New York TimesReto Sterchi for The New York TimesWe 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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      Will ‘Fly Me to the Moon’ Propel Debunked Moon Landing Conspiracies?

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      The screenwriters of “Fly Me to the Moon” say they emphasized the facts of the Apollo 11 landing, but experts worry that clips can be misused.The new Scarlett Johansson-Channing Tatum vehicle “Fly Me to the Moon” uses a long-debunked conspiracy theory as the jumping-off point for a space-race romantic comedy. At the end of the 1960s, a wary NASA recognizes the need for better public relations during the Vietnam War. The resulting campaign leads to a faked version of the Apollo 11 mission being shot on a sound stage even as the real mission is unfolding. Shenanigans, and romance, ensue.“Fly Me to the Moon” isn’t the first movie based on the mistaken belief that the moon landing was a hoax, a conspiracy theory that first arose in the 1970s. “Capricorn One” (1978), about a faked mission to Mars, taps into Watergate-era institutional distrust, and more recently, “Moonwalkers” (2015) pairs a C.I.A. agent with a rock band manager to fake the Apollo 11 landing.What sets “Fly Me to the Moon” apart is its insistence on the truth. The movie’s writers say they hope it will reinforce the real story of the moon landing. But is that possible in a post-Covid age when conspiracy theories are amplified on social media?The screenplay, written by Rose Gilroy and based on a story by Keenan Flynn and Bill Kirstein, plays with the theory, including a joke on some conspiracists’ belief that the director Stanley Kubrick supposedly had a hand in faking the historic event. (He did not.) But ultimately the film emphasizes that the Apollo 11 landing did take place.Scarlett Johansson and Channing Tatum in “Fly Me to the Moon.”Dan McFadden/Sony PicturesFlynn said the initial idea for the movie came in 2016. As the nation wrangled with questions about truth during a presidential campaign in which Donald J. Trump frequently castigated the “lying” media, the moon landing made for a perfect setting.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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      How ‘Twisters’ Destroys a Motel

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      The director Lee Isaac Chung narrates a sequence from the film featuring Daisy Edgar-Jones and Glen Powell, in which a building is leveled by a tornado.Lee Isaac Chung narrates a sequence from his film, starring Daisy Edgar-Jones and Glen Powell.Universal PicturesIn “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.A grungy, empty pool becomes a motel’s greatest asset in this harrowing sequence from “Twisters.”The storm chasers Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) find themselves in a predicament when a tornado descends on a motel and the two must lead a group to safety. They head to the drained pool to stay out of the tornado’s path, along the way dodging debris that includes a soda machine and a trailer.Much of the sequence gives the impression of a one-take shot, although it was stitched from different takes to best incorporate its visual effects. Those effects are a mix of the practical — one stunt performer was whisked 60 feet in the air — and the digital.“I really wanted to film a night tornado,” Chung said, narrating the scene, “because growing up around Tornado Alley, the night tornadoes were always the most frightening.”He said the intent of the scene and shooting it in this frantic, hand-held manner was to create “that subjective feeling of what it’s like to experience a tornado in real time.”Chung said that while filming his cast inside the swimming pool, crew members were destroying the set outside, so as the scene ends and the characters emerge, they are seeing a damaged version of the set they hadn’t seen going in.Read the “Twisters” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      The Stomach-Dropping, Heart-Tugging Appeal of Climbing Documentaries

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      “Skywalkers” and “Mountain Queen” are strong entries in a genre with great appeal to viewers who themselves might prefer to be sitting.Documentaries in which people climb very tall things have a remarkable track record. “Man on Wire,” James Marsh’s 2008 recounting of Philippe Petit’s high-wire walk between the Twin Towers in 1974, is one of the most acclaimed and successful documentaries of all time. Jimmy Chin and Chai Vasarhelyi have made two celebrated films about the sport, “Meru” in 2015 and “Free Solo” in 2018. Just do a quick search for “climbing documentaries” and you’ll find dozens — it’s clearly a genre people love.That’s undoubtedly due in part to the fact that most of us (myself included) will never, ever attempt to scale a 3,000-foot cliff without ropes. These movies show us what we can’t otherwise see. Plus, in contrast to the manufactured safety of a fiction film, a documentary is heart-pounding. Your head knows they probably will get out alive — but your stomach sure doesn’t.There’s another reason these movies are so popular, though, and it’s more psychological. As a nonclimber with an aversion to physical risk, I find it hard to fathom what drives those who choose, of their own free will, to put themselves into extreme physical situations that could easily kill them. It must mean something more to them than oxygen-deprived thrills — but what? Two gripping documentaries on Netflix this week come at that question from different directions, but offer similar answers.Lucy Walker’s “Mountain Queen: The Summits of Lhakpa Sherpa” is a biographical documentary about Lhakpa Sherpa, a Nepalese mountain climber who holds the women’s world record for the most summits of Mount Everest, 10 in all. (And not many men have summited more.) I expected a portrait of an incredibly strong woman, and that’s an apt description for “Mountain Queen.” But Lhakpa’s story is much more complicated than that. Through interviews and footage shot on Everest, Lhakpa — who lives in Connecticut with her teenage daughters — reveals the many obstacles she’s had to overcome, including patriarchal ideas about climbing in her home culture and an abusive marriage to a fellow climber once she moved to the United States.Most important, she shows what drives someone like her toward this kind of extreme sport, and it mainly boils down to wanting to live a life of significance. But Lhakpa’s aim is less about being famous and more about paving the way to a better future for herself and her children. “I want to be somebody. I want to do something good,” she says. “I want to show my two girls how to be brave.”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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      Cheng Pei Pei, Crouching Tiger, Hidden Dragon Actor, Dies

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      A trailblazer for women in Asian martial arts cinema, Ms. Cheng rose to fame in the 1960s in Hong Kong.Cheng Pei Pei, a trailblazer for women in Asian martial arts cinema and a star of the 2000 blockbuster “Crouching Tiger, Hidden Dragon,” died on July 17 in the San Francisco Bay Area. She was 78.Her representatives at Echelon Talent Management confirmed her death in a statement. She was diagnosed in 2019 with a neurodegenerative disease similar to Parkinson’s, they said.Ms. Cheng was born on Jan. 6, 1946, in Shanghai. Trained in ballet and traditional Chinese dance, she began her acting career in Hong Kong in 1964 and became one of the stars of the wuxia genre of martial arts films. Her breakout role was in the mid-’60s kung fu classic “Come Drink With Me.”“Our mom Cheng Pei Pei wanted to be remembered for who she was: the legendary ‘Queen of Martial Arts,’” her family said in a statement. “She loved being an actress and knew, even with her hard work, how fortunate she was to have the career she had.”Ms. Cheng moved to the United States in the 1970s, where her four children were born.She played the villain Jade Fox in “Crouching Tiger, Hidden Dragon,” featuring in some of the film’s most memorable fight scenes.Ms. Cheng chose to keep her medical condition private, her management said.She donated her brain to the Brain Support Network, a nonprofit organization that supports people diagnosed with neurodegenerative disorders. More

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      ‘Find Me Falling’ Review: A Romance With an Edge

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      Harry Connick Jr. stars as a cranky rocker who returns to Cyprus, the home of the love who inspired a signature hit.When John Allman retreats to a shack on the coast of Cyprus in “Find Me Falling,” he’s already glum. The aging rocker, portrayed by Harry Connick Jr., marches out of his new refuge with indignation and barks at a man standing on the cliff’s edge looking out at the sea. Then the man steps into the air and is gone.It’s a surprisingly flip start to a romantic comedy that — with its intergenerational interplay and sunbaked settings — recalls “Mamma Mia!” Yet the writer-director Stelana Kliris is undaunted by, though not entirely in control of, balancing her material’s at times somber, at other times blithe, notes.The police captain (an amiable Tony Demetriou) tells him, unceremoniously, that the promontory has become a “suicide hot spot.” More put out by this revelation than moved, John begins to build a fence. Naturally, the ramshackle barrier becomes a metaphor for his sealed-off soul. Trying to maintain anonymity, John is dogged by mentions of his first hit: “Girl on the Beach.” After all, the beach was in Cyprus — but that girl, Sia (Agni Scott), is now a woman. Scott brings a measured mix of attraction and wariness to John’s long-ago muse, who is now referred to as the “town’s best doctor.” And Sia has her reasons for their separation.Can a film have its own spoiler alert? In an early, easily decoded bait-and-switch, Melina (Ali Fumiko Whitney) completes a triangle as an aspiring singer and one of the first people to befriend the prickly musician.A South African Cypriot, Kliris exudes affection for the country’s craggy terrain and its people. The film is a tourist office’s, if not quite a rom-com lover’s, dream.Find Me FallingNot rated. Running time: 1 hour 32 minutes. Watch on Netflix. More

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      Why Levan Akin Won’t Show His New Movie ‘Crossing’ in Georgia

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      The director Levan Akin is worried that his latest film, “Crossing,” will inflame tensions around L.G.B.T. visibility in the post-Soviet nation.When Levan Akin’s movie “And Then We Danced,” a romance between men in a Georgian folk-dance troupe, premiered at Cannes in 2019, it became a festival hit and later an Oscars submission. But when it screened in Georgia later that year, the movie’s combination of traditional Georgian culture and gay love sparked violent protests from conservative groups.Akin’s latest film, “Crossing,” which opens in U.S. theaters Friday, also deals with L.G.B.T. themes, though the filmmaker said recently that he had hoped its reception in Georgia would be smoother. Its plot, about a woman who travels from Georgia to Turkey to search for her estranged trans niece, seemed unlikely be perceived as an attack Georgian culture in the same way, he said.But this spring, when Georgia’s capital, Tbilisi, erupted in weeks of protests against a law on foreign influence that critics said would hamper Georgia’s chances of joining the European Union, Akin decided against releasing the movie there in such a polarized climate.“There is such political turmoil,” Akin said, “and we don’t want the film to be used as fodder in the debate. I don’t want that to repeat.”In “Crossing,” Lia (Mzia Arabuli), a retired and unmarried history teacher, travels to Istanbul from the city of Batumi, on Georgia’s Black Sea coast, searching for her niece Tekla, who has fled after her family rejected her. Lia is assisted in scouring the city’s narrow streets and packed rooming houses by Evrim (Deniz Dumanli), a trans rights activist and lawyer. They form an unlikely bond — but finding Tekla proves difficult.Lucas Kankava as Achi, and Mzia Arabuli at Lia in “Crossing.”via MUBIWe 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