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      Celebrating Film Nostalgia With Ooze and Ahhs at Blobfest

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      In 1958, the sci-fi horror film “The Blob,” about a murderous, insatiable and ever-ballooning hunk of alien matter, opened in theaters across the United States. At the time, critics’ appetites for the movie were not as piqued as the onscreen monster’s.In a review for The New York Times, Howard Thompson wrote that “The Blob” was “woodenly presented,” and the “dialogue flattens as fast as the blob rounds.”Not even Steve McQueen in his first leading role could save the plot in Thompson’s eyes.But 66 years later, audiences are still hungry for more. The film became a cult classic, fitting snugly among other camp favorites like “Creature From the Black Lagoon” (1954) and “The Fly” (1958).And in Phoenixville, Pa., where much of the “The Blob” was shot, thousands of fans gathered at the 25th annual Blobfest over the weekend to celebrate with ooze and ahhs.A fire extinguisher parade kicked off the Blobfest celebration.Kat Graves, 22, dressed as Carrie (from the movie of the same name), won first place in the 18 and over category in the costume contest at Blobfest on Saturday.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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      ‘Sound of Hope’ Studio Defends Partnership With The Daily Wire

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      Letitia Wright, the “Black Panther” actor and an executive producer of “Sound of Hope,” had posted her frustration with people using the film for “divisive political purposes.”The studio behind last year’s unexpected hit “Sound of Freedom” defended a partnership with the conservative website The Daily Wire to promote “Sound of Hope: The Story of Possum Trot” following complaints by the actress Letitia Wright, an executive producer of the film.“Sound of Hope” is based on the true story of a Christian couple in Texas who adopted 77 children from foster care. The distributor, Angel Studios, framed the film as a spiritual sequel to “Sound of Freedom,” which starred Jim Caviezel as a real-life former federal law enforcement official who combats human trafficking.On the day “Sound of Hope” received its full theatrical release, Matt Walsh, the Daily Wire commentator and podcaster, posted on social media about the inspiration for the movie and added that “leftists are trying to stop Christians from saving more children.”In a series of posts on X, Walsh then condemned states that he said had prevented adoptions by parents who declined to recognize gender transition in children. He detailed two cases involving lawsuits in Oregon and Vermont.Wright, whose acting credits include “Black Panther” and “Ready Player One,” said on social media days later that she did “not condone using this beautiful film for divisive political purposes.”“This story isn’t about politics, it’s about children,” she posted. “It’s about sacrificial love for children who have experienced unthinkable horrors.”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 Osgood Perkins Gave a Jolt to ‘Longlegs’

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      The filmmaker, who is the son of the “Psycho” star Anthony Perkins, discusses horror inspirations, his father’s legacy, evil dolls and working with Nicolas Cage.Many directors fall in love with scary movies through late-night cable binges or with friends at a drive-in. Osgood Perkins had a leg up: His father was the actor Anthony Perkins, a Hollywood heavyweight and the star of “Psycho,” Alfred Hitchcock’s 1960 horror movie game changer.“My father was absent, more oblique and abstract but a movie star, a public figure, an icon,” said Perkins, 50, in a recent interview over video. “Something very big lived with me.”The younger Perkins said his father, who died of AIDS at 60 in 1992, was a spirit guide as he made his new horror movie “Longlegs,” starring Nicolas Cage as a fiendish clown-looking evildoer who vexes a green F.B.I. agent, played by Maika Monroe, via handmade evil-summoning dolls.What would Perkins’s father have thought of the film, now in theaters?“He probably would have really dug it,” he said.Perkins talked about what inspired “Longlegs” and working with the chameleonic Cage. The interview has been edited and condensed.Perkins, right, on the set of “Longlegs” with his cinematographer, Andres Arochi.Asterios Moutsokapas/Neon, via Associated PressWe 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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      Ryan Reynolds and Hugh Jackman Talk ‘Deadpool & Wolverine’ and Their Careers

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      The two friends have learned a lot about being the stewards of major pop-culture characters, an education that led them to “Deadpool & Wolverine.”If there’s a magic formula for Hollywood success, “Deadpool & Wolverine” would appear to have refined it to a simple calculation: Just add Hugh Jackman’s “X-Men” superhero to the hit comic franchise anchored by Ryan Reynolds and reap the sure-to-be-lucrative dividends.So why did a film that’s projected to be the summer’s biggest live-action blockbuster prove so difficult to get off the ground?Though Reynolds had pitched a team-up to his close friend for years, Jackman initially resisted, preferring to let the well-reviewed “Logan” (2017) stand as his swan song with the gruff mutant Wolverine. And while the merger of Disney and Fox allowed Reynolds to set the third “Deadpool” movie starring his R-rated mercenary in the previously off-limits Marvel Cinematic Universe, he struggled to come up with a story that could capitalize on that opportunity. “It was just hard to find the thing that felt right,” Reynolds said.In August 2022, just as Reynolds and the director, Shawn Levy, debated putting their sequel on ice, Jackman placed a surprise call and told them he was willing to give his signature role one more go. “There’s parts of Wolverine that I scratched around and wanted to explore, but I wasn’t able to,” Jackman said. “In this film, there’s sides of him that I’ve always wanted to get out.”On a video call in late June, both men had plenty to say about the long arc of portraying and eventually becoming the steward of major pop-cultural characters. Reynolds waged an uphill battle to make the first “Deadpool” film (2016), which was greenlit only after leaked test footage became an internet sensation. Off its modest $58 million budget, the movie grossed $782.8 million worldwide and gave Reynolds his first real franchise.“I was an actor who was semi-well-known,” said Reynolds, who added jokingly, “I don’t know how you would phrase that without sounding like a dink. But I was 37 when ‘Deadpool’ had its pop-culture phenomenon moment, and I’m really grateful I was because I knew exactly how to enjoy 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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      Anthea Sylbert, Costume Designer Who Became a Producer, Dies at 84

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      Her career unfolded in three phases: as the creator of costumes for movies like “Chinatown,” as a studio executive and as a producer, largely with her friend Goldie Hawn.Anthea Sylbert, the Oscar-nominated costume designer of the films “Chinatown” and “Julia,” who left Hollywood fitting rooms to be a studio executive and, later, Goldie Hawn’s producing partner, died on June 18 at her home on the Greek island of Skiathos. She was 84.Robert Romanus, her stepson, said the cause was complications of emphysema.Ms. Sylbert began designing costumes for films in 1967. Over the next decade, she collaborated with A-list directors like Mike Nichols, Roman Polanski and Elaine May and conceived what Jack Nicholson wore when he starred in “Chinatown,” “The Fortune” and “Carnal Knowledge.”“Jack Nicholson actually gave me the best compliment I ever got as a costume designer,” she said in “My Life in 3 Acts,” a forthcoming documentary about Ms. Sylbert directed by Sakis Lalas. “He said, ‘When “The Ant” does your clothes, you don’t have to act as much.’” (“The Ant” was short for Anthea, she explained.)Ms. Sylbert envisioned Jake Gittes, the natty, determined private detective played by Mr. Nicholson in “Chinatown” (1974), as a dandy.“I thought he would be interested in fashion,” she told Sam Wasson for his book “The Big Goodbye: ‘Chinatown’ and the Last Years of Hollywood” (2020). “The one who would be noticing what the stars were wearing when he went to the races.”Deborah Nadoolman Landis, chair of the David C. Copley Center for the Study of Costume Design at the School of Theater, Film and Television at the University of California, Los Angeles, recalled a vivid scene in “Chinatown” in which Gittes and Evelyn Mulwray, played by Faye Dunaway, sit together in a red restaurant banquette.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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      Judy Belushi Pisano, Who Defended Her Husband’s Legacy, Dies at 73

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      She was married to John Belushi until his fatal drug overdose in 1982. She went on to celebrate his comic talent in books and a documentary.Judy Belushi Pisano, who after the death of her husband, the actor and comedian John Belushi, from a drug overdose in 1982 became a fierce defender of his legacy, died on July 5 at her home on the island of Martha’s Vineyard, in Massachusetts. She was 73.Her son, Luke Pisano, said the cause was endometrial cancer.Mr. Belushi, a member of the original cast of “Saturday Night Live” and a star of hit films like “National Lampoon’s Animal House” and “The Blues Brothers,” was among the best-known comic actors in the world when he was found dead in a Hollywood hotel.Though it took weeks to determine the cause — from a mix of heroin and cocaine — the public immediately seized on Mr. Belushi’s death as a cautionary tale of excess in an era defined by it.His reputation as a hard-partying drug addict was further underlined by Bob Woodward of The Washington Post in his book “Wired: The Short Life and Fast Times of John Belushi” (1984), which Ms. Pisano had initially authorized but later came to regret.“The book is both unfair and inaccurate,” she told The Philadelphia Daily News in 1984. “To me the biggest lie is that it claims to be a portrait of John but it’s not. It’s only about drugs.”Ms. Pisano at the 2004 ceremony posthumously honoring John Belushi with a star on the Hollywood Walk of Fame. Vince Bucci/Getty ImagesWe 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 Best True Crime to Stream: Truly Random Crimes

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      Four picks across television, film and podcasting that highlight a fundamental human fear: complete lack of control.Watch or listen to any amount of true crime, and it quickly becomes evident that some of the most disturbing cases involve wrongdoers who know their victims. At times, that might be simply an acquaintance, a co-worker, a classmate or a neighbor.But most often it’s someone much closer, like a partner, former partner, friend, parent or child. Truly random crimes, in which the perpetrators have no relationship to the victims, are relatively rare, which is comforting — until it isn’t. Hearing about such crimes, where any sense of perceived control is stripped away, can prey on our greatest fears.Here are four offerings across television, podcast and film that examine these dark, disconcerting fringes.Documentary Film‘American Nightmare’This three-part 2024 Netflix docuseries about the abduction of Denise Huskins could easily top a streaming list about shockingly botched investigations. It’s stunning how quickly she and her husband, Aaron Quinn (her boyfriend at the time), were dismissed and labeled liars by law enforcement, then mocked by the news media after they had endured a horrific attack. But just as astonishing is how bizarre the crime was.The documentary, from the filmmakers behind “The Tinder Swindler,” Felicity Morris and Bernadette Higgins, incorporates interrogation footage and new interviews to illustrate the widespread reluctance to believe the victims. We witness Quinn being pressed as though he were a suspect and Huskins being branded the “real-life Gone Girl,” referring to Gillian Flynn’s 2012 novel about a woman who stages her own kidnapping and frames her husband for her disappearance.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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      Martin Scorsese’s ‘Made in England’ Is a Tribute to Powell-Pressburger Films

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      “Made in England” is an essay film about the artists whose passion and cinematography deeply influenced the American director.What you can learn about movies from just reading about them is pretty limited — an ironic admission from a movie critic, I know. The best way to understand what makes a film or a filmmaker interesting is to submerge yourself in their work, to binge a whole catalog. But when that’s not possible, or if you want more context, a great guide and a well-crafted essay film can be invaluable.Few such guides could outpace Martin Scorsese, whose narration (often delivered directly to camera) powers “Made in England: The Films of Powell and Pressburger” (in theaters), directed by David Hinton. Scorsese’s World Cinema Project restores movies from underrepresented and forgotten filmmakers from around the world, works that might otherwise be lost to time. Among those were “The Life and Death of Colonel Blimp” and “The Red Shoes,” two seminal movies from the 1940s by the duo Michael Powell and Emeric Pressburger. Scorsese has long counted the pair among his greatest influences; their movies pushed the boundaries of color, story and passion.What makes “Made in England” so compelling is how effortlessly it swings from film analysis to cinema and cultural history to personal narrative. It’s a roughly chronological documentary about the filmmakers, but it’s also the story of personal obsession. For Scorsese, that story started in his own childhood, when he saw rough black-and-white transfers on TV that transfixed him. Later, he became obsessed with the filmmakers’ works, and Powell in particular eventually became a mentor and a friend. He and Scorsese’s longtime editor, Thelma Schoonmaker, were married until Powell died in 1990.The film works through the history of both men, the origins of their collaboration and the ways their films evolved during and after World War II, particularly as commercial taste shifted. Their experimentations with sound, music and heightened realism are illuminated through “The Red Shoes,” “Colonel Blimp” and films like “Black Narcissus,” “The Tales of Hoffmann,” and the nearly career-killing “Peeping Tom,” all lovingly explored through Scorsese’s viewpoint.Scorsese has narrated documentaries about film history before (including “A Personal Journey With Martin Scorsese Through American Movies” and “My Voyage to Italy”), always with a distinctive angle. And it’s easy to see why. The average viewer — that is to say, someone not quite as obsessed with movies as Scorsese is — pops open the queue on a streamer of choice and starts drowning. There are, quite literally, more movies now than there have ever been, and even a fairly sophisticated viewer can struggle to choose.“Made in England” is remarkably engaging thanks to Scorsese’s animated commentary and some flourishes, like comparisons between shots from Powell and Pressburger’s films and Scorsese’s. But whether you are lucky enough to attend the summer of Powell and Pressburger in New York’s cinemas, enjoy streaming from home or are just curious about these fascinating filmmakers, the documentary is a personal, vibrant gift. More