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      ‘Despicable Me 4’ Review: This Time They’re Superheroes

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      The crew is back, but this time around they need to lie low. Sort of.If one wonders how a franchise on its sixth film in under 15 years (counting spinoffs) could still have any good ideas, one solution, apparently, is to simply throw all ideas at the screen. That’s the approach taken in “Despicable Me 4,” the latest, messily passable iteration of the deliriously successful franchise that follows the adventures of the reformed supervillain Gru.This one, helmed by the animated franchise’s longtime director and producer Chris Renaud, is a stream of mostly high-octane B-plots: Members of Gru’s family are struggling to adjust to life in witness protection after a new villain (Will Ferrell) becomes hellbent on revenge; Gru reluctantly mentors his teenage neighbor, who aspires to villainy; the Minions become lab-grown superheroes; and so on.As the movie noisily stretches itself out in too many directions, it largely sheds any meaningful charm or heart and struggles to cohere around a central story with actual stakes. It extends on a problem in the franchise that began with the third film, which relied more on gimmicky narrative and visual pyrotechnics and empty slapstick to keep things afloat. (What’s better than one Gru? Two!)There’s still occasional fun to be had and a budget that’s clearly put to use, but we’re mostly here, it seems, to keep the Minion cash cow chugging along. In all of the chaos, you may find your mind drifting off to the better, simpler days of the first film that set off the enterprise, when it was just a story of a bad guy gone good, but a genuine story nonetheless.Despicable Me 4Rated PG for Minion-related violence. Running time: 1 hour 35 minutes. In theaters. More

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      ‘Seven Samurai’: Masterless Warriors in a Cinematic Masterpiece

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      Akira Kurosawa’s epic has always been known for its action-film artistry, but there is emotional heft and nuance as well.Few movies have been more influential than “Seven Samurai,” an existential action film directed by Akira Kurosawa that, at longer than three hours, seemingly muscled its way into existence.“Seven Samurai,” made in Japan in the early 1950s, was by far the most expensive film then made in the country. And it required the longest shoot, in part because the exhausted director needed hospitalization. Trimmed by nearly one-third, it was introduced to the world at the 1954 Venice International Film Festival, sharing the Silver Lion award with three other movies.The abridged version opened in the United States in 1956 as “The Magnificent Seven,” a title soon to be appropriated by Hollywood. The full version did not arrive until 1982.Rarely screened since, Kurosawa’s masterpiece is showing — complete with intermission — for two weeks at Film Forum in a new 4K restoration. Its power is undiminished.The U.S. occupation of Japan ended only months before Kurosawa and his team began planning a film that, however ambiguously, would reassert Japan’s martial spirit. Production of “Seven Samurai” coincided with an equally elemental movie, allegorizing Japan’s nuclear martyrdom, “Godzilla” — both at the same studio, Toho.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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      Niclas Larsson, Film Director, Waits for Success in New York’s Garment District

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      The film director grew up in Sweden with a love of American movies. Now he would like you to see his surreal debut, “Mother, Couch,” in a theater.If old age is not for snowflakes — well, try directing a 90-minute feature film about old age in the iPhone era, as Niclas Larsson has done.Mr. Larsson, 33, greeted me on a recent morning into his 15th-floor terraced apartment in a former button factory in Manhattan, looking eerily like his dog, a blond lurcher named Ted, the way many owners do. He had settled here, the garment district of Midtown Manhattan, after rejecting “hipper” quarters in Brooklyn and the financial district.A native Swede with a deep appreciation of Americana, he was offering strong black coffee and strong opinions on where his new movie, “Mother, Couch,” should be seen, like the Angelika theater downtown, where it opens on Friday, and the Nuart in Los Angeles.“Hollywood is like, What’s going on?” Mr. Larsson said, considering the summer box office, which has thus far been a faint shadow of last year’s Barbenheimer. “No one knows what’s going on. But I want to give the nerds the option of going to the theater. It’s made for a theater. It’s shot on 35 — it’s all the film nerdy things in there.”“You know what also about a theater that we forget is the God perspective of people telling us a story,” he went on. “People forget — the big shadow plays they did around the fires in the Stone Age? They did them large, because it’s important.”“Mother, Couch,” based on “Mamma i soffa,” a 2020 Swedish novel by Jerker Virdborg, and shot to some local excitement in Charlotte, N.C., indeed takes on large themes, including mortality, parenthood and that Gen Z bugaboo, capitalism.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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      ‘This Closeness’ Review: So Near, So Far Away

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      An indie comedy set in an Airbnb leans into the ways we distance ourselves from one another.City living presupposes closeness. Even when you’re alone in your apartment, dozens of people are likely to be sitting, cooking, napping, fighting or having sex within feet of you, separated by walls that are usually way too thin. But to live an urban life without getting overstimulated requires developing an artificial sense of distance, the ability to be alone in public, to ignore others while maintaining a sense of alertness. A pair of noise-canceling headphones. A bit of tunnel vision.“This Closeness,” a microbudget indie directed by Kit Zauhar, wittily examines the ways we create and avoid closeness in modern life, both by choice and, especially when we’re young, necessity. The main couple at its center, Tessa (Zauhar) and Ben (Zane Pais), are New Yorkers who’ve rented a room in an Airbnb in Philadelphia so Ben can attend his five-year high school reunion. It’s the kind of Airbnb you get when you can’t or don’t want to spend much money: They’ll have a bedroom to themselves, but share the bathroom and common spaces with a host, a stranger named Adam (Ian Edlund).Sharing space with a stranger isn’t all that weird when you’re a recent college graduate who probably has lived with at least a few randomly selected roommates in the recent past. But viewed objectively, that’s still weird — proximity without closeness, made weirder to Tessa and Ben because their temporary roommate, Adam, is an awkward guy who claims his roommate Ian actually listed the place, but isn’t there at the moment. (It’s one of the film’s inside jokes that Adam is played by Ian Edlund.)What’s going on? Normal 20-something stuff, really: fights and weirdness, tensions over how to split the refrigerator space and how long people take in the bathroom, moderately cruel jokes heard through too-thin walls. There’s also the kind of thoughtlessness you almost have to develop in order to survive proximity — Ben goes out to dinner with old friends and returns with one of them, Lizzy (Jessie Pinnick), in tow. Having been in shared living situations before, I recoiled reflexively at how much noise they made the instant they came through the door.All of “This Closeness” is set in the apartment, as much a smart budgetary choice as a formal one. The claustrophobic feeling is effective; the characters can escape, but we can’t. But in that small, bare apartment they’re having a rich array of interactions, both with the flesh-and-blood humans occupying the same space — Ben and Adam spar, in faux-politeness, over a malfunctioning air-conditioner in Ben and Tessa’s room — and with those outside its walls.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 Most Intriguing Animated Films You’ll Never See

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      A digital book, “Drawing for Nothing,” highlights some of the best art from canceled animation projects like “Me and My Shadow.”Among fans of canceled animated film projects — and yes, there is such a fandom, and it’s enormous — “Me and My Shadow” is perhaps the most popular cartoon feature that never was.Greenlighted in 2010 by DreamWorks Animation, the film boasted a strong voice cast, including Bill Hader, Kate Hudson and Josh Gad, and a team of some of the industry’s top artists and animators. The filmmakers combined computer-generated and hand-drawn animation to create a lead character whose shadow had a mind and physicality all his own, at a time when few studios, including DreamWorks, were doing hand-drawn at all.“For a long time, whenever I had visitors at DreamWorks, I would pull up sequences from ‘Me and My Shadow’ and other things I was working on, like ‘Kung Fu Panda,’” said Rune Brandt Bennicke, a supervising animator on the film. “Without fail, it was the ‘Me and My Shadow’ stuff where they went, ‘Wow, that was amazing.’”Five years later, production was halted. “The reason we were given for canceling it was that the studio felt that its potential for box office was not what they wanted,” said Bennicke.Since then, however, interest in the phantom film has only grown. Would-be fans scour the internet for concept art and clips, post their own fan art and fan-made trailers, and discuss — and grouse about — what might have been. There are numerous YouTube shorts and supercuts about the film; a short collection of unfinished clips and concept art — titled “The CANCELLED DreamWorks Masterpiece …” — has garnered more than 3.5 million views.Shadow Dan, the timid hero’s outgoing alter ego in “Me and My Shadow,” had a mind and physicality all his own. DreamWorks, via Rune Brandt BennickeWe 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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      Robert Towne, Screenwriter of ‘Chinatown’ and More, Dies at 89

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      Celebrated for his mastery of dialogue, he also contributed (though without credit) to the scripts of “Bonnie and Clyde” and “The Godfather.”Robert Towne, whose screenplay for Roman Polanski’s “Chinatown” won an Oscar, and whose work on that and other important films established him as one of the leading screenwriters of the so-called New Hollywood, died on Monday at his home in Los Angeles. He was 89.His publicist, Carri McClure, confirmed his death on Tuesday. She did not cite a cause.Mr. Towne’s Oscar was part of a phenomenal run. He was nominated for best-screenplay Oscars three years in a row; his “Chinatown” win, in 1974, came between nominations for “The Last Detail” and “Shampoo,” both directed by Hal Ashby. He had also worked as an uncredited script doctor on “Bonnie and Clyde” (1967) and “The Godfather” (1972).He was widely regarded as a master at writing dialogue, though he was less gifted at meeting deadlines — he was notorious for delivering long, unshapely scripts way past their due dates. The film historian David Thomson called him “a fascinating contradiction: in many ways idealistic, sentimental and very talented; in others a devout compromiser, a delayer, so insecure that he can sometimes seem devious.”Mr. Towne speaking at the Writers Guild Awards in Los Angeles in 2016.Phillip Faraone/Getty Images North AmericaMr. Towne later directed a few movies, and occasionally appeared onscreen, but he left his most lasting mark as a writer. And although he remained active into the 21st century, his reputation is based largely on the work he did in the 1970s.Beginning in the late 1960s with cutting-edge movies like “Midnight Cowboy” and “Easy Rider” and running through “Raging Bull” in 1980, the New Hollywood was a pinnacle for American directors, who followed the French auteur model of making idiosyncratic, personal movies, and also for talented screenwriters like Mr. Towne and a small army of gifted actors, like Jack Nicholson and Dustin Hoffman, who did not fit the old Hollywood mold.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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      ‘Beverly Hills Cop: Axel F’ Review: It’s Busted

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      Eddie Murphy struggles to revive the moribund action-comedy franchise.In “Beverly Hills Cop: Axel F,” the Detroit detective Axel Foley (Eddie Murphy) is no longer the fast, young cop we last saw 30 years ago. The beleaguered Captain Jeffrey Friedman (Paul Reiser) thinks the older and slower Axel should reconnect with his estranged daughter, Jane (Taylour Paige), who works as a defense attorney in Los Angeles. She is representing someone accused of killing a possible dirty cop. When masked men dangle Jane’s car with her inside from a roof, Axel, at the request of his longtime pal Billy Rosewood (Judge Reinhold), comes to Los Angeles to find the culprits.Murphy returns with the same Detroit Lions jacket, his familiar chuckle and his movie star grin. But there’s little to smile about in this painfully lackluster retread desperately trying to justify its own existence.In his feature directing debut, Mark Molloy — who plied his trade making commercials — tries to imagine a world where Axel is no longer a beloved wisecracker. Jane hates Axel for abandoning her as a child. Her former flame, Detective Bobby Abbott (Joseph Gordon-Levitt), who later teams up with Axel, also thinks Axel’s penchant for public destruction is outdated. Axel’s ruminations on parenting and policing are short-lived in the face of the flashy Captain Cade Grant (Kevin Bacon), who seems to be actively impeding Axel’s investigation as a bemused Chief John Taggart (John Ashton) looks on.Molloy’s film (streaming on Netflix) is a slog: The dirty cop mystery is half-baked; the visual effects are half-rendered; the action lacks any sense of physical space. In the opening scene, Axel’s attempt to stop a robbery in the Red Wings’ locker room becomes a shaky street chase with Axel in a snowplow and the robbers on bikes. Rather than film the scene as a cohesive shot, Molloy filmed the bikers and Murphy separately. The result is a scattered set piece without any visual cohesion.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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      Andrew Scott’s Best Roles and Moments

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      The star of “Ripley” and “All of Us Strangers” has become one of our most reliably excellent actors.There are some actors who always, no matter the size of their role or the context of their performance, draw the eye. Andrew Scott, who has most recently appeared as the slippery, scheming protagonist in the Netflix series “Ripley,” is one of them. He is enthralling to watch, his emotional notes meticulously constructed, with playful touches of chaos that always leave space for moments of discovery and surprise. Here are a few of Scott’s favorite modes of performance, and how his popular roles reflect an actor excelling at his craft.The MadmanBBC/Hartswood Films for MasterpieceIn Scott’s breakout role, in “Sherlock,” he plays Moriarty, the criminal mastermind opposite Benedict Cumberbatch’s contemporary Sherlock Holmes. From Scott’s first appearance, in the Season 1 finale, he electrifies an already energetic show. Cumberbatch set the tone for “Sherlock” with his brutal, fast-paced wit; deductions tumble out of his mouth with strict precision, and in an impersonal monotone. Scott’s arrival, and his erratic singsong speaking, break this rhythm. There’s a menacing playfulness to not only his rhetorical delivery but also to his facial expressions. It adds a new dimension to the show.In their initial confrontation scene, Sherlock aims a gun at Moriarty, asking, “What if I was to shoot you now?” Moriarty responds with a cartoonish look of shock that starts at the top of his head and ripples down: his eyebrows popping up, his eyes widening, jaw dropping and neck drawing back. 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