Movies

Subterms

    More stories

    • 150 Shares99 Views

      in Movies

      David Harris, Actor in the Cult Classic ‘The Warriors,’ Dies at 75

      by

      He played Cochise, a member of the Warriors gang who navigated a panoply of costumed aggressors in New York City.David Harris, who played a member of a street gang in the 1979 cult classic movie “The Warriors,” died on Friday at his home in New York City. He was 75.His daughter, Davina Harris, said the cause was cancer.As the Warriors evaded and did battle with rival crews in New York City streets and subway cars, Mr. Harris in the role of Cochise dutifully supported his brothers. In a gang that conformed to matching red leather vests, Cochise cut a defiant presence with his headband and turquoise necklaces that bobbed to the rhythm of their violent journey home to Coney Island.After the Warriors are falsely accused of killing a gang leader, they have to navigate a panoply of colorful and costumed rivals — malevolent mimes, pinstriped baseball bat thumpers and villains aboard a school bus fit for “Mad Max.”In a movie with moments (the sinister bottle clinking, the baritone bellow of “Can you dig it?”) that have been recreated and parodied in media in the decades since the film’s release, one of Mr. Harris’s scenes inside a rival gang’s den was a central point in the mayhem.After being seduced by an all-female gang, a party in an apartment quickly turns sideways, with a hand near Mr. Harris’s face suddenly wielding a switchblade. He bobs and dodges, jumps and jukes before swinging a chair and plowing through a door that allows him and his fellow members to escape bullets and blades.“We thought it was a little film that would run its little run and go, and nobody would ever talk about it again,” Mr. Harris said in an interview in 2019 with ADAMICradio, an online channel about TV, films and comics.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

    • 125 Shares199 Views

      in Movies

      California Governor Proposes $750 Million in Annual Film Tax Credits

      by

      Gov. Gavin Newsom wants to more than double the amount the state offers in incentives, which would make its program one of the nation’s most generous.Responding to pleas from California’s film industry, which has struggled to rebound from labor unrest and industry disruption, Gov. Gavin Newsom on Sunday announced a proposal to more than double the size of the state’s film tax incentive program to $750 million annually.If the proposal is approved by the State Legislature, California would offer more money to entice film productions than any state except Georgia, which provides unlimited tax credits. California’s existing program is capped at $330 million annually. The increase would go into effect on July 1, 2025.“California is the entertainment capital of the world, rooted in decades of creativity, innovation and unparalleled talent,” Mr. Newsom said in a statement. “Expanding this program will help keep production here at home, generate thousands of good-paying jobs, and strengthen the vital link between our communities and the state’s iconic film and TV industry.”In recent weeks, state economic development officials and entertainment executives in Los Angeles have publicly expressed concern over the persistent slump in film production, begging officials to do more to keep film shoots in the state.Over the past 20 years, states have aggressively wooed Hollywood, offering movie and television productions more than $25 billion in filming incentives, according to a survey by The New York Times. Thirty-eight states offer some form of incentive, including Georgia, which has extended more than $5 billion in film tax credits since 2015, and New York, which has provided at least $7 billion in credits. More

    • 138 Shares129 Views

      in Movies

      We Ranked the 25 Jump Scares That Still Make Us Jump

      by

      The floor creaks, the music turns ominous and an uneasy quiet sets in. Then BAM! It’s the classic jump scare. This staple of horror movies, when done well, is instantly memorable. With Times film writers, filmmakers and stars weighing in, we ranked the 25 jump scares that still get us every time. WARNINGThis article contains […] More

    • 113 Shares149 Views

      in Movies

      Watch Ralph Fiennes Deliver a Startling Speech in ‘Conclave’

      by

      The actor plays a cardinal who expresses doubts about his faith and the church in this drama from the director Edward Berger.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.The selection of a new pope is at the center of “Conclave,” the latest drama from the director Edward Berger (“All Quiet on the Western Front”). But while the setting is reverent, the movie finds its narrative propulsion in what its characters try to hide or, in this scene, what they surprisingly decide to express.Ralph Fiennes plays Cardinal Lawrence, the dean of the College of Cardinals, the group that will elect a new pope. The character has operated on the sidelines for much of his time in the church, but something bolder happens here. He addresses the cardinals in a homily that starts formally and ends with personal expressions of doubt.Narrating the scene, Berger said that it sets up Lawrence “as a character to be reckoned with. He delivers this speech that comes from his heart, and other cardinals, especially the ones with ambition to become the next pope, suddenly fear that there’s a new contender in the room.”Read the “Conclave” review.Read about the making of the film.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

    • 175 Shares169 Views

      in Movies

      ‘Conclave’: A Fly on the Wall Inside the Secret Process to Elect a Pope

      by

      A new drama by Edward Berger draws the audience inside this largely hidden tradition. How accurate is it?When a pope dies, cardinals younger than 80 gather at the Vatican to elect his successor in what is known as a conclave. Recent papal elections have offered glimpses of this highly secretive process by allowing television cameras to capture some of the pomp and prayers leading up to the voting.But the world is left hanging the moment a Vatican official solemnly proclaims, “Extra omnes,” Latin for “all out,” and shoos everyone else from the Sistine Chapel before dramatically shutting its immense wooden doors so that the cardinals can begin selecting the next pope.Edward Berger’s new drama, “Conclave,” which opens Friday, catapults audiences back inside the Sistine Chapel for a cinematically rare, if fictionalized, peek at the confidential electoral proceedings of the Roman Catholic Church.“Ancient rituals clashing with modernity,” Berger said, describing the film in a video interview.The film stars Ralph Fiennes as Lawrence, dean of the College of Cardinals, who in the film is responsible for leading the papal election, and Stanley Tucci, John Lithgow, Lucian Msamati and Sergio Castellitto as papal contenders. They are not based on real people but are instead amalgams of contrasting blocs within the church, traditionalist and progressive, that loosely define existing currents. “It’s all politics in the end,” said Robert Harris, who wrote the 2016 novel on which Peter Straughan based his screenplay.“Conclave” is hardly the first film to involve a papal election, and church-based mystery-thrillers, like Dan Brown’s “Angels & Demons” or Raymond Khoury’s “The Last Templar,” have regularly made best-seller lists.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

    • 150 Shares159 Views

      in Movies

      ‘Dahomey’: Mati Diop’s New Documentary on the Painful Legacy of Looted Artifacts

      by

      Mati Diop examines the fate of 26 treasures — sometimes from their point of view — looted from Benin in 1892.There are many voices in Mati Diop’s new documentary, “Dahomey” (in theaters), and one of them belongs to Artifact No. 26. “I lost myself in my dreams, becoming one with these walls, cut off from the land of my birth as if I was dead,” it says in French, its timbre tweaked to contain both a low rumbling bass and a higher, more feminine sound. “Today, it’s me they have chosen, like their finest and most legitimate victim.”Artifacts technically do not talk, but this imaginative element frames the rest of Diop’s film. The movie comprises mostly observational footage shot during the shipping and repatriation of 26 objects that France had looted from the kingdom of Dahomey (now Benin) during the invasion of 1892. They had resided until 2021 in Paris, in the Quai Branly museum, which houses Indigenous art and cultural items from Africa, Asia, Oceania and the Americas.The return of those 26 antiquities was part of a much bigger story that began with a report on the restitution of African treasures commissioned by President Emmanuel Macron of France in 2018. That November, he announced that the items would be handed over, and that his government would study and consider giving back other objects removed from African nations without consent. He stopped short of following the report’s full recommendation, which was to return all items if asked. The move kicked off years of debate among former colonial powers in Europe, including Germany and Britain, about similar treasures in their national museums and archives.It took years to actually give back those initial 26, which included effigies of the rulers King Behanzin and King Glélé, two thrones and four painted gates from Behanzin’s palace. “Dahomey” homes in on their fate as a way of exploring the complexity of the very act of repatriation — not for the Europeans, but for the Beninese. We watch conservators and curators carefully pack everything up. (The camera briefly takes the point of view of Artifact No. 26, with the sounds of screws going into the top of the crate and then noises of transit.) They’re then unloaded in Benin, and officials arrive for the occasion.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

    • 125 Shares199 Views

      in Movies

      Lynda Obst, Producer, Dies at 74; Championed Women in Hollywood

      by

      She helped make films like “Sleepless in Seattle” and “Contact.” She also wrote widely about the industry, for The Times and other publications.Lynda Obst, a New York journalist turned Hollywood producer who promoted women in films like “Sleepless in Seattle” and “Contact” while writing incisive dispatches from Tinseltown for outlets like The Atlantic and The New York Times, died on Tuesday at her home in Los Angeles. She was 74.Her brother Rick Rosen said the cause was chronic obstructive pulmonary disease.Known for her booming, raspy laugh and her startling candor, Ms. Obst was a colorful character even by the standards of a colorful industry.Even more unusual for Hollywood, she was at times an outspoken critic of the movie industry, especially its treatment of women.As a producer, she excelled at both frothy romantic comedies and serious science fiction dramas. She helped shepherd Nora Ephron’s seminal “Sleepless in Seattle” as an executive producer in 1993 and the box-office hit “How to Lose a Guy in 10 Days” as a producer in 2003. But she also produced Robert Zemeckis’s “Contact” in 1997 and Christopher Nolan’s “Interstellar” in 2014.She was an advocate for stories focused on women, and often made by women, at a time when there weren’t many. She pushed, for example, for Jodie Foster to star as an astronomer in “Contact” when it was unusual for a major science fiction movie to have a female lead. An acolyte and admirer of Ms. Ephron, she produced her directorial debut, “This Is My Life” (1992).Ms. Obst excelled at both frothy romantic comedies and serious science fiction dramas. She was an executive producer of the hit Nora Ephron comedy “Sleepless in Seattle” (1993), which starred Meg Ryan and Tom Hanks, seen here with Ross Malinger.TriStar PicturesWe 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