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      Keith McNally, of Balthazar, Discusses His Filmmaking Past

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      Hundreds of moviegoers went to rare screenings of the New York restaurateur’s little-known 1990 film. Afterward, he treated them to half-price dinners at Balthazar and Minetta Tavern.On Thursday night at the Roxy Cinema in Lower Manhattan, a throng of scarf-bundled cinephiles attended the sold-out screening of a black-and-white psychological thriller, “End of the Night,” that was being shown for the first time in more than 30 years.The film’s obscurity wasn’t what drew the crowd: They were there because of its unlikely writer and director, Keith McNally, the downtown restaurateur who runs Balthazar, Minetta Tavern, Pastis and Morandi.Before he shaped New York’s nightlife with his brasseries, Mr. McNally had serious filmmaking ambitions. His first full-length feature, “End of the Night,” premiered at the Directors’ Fortnight showcase during the 1990 Cannes Film Festival, appearing alongside Whit Stillman’s “Metropolitan.” It went on to be a minor hit in Europe before it became a cinematic footnote.In advance of the screenings at the Roxy, an 118-seat art house cinema located in a hotel in TriBeCa, Mr. McNally drummed up interest with a post on his popular Instagram account: “ANYONE WATCHING THIS FILM AT THE ROXY CAN EAT AT BALTHAZAR OR MINETTA TAVERN THAT SAME NIGHT FOR HALF-PRICE,” he wrote in his typical all-caps style.The post also quoted from a Cahiers du Cinéma review that described “End of the Night” as a “noirish tale of self-destruction” that provides an “unsettling look at a man whose life is turned upside down during his wife’s pregnancy.”Mr. McNally at his SoHo apartment. “I think my talent as a filmmaker was minimal,” he said.Lanna Apisukh 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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      How Toilets Got a Starring Role in a Wim Wenders Movie

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      A behind-the-scenes look at “Perfect Days,” which features Koji Yakusho as a cleaner of public bathrooms in Tokyo.As artistic inspiration goes, public toilets don’t usually stir the spirit.Then again, most toilets aren’t like the public bathrooms in Tokyo.So when Wim Wenders, the German film director of art-house favorites like “Paris, Texas” and “Wings of Desire,” first toured more than a dozen public toilet buildings around the Japanese capital city in the spring of 2022, he was enchanted by what he described as “little jewels” designed by Pritzker Prize winners including Tadao Ando, Shigeru Ban and Kengo Kuma. Those stylish commodes provided the creative sparks for his latest movie, “Perfect Days,” which has been nominated in the international feature category for an Academy Award and opens in theaters in the United States on Feb. 7.The movie — a poignant character study of a public-toilet cleaner with a mysterious past who lives a spartan existence and works with the care of a master craftsman — actually had its roots in a bit of propaganda. Wenders had been invited to Japan as the guest of a prominent Japanese businessman who hoped that the director might want to make a series of short films featuring the toilets, which had been conceived as showcases for Japanese artistry and hygienic mastery.Koji Yanai, the son of the founder of Fast Retailing (the sprawling clothing giant best known for its Uniqlo brand) and a senior executive officer there, had spearheaded the public toilet project to be an architectural display of “Japanese pride.”“If I say Japanese toilets are world number one, no one will disagree,” Yanai said in an interview late last year. He had recruited the architects to design the public buildings with a distinctive aesthetic that would make them as much art as public utility.Originally built to welcome the world to Japan for the summer Olympic Games scheduled for 2020, the toilets did not get their moment because the pandemic forced the postponement of the Games to 2021, which were then staged without spectators.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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      Watch Carl Weathers Memorable Performances: ‘Rocky,’ ‘Star Wars’ and More

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      Whether dressed in American flag shorts or dirty fatigues, the versatile actor, best known as Apollo Creed in the “Rocky” movies, always made an impression.When you look back on the career of Carl Weathers, who died on Thursday at the age of 76, certain images immediately come to mind. There is Weathers, abs glistening, in American flag shorts in the “Rocky” movies. Or Weathers wearing dirty fatigues in “Predator.” Comedy junkies might immediately picture him waving alongside an alligator in “Happy Gilmore.” Throughout Weathers’s acting career, which followed a stint in professional football, he was associated with franchises that became pop culture sensations. But he was also a performer who was as comfortable goofing on his own persona as he was battling Rocky Balboa or a Predator. Here are some of his most memorable roles and where to watch them.‘Rocky I-IV’ (1976, 1979, 1982, 1985)Stream the “Rocky” films on Max.If you know Weathers for one part, it is Apollo Creed, the villain turned pal turned tragic figure in the “Rocky” franchise. Creed is introduced in the first film, the best picture winner directed by John G. Avildsen, as the man who both gives Sylvester Stallone’s Rocky his shot and stands in his way.A heavyweight champion who needs an opponent for a fight, Apollo has the great idea to give a “local underdog” the chance to go up against him. The first two movies find Rocky battling Creed. By the third, Rocky and Apollo have formed an alliance, and, by the fourth, well, I won’t spoil it if you haven’t seen it, but suffice it to say Apollo’s legacy looms large. When “Rocky II” came out, Weathers was already thinking about a future after Apollo. He told The Washington Post: “I’m looking for a Picassoesque role, something that will throw me into new period. I feel Apollo Creed has taken me so far, but now it’s necessary to go beyond that.” But it’s also understandable why Apollo is such a touchstone of Weathers’s career. In addition to showing off his incredible physicality, he made a character that could have been a one-off bad guy into a person you couldn’t help but root for every time he was in the ring. Now, the “Rocky” films have morphed into the “Creed” films. That would not have been the case without Weathers.‘Predator’ (1987)Rent or buy it on most major platforms.Mr. Weathers appeared with Arnold Schwarzenegger in the 1987 action movie “Predator.”Sunset Boulevard/Corbis, via 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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      Carl Weathers on Streaming

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      Whether dressed in American flag shorts or dirty fatigues, the versatile actor, best known as Apollo Creed in the “Rocky” movies, always made an impression.When you look back on the career of Carl Weathers, who died on Thursday at the age of 76, certain images immediately come to mind. There is Weathers, abs glistening, in American flag shorts in the “Rocky” movies. Or Weathers wearing dirty fatigues in “Predator.” Comedy junkies might immediately picture him waving alongside an alligator in “Happy Gilmore.” Throughout Weathers’s acting career, which followed a stint in professional football, he was associated with franchises that became pop culture sensations. But he was also a performer who was as comfortable goofing on his own persona as he was battling Rocky Balboa or a Predator. Here are some of his most memorable roles and where to watch them.‘Rocky I-IV’ (1976, 1979, 1982, 1985)Stream the “Rocky” films on Max.If you know Weathers for one part, it is Apollo Creed, the villain turned pal turned tragic figure in the “Rocky” franchise. Creed is introduced in the first film, the best picture winner directed by John G. Avildsen, as the man who both gives Sylvester Stallone’s Rocky his shot and stands in his way.A heavyweight champion who needs an opponent for a fight, Apollo has the great idea to give a “local underdog” the chance to go up against him. The first two movies find Rocky battling Creed. By the third, Rocky and Apollo have formed an alliance, and, by the fourth, well, I won’t spoil it if you haven’t seen it, but suffice it to say Apollo’s legacy looms large. When “Rocky II” came out, Weathers was already thinking about a future after Apollo. He told The Washington Post: “I’m looking for a Picassoesque role, something that will throw me into new period. I feel Apollo Creed has taken me so far, but now it’s necessary to go beyond that.” But it’s also understandable why Apollo is such a touchstone of Weathers’s career. In addition to showing off his incredible physicality, he made a character that could have been a one-off bad guy into a person you couldn’t help but root for every time he was in the ring. Now, the “Rocky” films have morphed into the “Creed” films. That would not have been the case without Weathers.‘Predator’ (1987)Rent or buy it on most major platforms.Weathers with Arnold Schwarzenegger in “Predator.”Sunset Boulevard/Corbis, via 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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      Carl Weathers, Who Played Apollo Creed in ‘Rocky’ Movies, Dies at 76

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      The onetime football player played a host of roles in an acting career that lasted more than four decades.Carl Weathers, the N.F.L. linebacker turned actor known for playing Apollo Creed in the first four “Rocky” movies in an acting career that spanned more than four decades, died on Thursday. He was 76.His family said Mr. Weathers had “died peacefully in his sleep.” No cause was given.As the boxer Apollo Creed, he fought Sylvester Stallone in the “Rocky” movies, the first of which, released in 1976, won the Academy Award for best picture of the year. He also notably played Chubbs Peterson in the golf comedy “Happy Gilmore,” starring Adam Sandler.Mr. Weathers displayed his range in several roles on film and television, including appearing in the 2019 science-fiction series “The Mandalorian” and in the drama series “Chicago Justice” (2017) and the long-running “Chicago P.D.”He was a linebacker for the Oakland Raiders from 1970 to 1971, and he later briefly played in the Canadian Football League. He took up acting in the 1970s after retiring from professional football.A full obituary will follow. More

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      Sandra Milo, Who Had Star Turns in Fellini Films, Dies at 90

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      She was called Fellini’s muse. She claimed she was his lover. In a long career, she was best known for her performances in his movies “8 ½” and “Juliet of the Spirits.”Sandra Milo, who was best known internationally for her roles in Federico Fellini’s movies “8 ½” and “Juliet of the Spirits” — and whose tumultuous love life churned headlines in Italy — died on Monday at her home in Rome. She was 90.Her children announced the death on her official Facebook page. No cause was given.Ms. Milo’s screen debut, alongside the comic actor Alberto Sordi in “Lo Scapolo” (“The Bachelor”) in 1955, coincided with the golden age of Italian cinema. She went on to work alongside some of Italy’s most famous leading men, including Marcello Mastroianni, Vittorio Gassman and Vittorio De Sica, and for some of the country’s most renowned directors, including Roberto Rossellini, Dino Risi and later Pupi Avati and Gabriele Salvatores.But her primary claim to stardom was the two films she made with Fellini, with whom, she claimed in a 1982 book, “Caro Federico,” she had an offscreen romance that lasted nearly two decades. Fellini, who died in 1993, never spoke publicly about that claim. The Italian media called her Fellini’s muse.Ms. Milo and Fellini on the set of “Juliet of the Spirits” in 1965. She played the free-spirited next-door neighbor of the film’s protagonist, played by Fellini’s wife, Giulietta Masina.Pierluigi Praturlon/Reporters Associati & Archivi, via Mondadori Portfolio, via Getty ImagesFellini, who fondly called Ms. Milo “Sandrocchia,” had also wanted her to play the role of the glamorous Gradisca in his semi-autobiographical 1973 film, “Amarcord,” but, she told interviewers, her husband at the time had objected because he knew she was fond of Fellini.“He knew I loved him,” she said in a 2019 documentary about her life.She also said she knew that the production would take her away from her children. “Am I first a woman, or first a mother?” she mused in the documentary. “Maybe I am first a mother, so I didn’t do 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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      3 Celebrity Documentaries Worth Your Time

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      The typical star biography avoids warts. But there are films that combine critical takes with a better understanding of their subjects’ cultural import.Pop open the “documentaries” section of your friendly local streaming service, and a bevy of movies about celebrities will greet you. Rockers, politicians, artists, authors, athletes — increasingly everyone you’ve heard of has a documentary, and probably served as a producer on it, too. The appeal of such films is obvious: If you like someone already, you get to hear them talk about themselves. If you know you should like someone, then you’ve got a quick introduction to set you on your way to fandom.That’s the appeal of two documentaries released this week, “The Greatest Night in Pop” (Netflix) and “Dario Argento Panico” (Shudder). The first is a lighthearted look at the recording of “We Are the World,” full of archival footage from the actual recording in 1985 and reminiscences by figures like Bruce Springsteen and Lionel Richie. The movie sidesteps any real contemplation of the song itself or its cultural import, but if you want to hear famous people talk about a real weird night, then you won’t be disappointed. (Here’s our critic’s review.) Similarly, “Dario Argento Panico” functions best as a primer on the Italian horror master (director, most famously, of “Suspiria”), supplemented by commentary from figures like the director Guillermo del Toro; it’s not breaking any ground, but you’ll learn a thing or two. (Here’s our review.)Watching these films got me thinking about celebrity-focused documentaries that go above and beyond the usual fare. The best of these movies tend to do more than tell us about the subject — they tell us what the subject means, in a cultural sense. Celebrities, after all, are not just people. They’re products, packaged for us to consume in some manner, and their stories say something about the world writ large.There are plenty of examples in the history of nonfiction film, but as celebrities, and their teams of publicists and managers, have increased control over their images, it’s rarer and rarer to find a documentary that feels as if it’s more revealing than concealing. One enjoyable recent example is “Judy Blume Forever” (Prime Video), which locates the YA author’s importance in, among other things, her fearless attitude toward censorship and book banning.One of the best recent films in this genre is “Listening to Kenny G” (Max), which weaves together interviews with the smooth jazz saxophonist and discussions with fans, haters and critics to consider what his popularity really means — and, more broadly, why we like art in the first place.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 Point of ‘Saltburn’ Isn’t What You Think It Is

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      The streaming hit has generated much chatter for its transgressive scenes. But those are diversions, camouflaging what the director is really doing.I had a grand old time watching Emerald Fennell’s “Saltburn” at a critics’ screening before the general public got to it, which means I was mostly unspoiled by discourse. This enjoyment came as a surprise: I did not much like “Promising Young Woman,” the writer-director’s previous, Oscar-winning outing, which aimed too high and landed with a thud. A critic should enter every movie with as blank a slate of expectations as possible. Still, for “Saltburn,” my internal eyebrow came pre-cocked.But it was sumptuous. It was silly. “No, Barry, no,” I murmured, giggling, when Barry Keoghan’s Oliver stood over that grave, contemplating the unspeakable. It was a movie about a middle-class kid who went home with his posh friend for summer vacation, slowly revealing himself to be a monster, and it was blatantly ridiculous. I loved watching it, feeling the sort of glee usually set off by a Skittles binge. As a devotee of two weird genres in particular — gothic campus yarns and “great house” tales — I just lapped it up. (So to speak.)In the intervening months, “Saltburn” has received an outsized amount of attention. It did respectably in its theatrical release, buoyed by a younger demographic in love with Jacob Elordi, a star of “Euphoria.” Critics compared it, unfavorably, with “Brideshead Revisited” and “The Talented Mr. Ripley,” citing its mishandling of class anxiety, its failure to adequately excoriate the rich and, perhaps most of all, the feeling that it was trying too hard to be shocking.Then, just before Christmas, “Saltburn” dropped on Amazon Prime Video. It became a bona fide viral hit, with word of mouth making it one of the streamer’s biggest debuts. TikTok users turned it into memes, (sort of) recreating the final scene scored to Sophie Ellis-Bextor’s “Murder on the Dance Floor,” which, in turn, shot up to No. 1 on Spotify’s Viral 100 chart. Keoghan and Elordi flirted their way through the press tour, fanning the internet’s flames. You could even buy a Jacob Elordi’s Bathwater candle. (To borrow internet slang, IYKYK.)Keoghan in that notorious tub. The film has given rise to products like a Jacob Elordi’s Bathwater candle.Amazon StudiosPeople keep talking about it, so I keep thinking about why I enjoy it so much, even though many of the criticisms leveled at it (as in my colleague Wesley Morris’s review) are not, strictly speaking, wrong.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