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‘Damsel’ Review: Yet Another Strong Female Lead
by Aurelia Butler 7 March 2024, 23:00
Millie Bobby Brown is a daring princess in a fairy tale that unspools its surprises far too soon.“There are tales of chivalry, where the heroic knight saves the damsel in distress,” a young woman’s voice intones as “Damsel” begins. “This is not one of them.”Oh, well, thank goodness, I thought, sarcastically and, perhaps, a bit uncharitably. Somewhere in my head I heard Miranda Priestly: Strong female lead? Groundbreaking.I like a scrappy heroine as much as anyone, but leading with that foot — we’re not like the other girls, we’re the cool girls — is starting to feel stale. “Damsel” isn’t bad, but it feels a bit gnawed upon. Directed by Juan Carlos Fresnadillo (“28 Weeks Later”) from a screenplay by Dan Mazeau, it’s an action movie starring Millie Bobby Brown as Elodie, a princess from a poor kingdom ruled by her father (Ray Winstone) and stepmother (Angela Bassett). She consents to marry the handsome prince from a much wealthier realm, only to discover something far darker is at play here.There are elements of “Damsel” — including a few shots — that remind me of one of the best feminist action movies in recent memory: “Ready or Not.” In that film, released in 2019, the heroine marries into a rich family, only to discover their family traditions include a pretty horrific ritual that she must endure to survive till morning. This plot runs along similar lines, but in a fairy-tale kingdom where Robin Wright is the queen and also there are dragons. (One bit also echoes “Eyes Wide Shut,” but this is not that kind of movie.)Elodie is a princess in the latter-day Disney mold: a smart girl who can ride horses, read books, decipher a map and outsmart a trap. She is resourceful and strong and spends a lot of time figuring out how she can escape. At the beginning of the film, she is obedient and obliging and corseted; by the end, she is in a much smaller skirt and taking no guff. In short, she has become self-actualized.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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Oscars 2024: Print Your Ballot to Make Your Predictions
by Aurelia Butler 7 March 2024, 21:01
Best Picture
☐ “American Fiction” ☐ “Anatomy of a Fall” “Barbie”
☐ “The Holdovers”
☐ “Killers of the Flower Moon”
☐ “Maestro”
☐ “Oppenheimer”
“Past Lives”
☐ “Poor Things”
“The Zone of Interest”
Best Director
Jonathan Glazer,
“The Zone of Interest” Yorgos Lanthimos, “Poor Things”
Christopher Nolan, “Oppenheimer”
Martin Scorsese,
“Killers of the Flower Moon”
DJustine Triet,
“Anatomy of a Fall”
Best Actor
Bradley Cooper,
“Maestro”
Colman Domingo, “Rustin”
Paul Giamatti, “The Holdovers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”
Best Actress
Annette Bening, “Nyad”
Lily Gladstone,
“Killers of the Flower Moon”
Sandra Hüller,
“Anatomy of a Fall”
Carey Mulligan,
“Maestro”
Emma Stone,
“Poor Things”
The New York Times
2024 Oscars Ballot
Best Supporting Actor
Sterling K. Brown, “American Fiction” Robert De Niro, “Killers of the Flower Moon”
Robert Downey Jr., “Oppenheimer”
Ryan Gosling, “Barbie”
Mark Ruffalo,
“Poor Things”
Best Supporting Actress
☐ Emily Blunt,
“Oppenheimer” Danielle Brooks, “The Color Purple” America Ferrera, “Barbie”
Jodie Foster, “Nyad”
Da’Vine Joy Randolph, “The Holdovers”
Original Screenplay
☐ “Anatomy of a Fall”
☐ “The Holdovers” ☐ “May December”
“Maestro”
“Past Lives”
Adapted Screenplay
“American Fiction”
☐ “Barbie”
☐ “Oppenheimer”
“Poor Things”
“The Zone of Interest”
Animated Feature
☐ “The Boy and the Heron”
O “Elemental”
☐ “Nimona”
☐ “Spider-Man: Across
the Spider-Verse” “Robot Dreams”
Production Design
□ “Barbie”
“Killers of the Flower Moon”
☐ “Napoleon”
☐ “Oppenheimer”
“Poor Things”
Costume Design
☐ “Barbie”
☐ “Killers of the Flower Moon”
☐ “Napoleon”
☐ “Oppenheimer”
☐ “Poor Things”
Cinematography
“El Conde”
☐ “Killers of the Flower Moon” ☐ “Maestro”
☐ “Oppenheimer”
“Poor Things”
Editing
“Anatomy of a Fall”
“The Holdovers”
“Killers of the Flower Moon”
“Oppenheimer”
“Poor Things”
Makeup and Hairstyling
☐ “Golda”
☐ “Maestro”
☐ “Oppenheimer”
“Poor Things”
“Society of the Snow”
Sound
“The Creator”
“Maestro”
“Mission: Impossible. Dead Reckoning Part One”
☐ “Oppenheimer”
☐ “The Zone of Interest”
Visual Effects ☐ “The Creator”
☐ “Godzilla Minus One” “Guardians of the Galaxy Vol. 3”
00
“Mission: Impossible. Dead Reckoning Part One”
☐ “Napoleon”
Original Score
“American Fiction”
“Indiana Jones and
the Dial of Destiny”
☐ “Killers of the Flower Moon”
“Oppenheimer”
“Poor Things”
Original Song
“The Fire Inside”
(“Flamin’ Hot”)
“I’m Just Ken” (“Barbie”) “It Never Went Away” (“American Symphony”)
☐ “Wahzhazhe (A Song For My People)”
(“Killers of the Flower Moon”)
“What Was I Made For?” (“Barbie”)
Documentary Feature
“Bobi Wine:
The People’s President” “The Eternal Memory” “Four Daughters” “To Kill a Tiger”
“20 Days in Mariupol”
International Feature “The Teachers’ Lounge,” Germany
“lo Capitano,”
Italy
“Perfect Days,”
Japan
“Society of the Snow,” Spain
“The Zone of Interest,” United Kingdom
Animated Short
“Letter to a Pig”
☐ “Ninety-Five Senses” “Our Uniform” “Pachyderme”
“War Is Over! Inspired by the Music of John & Yoko”
Documentary Short
“The ABCs of Book Banning” “The Barber of Little Rock” “Island in Between” “The Last Repair Shop”
“Nai Nai & Wai Po”
Live-Action Short
“The After” “Invincible” “Knight of Fortune”
“Red, White and Blue” “The Wonderful Story of Henry Sugar” More
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‘Glitter & Doom’ Review: Romance With an Indigo Girls Soundtrack
by Aurelia Butler 7 March 2024, 16:58
Songs by the Indigo Girls soundtrack a musical romance.There’s nostalgic art. Then there’s art that seems like somebody thawed it after 30 frozen years. “Glitter & Doom” doesn’t yearn for some older time. It’s pure time-warp: a gay musical-love-dramedy that could’ve screened all summer at the old Philadelphia art house where I used to work, plunked amid the queer independent-filmmaking bonanza that helped make the early-to-mid-1990s seem like every gay thing was possible. The movie’s got an earnest, amateurish case of the feel-good gosh-gollies that would have made sense playing down the hall from movies as different (although not that different) as “Go Fish” and “Wigstock,” “Zero Patience” and “The Incredibly True Adventure of Two Girls in Love” and — God help us all — “Claire of the Moon.” The two dozen or so songs in “Glitter & Doom” aren’t new (but aren’t based on Tom Waits’s 15-year-old live album, either). They’re by the Indigo Girls. Many of them are songs the Indigo Girls made a certain kind of popular during the years of that very bonanza. And what the movie does with them is call attention to the emotional mountain range of Emily Saliers and Amy Ray’s songwriting.Is theirs music that ever said “engine for movie about young man who wants to skip college to join circus and falls for young troubadour who paints window frames?” Not to my ears. But ask me if I thought this same music would be throwing the heart-swelling uppercut it does in a blockbuster about sentient dolls. Both “Barbie” and the final sequence of a particularly exhilarating episode of “Transparent” use the same Indigo Girls hit (“Closer to Fine”) in a way that proves the power of this music to gather together, win over, wear down, wind up. It’s music that, because it’s so true and melodically harmonized, transcends what The Times’s Lydia Polgreen identified, with ardor, as the cringe of its naked feeling.No one in “Glitter & Doom” needs a winning over. Its blood gushes with that kind of cringe. Glitter (Alex Diaz) is the juggling, jaunting, camera-obsessed circus aspirant. On the dance floor at a nightclub neoned to the max, he connects with Doom (Alan Cammish), the melancholic folkie. What ensues is nearly two hours of the false starts and second-guessing that romances use as sealant. The movie, which Tom Gustafson directed and Cory Krueckeberg wrote, weaves together various Indigo Girls songs from various eras in order to lubricate communication. Michelle Chamuel did the rearranging, and her seamlessly merging “Prince of Darkness” with “Shed Your Skin” and “Touch Me Fall” constitutes real innovation. She and the filmmakers have gleaned how much ambivalence suffuses Saliers and Ray’s catalog, how often and how intensely it calls on fear, damage and anger to negotiate with courage and hope, how powerfully that ambivalence resides in the way that Ray’s sharper, huskier voice can both lurk beneath and entwine the solar clarity of Saliers’s. I mean, the film’s called “Glitter & Doom.” To that end, Diaz is a brighter, more open singer than Cammish, whose voice has a spiked outer register.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 Film Christopher Nolan Doesn’t Want You to Watch
by Aurelia Butler 7 March 2024, 15:45
Nolan’s short film “Larceny” has not been shown publicly since a 1996 film festival. With the director in position to win his first Oscar, its cast and crew want to preserve that mystery.Before Christopher Nolan became a celebrated director — before “Inception” penetrated the land of dreams, “Interstellar” played with the laws of physics and “Tenet” warped all sense of chronology — there was “Larceny.”In 1995, Nolan directed “Larceny” with a group of friends he had met through the film society at University College London. It is about eight minutes long, was shot in black and white with 16-millimeter cameras and involves an apartment burglary.That is essentially all the public information about the film. After a screening at the Cambridge Film Festival in 1996, it vanished.In the decades since, Nolan, 53, has become known for his expansive cinematography and mind-bending plots in movies like “Memento,” the “Dark Knight” trilogy and “Dunkirk.” He is expected to win his first Oscar on Sunday for “Oppenheimer,” a three-hour biopic about a theoretical physicist that made nearly a billion dollars.The popularity of Nolan’s work has made the elusiveness of “Larceny” maddening for fans who want to watch his entire filmography, and perhaps gain insight into his early development as a filmmaker.“When I meet God, I won’t ask about the scrolls from the Library of Alexandria, I’ll shake him down for this lost film,” Dan DeLaPorte wrote on Letterboxd, a website where people rate and review movies.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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‘Kung Fu Panda 4’ Review: Trouble in Juniper City
by Aurelia Butler 7 March 2024, 14:37
Jack Black’s Po faces a new adversary, a chameleon voiced by Viola Davis, in the latest installment of this popular animated franchise.“Kung Fu Panda 4,” like previous installments of this DreamWorks franchise, punches above its weight.Once again starring Jack Black as the gullible martial arts master Po, the animated film melds together wisecracking comedy and sprightly action sequences with a message of kindness, inner peace and self-discovery.In this movie, directed by Mike Mitchell, Po grapples with his new responsibility as the spiritual leader of the Valley of Peace, taking the place of his mentor Shifu (Dustin Hoffman). Shifu urges Po to name a successor, but Po is reluctant to give up a life of butt-kicking in exchange for doling out wisdom.The halfhearted search for Po’s replacement is cut short with the arrival of a thieving fox, Zhen (Awkwafina). Threatened with jail time, she offers information on a mysterious new villain, the Chameleon (Viola Davis), who threatens to take over the Valley with the power of Po’s previous adversaries combined.As Po and Zhen set out for the Chameleon’s palace in faraway Juniper City, Po’s two guardians — his biological father, Li Shan (Bryan Cranston) and adopted father, Mr. Ping (James Hong) — follow him in comical pursuit.Witty gags abound (there’s a standout “bull in the china shop” sequence), and Black and Awkwafina make a charming lead duo, particularly when Po encounters the sights, sounds and bountiful food of Juniper City. The art direction is also a step above the typical animated blockbuster. But what’s missing are the antics of Po’s “Furious Five” compatriots from the earlier films, like Angelina Jolie’s Tigress and Jackie Chan’s Monkey, who are written off in this installment.Still, don’t expect a total downgrade: This is an enjoyable “Kung Fu Panda” movie, even if it’s missing some of the pizazz of the earlier ones.Kung Fu Panda 4Rated PG. Running time: 1 hour 34 minutes. In theaters. More
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‘Space: The Longest Goodbye’ Review
by Aurelia Butler 7 March 2024, 11:00
This documentary by Ido Mizrahy examines the psychological challenges of space exploration for astronauts and their loved ones as scientists consider whether humans could reach Mars.In “Space: The Longest Goodbye,” scientists researching the problems of long-term space exploration go where movies have gone before. Sending astronauts into hibernation to conserve scarce resources? Pairing them with an artificially intelligent entity that can act as a pal and sounding board? Screenwriters have tried these things already, with results probably best kept in fiction.But such gambits may offer real solutions for getting humans to Mars. And they are gambits that this fitfully intriguing, sometimes wide-eyed documentary, directed by Ido Mizrahy, takes seriously.“Soft, squishy humans are completely unfathomable to engineers,” says Jack Stuster, an anthropologist who asked residents of the International Space Station to keep journals. One of the principal interviewees is Al Holland, a psychologist who assembled a unit at the National Aeronautics and Space Administration to provide support for astronauts. He discusses his experience in 2010 consulting on the Chilean mine disaster, which had striking parallels with the isolation of space life.We also hear from Kayla Barron, a submarine warfare officer who decided to go to space, and her husband, who stayed behind; as a military couple, they were used to living separately, but this posed a different challenge. And we see clips of personal video chats that the astronaut Cady Coleman held with her husband and son back on Earth, through a system that sometimes didn’t work. “It’s hard for me to really realize how hard it was for a little kid to just have to be so very patient,” she recalls in the documentary.On Mars missions, distance will make similar real-time communication impossible, which means that astronauts won’t even have that kind of intermittent contact. “Space: The Longest Goodbye” leaves open the question of whether anyone could get to the red planet with his or her sanity intact.Space: The Longest GoodbyeNot rated. Running time: 1 hour 27 minutes. In theaters and available to rent or buy on most major platforms. More
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‘Cabrini’ Review: Embarking on a Pious Mission
by Aurelia Butler 7 March 2024, 11:00
From the team behind “Sound of Freedom,” this biopic of an Italian nun in 19th-century New York City is stuffed with sanctimonious speeches.“Cabrini,” a cluttered biopic of an Italian nun on a mission in 19th-century Manhattan, is directed by Alejandro Monteverde and produced by Angel Studios. You may recognize the names as the team behind “Sound of Freedom,” the 2023 conservative hit thriller.Yet this new, pious tale, assembled around the ecumenical theme of perseverance, almost makes one nostalgic for the frisson of provocation. The gauzy goodness of this film is axiomatic, and its litany of sanctimonious speeches (“the world is too small for what I intend to do”) generally repels inquiry, let alone controversy.The story begins as Francesca Cabrini (Cristiana Dell’Anna) and Catholic nuns from her order immigrate to New York to run an orphanage in Five Points, the Lower Manhattan neighborhood plagued by violence and adversity. She goes on to challenge various clergymen and politicians in her quest to save the youth and aid the downtrodden, namely, Italians. I should mention that the saintly striver is all the while giving support to a former prostitute, hoping to open a hospital and enduring a lung condition with a terminal prognosis.It’s inspiring stuff, rendered stodgy and repetitive. The screenplay contains numerous scenes of Cabrini striding through opulent rooms as she goes head-to-head with bureaucratic white men; several sequences could have been scrapped in favor of more time spent with the rabble of orphans under her care. Among the multitude, only one suffering boy, bravely volunteering as a representative case, is accorded a name and a back story.CabriniRated PG-13 for some sinful material. Running time: 2 hours 25 minutes. In theaters. More
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What the ‘Rust’ Jury Heard About How Live Rounds Got on a Film Set
by Aurelia Butler 7 March 2024, 09:05
The prosecution pointed to a photo of the film’s armorer, arguing she had brought the live rounds. Her lawyers tried to focus attention on the movie’s primary ammunition supplier.Ever since a real, live bullet discharged from the gun that Alec Baldwin was rehearsing with on the set of the film “Rust” in 2021, killing the cinematographer and wounding the director, one question has vexed everyone involved: How did live ammunition end up on a film set, where — all agree — it absolutely should never have been?The film’s armorer, Hannah Gutierrez-Reed, was found guilty on Wednesday of involuntary manslaughter in the death of the cinematographer, Halyna Hutchins, and faces up to 18 months in prison. The jury found that Ms. Gutierrez-Reed, 26, had behaved negligently by failing to check that all of the rounds she loaded into Mr. Baldwin’s revolver were dummies, which are inert rounds that look real but cannot be fired.The question of where the live ammunition came from in the first place has hung over the case from the start. The original investigation by the Santa Fe County Sheriff’s Office did not reach a conclusion on where the live rounds had come from.During the trial, prosecutors sought to convince jurors that it was Ms. Gutierrez-Reed who was responsible for bringing the rounds onto the set. The defense asserted that Ms. Gutierrez-Reed, who did not testify, was not at fault, and tried to focus attention on the movie’s primary weapons and ammunition supplier, Seth Kenney, who took the stand and denied responsibility.Here is what emerged during the trial about the live ammunition, and where it may have come from.Ms. Gutierrez-Reed during the trial.Pool photo by Eddie MooreProsecutors zeroed in on a box of rounds from the set.When investigators arrived at the chaotic scene shortly after the shooting, on Oct. 21, 2021, Ms. Gutierrez-Reed showed a lieutenant from the Santa Fe County Sheriff’s Office a cart where she kept guns and ammunition and drew his attention to a box of ammunition where she said that she had retrieved the rounds she put in Mr. Baldwin’s revolver.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

Movies

More stories

‘Damsel’ Review: Yet Another Strong Female Lead

Oscars 2024: Print Your Ballot to Make Your Predictions

‘Glitter & Doom’ Review: Romance With an Indigo Girls Soundtrack

The Film Christopher Nolan Doesn’t Want You to Watch

‘Kung Fu Panda 4’ Review: Trouble in Juniper City

‘Space: The Longest Goodbye’ Review

‘Cabrini’ Review: Embarking on a Pious Mission

What the ‘Rust’ Jury Heard About How Live Rounds Got on a Film Set

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