Movies

Subterms

    More stories

    • 113 Shares159 Views

      in Movies

      ‘The Boys in the Boat’ Review: Taking Up Oars

      by

      George Clooney’s film covers a high water point when the University of Washington’s junior varsity crew padded all the way to the 1936 Olympics.“The Boys in the Boat,” directed by George Clooney, is an old-fashioned movie about old-fashioned moxie. Based on a section of Daniel James Brown’s 2013 nonfiction book of the same name, and set to a plucky score by Alexandre Desplat, it’s a handsome, forthright flashback to a high water point of the Depression Era when the University of Washington’s junior varsity crew padded all the way to the 1936 Olympics. Approximately 300 million radio listeners tuned in to hear live sporting news from Berlin, and the film cuts to what feels like all of them rooting on these tall, ruddy and heroic amateurs. I’ve never seen a movie with this much applause — the extras must have been as winded as the athletes.The United States eight-man rowing team had won every gold medal since 1920, but the screenwriter Mark L. Smith glides past that fact to emphasize that these particular boys were at a disadvantage. Unlike the prestigious Ivy League squads, the Huskies were mostly middle and working class landlubbers who’d only taken up oars to pay for school. Our lead, Joe Rance (Callum Turner), trudges to campus from a Hooverville; later, the coach Al Ulbrickson (Joel Edgerton), pokes around his crew’s lockers to count the holes in their shoes. Before a pivotal regatta, a radio sportscaster (John Ammirati) bellows the obvious theme: “A clash of character! Old money versus no money at all! It’s a boat full of underdogs representing an underdog nation!”The script is as subtle as a bonk on the nose, and the editing repeats every beat twice-over in broad pantomime and meaningful looks. Despite some tender philosophizing from the racing shell designer George Pocock (Peter Guinness), we never quite get an insight into exactly how these eight undergrads melded into a winning team. The main oarsmen, Don Hume (Jack Mulhern) and Rance, rarely speak, and the others hardly register. Thank heavens for Luke Slattery as the coxswain Bobby Moch, who straps on a hands-free leather and metal megaphone — a contraption that, to modern eyes, looks like a torture device for mumblers — and instantly screams some life into the picture.With the female characters sidelined to one-note cheerleaders, Clooney puts his focus on the fantastic production design. The pennant budget alone must have cost a fair penny, but he even includes an assembly line scene of those pennants being made. Just as faithfully, Clooney acknowledges how little politics registered to these jocks. In Berlin, they become passingly acquainted with Jesse Owens (Jyuddah Jaymes), but when Adolf Hitler (Daniel Philpott) pops up in a Seattle newsreel, no one bothers to boo.So it’s for our sake that the film gives us the Führer pounding his fist in fury that the Yanks might one-up Germany in his moment of triumph — and for our kicks that the cinematographer Martin Ruhe bests a shot from Leni Riefenstahl’s documentary “Olympia,” a dynamic redo of Moch heaving in and out of the frame, his megaphone eclipsing everything but his hair and lips.The Boys in the BoatRated PG-13 for cursing and cigarettes. Running time: 2 hours 4 minutes. In theaters. More

    • 125 Shares199 Views

      in Movies

      ‘The Teachers’ Lounge’ Review: A Whole Civilization in the Classroom

      by

      An idealistic teacher in a German school meets reality, and it’s messier than she could have imagined.Teaching, like parenting or skiing or governing or making a souffle, is an activity you can learn about from books and classes and movies, but only really understand on the job. Carla Nowak (Leonie Benesch), a new teacher in a German school, seems to have arrived in her sixth-grade classroom armed with theories and techniques for gaining the trust and respect of her students. But she’s about to discover, as many a teacher has before, that actually managing a classroom is not as easy as they make it seem on TV.In some ways, Ilker Catak’s “The Teachers’ Lounge” (which is Germany’s international feature film entry to the Academy Awards) feels like a direct rebuttal to the glut of so-called magical teacher movies, which abound throughout cinema. In that genre (think of “Freedom Writers,” “Mona Lisa Smile” or “Dead Poets Society”), an idealistic teacher encounters reticence and struggle but manages to break through to her students and make a difference in their lives. Teachers do this, of course, but if you only watched Hollywood’s rendering of the classroom you might think stirring success is inevitable.But Ms. Nowak’s good intentions are thwarted at every turn. (Everyone uses honorifics in this school, including faculty.) Her students are a typical bunch, a mix of high achievers, do-gooders, slackers and cut-ups. Someone in the school, however, is stealing from others, and nobody can pin down who the perpetrator might be. Ms. Nowak is horrified when another teacher asks student council representatives to snitch, or at least say who they think might be doing it, especially when Ali (Can Rodenbostel) is the one they accuse. He’s the son of Turkish immigrants, and when his parents arrive to explain to the administrators why it wasn’t him, unsubtle racism pervades the room.This is where it becomes clear that “The Teachers’ Lounge,” despite its realism, is strongest on the allegorical level. The modern classroom has been described by philosophers and theorists as carceral, an institution in which children are indoctrinated into disciplinary systems that will govern their whole lives: in the workplace, in the justice system, in the public square. You must arrive on time, follow rules and schedules, respond to the buzzer, submit to evaluations and repeat it all tomorrow. This school — or at least Ms. Nowak’s part of it — prides itself on its democratic fairness, its freedom of speech and the press, its attitude of self-governance.But of course, it’s really the teachers who are in charge here, and elements of contemporary society seep in from all sides. Misinformation flies around, helped along by slanted journalism. Teachers demand students open their wallets in a random inspection, telling them that “if you’ve got nothing to hide, you’ve got nothing to fear.” Phones and parents’ group chats create a surveillance society that Ms. Nowak detests, but cannot escape; eventually, suspecting the theft may be coming from somewhere other than the classroom, she sets up her own form of surveillance, with catastrophic results.Taking on the uneasy complexity of a progressive modern society, and the friction produced when pluralism and an insistence on order and obedience collide, is a bold move, and “The Teachers’ Lounge” pulls it off with a sense of tension that makes the whole thing play like a thriller. There’s a level on which it’s darkly funny, especially if you’ve spent time around preteens. Every time Ms. Nowak thinks she has a solution, it goes sideways, in part because you cannot count on sixth-graders to just go along with suggestions from adults. Trying to build classroom solidarity after an outburst, she selects six students to complete a familiar team-building exercise of the kind that might delight 8-year-olds and mildly irritate adults on a company retreat. Here, though, it ends in predictable bedlam.A society is not very easy to keep in harmony, and a fully democratic attempt to keep the peace in any group is bound to result in a tug of war between authoritarian and even fascist principles on the one hand and unfettered chaos on the other. Catak places that struggle in a classroom, but it’s clear that like other European directors (including Michael Haneke and the brothers Luc and Jean-Pierre Dardenne), he’s slyly telling a story about a society much, much larger than the kind found on a campus.Meanwhile, the students — who are Zoomers, after all — are tuned into the issues around them and ready to fight back. They organize. They refuse to comply. They denounce censorship. They talk about practicing solidarity against “measures otherwise found in rogue regimes” and the “structural racisms that our school, like others, can’t escape.” Their power is limited, but they know how to talk about it. They have learned well from their teachers. But have their teachers learned the lesson, too?The Teachers’ LoungeRated PG-13; teachers and students behaving like citizens. Running time: 1 hour 38 minutes. In theaters. More

    • 125 Shares179 Views

      in Movies

      Watch an Unusual Family Reunion in ‘All of Us Strangers’

      by

      The director and screenwriter Andrew Haigh narrates a sequence from his film, starring Andrew Scott and Paul Mescal.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.In this scene from “All of Us Strangers,” a man goes back to his childhood home and meets with his parents. The only wrinkle is that the two have been dead for 30 years.The sequence features Andrew Scott as Adam, as well as Jamie Bell and Claire Foy playing the long lost parents.In his narration of the moment, the film’s screenwriter and director, Andrew Haigh, noted that he filmed it in his childhood home and that it was a magical experience to get to shoot there. “It felt like a haunted house,” he said.While Haigh said he wanted to play the scene with tenderness, he also “wanted the audience to be unsure of what we were seeing. Are they ghosts? Are they manifestations of his subconscious? Is it a fantasy? And I wanted to play with those different elements, so it felt like it could be all of those things, and sort of keep making you ask questions about what is real and what is not real.”Read the “All of Us Strangers” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

    • 138 Shares169 Views

      in Movies

      In Steve McQueen’s ‘Occupied City,’ a Marriage of Art and History

      by

      Steve McQueen collaborated with his wife Bianca Stigter to make “Occupied City,” a four-hour documentary that brings Amsterdam’s World War II history into the present day.When the British filmmaker Steve McQueen was considering making a feature film about a free man who was captured and sold into slavery, his wife, the Dutch journalist and historian Bianca Stigter, suggested he start with a true story.She found a 1853 memoir by a New York man who was kidnapped, sold and enslaved for 12 years in Louisiana, named Solomon Northup. McQueen was immediately intrigued. “What was so interesting about it was that the script was there,” he said last week, over lunch with Stigter in Amsterdam. “I didn’t have to invent a story.”His resulting 2013 feature film, “12 Years a Slave,” adapted from Northup’s memoir by John Ridley, won three Academy Awards, including best picture.For the couple, it was just one example of a kind of creative symbiosis that has defined their 28-year relationship. In 2022, when Stigter made her first film, “Three Minutes: A Lengthening,” a documentary based on rare footage of a Polish village before the Holocaust, McQueen was a co-producer and “a sounding board,” she said.Over 187 days, McQueen and his team shot 960,000 feet of film showing daily life in Amsterdam.Lennert Hillege/A24McQueen’s latest film, the four-hour documentary “Occupied City,” which opens in theaters in the United States on Dec. 25, is the couple’s most extensive collaboration to date. He adapted the movie, which premiered at the Cannes Film Festival in May, from Stigter’s book, “Atlas of an Occupied City: Amsterdam 1940-1945,” a 560-page historical encyclopedia that was published in Dutch in 2019, and she is one of the movie’s producers.Stigter’s reference book records the geographical dimensions of that period of Nazi rule in Amsterdam — where the bombs dropped, where rallies were held — but it also memorializes places where Dutch people suffered and died: soup kitchens during the 1944 to 1945 famine known as the Hunger Winter; apartments where Jewish families committed suicide; and public squares, train stations, a theater and a day care center where Jews were held before their deportation to concentration camps.In “Occupied City,” Stigter’s text is read out in unemotional voice-over by the British actor Melanie Hyams, while the camera shows scenes from contemporary Amsterdam. But because it was mostly shot from 2020 to 2022, much of the footage captures the city during Covid-19 lockdowns.McQueen, who was born and raised in London, is both a filmmaker and a Turner Prize-winning visual artist, recognized by Queen Elizabeth with a knighthood in 2022. But he has lived a more under-the-radar life in Amsterdam, Stigter’s hometown, since the late 1990s. The couple raised their two children in the city, though they declined to discuss how they met or when, precisely, they got married.He said that he has always felt Amsterdam’s cityscape represented layers of history that must be excavated, from the 17th century, when it was the hub of Golden Age Holland, up through the horrors of World War II. “There are always archaeological digs going on in your brain as you walk the streets,” he said. He’d long wanted to make a film that simultaneously engaged the present and the past.The footage was then overlaid with a voice-over drawn from Stigter’s book “Atlas of an Occupied City: Amsterdam 1940-1945.”Lennert Hillege/A24Around 2004, McQueen said, he was conceptualizing a film that might somehow draw the city’s World War II past into the contemporary moment.“I had this idea to physically map one image over the other,” McQueen said, “to illuminate the ghosts from the past.” He heard the tapping of keys from the next room, he recalled, where Stigter was writing the first version of her “Atlas,” and thought: “What if the past is text and the images of now are now?”McQueen set out to shoot every address in Stigter’s book — more than 2,000 locations — and the filming was planned long before any signs of the pandemic. But when lockdowns in the Netherlands began in March 2020, McQueen decided to go on undeterred.“It was like the way Dutch people still just go out into the streets and cycle when it’s raining — the weather doesn’t change the plan,” he said. “We just had to embrace it.”For two and a half years, McQueen and his crew shot on location, producing 960,000 feet of film, he said, far more than he would need, even for a long documentary. Stigter sometimes attended the filming, but not always. “It felt a little like I was in the way,” she said.Shooting was planned before the coronavirus pandemic, and carried on throughout the lockdowns of 2020 and 2021. “We just had to embrace it,” McQueen said.Lennert Hillege/A24Some of the shots show quotidian activities, suggesting that life goes on, oblivious to the past. We see a shuttered H&M store, where we learn that young Dutch volunteers once stood in line to register for the Waffen S.S. People joyfully play in the snow and walk their dogs in the Sarphatipark, where one of the final roundups of Jews took place in 1943.But filming during the pandemic meant that the life captured by the cameras wasn’t ever entirely ordinary. Sometimes, the drama unfolding in the present moment reminds us that we remain as vulnerable to catastrophe as ever, as in a scene where elderly Dutch citizens line up for Covid vaccinations.At other times, wartime themes and contemporary visuals converge in unusual and unsettling ways, like when hundreds of unmasked protesters gather on Museumplein, a central square in the museum district, in early 2021, to decry the new masking regulations. The protesters are forced out of the square by police on horseback, and using water cannons and dogs.It is ambiguous whether the footage is suggesting a link between the World War II era and Covid times. This is a touchy moral question, because protesters and far-right Dutch politicians have, in recent years, made false equivalencies between the Holocaust and the government’s Covid-19 regulations.Yet McQueen said that such onscreen convergences were merely an attempt by the viewer to “make sense out of nonsense.”“I wanted the screen to be a mirror where people saw themselves reflected back on them, so you ask: Who am I in this?” he said. “It’s more of a meditation than a history lesson.”“Occupied City,” which includes 130 of Stigter’s addresses, clocks in at 247 minutes, plus a 15-minute intermission. But this is not the end of the project for McQueen and Stigter. He was in the process of planning a future artwork, which he said would attempt to include every address in the book. For Stigter and McQueen, the process of bringing the “Occupied City” to the public — as a book and a film, and soon an artwork, as well — has been a shared labor of love, which, like their relationship, is an ongoing conversation.“I’ve been with this woman for 28 years and without those 28 years, this artwork would never have been made,” McQueen said. “It was just the case that we live together, we share our lives together, and this is one of the things that has come out of it, along with two children. It’s never been an effort. It’s only been a mutual appreciation.” More

    • 88 Shares159 Views

      in Movies

      Sofia Boutella Talks ‘Rebel Moon’ and Madonna

      by

      Sofia Boutella knows what it’s like to lose a home.Born and raised in Algeria, Boutella was 10 when she and her family fled to Paris after Algeria descended into civil war.Now 41, she drew on that formative experience for Zack Snyder’s sci-fi epic “Rebel Moon — Part One: A Child of Fire” as Kora, a mysterious woman who has been uprooted from her former life and must create a new one in a village on a distant moon. Like Kora, Boutella understands what such a journey takes from you and what it gives in return.“There is something that happens when you remove yourself from your country of origin that is very powerful,” Boutella said. “I don’t feel a sense of belonging to a territory. But at the same time, I feel such a strong sense of being part of this earth and a connection to it as a whole.”Before turning to acting, Boutella danced — attending ballet class in Algiers when she was a girl and, finding a semblance of stability when she continued with ballet as well as jazz, contemporary and hip-hop in France. She also tried rhythmic gymnastics and spent a year on her new country’s national team.When she was 19, she became a dancer for a Nike Women’s campaign, crisscrossing the globe, and soon landed a gig as a stage dancer for Madonna, a life-changing experience that opened the door for work with Rihanna and Usher.“I was a tomboy when she met me,” Boutella said of Madonna. “She gave me my first pair of heels.”Boutella as Kora, the mysterious woman at the heart of “Rebel Moon.”Clay Enos/NetflixWe 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?  More

    • 100 Shares119 Views

      in Movies

      Bradley Cooper’s ‘Maestro’ Won’t Let Leonard Bernstein Fail

      by

      Bradley Cooper’s movie has an unrelenting focus on Bernstein’s marriage. What’s missing are his struggles as a musician.Three society women in cocktail dresses stare up at the camera, each with her right fist raised in the Black Panther salute. The cover line: “Free Leonard Bernstein!”This was New York Magazine’s issue of June 8, 1970, which led with Tom Wolfe’s gleeful 25,000-word evisceration of a party that had been held at Bernstein’s Park Avenue apartment that January. The purpose was to raise awareness of — and money for — the 21 Panthers in jail awaiting trial on charges of planning political violence.Their incarceration had become a cause célèbre among a certain set of well-off white liberals, of whom Bernstein and his wife, Felicia — the subjects of “Maestro,” Bradley Cooper’s movie about their troubled marriage, now streaming — were prime examples.The backlash to the party’s “elegant slumming,” as The New York Times put it in an editorial, was swift and brutal. Wolfe’s story, months later, was only the most expansive piece of anti-Bernstein criticism. Jewish groups incensed at some of the Panthers’ positions picketed his apartment building and booed him when he led the New York Philharmonic. “Radical Chic,” as the article was titled inside the magazine, was one of the loudest, bitterest scandals Bernstein ever experienced.It is also one of the many things that go unmentioned in “Maestro,” a depiction of a peerlessly multifaceted musician who was among the great cultural personalities of the 20th century. Bernstein (1918-90) was a composer, conductor, arranger, pianist, best-selling author and TV educator to millions. It can be hard today to imagine a classical musician being a glamorous mainstream celebrity, but that was Lenny. His tenure as music director of the New York Philharmonic in the 1960s — which began as his “West Side Story” star was gleaming — is still considered the orchestra’s modern heyday.Absolutely digging: Donald Lee Cox, the field marshal of the Black Panther Party, speaking at the party at Leonard and Felicia Bernstein’s Park Avenue apartment in 1970.Associated PressEvery biopic is a selective version of a life, and Bernstein’s wide-ranging and eventful life is more in need of selectivity than most. But “Maestro” is unblinkingly focused on Leonard and Felicia’s marriage, its ups and downs caused in large part by his romantic desires toward men.For Cooper, Bernstein’s consistent struggle in his marriage is countered by just-as-consistent success in his art and career. The movie bursts open with the 25-year-old Lenny’s triumphant, last-minute debut with the Philharmonic at Carnegie Hall in 1943. Broadcast nationally over the radio, it jump-started a half-century of renown.From there, it’s a parade of acclaim: the bright-toned early ballets and musicals, the stirring final chorus of “Candide,” a soul-shaking performance of Mahler’s Second Symphony, packed parties (not the political ones), broadcast interviews.There are some flies in the ointment. Bernstein long grumbled that he wished he could compose when all the world wanted was more of his conducting, and “West Side Story” burdened him as he sought fame for his more “serious” music. The film briefly alludes to this, with Bernstein’s manager trying to squeeze as much money as possible out of podium work. But on the whole, “Maestro” shows Bernstein the artist as perfectly satisfied (and perfectly acclaimed), while Bernstein the man is fatally flawed.His relationships with men after his marriage are portrayed as more glancing and casual than they were in reality. And his separation from Felicia in 1976 and ’77, when he tried to live openly as gay, is treated in “Maestro” as a selfish mistake. The most indelible showcase for Bernstein’s sexuality in the film is a late-in-life, almost Mephistophelean dance party — as sweaty as his calisthenic conducting, bathed in lurid red light — as he seduces a student.There’s lots of the man’s defects in “Maestro”; the artist’s are nowhere to be found. Missing entirely is “1600 Pennsylvania Avenue,” his flop of a musical with Alan Jay Lerner that closed after seven performances on Broadway in 1976. And missing are his three grimly unsuccessful symphonies, the kind of high-minded music he wanted to be remembered for instead of “On the Town.”Cooper-as-Bernstein conducting, with the singers Isabel Leonard, left, and Rosa Feola. Jason McDonald/NetflixBernstein plays a bit of it on the piano at the beginning of the film, but otherwise missing, too, is “A Quiet Place,” the serious opera he longed to write his whole career — and which some 40 years later is still being futzed with by his estate to try and make it work onstage. While a scene in “Maestro” is set at the premiere of his “Mass,” which helped open the Kennedy Center for the Performing Arts in 1971, we aren’t made aware of its mixed reception.And from that smash debut at Carnegie on, the film treats Bernstein as unimpeachable on the podium. But though he is today widely revered as a conductor of the music of others, that was hardly a universal opinion at the time. A 1967 Times review by Harold Schonberg, a longtime Bernstein skeptic, describes “an overblown and rather vulgar performance” of Mahler’s Second: “He took a terribly slow tempo, and that made his heavy-handed expressive devices — those pauses! those rubatos! — all but wrapped up in comic-strip balloons: Pow! Wham! Sigh!”But no one in “Maestro” nay-says Bernstein’s music making. This artificially heightens the contrast of his career with his marriage, distorting the viewer’s sense of him and his legacy. As an admirer of Bernstein’s work, warts and all, I was disappointed to find his life as an artist depicted as less complex — and less interesting — than his life as a husband.Cooper doesn’t pay much attention to Bernstein’s personal stumbles, either, if they don’t relate to the marriage. Most glaring is the “Radical Chic” affair, in which his critics seized on the contrast between Upper East Side progressivism and open radicalism, with Bernstein being quoted in The Times (unfairly, he said) as answering a Panther’s call to seize the means of production with “I dig absolutely.”It would have been an intriguing episode to include in “Maestro” since both Bernsteins were implicated in the blowback, which served to unite them in fiasco. But that would have been jarring because it’s so unlike the scenes preferred by Cooper, in which Lenny is the perpetrator and Felicia the victim. Omitting the whole scandal contributes to the film’s flattening not just of Bernstein’s life but also of Felicia’s, which was full outside the marriage, too. (She was active in the American Civil Liberties Union, the civil rights movement and protests against the Vietnam War.)“Radical Chic” was big news. But what I missed most in “Maestro” was a minor bit of Bernstein: the 1952 one-act “Trouble in Tahiti,” a deceptively peppy, stealthily devastating piece about a prosperous, unhappily married suburban couple.This was an autobiographically charged work; the main characters were originally named Sam and Jennie, the names of Bernstein’s parents, who fought bitterly through his childhood. (The wife’s was eventually changed to the more singable Dinah, the name of Bernstein’s paternal grandmother.)But the movie presents Bernstein as a fully formed genius, without an evident childhood or parents beyond a passing mention of his father’s cruelty. It would have made sense for Sam and Jennie to have been more present in “Maestro,” if only to offer some context for Bernstein’s own difficult marriage. The sense of history repeating itself might have relieved some of Cooper’s insistence on Bernstein and his sexuality bearing sole responsibility for his problems with Felicia.All these omissions lead to a rigid, either-or, black-and-white atmosphere. And for all Cooper’s well-practiced facsimiles of Bernstein’s galvanizing, perspiring, emotionally all-in style on the podium, that gives the film a stilted, brittle quality at its core. More