Movies

Subterms

    More stories

    • 100 Shares109 Views

      in Movies

      ‘Barbie’ Makes a Strong Showing on Oscar Shortlists

      by

      The film is the equivalent of a semifinalist in the song, score and sound categories. “Killers of the Flower Moon” also landed on several lists.Will the Oscars also be living in a “Barbie” world when the statuettes are handed out in March? Maybe, if the shortlists in what’s known as below-the-line categories are anything to go by. The academy released the equivalent of semifinalists for best song, documentary and more on Thursday, and “Barbie,” the director Greta Gerwig’s feminist smash, made a strong showing.Three songs from the film — Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken” and Billie Eilish’s “What Was I Made For?” — landed on the list for best song, while the film also showed up in the best score and sound categories.“Killers of the Flower Moon” was also well-represented, appearing on the lists for makeup and hairstyling, song (“Wahzhazhe (A Song For My People)”), score and sound.What about the other film that contributed to our Barbenheimer summer? “Oppenheimer” made the cut in three categories: score, sound and makeup and hairstyling. It tied with “The Color Purple” (for score and the songs “Keep It Movin’” and “Superpower (I)”); “Spider-Man: Across the Spider-Verse” (for score, visual effects and the song “Am I Dreaming”); and “The Zone of Interest” (international feature, score and sound).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?  More

    • 125 Shares199 Views

      in Movies

      Vin Diesel Is Accused of Sexually Assaulting a Former Assistant

      by

      The assistant filed a lawsuit in California, saying that the actor had groped her and forcibly kissed her in a hotel room during the filming of a “Fast & Furious” movie in 2010.A former assistant to Vin Diesel, one of Hollywood’s most bankable action stars, filed a sexual battery lawsuit against the actor on Thursday, saying that he groped her and pinned her against the wall of an Atlanta hotel room during the filming of the fifth “Fast & Furious” movie in 2010.In the lawsuit, the former assistant, Asta Jonasson, said the encounter took place less than two weeks after she was hired to work for Mr. Diesel. The actor grabbed her, groped her breasts and forcibly kissed her while she repeatedly said no, according to the lawsuit. Mr. Diesel pulled her dress up and moved to pull down her underwear, the lawsuit said, before Ms. Jonasson screamed and ran toward the bathroom.The complaint said Mr. Diesel then “pinned her against the wall with his body, and grabbed Ms. Jonasson’s hand and placed it on his erect penis.” When she again refused to engage, the lawsuit says, Mr. Diesel began masturbating while keeping her pinned to the wall.Representatives for Mr. Diesel and his production company, which is also named as a defendant, did not immediately return requests for comment.Mr. Diesel, 56, rose to fame after Steven Spielberg cast him as a soldier in “Saving Private Ryan”; he established himself as a leading man primed for brawny roles with his performances as a killer in the “Chronicles of Riddick” series and a member of the Navy SEALs in the comedy “The Pacifier.” In 2010, he was filming another starring role in the “Fast & Furious” franchise, which he revisited this past year in “Fast X.”Hours after the encounter in the hotel room, according to the lawsuit, Ms. Jonasson received a call from an executive at the production company — Mr. Diesel’s sister, Samantha Vincent — and was told that it no longer needed “any extra help.” Ms. Vincent, who could not immediately be reached for comment, is also named as a defendant.Ms. Jonasson said in the lawsuit that all employees of the production company had been required to sign a nondisclosure agreement preventing them from sharing anything related to Mr. Diesel.“For years, Ms. Jonasson remained silent,” the lawsuit said, “afraid to speak out against one of the world’s highest-grossing actors, afraid she would be ostracized from the industry which had a pattern of protecting powerful men and silencing survivors of sexual harassment and assault, and concerned that as a green card holder that speaking out could jeopardize her potential future citizenship.”Ms. Jonasson sued under a California law passed in the wake of the #MeToo movement that opened a window for people accusing someone of sexual assault to sue even if the statute of limitations had run out. Her lawsuit, filed in Los Angeles Superior Court, also alleges wrongful termination and retaliation. More

    • 88 Shares189 Views

      in Movies

      France’s President Condemns ‘Manhunt’ Against Gérard Depardieu

      by

      Emmanuel Macron broke with his culture minister, who had called comments made by Depardieu in a documentary a “disgrace.” The actor is facing renewed scrutiny over sexual assault accusations.President Emmanuel Macron of France this week condemned what he called a “manhunt” targeting Gérard Depardieu, the embattled French actor whose worldwide fame has been tarnished in recent years by allegations of sexual harassment and assault.Macron’s comments, which prompted swift criticism, came after a documentary that aired in France this month showed the actor making crude sexual and sexist comments during a 2018 trip to North Korea.Depardieu, 74, has faced renewed scrutiny in the wake of the documentary, including new accusations of sexual assault, the stripping of several international honors and the removal of a likeness of him from the Musée Grévin, a Paris wax museum. He has denied any wrongdoing.Rima Abdul Malak, France’s culture minister, said she was “disgusted” by Depardieu’s comments in the documentary and that disciplinary proceedings would determine whether he should also lose his Legion of Honor, France’s highest award.But in a television interview on Wednesday evening, Macron mounted a staunch defense of Depardieu, who was once one of France’s most prominent and prolific leading men. Macron said that Depardieu “makes France proud” and castigated an “era of suspicion” against prominent artistic or cultural figures.“One thing you’ll never see me in is a manhunt,” Macron told France 5 television, calling himself an “admirer” of Depardieu.As France’s president, Macron is the grand master of the order of the Legion of Honor, an award created by Napoleon Bonaparte in 1802 for “outstanding merit” in a field and given to Depardieu in 1996. Macron said his culture minister had overstepped “a bit too much.”“Am I going to start stripping the Legion of Honor from artists or officials when they say things that shock me?” Macron said. “The answer is no.”“You can accuse someone — maybe there are victims, and I respect them, and I want them to be able to defend their rights,” he added. “But there is also a presumption of innocence,” he said.Macron’s comments reflected the mixed reaction to the #MeToo movement in France, where the reckoning with sexism was hailed by feminist groups, but also fueled worries over the influence of puritanical sexual mores and cancel culture imported from America.France’s movie industry has grappled with several high-profile accusations of sexual abuse in recent years and taken steps to address them. But the country has also given a warm reception to artists accused of abuse — including Johnny Depp and Louis C.K. — exposing a cultural divide with the United States.Feminists and leftist politicians said on Thursday that they were appalled by Macron’s comments.“Manhunts remain prohibited. The hunt for women, on the other hand, remains open,” Osez Le Féminisme, a feminist group, said on social media, while Sandrine Rousseau, a Green lawmaker, called Macron’s comments “yet another insult to the movement to let victims of sexual violence speak out.”François Hollande, Macron’s predecessor as president, criticized him for extolling Depardieu’s acting instead of expressing support for victims of sexual crimes.“No, we are not proud of Gérard Depardieu,” Hollande told France Inter radio, noting that Macron once called gender equality and the fight against sexism a top priority. “And that’s how he treats the issue of Gérard Depardieu?” Hollande said.Depardieu is still an internationally recognized figure who, in the last 50 years, has had roles in more than 250 movies, including “Cyrano de Bergerac” and “The Man in the Iron Mask.”But he has faced a growing number of sexual abuse accusations in recent years.In interviews in April with Mediapart, an investigative news site, 13 women — actresses, makeup artists and production staff — accused Depardieu of making inappropriate sexual comments or gestures during film shoots. Two other women made similar accusations in interviews this summer with France Inter.Depardieu has been charged with rape and sexual assault in one case, which involves Charlotte Arnould, a French actress who says he sexually assaulted her in Paris in 2018, when she was 22, during informal rehearsals for a theater production.Depardieu has not been convicted in connection with any of the accusations, and he has categorically denied any wrongdoing.“I have never, ever abused a woman,” he wrote in a rare letter to the newspaper Le Figaro in October.“All my life, I’ve been provocative, outgoing, sometimes crude,” Depardieu wrote, adding an apology for “acting like a child who wants to amuse the gallery.” But, he added, “I’m neither a rapist nor a predator.”The documentary that set off a new wave of scrutiny aired this month on France 2 and features previously unseen footage of Depardieu on a 2018 trip to North Korea, where he is seen repeatedly making extremely crude and uninhibited sexual and sexist comments about women.The documentary suggests that sexual jokes, comments and attitudes by Depardieu on movie sets were commonplace and widely-known, but that the French movie industry brushed them off.Four women accuse Depardieu of inappropriate comments or sexual misconduct in the documentary, including Arnould and Hélène Darras, an actress who says he sexually assaulted her on a 2008 film set and who filed a suit against him in September. Depardieu has not been charged in that case.After the documentary aired, Quebec announced that the actor was being stripped of the Canadian province’s highest honor and a Belgian town where he once lived said it was revoking an honorary title.This week, extra woes for Depardieu piled up quickly. The Musée Grévin said that his wax statue, which first entered the museum in 1981, had been removed. A spokeswoman said that this was “following reactions from visitors who were very shocked by the actor’s comments” and who had then verbally abused employees.On Wednesday, Ruth Baza, a Spanish journalist, told the newspaper La Vanguardia that Depardieu had kissed and groped her without her consent when she was in Paris in 1995 to interview him for a magazine piece.Like many public officials in France — Macron first and foremost — Abdul Malak, the culture minister, said that she was “against cancel culture.”“We are not going to stop watching his movies,” she told France 5 television of Depardieu last week. But she said his comments in the documentary could constitute sexual harassment and were “intolerable,” reflecting badly on France.“He is such a monument of world cinema,” Abdul Malak said, adding that she had received messages from ministers and other cultural figures from around the world “who are shocked, who say, ‘To us, he was such a symbol of France.’” More

    • 138 Shares199 Views

      in Movies

      ‘Anyone but You’ Review: Baring Bums in the Land Down Under

      by

      Sydney Sweeney and Glen Powell romp in a rom-com bomb with gratuitous clothes-shedding, played out against beautiful backdrops.The floundering romantic comedy “Anyone but You” has several things going for it: the rising stars Sydney Sweeney and Glen Powell, a luxurious Australian backdrop, and more white teeth and washboard abs than the Sports Illustrated swimsuit issue. The plot is a classic switchback prank. Sworn enemies Bea (Sweeney) and Ben (Powell) pretend to fall in love at a destination wedding so that their friends and family (Alexandra Shipp, Hadley Robinson, Bryan Brown, Michelle Hurd and GaTa) will quit trying to trick them into liking each other. It’s a loose reworking of “Much Ado About Nothing,” and, presumably, the first Shakespeare adaptation where a dog does yoga — and certainly the first in which a man (GaTa) serenades a koala. Nevertheless, the film, directed by Will Gluck, who wrote the screenplay with Ilana Wolpert, is so awkwardly assembled that our attention gets pulled away from the leads to the bizarrely lavish buffet spreads in the background. We’re mildly curious about whether these two fakers will slip between the sheets for real — and majorly interested in why a guest bedroom has so many bowls of fruit.“Anyone but You” is being sold as a return to the salacious rom-com, although that’s only true for one good scene. Overall, it’s more bawdy than erotic. “You know a lot about bathroom law,” Ben purrs to Bea when they meet-cute wheedling a restroom key from a barista. After a whirlwind first date, Bea wakes up in Ben’s arms fully clothed. The night appears to have been innocent — at least, that’s the implication from Gluck’s close-up shot of Bea’s cinched belt buckle — but both panic and settle into a shtick of exchanging public insults with the spite of jilted lovers.We can barely make out whether a month has elapsed since that encounter or several years. Just resign yourself to nonsense, like the entrance of Margaret (Charlee Fraser), Ben’s ex, with her new boyfriend, Beau (Joe Davidson), a galumphing surfer who promptly attempts to eat a bundle of ceremonial sage. The running time is all flimsy bikinis and flimsier excuses to get people undressed. A tarantula? Strip off those shorts! Itchy sand? Swim trunks begone! A fire? Snuff out the flames with a dress! By the time Bea tumbles into Sydney Harbor, it’s a shock that Ben leaps in after her without tearing away his pants.Sweeney and Powell could do wonders with a better script, something that makes more use of the way they grin at each other like they ate knives for lunch. She’s skilled at layered insincerity; he specializes in smirky, put-on machismo, shooting the camera a horrifically funny tongue waggle. Here, their performances get bullied around by the insistent pop soundtrack. One genuinely tender scene involves Bea crooning a peppy Top 40 hit to steady Ben’s nerves. But she only gets in a few quiet a cappella bars before Gluck cranks the original at an earsplitting volume — are you not entertained!? — and, for good measure, blares it again at the end over some riotous behind-the-scenes karaoke. You wonder if he spent more time on the closing credits than the actual film.Anyone but YouRated R for nudity and brash language. Running time: 1 hour 40 minutes. In theaters. More

    • 113 Shares119 Views

      in Movies

      ‘Freud’s Last Session’ Review: Film Adaptation and Its Discontents

      by

      Sigmund Freud and C.S. Lewis probably never met. What the stage-based film presupposes is: Maybe they did?In “Freud’s Last Session,” when the Oxford academic C.S. Lewis (Matthew Goode) arrives late to the London home of Sigmund Freud (Anthony Hopkins), Freud’s chow chow, Jofi, brushes him off. The dog, Freud explains, values punctuality.The men’s encounter — concocted for Mark St. Germain’s 2009 play of the same title — is imaginary, but the timing is not. The setting is September 1939, and Hitler has invaded Poland. The atheist Freud has sought out Lewis, whom he has never met, to learn how such a sterling intellect could believe in God. Given the historical backdrop (we hear radio of Neville Chamberlain announcing Britain’s entry into the war), that hardly seems like the most pressing topic. That’s true even if Freud, who has oral cancer, would be dead before the end of that month.But the war context gives the director, Matthew Brown, who shares screenwriting credit with St. Germain, license to wage a futile campaign against the material’s stage-bound origins. An air raid siren sends Lewis and Freud out of the house and to a nearby church, where Freud helps Lewis through a triggered recollection of his service in World War I. Freud shows off his surprising expertise in Christian iconography, after dismissing his interest as simple art appreciation.The men return to Freud’s den, but the movie, already diffuse with flashbacks, is hardly content to stay put. Before the tête-à-tête is over, the film will have shown us Lewis in the trenches (Freud is fascinated by Lewis’s fixation on the mother of a fallen friend); the Gestapo’s arrest and improbable release of Freud’s youngest daughter, Anna, before the family’s flight from Vienna; and Freud’s father chiding young Sigmund after seeing the boy cross himself.Expanding what was a two-character play, the film adds a major part for Anna (Liv Lisa Fries), a pioneer in the field of child psychoanalysis. Her devotion to her father is depicted as so intense that a colleague diagnoses an attachment disorder. But her dad refuses to accept that she is in a relationship with a woman, Dorothy Tiffany Burlingham (Jodi Balfour). And his professional curiosity about her mind may have monstrously overpowered his compassion as a father.What a viewer (or a therapist) should take from their queasily etched codependency is unclear, and it’s not certain that the script made sense of it, either. But the Sigmund-Anna muddle has more juice than the genteel intellectual parrying between Sigmund and C.S. (or Jack, as he was known to familiars), which has been carefully written to a draw. Lewis argues that the Gospels can’t be myths because they are too disorganized. Freud scoffs that “bad storytelling” doesn’t prove Christ was a divine figure. Lewis pounces when Freud unthinkingly says, “Thank God.” Later, Freud asks how God could let him lose a daughter to the flu and a grandson to tuberculosis.Eventually they bridge their differences, in a détente made grotesquely literal (and Freudian?) when Lewis reaches into Freud’s mouth to help with a dental prosthesis. Hopkins already argued the other side of this case when he played an older, Narnia-era Lewis in “Shadowlands” (1993) — a Lewis who, oddly, gave a near-identical speech to this film’s Freud about humanity’s need to “grow up.” In any case, Hopkins parlayed Lewis’s propriety, airs and implied discomfort around sex into a more compelling character than Goode has been given, and one who — faced with his wife’s death — urgently considered the absence of God.The look of “Freud’s Last Session” could make one doubt the presence of a cinematographer. Shot after shot is so gray, shadowy and colorless that it’s hard not to wonder why Brown didn’t shoot in black-and-white, whose contrast and timelessness would suit the stakes. The filmmakers might argue that black-and-white is no longer commercially viable. But Freud would say that nobody wanted anyone to see this movie.Freud’s Last SessionRated PG-13. A cigar that’s just a cigar. Running time: 1 hour 48 minutes. In theaters. More

    • 138 Shares179 Views

      in Movies

      ‘Migration’ Review: Is It a Road Trip if You Have Wings?

      by

      An animated feature written by Mike White (“The White Lotus”) stars Awkwafina, Elizabeth Banks and Kumail Nanjiani as birds, but it never fully gets off the ground.Classic cartoon wisdom deems that ducks are brash and brazen creatures. See Donald and Daffy, ill-tempered anthropomorphic animals who aren’t afraid of making a display of their displeasure.Mack Mallard, the waterfowl patriarch voiced by Kumail Nanjiani in the animated family picture “Migration,” is not exactly a shy bird himself. He displays a rapid-fire volubility when telling his kids a bedtime story at the movie’s opening. But he’s very timid in one respect. The emphatic point of the bedtime story is: Never leave the pond. It’s the only place that’s safe.But when his kids, Dax and Gwen, encounter a flock flying from their home in upstate New York to Jamaica for the winter, Mack’s wife, Pam (Elizabeth Banks), takes the kids’ side.Even when the highways are in the sky, it’s not an American comedic road trip without a crusty older relative coming along for the ride, and this is where Uncle Dan (Danny DeVito) comes in. The Mallards spend a lot of time trying to avoid being eaten, first by a couple of grotesque herons, and then in a Manhattan restaurant run by a thoroughly obnoxious chef.The movie was directed by Benjamin Renner, but the dominant artistic voice is that of the screenwriter Mike White, the creator of the satirical HBO series “The White Lotus.” White is vegan, which explains the insistent meat-is-murder angle throughout, although considering that “Lotus” is so disdainful of tourism, the perspective on travel here may be surprising. The stellar voice cast also includes Awkwafina as a tough New York City pigeon and Keegan-Michael Key as a captive parrot.This Illumination-produced feature is preceded by a “Minions”-adjacent short called “Mooned,” which overexerts itself trying to approximate a vintage Looney Tunes gag-fest. In the end, “Migration” moves along at jet speed while often feeling labored.MigrationRated PG. Running time: 1 hour 32 minutes. In theaters. More

    • 75 Shares159 Views

      in Movies

      ‘The Inner Cage’ Review: The Leftovers

      by

      In this solemn Italian drama, the guards and inmates of a decommissioned prison renegotiate the limits of power.Is there anything more quintessentially Italian than solving differences over a hearty plate of pasta and a glass of wine? Not as far as “The Inner Cage” is concerned, a ponderous prison drama that teeters on the verge of violence right up until one of the inmates gets to cooking.The prison in question is the fictional Mortana, a crumbling, remote institution days away from being closed down. Most of the inmates have already been transferred to other facilities, leaving a forlorn few in limbo until a vague bureaucratic snafu has been corrected. Uncertain of their fate, these left-behinds grow increasingly petulant, especially when visitors and other diversions are canceled. Expecting them to eat the disgusting catered meals, though, is simply an insult too far.Contrived and more than a little corny, the screenplay (by the director, Leonardo Di Costanzo, as well as Bruno Oliviero and Valia Santella) sets up a philosophical negotiation between freedom and control. While the handful of guards (led by the marvelously dolorous Toni Servillo) try to forestall a riot, a former Mafioso (Silvio Orlando) is granted permission to whip up palatable meals. Which gives him access to a cupboard full of knives.Sadly, Di Costanza fails to exploit this alarming plot point, being more intent on mulling the increasing pointlessness of supervision amid peeling paint and failing electric power. Hampered by a depressingly dreary location and an earnestness that can edge into staginess (a roll call at the end is accompanied by the sound of phantom hands clapping), “The Inner Cage” isn’t exactly a feast for the senses. Even so, if you’re in the mood to listen, the film’s careful conversations occasionally serve up food for thought.The Inner CageNot Rated. In Italian, with subtitles. Running time: 1 hour 57 minutes. More

    • 138 Shares119 Views

      in Movies

      ‘Rebel Moon — Part One: Child of Fire’ Review: Galaxy Brained

      by

      Zack Snyder creates a space opera that’s bloated but rarely buoyant.Oddly, for a movie that’s rated PG-13 and often plays like a young-adult fantasy, Zack Snyder’s “Rebel Moon — Part One: A Child of Fire” features at least two attempted sexual assaults and a queasily erotic encounter between a shirtless man and a many-tentacled alien. The film’s most thorough violation, though, is of its cinematic bloodline: To call “Rebel Moon” a “Star Wars” pastiche — with a dash of “Dune,” a lick of “Lord of the Rings” and a whole heap of “Seven Samurai”— is both glaringly accurate and somewhat redundant. In today’s fantasy-verse, derivativeness is virtually a given. Snyder has long been open about his influences, and has been imagining this crossbreeding of mythologies since he was in college.Somewhere in a galaxy (you know how far) floats a peaceful planet called Veldt where burlap-clad villagers till the soil and mind their own business. A fascistic empire known as the Motherworld has other ideas, sending its representative, Admiral Atticus Noble (a scenery-scarfing Ed Skrein), to demand grain for its army. Brazenly channeling Ralph Fiennes’ character from “Schindler’s List” (1993), Atticus sports bowl-cut bangs, an S.S.-style uniform and a really big stick; so after he promises to return and slaughter the villagers if grain is not forthcoming, finding a savior is on top of everyone’s to-do list.Enter Kora (Sofia Boutella) a mysterious outsider with a secret past, an ultraflexible spine and an expression that splits the difference between ticked-off and smoldering. Kora has her own reasons to seek revenge on the Motherworld; accordingly, accompanied by the gentle Gunnar (Michael Huisman), a confrontation-averse villager who looks at Kora the way your dog eyes your dinner plate, she embarks on a planet-hopping quest to round up fellow rebels.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?  More