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      Christopher Reeve and 6 Takeaways From the Documentary ‘Super/Man’

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      The new film chronicles the life of the paralyzed star, covering his friendship with Robin Williams and gut-wrenching details about his care and family.The documentary “Super/Man: The Christopher Reeve Story” traces the life of the Juilliard-trained actor who found megastardom in the 1970s and ’80s playing Superman, and in 1995 as a different kind of hero, after an accident left him paralyzed from the neck down. It features never-before-seen footage of Reeve, who died in 2004 at 52, chronicling his early days; his pivotal friendship with his Juilliard roommate, Robin Williams; and his transformation, in a wheelchair and on a ventilator, into a leading disability and research advocate. Friends like Glenn Close, Susan Sarandon, Whoopi Goldberg and John Kerry offer their observations; disability rights activists do, too. It’s a thought-provoking tear-jerker.It also doubles as a family movie, showing Reeve in his role as a father to his three children — Matthew Reeve and Alexandra Reeve Givens from an early relationship that he fled at the height of his fame, and Will Reeve, his son with his wife, Dana Reeve. With unwavering support, she largely gave up her career as a singer and actress to care for her husband. She died of cancer in 2006, just 18 months after him, leaving behind their son, then 13.The compounded tragedy is leavened by the hope that Reeve embodied, especially with the Christopher & Dana Reeve Foundation, which has invested $140 million in the search for a cure for spinal cord paralysis. The film — which arrived in theaters 20 years after Christopher Reeve’s death, almost to the day — chronicles their determination, and doesn’t flinch from the darkest moments, including money worries and the relentlessness of day-to-day caregiving.Reeve, left, and his wife, Dana, with the comedian and actor Robin Williams after Reeve’s appearance at the Academy Awards ceremony in March 1996.Vince Bucci/AFP, via Getty ImagesThe unvarnished approach — and the timing, with Reeve’s children having reached solid footing as adults — led the siblings to agree to the project after years of turning down other offers, said Will Reeve, 32, a correspondent for ABC News and a look-alike to his father. They hoped their home movies and archival material “would provide a deeper meaning and greater texture to his story,” he said, “and remind folks of the fullness of life that one can have, despite whatever catastrophic injury they may suffer, whatever disability they may have.”In a video interview from London, where they’re based, the filmmakers Ian Bonhôte and Peter Ettedgui discussed their rationale for not putting Reeve “on a pedestal,” as Ettedgui described it. “It was really important to show how someone who you might think of as being somehow perfect — the ideal hero — how they experience the same insecurities, the same family issues that the rest of us might,” he said.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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      Lego’s First Documentary, ‘Piece by Piece,’ Tells Pharrell Williams’ Story

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      The toymaker has found success in fictional films. But with “Piece by Piece,” about the life of Mr. Williams, it has gotten into a new genre.In Lego, anything is possible — within limits. Just ask the documentary filmmaker Morgan Neville.Mr. Neville, an Oscar winner, spent the past five years turning the life story of Pharrell Williams into an animated documentary created entirely from Legos. And those Danish-designed building blocks allowed him to create things that would typically fall outside the genre’s constraints.He illustrated Mr. Williams’s experience of synesthesia, which allows him to see color when he hears sounds, through translucent Lego pieces. They gave Mr. Neville the tools to turn the signature beats of the multi-hyphenate — rapper, producer and fashion designer are among Mr. Williams’s titles — into colorful bricks that he could take out of storage and transform into a hit song. And it ushered in some fantastical scenes that show Mr. Williams lost in outer space or trapped inside a whirlpool.“One thing I realized right away was that it wasn’t just about translating a documentary into animation,” said Mr. Neville, who on Friday will debut “Piece by Piece,” a $16 million musical documentary via Focus Features. “It was about using what animation could do that documentary couldn’t do, which is take you into the fantasy world. I found it so liberating, all the things you can communicate visually that you don’t have to say.”The film is also a stretch for Lego, which defied odds back in 2014 when it released “The Lego Movie” to both commercial and critical acclaim. (That movie grossed $471 million worldwide, and its signature song, “Everything Is Awesome,” landed an Oscar nomination.) The toy company made three more films in partnership with Warner Bros. before moving to Universal Pictures in 2020. That arrangement, while four years old, has yet to produce a movie. “Piece by Piece” is not part of that deal, though it was made by a subsidiary of Universal.Mr. Williams’s experience of synesthesia, which allows him to see color when he hears music, is illustrated in the film through translucent Lego pieces.NBC Universal“We really always want to be doing something that is inspiring people, that’s fitting with the brand and what we stand for, but that is also unexpected,” Jill Wilfert, a senior vice president of global entertainment at the Lego Group, said in an interview. “We were looking to come back onto the big screen, and this felt like a nice way to do something that was definitely going to defy people’s expectations.”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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      8 ‘S.N.L.’ Books and Cast Member Memoirs for 8H Superfans

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      Oral histories and rollicking memoirs by former “S.N.L.” cast members like Molly Shannon and Leslie Jones take you behind the scenes of the comedy juggernaut.“Saturday Night Live,” the late-night NBC comedy-variety show now in its 50th season, generally prefers to mine its material from other people’s dramas and the conflicts of everyday American life — as it is presently doing with its weekly satires of the 2024 presidential race.But over the years, “S.N.L.” has generated more than enough curiosity, controversy and gossip about its behind-the-scenes operations to fill a small library of books.For the comedy and showbiz nerds, there are scrupulous accounts of seemingly every day since Oct. 11, 1975, when Lorne Michaels, its creator and longtime executive producer, and the original Not Ready for Prime Time Players first hit the airwaves (a version of which is enacted in the new film “Saturday Night,” which opens in theaters Oct. 11).Other nonfiction books about “S.N.L.” have focused on discrete eras in its history, or on standout performers and how they exemplified larger trends in popular culture. Members of the show’s cast and creative team have also written memoirs pulling back the curtain on a workplace that can seem like a creative paradise — or like a cutthroat crucible that occasionally produces good comedy, too.Whether you’ve followed the show obsessively since the 1970s or only tune in these days when you recognize the musical guest, these books that offer a backstage look at “S.N.L.” will keep you happily occupied as you wait for the clock to strike 11:30 on Saturday night.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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      5 Places to Visit in Wilmington, Delaware, With Aubrey Plaza

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      Wilmington, Del., is often in the news as the hometown of President Biden and as a hub for corporate litigation, but it’s hardly on tourists’ radar. It has no theme park, no professional sports teams, no famous regional cuisine that demands a pilgrimage.But if Wilmington occupies a kind of blank space in the American mind, that’s fine by the actress Aubrey Plaza, who grew up there. Ms. Plaza, 40, whose credits include the TV shows “Parks and Recreation” and “The White Lotus,” and the new film, “My Old Ass,” calls Wilmington “this magical little gem in the country, this little secret.”Ms. Plaza is known for her deadpan humor and weirdness, but get her talking about Wilmington and she becomes an enthusiastically earnest tour guide, telling you her favorite local cafe, Brew HaHa!, recommending the red-sauce joint Mrs. Robino’s and sharing local legends, like the one about the allegedly haunted “Devil’s Road.”Ms. Plaza is known for playing deadpan and offbeat roles in TV programs like “Parks and Recreation” and “The White Lotus” as well as the new film “My Old Ass.”Peter YangOne reason Ms. Plaza is so fond of her hometown is the way the small city of about 71,000 punches above its weight culturally and in its amenities. Wilmington has abundant green spaces, institutions such as the Delaware Art Museum and the Delaware Contemporary, and more than 40 pocket neighborhoods, including its own Little Italy.“It’s got a small-town vibe, but it has every kind of neighborhood and community in the tiniest concentrated city,” said Ms. Plaza, who now lives in Los Angeles but returns to Wilmington regularly to visit family.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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      In ‘The Last of the Sea Women,’ Divers Face a Vanishing Way of Life

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      The film captures the arduous work of South Korean haenyeo, who harvest seafood without diving gear, and whose traditions may be ending.In the South Korean province of Jeju lives a group of women who may, at first, sound as if they’re mythical creatures. The haenyeo (“sea women”) dive and swim in the depths of the ocean without any breathing gear, harvesting seafood like conch, urchin and octopus, which they sell to support their families. Often, haenyeo are the main earners in their households. They’ve done this for centuries.That is remarkable enough on its own. Free diving — without breathing apparatus other than your own lungs — is incredibly physically demanding and dangerous. Jellyfish and sharks lurk, and bad weather can pose a hazard, too. Some of the haenyeo dive for two full minutes without coming up for air, all while gathering marine life.But what’s more extraordinary — and what’s explored in “The Last of the Sea Women” (on Apple TV+), directed by Sue Kim — is this astonishing fact: Most of the haenyeo are in their 60s, 70s and 80s. For them, it’s both a point of pride that they’re still doing the work — “men can’t handle this job,” Soon Deok Jang, 72, notes with a grin — and a grave concern.That is because they have been at this a long time. Yet in recent decades, their numbers have dwindled from tens of thousands to about 4,000. Few young women join the community anymore, and the divers worry that their way of life is disappearing. “I feel like the haenyeo culture is melting away,” one says, referring not only their work, but also their camaraderie and empowerment.Kim takes a lightly ethnographic approach, melding an observational eye with conversations with the women. She follows the haenyeo into the sea, hangs out with them as they wait at the crack of dawn for transportation to the water and attends meetings where they discuss how to preserve haenyeo culture.And, as the film shows, there are a few encouraging signs. There’s a school for new haenyeo, though the grueling demands of yearlong training and the work itself mean only about 5 percent of graduates continue on. The film also focuses on Sohee Jin and Jeongmin Woo, who are in their 30s and the youngest by far among the haenyeo. They initially connected over that fact, and now they post videos to YouTube and Instagram to draw attention to their work.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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      ‘Lonely Planet’ Review: Laura Dern and Liam Hemsworth Leave Home

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      Laura Dern and Liam Hemsworth star in a muddled romance without much to say.One of the odder trends in 2024 cinema has involved romances, some of them steamy, between middle-aged women and much younger men. Anne Hathaway starred in one, Léa Drucker in another, and Nicole Kidman in not one but two more. This plot is hardly new, either in concept — Hollywood history is riddled with older men romancing ingénues — or in this specifically gendered execution, with examples from “The Graduate” to “May December” in the canon.But this year’s bumper crop is noticeable and a little inexplicable. The nature of the tale is fairly consistent: A woman is on a journey of self-understanding, and the liaison is the key to unlocking some ineffable thing she’s lost. The relationship may or may not be fated for long-term success, but it points to double standards about women’s pleasure and also can make for some pretty hot cinema.In this 2024 lineup, “Lonely Planet” is distinctive mostly for being the one starring Laura Dern. Unfortunately, despite its wattage, it pales in comparison to its cousins.Dern plays Katherine Loewe, a novelist of some renown who’s flown to Marrakesh for a chic writers residency. She’s on deadline, but also in the midst of a bad breakup. Flustered and exhausted, she is hoping to find the head space she needs to finally finish her next book.Among the other residency guests is Lily Kemp (Diana Silvers), whose first book made her an instant literary star. She’s uncertain of herself, and still young enough to be star-struck by other writers in attendance, including Katherine. And she’s also still young enough to have brought her boyfriend, Owen (Liam Hemsworth), along with her. (A seasoned writer, presumably, would know enough about the usual residency social scene to leave him back in New York.) But Lily is annoyed that Owen keeps having to leave their room at night to take calls about some deal that he’s making at his private equity firm.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 Apprentice’ Review: An Origin Story for Donald J. Trump

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      In this ribald fictional telling of a young Trump’s rise, the man responsible is the lawyer Roy Cohn, played to sleazy perfection by Jeremy Strong.Midway through “The Apprentice,” a gleefully vulgar fictional dramatization of the loves and deals of the young Donald J. Trump, the movie’s look changes. From the start, the images have had the grainy quality that you sometimes see in films from the 1970s, which is when the movie opens. Then suddenly, while Donald — a terrific Sebastian Stan — is giving a TV interview in 1980, faint horizontal lines begin slicing across the image, evoking the flicker in analog video. It’s a sly nod at the future and a brand-new reality: A (television) star is born.“The Apprentice” is arriving in theaters less than a month before the U.S. presidential election, but it would be a strain to call this energetic, queasily funny if finally very bleak portrait an October surprise. The real Trump’s reaction to the movie suggested that it had the makings of a bombshell, though the most shocking parts of the movie have been reported elsewhere. His campaign called it “garbage” the day after its premiere at the Cannes Film Festival in May, and his lawyers sent a cease and desist letter to the filmmakers. Yet the only news here — and, really, the greatest surprise — is how thoroughly this ribald, at times predictably unflattering movie humanizes its protagonist, a classic American striver.In broad strokes, “The Apprentice” recounts a familiar story of individual empowerment and (gilded) bootstraps through Donald, who hungers for the very best, or at least shiniest, that life can offer, be it women, clothing, swank digs or amber waves of hair. Like the hero in a Horatio Alger tale, except with, you know, family money and connections, Donald finds success partly through his association with a slithery lawyer, Roy Cohn (Jeremy Strong, fantastic), who was Senator Joseph R. McCarthy’s chief counsel during the Senate’s 1950s investigations into Communist influence in the United States. Roy becomes Donald’s mentor, helping him achieve his American dream that here has the makings of a nightmare.The director Ali Abbasi thrusts you right in the scrum, opening on Donald as he navigates the outwardly mean, trash-choked streets of Times Square. It’s 1973, and New York seems to be on the ropes. Parts of the city look like they’ve been bombed, and its rats are on the march. It’s tough out there, even for ambitious go-getters. Yet Donald, who’s in his late 20s and works for the Trump family’s sprawling real-estate business — he knocks on residential tenant doors to personally collect the rent — has grandiose plans to revive the struggling city and make his fortune by giving a hulking, rundown Midtown hotel a classy makeover.Donald’s aspirations for that hotel, the Commodore, become the first in a series of ladder rungs he grasps on his upward climb through the 1970s and into the go-go ’80s. Working from a script by Gabriel Sherman, Abbasi tracks Donald’s high points and low on his transformational journey, which takes him from testy meals in his parents’ Queens home and into Manhattan’s corridors of power, its boardrooms and party dens. Whether in the back seat of a stretch limo or riding along with Roy Cohn in a Rolls, Donald is on the make and on the move. (Sherman wrote “The Loudest Voice in the Room,” a biography of the Fox News executive Roger Ailes; Abbasi’s directing credits include “Holy Spider.”)Donald’s path, as it were, proves grim and glittering by turns, and is lined with shrewd wheedling, outlandish excesses, sketchy characters and anguished family drama. There’s also somewhat of a fork in his road, symbolized by his relationship with Roy and his romance with a feisty, skeptical Czech model, Ivana (an appealing Maria Bakalova). The movie suggests that Ivana is good for Donald and maybe a potential lodestar, but he’s in thrall to Roy and to his father, Fred (an unrecognizable Martin Donovan). A tyrant who berates his grown children at the family dining-room table, especially his eldest son, Freddy (Charlie Carrick), Fred is the father Donald conspicuously fears and whom he trades in for Roy.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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      ‘Separated’ Review: Interrogating a Policy

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      The latest documentary from Errol Morris looks at the Trump administration’s practice of taking children from their parents at the southern border.When the great documentarian Errol Morris (“The Thin Blue Line”) has taken on overtly political subjects, he has rarely approached them from a position of express advocacy. His perspective tends to be more philosophical, even cosmic.“American Dharma” (2019) sought to understand what made the former Trump White House strategist Stephen K. Bannon tick. “Standard Operating Procedure” (2008) revolved around the photographs of Abu Ghraib prison in Iraq, and how acts that might look so obviously like torture were in certain cases rationalized as routine. The director’s portraits of former defense secretaries — Robert S. McNamara in “The Fog of War” (2003) and Donald H. Rumsfeld in “The Unknown Known” (2014) — centered on figures who were well out of office, even if, in 2003, McNamara’s reflections on the Vietnam War held up a clear mirror to Rumsfeld and his then-current approach to Iraq.Morris’s “Separated,” on the Trump administration’s practice of taking children from their parents at the southern border, comes closer to a direct intervention. The filmmaker has been open about his desire to have it released before the presidential election, and although it is now playing in theaters, it isn’t set to air on MSNBC until Dec. 7, when its relevance will be reduced. “Why is my movie not being shown on NBC prior to the election?” Morris wrote on X. “It is not a partisan movie. It’s about a policy that was disgusting and should not be allowed to happen again. Make your own inferences.”If “Separated” is likely too straightforward — too much of a conventional issue documentary — to be remembered as one of Morris’s richest films, it is not as if the director has abandoned his sense of profound absurdity. In the film, Jonathan White, who worked for the Office of Refugee Resettlement within the Department of Health and Human Services when family separations began, speaks of a period in 2017 when those actions flew under the public’s radar. “It happened for months before there was any policy to do it,” he says, “and it was going on while my own leadership maintained it wasn’t.”At the Venice Film Festival, Morris highlighted the contradiction: “If the purpose was deterrence, why do it covertly?” he said in August. (There is a hint of Peter Sellers’s Dr. Strangelove in that idea: “The whole point of the doomsday machine is lost if you keep it a secret.”) But White says that “harm to children was part of the point.”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