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      ‘Kinds of Kindness’ Review: Everybody’s Looking for Something

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      Yorgos Lanthimos returns with a twisted fable triptych about dominating and being dominated.You could endlessly pick apart “Kinds of Kindness,” but I don’t recommend it. The closest to a précis you’ll get for the film comes at the start, when the strains of the Eurythmics’ banger “Sweet Dreams (Are Made of This)” ring out over the opening titles. The lyrics repeat the discomfiting notion that:Some of them want to use you.Some of them want to get used by you.Some of them want to abuse you.Some of them want to be abused.Well, who am I to disagree?“Kinds of Kindness” is a return to a certain form of form, if you will, for the director Yorgos Lanthimos, fresh off his warmer, cuddlier films “The Favourite” and “Poor Things.” His earlier movies, “Dogtooth,” “Alps,” “The Killing of a Sacred Deer” and “The Lobster” — all four written with Efthimis Filippou, who was his collaborator on “Kinds” — are less accessible, more deranged, less logical, more disturbing. Which is of course why they’re so polarizing. And so beloved.I expect “Kinds of Kindness” to take its place among that latter group, with its vibrantly, defiantly off-putting stance and sidesplittingly sick sense of humor. It’s a triptych that at first seems slight, then gains meaning the longer you hold its three seemingly disconnected short films in juxtaposition and peer through the overlaps. All three share a cast that includes some returning Lanthimos players, like Margaret Qualley, Willem Dafoe and Emma Stone, who won her second Oscar earlier this year for “Poor Things.” There are newcomers, too: Hong Chau, Mamoudou Athie, Joe Alwyn and especially Jesse Plemons, who won the best actor prize at Cannes for his performance.Plemons is the main character for most of the film. In the first segment, he plays a man whose every move is dictated by his boss (Dafoe), until it isn’t. In the second, Plemons is a cop whose researcher wife (Stone) goes missing on a desert island; when she returns, he’s convinced she’s not actually his wife. And in the third, Plemons and Stone play members of a strange cult (led by Dafoe and Chau) who are desperately seeking a young woman who will become its spiritual leader.It’s all presented with the eerie air of a very dark comedy, the sort where sudden savagery can come crashing through the wall at any second. Violence and cruelty are the drivers of “Kinds of Kindness,” often presented not as the opposite of that kindness but as kindness itself. This strange world calls for delicious off-kilter performances, and the cast — particularly Stone, who’s proven her mettle in this regard, and Plemons — deliver. If you think you know what’s happening in a scene, just wait.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 Exorcism’ Review: Losing Faith

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      Russell Crowe stars as an actor playing an exorcist who’s battling his own demons.“The Exorcism” starts from an instantly compelling premise: On the set of a horror movie about an exorcist, demons lurk. Horror films often tap into ancient fears rooted in myth; this is just a more modern one. As one character tells another, “All kinds of things happen on the sets of devil movies.” Then she names a few examples: “‘The Omen,’ ‘The Exorcist,’ ‘Poltergeist.’” It’s true — over decades, stories of freak accidents and deaths on those sets have grown into the kind of lore that can power its own horror film.That “The Exorcist” is named in this list is a little funny, since the film-within-the-film is clearly just a variant on William Friedkin’s influential 1973 classic. The nested movie is even called “The Georgetown Project,” a reference to the setting of “The Exorcist.” (“The Exorcism,” directed by Joshua John Miller from a screenplay he wrote with M.A. Fortin, seems named to provoke the comparison, too, though that also makes talking about it a little confusing.) What’s more, the first scene in “The Exorcism” reveals that “The Georgetown Project” is about a priest having a crisis of faith who is called to cast a demon out of a teenage girl, and that the house built on the soundstage is a dead ringer for the more famous movie’s set. In other words: In “The Exorcism,” they’re basically making “The Exorcist.”Religious horror — which is to say, horror movies that specifically evoke religious imagery — can be hopelessly hokey, thoughtlessly appropriative, or thoughtful. I’d put “The Exorcist,” one of Hollywood’s best meditations on faith and doubt, in the thoughtful camp, and for the first half-hour of “The Exorcism,” I though it would land there too. It’s about a famous actor named Tony Miller (Russell Crowe, looking sufficiently tortured), whose addictions and grief have recently derailed his career and life. He is given a chance to star as a priest in “The Georgetown Project” by its cranky jerk of a director (Adam Goldberg) after the role is suddenly and violently vacated. Tony thinks it is the salvation he needs.Catholic symbology plays an outsized role in horror — thanks, in no small part, to the influence of “The Exorcist.” Often movies end up grappling with whether the words, rites and sacramental objects of the Catholic church have power of their own, regardless of the beliefs and righteousness of the wielder. “The Exorcism” dips into this inquiry but goes further. In this movie, Catholicism is both the villain and the hero.Tony’s sardonic 16-year-old daughter, Lee (Ryan Simpkins), for instance, shows up at home because she has been suspended from her Catholic boarding school for protesting the principal’s choice to fire her gay guidance counselor. She and Tony have a fraught relationship given Tony’s checkered past, which, we come to realize, has something to do with a horrifying experience from his days as an altar boy.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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      ‘Janet Planet’ Review: A Sticky Summer Full of Small Dramas

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      Annie Baker’s debut feature film is a tiny masterpiece — a perfect coming-of-age story for both a misfit tween and her mother.Kids are supposed to love summer, but I can’t be alone in remembering it as the most vexing season. It’s hot, and there are mosquitoes and spasms of allergic sneezes, and the predictable, sociable structure of the school year vanishes for what feels like an interminable stretch. When Lacy, the 11-year-old in the playwright Annie Baker’s brilliant “Janet Planet,” calls home from camp to tell her mother, Janet, that if she doesn’t come pick her up, she’ll kill herself — I got that, in all its hyperbolic provocation. Sometimes summer is just the worst.But being 11 is also the worst. “You know what’s funny?” Lacy (Zoe Ziegler) asks Janet (Julianne Nicholson) a few weeks later, when she’s been brought back to the home the two share in western Massachusetts: “Every moment of my life is hell.” Janet doesn’t want to laugh, and gently corrects her. But she’s also in the throes of her own turmoil, so she gets it. “I don’t think it will last, though,” Lacy continues, acknowledging with tween stoicism her spells of hell and happiness.Lacy’s life is not hell, no matter her solemn belief. Her mother has built a good life for the two of them, even if it’s invaded at times by friends who need help and boyfriends who Lacy knows are bad news. But every day is long and every occurrence is amplified when you’re Lacy’s age. The genius of “Janet Planet,” Baker’s debut as a feature writer-director, is how flawlessly it renders what it’s like to spend the summer being 11 at your home in the woods, when your mother is your whole world and you wish you could just have her to yourself. You can hear the buzzing bug zapper, feel the sunburn on your skin, scratch your knees on the freshly cut grass and sink into the hazy evening ennui.Baker, who grew up in Amherst, knows the texture of those Massachusetts summers by heart. She also knows the kinds of people who populate the area, sending Janet and Lacy at one point to a midsummer mystical theatrical presentation, complete with larger-than-life puppetry, after which everyone is implored to take home all the extra zucchini the group grew by accident. “Janet Planet” is a tiny masterpiece, and it’s so carefully constructed, so loaded with details and emotions and gentle comedy, that it’s impossible to shake once it gets under your skin.The film is divided into three big sections, centering on three adults who show up in Janet’s life, and thus Lacy’s, in the summer of 1991. First there’s Wayne (Will Patton), Janet’s boyfriend, who was expecting to have the summer alone with her. Later, there’s Regina (Sophie Okonedo), who needs a place to stay after leaving a group that’s part commune, part theater troupe and maybe part cult. Finally, there’s the leader of that group, Avi (Elias Koteas), who takes an interest in Janet and her spiritual development.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 Bikeriders’ Review: On the Road to Nowhere, Beautifully

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      Austin Butler, Jodie Comer and Tom Hardy star in a romanticized drama about a fictional motorcycle club in the 1960s.“The Bikeriders,” a romanticized ballad of tribal love, outlaw cool and the illusion of freedom, gets your motor runnin’ early. A drama flecked with absurdity and violence, it narrates the rise and inevitable dissolution of a Midwestern motorcycle club across the 1960s into the early ’70s, from the ebbing of the greaser era and past the dawning of the Age of Aquarius. Not much happens, but the people are beautiful and so too are their bikes, rumbling beasts that tribe members ride and ride on that familiar closed loop known as Nowheresville, U.S.A.The first essential thing to know about “The Bikeriders” is that the writer-director Jeff Nichols has, improbably, based the movie on a totemic photography book of the same title by the great American photographer and filmmaker Danny Lyon. The second thing is that the movie stars Austin Butler, Jodie Comer and Tom Hardy, a troika of charisma bombs who just have to show up for me to do the same. Nicely supported by a sprawling cast of other good lookers and hard workers, these three are among the draws in a movie that understands the seductions of beauty, the sensuous lines of a human body, the curves of a chassis.The story, such as it is, traces the evolution of a fictional Chicago-area motorcycle club, the Vandals, from its racer origins. Scrambling the chronology, Nichols opens the story midway in 1965 with one member, Benny (Butler), being harassed at a bar by two strangers who want him to remove his “colors,” his ragged denim vest adorned with the club’s name. (Why? Why not?) Soon, punches are being thrown, and one stranger is swinging a shovel at the back of Benny’s head. Nichols freezes on Benny’s face with the shovel framed behind him like a cockeyed metal halo, a wryly funny image that captures a moment in time, much as Lyon did in his photos, and heralds the violence — its threats and giddy thrills — of the bikers’ lives.For a few years in the early and mid-1960s when Lyon was in his 20s, he rode with a real Chicago club, the Outlaws, one of the oldest such groups in the country, charting his adventure in photographs and audio recordings. In 1968, the year before Dennis Hopper’s biker film “Easy Rider” opened, Lyon published “The Bikeriders,” a collection of black-and-white photos with accompanying interviews. One of his interviewees was the real Benny’s wife, Kathy Bauer, a philosopher of male behavior whom Nichols has made the narrator and is played by Comer with rough charm and a chewy, g-dropping accent. (You can compare her pitch-perfect interpretation of Bauer’s voice on Lyon’s website bleakbeauty.com.)Using the book as his lodestar, Nichols borrows from Lyon by turns directly, elliptically and sometimes clumsily, while making some instructive omissions: Some of the bikers wear Iron Cross patches, but if there’s a Nazi swastika or Confederate flag here, emblems flaunted by some white bikers including Danny’s old Outlaw pals, I missed it. Nichols’s most cumbersome move is to have turned Lyon into a supporting character, a bland, earnest smiler (Mike Faist), who basically holds a mic while Kathy chronicles her biker life and times. More subtle and intriguing are Nichols’s efforts to capture the power of Lyon’s photos which — with their dynamic mixture of pictorial beauty and thematic grit, hyper-masculinity and homosocial intimacy — tell a specific 20th-century American story of being and belonging.To that end, Nichols at times re-creates the original photographs, say, with a shot of Benny riding alone across a bridge while looking backward, an image that condenses the paradoxes of his life. Like the other club members, Benny tends to rack up miles without going anywhere very far, a provincialism that is one of the most American things about them. In another scene, Kathy recounts the first time she saw Benny, head bowed, leaning on a barroom pool table with his bared, muscly arms. Nichols catches this moment memorably, as does Comer, whose face opens in wonder as the camera pushes in toward Benny and he raises his head.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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      ‘Black Barbie: A Documentary’ Review: Becoming the Main Character

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      A new Netflix documentary explores what led to the release of Black Barbie in 1980, both celebrating her existence and recognizing her limitations.For more than four decades, Lagueria Davis’s aunt, Beulah Mae Mitchell, worked at Mattel. Davis, the director of the new Netflix documentary “Black Barbie,” was not a fan of dolls, but was drawn to the subject by her aunt, who is a devoted collector.On the surface, the documentary is about what led to the 1980 release of Black Barbie, but the issues it explores run much deeper: the harm of lacking a “social mirror,” the slow pace of progress and the tensions around darkening a white fictional character.There were already Black dolls in the Barbie universe before Black Barbie, but all were ancillary — friends of Barbie’s. The Black version of Barbie, created by the company’s first Black designer, Kitty Black Perkins, was meant to be a main character.What is most interesting about the documentary is the question of whether Black Barbie ever managed to escape her predecessors’ marginalization, as white Barbie remains the standard. Does society need Black versions of white cultural products or new products in which Blackness is centered?Featuring a wide range of Mattel employees, academics, cultural commentators and women who have had Barbies made in their image, such as the Shondaland founder Shonda Rhimes, the ballerina Misty Copeland and the fencer Ibtihaj Muhammad, Davis complicates our understanding of Black Barbie, both celebrating her existence and recognizing her limitations.“Black Barbie” looks at a Black toy company that produced multiracial dolls and a line within Mattel that was focused on stand-alone Black characters, created by Stacey McBride-Irby, a protégée of Perkins. Staying with these scenes a little longer, exploring what worked and did not, would have expanded the conversations taking place in the film and the dissonance inherent in trying to make a white doll Black.Black Barbie: A DocumentaryNot rated. Running time: 1 hour 40 minutes. Watch on Netflix. More

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      The Gay Comedians Who Showed the Way Even if They Weren’t Exactly Out

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      Paul Lynde, Charles Nelson Reilly and Rip Taylor get a cursory mention in a new documentary about queer stand-up, but they were groundbreaking.In 1987, David Letterman was taping his late-night show in Las Vegas before rowdy audiences of mostly young men in preppy pullovers and muscle shirts — prototypical bros raised on “Porky’s.”On one episode, Letterman introduces a “very funny and strange, peculiar man who first played Las Vegas way back in 1963.” The sea of seemingly straight guys parts, and to a cartoonishly accelerated rendition of “Happy Days Are Here Again,” the comedian Rip Taylor speed-walks through, ferociously hurling heaps of confetti, his signature entrance shtick.I’ve had this clip on repeat since watching “Outstanding: A Comedy Revolution,” a new Netflix documentary about the history of queer stand-up comedy. Not because Taylor plays a big role in the film, but because he and two other groundbreaking gay comics — Paul Lynde and Charles Nelson Reilly — do not.“Outstanding” does briefly single out the three men as renowned comedy elders, even though they weren’t primarily known for stand-up. The documentary also does right by underappreciated comedians like Robin Tyler and Bob Smith and household names like Rosie O’Donnell and Margaret Cho.But why just the cursory mention of Lynde, Reilly and Taylor? It’s as if we couldn’t possibly glean anything meaningful from old-school comedians who were apolitical and effeminate, steppingstones for contemporary comedians, like Hannah Gadsby and Jerrod Carmichael, who are willing to wait for a room to quiet down so they can talk about difficult childhoods.Lynde, Reilly and Taylor didn’t sit in their trauma. They kept it light and never talked about their biography in a serious way, because doing so would have led to questions they weren’t prepared to engage with. Maybe that’s why the documentary made me race to YouTube to see these Stonewall-generation funnymen with dippy but dark-edged sensibilities that were shaped by decades of self-hatred and fear the likes of which a 20-year-old today cannot fathom.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 Careful Crafting of Austin Butler

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      There’s a scene early on in the new film “The Bikeriders” that functions like a stress test for stardom.While drinking at a 1960s pool hall, a woman named Kathy (Jodie Comer) is unnerved by the menacing bikers in the room and grabs her purse to go. She’s only stopped dead in her tracks when she catches sight of Benny, another biker, alone. The young man’s muscles are rippling, his hair artfully mussed, his gaze troubled but beguiling. As Kathy stares at him from across the crowded room, the jukebox music and biker chatter fade away, and all you can hear is her stunned gasp as she realizes she’s fallen in love.No visual effects are required for this scene, just a man who can hold the screen and make a woman hold her breath. It’s the sort of role you might have filled in past decades with the likes of Marlon Brando, Paul Newman or Brad Pitt. But who from today’s cohort of young stars has their presence?That’s what worried the director Jeff Nichols two years ago as he embarked on casting the character. He had written Benny as someone who feels mythic even to his fellow bikers, but no contemporary actor was even close to coming to mind. So Nichols wasn’t expecting much when he met with Austin Butler, whose breakthrough film “Elvis” was, at that point, still months from release.What he found, even as Butler walked up, was someone who looked and felt exactly like the character he had written, someone with beauty, gravitas and easy masculinity.Or, as Nichols put it, “I was like, ‘Oh, I’m talking to a movie star.’”Jodie Comer and Austin Butler in “The Bikeriders.”Kyle Kaplan/Focus FeaturesWe 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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      Anouk Aimée’s Subtle Seductiveness in ‘A Man and a Woman’ and ‘La Dolce Vita’

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      The French star created characters who could be fantasies or enigmas, but they always intrigued, even when she was miscast in Hollywood.These days it’s dicey to refer to a female performer as “a thinking man’s sex symbol,” but back in the ’60s and ’70s, when such phrases were dispensed profligately, the French actress Anouk Aimée, who died on Tuesday in Paris at 92, fit the category most beautifully. A willowy brunette with high sculpted cheekbones and penetrating eyes that seemed capable of looking right through you, she was a screen goddess who wielded a thoughtfulness that held the world at arm’s length, or farther.“I didn’t want to be an actress, I wanted to be a dancer,” an effusive Aimée, then 80 and looking back on a career that began when she was a teen, told the interviewer Charlie Rose in 2012. Born in 1932, she studied both dance and theater in England during World War II, and by the time she met the Italian director Federico Fellini in the late 1950s, she had worked with old-school French cinema luminaries like Alexandre Astruc and Julien Duvivier. At that stage in her life, she was more reconciled to acting than in love with it. It was Fellini, she told Rose, whose attitude made her understand that one could be serious in one’s work while still enjoying life.The two characters she created for him were not infused with joie du vivre, however. In “La Dolce Vita” (1960, streaming on Plex), she plays the ennui-besieged socialite Maddalena, who makes a sexual plaything of her ostensible friend and confidante Marcello, the tabloid journalist played by Marcello Mastroianni and based on Fellini’s days as a magazine writer. Contemplating escaping Rome, she talks of buying an island; Marcello chides her: “Your problem is you have too much money.”“And yours is you don’t have enough,” she replies flatly. Then she looks up and gives him a sly, closed-mouth smile. You can see why Marcello might swallow the insult.Three years later, in “8½” (streaming on Max, Criterion and Kanopy), Fellini once again cast Mastroianni as his stand-in, this time in director mode. In the role of Guido, Mastroianni is vexed not just by a crisis of creativity but also by the galaxy of women in his life. Sandra Milo is the indolent seductress, Claudia Cardinale is Guido’s ideal voluptuous virgin, Barbara Steele is a mod muse. Aimée plays Guido’s estranged wife, Luisa, the good thing he can’t hang onto. And while her place in his life is such that she doesn’t even show up until an hour into the movie, she’s the most luminous star in his cosmos — even if Fellini often hides her light under the bushel of what seem to be a deliberately clunky pair of black-rimmed glasses.Her performance in the title role of 1961’s “Lola” (Criterion), the first feature by the French master of fanciful and melancholy romance, Jacques Demy, is perhaps her most extroverted. As a cabaret chanteuse in a quayside bar, she smiles when she sees a familiar face in her first scene — an American sailor who’s more than happy to give her cigarettes and vino upon their reunion — and lights up the saloon. She later attracts the attention of a beleaguered young salaryman out of her past. She’s glad to see him, too, but as is so often the case with cabaret chanteuses in quayside bars, she awaits her true love, the father of her young boy. Lola is a relative free spirit with an open heart but a sense of limits; Aimée’s performance emphasizes the essential innocence, or maybe insignificance, of her flirtations. The character is a male fantasy in her work, a devoted mother in her home and ultimately maybe a mystery even to herself.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