Movies

Subterms

    More stories

    • 75 Shares159 Views

      in Movies

      ‘Joy’ Review: The Humans Behind I.V.F.

      by

      Thomasin McKenzie plays an unheralded pioneer of in vitro fertilization in a new biography.In vitro fertilization is considered by many to be a miracle. It’s still controversial in some circles, as was seen in the recent election, when politicians made often contradictory pronouncements about it.But “Joy,” a biographical treatment of Jean Purdy, one of the pioneers of the science, while certainly waving the flag for the procedure, is primarily concerned with the human story behind the creation of I.V.F. It sets out to redress an imbalance — that the real-life Purdy, a nurse, was long unacknowledged for her work.This is one of those pictures where the actors outdo the conventional material they are given to work with. Thomasin McKenzie plays Purdy in a scenario that plays out over a decade. It begins in a British medical school with Purdy intrigued by the unorthodox theories on infertility put forth by Bill Nighy as Dr. Patrick Steptoe. Purdy, Steptoe and another doctor played with agreeable masculinity by James Norton team up and begin experimenting, understanding that their approach would attract disapprobation from religious and societal factions.And so it does — Jean is anonymously sent a doll with the word “sinner” scrawled across it in red marker. But she persists.The director, Ben Taylor, keeps the momentum up despite his weakness for marking the passage of time with eyebrow-raising needle drops. The movie is most effective in creating a rooting interest for Purdy’s character, while the maestro Nighy gets a nice juicy monologue at the end that he of course makes a meal of.JoyRated PG-13 for language and themes. Running time: 1 hour 55 minutes. Watch on Netflix. More

    • 63 Shares189 Views

      in Movies

      ‘Flow’ Review: A Cat’s Life

      by

      A cat, a dog and a capybara embark on an epic adventure in this earnest and refreshingly unconventional animated film.“Flow,” an animated adventure film with a touch of magical realism, is a welcome entrant in the cat-movie canon, exuding a profound affection for our four-legged friends.Its hero, a plucky black cat with round, expressive eyes, doesn’t speak a word of dialogue, and acts more or less like a domestic house cat, but under the Latvian director Gints Zilbalodis’s doting gaze, he’s as well-developed as Atticus Finch, a noble character you can’t help but root for. Purring, scratching and scrabbling up walls, this cat virtually leaps off the screen.“Flow,” written by Zilbalodis and Matiss Kaza, concerns the cat’s survival during a flood of almost biblical proportions. The story, simple but compelling, unfolds as a kind of feline picaresque, as he clambers aboard a passing sailboat that drifts from one scenic exploit to another. He soon encounters other stranded animals, including a guileless Labrador retriever and a benevolent secretary bird, who tag along to form what eventually resembles a charming, ragtag menagerie. Their adventures together range from hair raising, as when a thunderstorm threatens to capsize their ship, to endearingly mundane, like when a rotund capybara helps a lemur gather a collection of knickknacks.It sounds saccharine, but Zilbalodis largely avoids the sort of whimsy and sentimentality that might plague, say, a Disney movie with the same premise. The animals act like real animals, not like cartoons or humans, and that restraint gives their adventure an authenticity that, in moments of both delight and peril, makes the emotion that much more powerful. With the caveat that I’m a cat lover, I was deeply moved.FlowRated PG. Running time: 1 hour 24 minutes. In theaters. More

    • 125 Shares199 Views

      in Movies

      ‘Ernest Cole: Lost and Found’ Review: Chronicling Apartheid and Beyond

      by

      Raoul Peck looks at the compelling South African photographer, who died in 1990, whose work gets a second life onscreen.Ernest Cole, the groundbreaking South African chronicler of apartheid, died in 1990 in Manhattan. He was 49 and had been in exile since 1966. A new documentary directed by Raoul Peck, “Ernest Cole: Lost and Found,” revives interest in the photographer, who trained his gaze on fellow Black South Africans living with the daily outrages and violent outbursts of a system that controlled their movements but not their meaning.In 2017, a trove of Cole’s work was found in a safe deposit box in Sweden. Amid that cache were the black-and-white images that were featured in his acclaimed photo book “House of Bondage.” First published in 1967, the book guaranteed the then-26-year-old’s banishment from his homeland.Peck makes use of keen observations excerpted from Cole’s writings and moves fluidly between stills (compassionate toward their subjects, damning of the subjugators) as well as quietly captivating photos he took of street life in Harlem and rural life during a road trip to the South in the 1960s and ’70s. The result is an elegantly wrought documentary that pulls off the trick of leaving viewers sated yet also craving more.Like Peck’s James Baldwin film, “I Am Not Your Negro,” this documentary also mixes the subject’s words with the filmmaker’s musings. “The total man does not live one experience,” the actor LaKeith Stanfield says in voice-over, quoting Cole. With its aching recognition of Cole’s creative triumphs and travails (he was, for a while, homeless), Peck’s film stands as a requisite biography, but also a personal homage: The response of one politically conscious artist to the call of another.Ernest Cole: Lost and FoundNot rated. Running time: 1 hour 45 minutes. In theaters. More

    • 100 Shares99 Views

      in Movies

      ‘Bread & Roses’ Review: A Spirit of Resistance

      by

      Three Afghan women struggle for rights in Sahra Mani’s documentary of life under Taliban rule today.When the Taliban regained control of Afghanistan three years ago, one of the group’s first orders of business was to systematically erase women’s rights. Girls’ schools shuttered, women were barred from public spaces and female professionals were told not to return to work.“Bread & Roses,” which follows the lives of three Afghan women in the wake of the Taliban’s return to power, does not communicate these prohibitions in voice-over or title cards. Instead, the director, Sahra Mani, makes the deliberate choice to clear the way for her subjects to reach the audience directly, in their own words.Through cellphone footage captured on the fly, the documentary zeros in on three subjects defying their loss of freedom: Sharifa, a former government employee stuck at home because of restrictions to being out in public; Zahra, a dentist taken by the Taliban after protesting for her rights; and Taranom, an activist sheltering in a safe house in Pakistan. Intercutting among scenes of these experiences, the film illustrates the effective options for women living under Taliban rule: house arrest, prison or exile.As the three stories veer off in different directions, the film struggles to coalesce around a clean narrative. It doesn’t help that we often only receive snippets of episodes, with the contexts hazy and the relations among those onscreen uncertain. But while the immediacy of the storytelling may blur out precise details, it excels at building stakes. When, in one memorable scene, young girls address the camera to demand brighter futures, the movie’s message and ongoing mission are thrown into sharp relief.Bread & RosesNot rated. Running time: 1 hour 30 minutes. Watch on Apple TV+. More

    • 75 Shares119 Views

      in Movies

      ‘The Black Sea’ Review: Bulgarian Dreams

      by

      In this quietly sweet indie, a Black Brooklynite finds himself stranded in a Bulgarian seaside town, where he finds unlikely redemption“They have dreams in Bulgaria?” Khalid asks a man, hiding from the downpour, in “The Black Sea.” One might say they do: “Like the American dream, but in Bulgarian way,” the stranger responds. In a sense, it’s what Khalid (Derrick B. Harden) has unwittingly found as he tidies up in the cafe he’s cobbled together in a small seaside Bulgarian town.Things move fast and somehow both bizarrely and believably so at the start of this somewhat peculiar but endearing indie directed by Crystal Moselle and Harden. We’re barely introduced to Khalid, a charismatic if unfocused Brooklynite, before he finds himself stranded in Bulgaria after the sugar mama he met on Facebook and came to meet is found dead seemingly the moment he arrives.Grounded by Harden’s natural and loosely charming performance, Khalid treats his nightmare scenario with an alternating sense of anxiety and buoyant, joshing can-do attitude. He gets a job with a town-running bully (who’s also his sugar mama’s son) named Georgi (Stoyo Mirkov), but when things go sideways, he turns instead to Ina (Irmena Chichikova), a local travel agent who gives him a place to crash. He finds his footing, makes friends with locals and starts slinging open-faced grilled cheeses and matcha teas out of a makeshift cafe.The fundamentals of this film are just about as arbitrary as Khalid’s personal journey — it’s not everyday that a low-budget American indie focuses on a stranded Black Brooklynite moving and shaking his way to a new life in small-town Bulgaria. Not that there needs to be a point at all.Regardless, Moselle and Harden work with a subtle naturalistic touch that makes for a quietly sweet movie about unlikely redemption. This is mostly rooted in the partnership between Khalid and Ina, a relationship that, in its avoidance of overt romantics, blossoms and finds meaning in the gentle progression of their closeness.The Black SeaRated R for language and some sexual material. Running time: 1 hour 36 minutes. In theaters. More

    • 150 Shares139 Views

      in Movies

      Vic Flick, Guitarist Who Plucked the James Bond Theme, Dies at 87

      by

      A busy session musician, he also recorded music for the Beatles’ film “A Hard Day’s Night” and contributed to several hit songs.Vic Flick, a British guitarist whose driving riff in the theme for the James Bond movies captured the spy’s suave confidence and tacit danger, died on Nov. 14 in Los Angeles. He was 87.His death, in a nursing facility, was announced on social media by his son, Kevin, who said the cause was Alzheimer’s disease.The Bond films produced signature catchphrases (“shaken, not stirred,” “Bond, James Bond”) that have been endlessly recited and parodied since “Dr. No,” the first in the series, was released in Britain in 1962. But it was the sound of Mr. Flick’s guitar in the opening credits that helped make the spy thrillers instantly recognizable.During the title credits of “Dr. No,” when moviegoers were introduced to or reacquainted with the works of the author Ian Fleming, who wrote the James Bond books, Mr. Flick’s thrumming guitar sounded out through a brass-and-string orchestra.“The selection of strings available in the late ’50s and early ’60s was abysmal compared to today,” he wrote in his 2008 autobiography, “Vic Flick, Guitarman: From James Bond to The Beatles and Beyond.”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

    • 88 Shares129 Views

      in Movies

      Singing ‘Wicked’ Fans Are Anything but Popular

      by

      Some fans who have attended early screenings of the film adaptation of the hit Broadway musical have treated it as a singalong. Not everyone is thrilled.Angela Weir went into a screening of “Wicked” on Monday night ready to be transported to the Land of Oz. But when Glinda (Ariana Grande) began to sing “Popular,” one of the musical’s early numbers, she was not the only one singing.“It started slow. Then people heard each other — it was like they encouraged each other,” Weir said on Tuesday. “It was a beautiful scene, and then you’re taken out of it.”As anticipation builds for the film’s release on Friday, some fans who have attended early screenings have ignored theater norms to sing right along with their favorite characters, much to the chagrin and annoyance of other “Wicked” enthusiasts. Many have taken to social media to issue a strict edict: Shush.As a debate grew on TikTok and Reddit, a possible solution emerged this week: For those who want to join in on the duet “What Is This Feeling?” between Grande and Cynthia Erivo, who plays Elphaba, more than 1,000 theaters across North America will host singalong screenings starting on Christmas Day.A representative for Universal said the company would not comment on the debate, and the off-key serenades have continued in the meantime.Weir, 35, said the singing at a screening in the suburbs of Charlotte, N.C., was particularly distracting during the movie’s finale, when Elphaba belts out the show’s most famous ballad, “Defying Gravity.”

      @arweirr i did like it tho #wicked #pleasedontsing #oscars ♬ original sound – Angela 🙂↔️

      @jordycray Time and place! #fyp #foryou #wicked #wickedmovie #arianagrande #cynthiaerivo #musical #popculture #popculturenews ♬ original sound – jordycray 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

    • 88 Shares109 Views

      in Movies

      ‘Tuesday,’ ‘The Killer’ and More Streaming Gems

      by

      This month’s under-the-radar streaming recommendations include an underrated horror-comedy, an action thrill ride, and two vehicles each for two of our most talented actresses.‘Tuesday’ (2024)Stream it on Max.This mixture of dead-serious drama and imaginative fantasy from the Croatian filmmaker Daina O. Pusic is such a big, weird swing that it’s not surprising audiences didn’t flock to it last summer. And it’s a hard picture to summarize without sounding insane; yes, this is a film where Death, taking the form of an oversized macaw, bobs his head and raps along with Ice Cube’s “Today Was a Good Day.” But if you go along with its wild premise — Death visits a terminally ill teenager (the excellent Lola Petticrew) and her mother (Julia Louis-Dreyfus, in a rare and affecting dramatic turn), and they must grapple with their thorny relationship and what this departure would do to it — it’s quite involving, particularly as Pusic (who also penned the script) gracefully pivots to heart-wrenching poignancy in the homestretch.‘Downhill’ (2020)Stream it on Hulu.Those who prefer Louis-Dreyfus in a more humorous mode will enjoy this comedy of manners from the directors Nat Faxon and Jim Rash (“The Way, Way Back”), remaking Ruben Ostlund’s 2014 international hit “Force Majeure.” As before, the story concerns a husband and father (played with well-practiced oafishness by Will Ferrell) who responds to a possible avalanche during his family’s ski vacation by fleeing without hesitation, to the shock and consternation of his wife (Louis-Dreyfus). The screenplay (by Faxon, Rash and the “Succession” creator Jesse Armstrong) isn’t quite as sharp or subtle as Ostlund’s, but “Downhill” scores plenty of keenly observed points about the fragility of masculinity, and Ferrell and Louis-Dreyfus are a well-matched comedy duo.‘The Dead Don’t Hurt’ (2024)Stream it on Paramount+.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