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      ‘Killers of the Flower Moon’ Debuts Apple’s New Film Strategy

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      Martin Scorsese’s three-and-a-half-hour epic is the first of three high-profile movies the tech company will give wide theatrical releases in the coming months.The box office results for Martin Scorsese’s new film, “Killers of the Flower Moon,” will be revealed on Sunday and analyzed by reporters and industry insiders. Did the movie perform well? Did it fall short? Did Leonardo DiCaprio’s inability to promote the film because of the actors’ strike ultimately mean fewer people went to see it?This is a normal opening weekend practice for any major theatrical release, but it will be a first for Apple Studios, the producer and financier of the $200 million movie. It is teaming up with Paramount Pictures to release the three-and-a-half-hour R-rated film in more than 3,600 theaters.Until now, Apple’s films were streaming-first. But “Killers of the Flower Moon” won’t reach its streaming service, Apple TV+, for at least 45 days. It is Apple’s clearest embrace of movie theaters since the start of Apple TV+ four years ago, and the first of three major theatrical releases from the company scheduled for the next six months.During Thanksgiving weekend, Sony Pictures will work with Apple to release Ridley Scott’s “Napoleon,” starring Joaquin Phoenix. In February, Apple is joining forces with Universal Pictures to release the spy caper “Argylle” in theaters around the country.Bradley Thomas, a producer of “Killers of the Flower Moon,” called Apple’s partnerships “comforting,” because traditional studios have decades of experience with theatrical releases.“So Apple is dipping its toe into it,” he said. “They aren’t taking the whole thing on by themselves.”The producer Kevin Walsh, who began developing “Napoleon” with Apple in 2020, has watched its approach to theatrical release evolve. The turning point, he said, came after the top Apple TV+ executives Jamie Erlicht and Zack Van Amberg saw the success that Paramount had with “Top Gun,” which brought in $1.5 billion at the global box office last year.“What ‘Top Gun’ did to the box office they are trying to emulate with movies like ‘Napoleon,’ and ‘Formula 1,’” Mr. Walsh said in an interview, referring to the upcoming Brad Pitt movie that Apple is making with the “Top Gun” director Joseph Kosinski. “I think there is money to be made, of course, for spectacle movies in the theater. But they also serve as a massive billboard for the Apple TV service when they are successful and rolled out well.”Apple’s recent embrace of movie theaters is welcome news for a movie theater business that has been upended by streaming companies’ penchant for making films largely for their at-home services. Netflix first disrupted the long-held tradition of the theatrical release by putting films in a limited number of theaters for a limited time — usually the minimum required to appease filmmakers and qualify for Oscar consideration.Amazon Studios recently reversed its approach, giving commercial films like Ben Affleck’s “Air” significant time in theaters before releasing them to streaming subscribers.Ridley Scott’s “Napoleon” will open in theaters on Thanksgiving weekend.Sony Pictures and Apple Original FilmsBut Apple, with its deep pockets, reputation for secrecy (it doesn’t share streaming subscriber numbers and declined to comment for this article) and interest in controlling all components of its ecosystem, has surprised some with its willingness to team up with others to market its films to moviegoers. It’s a situation that leaves the company open to the vagaries of the theatrical marketplace.And “Killers,” with its high price tag, has to do big business to become a success. Analysts are predicting that the film could fetch anywhere from $18 million to $30 million in its opening weekend. That would be a tough beginning even for a film by Mr. Scorsese, whose movies traditionally have staying power in theaters and often eventually gross close to five times what they brought in on opening weekend. The film’s long run time and dark subject matter — the plot revolves around the murders of Native Americans — could also be commercial hurdles.“We are a little more bullish than the industry expectations floating around,” said Shawn Robbins, an independent box office analyst, who predicts the film will open in the $30 million range. “The film certainly has its hills to climb with a long run time and DiCaprio’s absence from the press circuit.”But “strong reviews and Mr. DiCaprio’s own box office history — especially with Mr. Scorsese — provide ample amounts of good will for audiences,” he added, and work in the film’s favor. “The market hasn’t had a high-profile film targeted toward adults for a while.” (“Oppenheimer,” with a similar run time and equally serious subject matter, defied odds this year and earned $942 million worldwide.)While Apple has said very little about its shift in strategy, theater owners are ecstatic.Apple is “a major company that has the ability to do a lot of high-quality work, and I think that the recognition on their part that movies belong in theaters is a strong signal,” Michael O’Leary, chairman of the National Association of Theater Owners, a trade association, said in an interview. “Prioritizing theatrical will help them get major filmmakers to come into their tents, and to create even more dynamic, entertaining fare in the years ahead.”Mr. Scorsese and his co-writer, Eric Roth, began adapting David Grann’s nonfiction book “Killers of the Flower Moon” in 2017. Paramount agreed to finance and distribute the film, but when the production costs soared, the studio brought in Apple in 2020 to finance the project.Others wanted it, said Mr. Thomas, who initially purchased the adaptation rights to “Killers” with his partner, Dan Friedkin. It was Apple, however, that guaranteed a full theatrical release — a must for Mr. Scorsese, whose last film, “The Irishman” for Netflix, had a truncated run in theaters.Paramount stayed on in a deal that saw Apple reimburse the studio for its development costs on the movie and a portion of Mr. Scorsese’s overall deal, according to two people with knowledge of the agreement, who spoke on the condition of anonymity because the details were not public. Paramount controls all theater bookings and media buys for the film’s trailers and commercials, while Apple controls its publicity and marketing materials.Apple made similar, though less expensive, deals with Sony Pictures for “Napoleon” and Universal Pictures for “Argyle,” with Sony and Universal sharing the marketing costs with Apple and handling each film’s distribution.And while all three studios would like the opportunity to enter into long-term partnerships with Apple, the tech giant has not committed to any one partner.“I’d be surprised if they take a single-studio approach for distribution,” said Tim Bajarin, chief executive of Creative Strategies, a high-tech research firm based in Silicon Valley. “Apple is willing to work, and they have shown that they can work well, with multiple studios. I think that track is more likely to be what they’ll use in the future. They are extremely calculating.” More

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      As Movie Theaters Embrace Swift, One Showcases Her Exes

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      In addition to “Taylor Swift: The Eras Tour,” a Milwaukee theater is programming films that feature some of her starry boyfriends.Like movie theaters across the country that are facing the fallout of an actors’ strike and the shift to streaming, the Oriental Theater in Milwaukee was quite pleased to have Taylor Swift’s concert film coming to its screens.But “Taylor Swift: The Eras Tour,” which has been a box office rainmaker, comes with an unconventional stipulation: Theaters may only show it Thursdays through Sundays, said Cara Ogburn, the artistic director of Milwaukee Film, which runs the Oriental Theater.So what to do, she wondered, on the other three days of the week?“What if we show all Jake Gyllenhaal movies,” Ogburn suggested offhandedly, initially as a joke. “True counterprogramming.”The idea quickly expanded. The team’s resident Swiftie assured leadership that the theater would not be canceled for a lineup based on the pop star’s famous exes. Then staff members selected qualifying films that also had Halloween-adjacent themes.Starting next week, the three-screen art-house theater will show the original “Twilight” (Taylor Lautner, a.k.a. the werewolf Jacob Black), “Dunkirk” (Harry Styles, a.k.a. One Direction heartthrob turned nondescript World War II soldier), “Crimson Peak” (Tom Hiddleston, a.k.a. a pre-Loki baronet) and, yes, a lot of Gyllenhaal.There’s “Zodiac” on Tuesday.“Enemy” plays on Oct. 29, followed the next night by “Nocturnal Animals.”Then, on Halloween, comes “Donnie Darko.”It may be true that Swift’s songbook is only “minimally about romantic love,” as Taffy Brodesser-Akner recently observed in The New York Times Magazine. But Swift is well aware of the way she has been caricatured for having, as she puts it in “Blank Space,” a long list of ex-lovers who will say she is insane.“We were surprised to discover how many boyfriends she has had who have been in movies,” Ogburn said of Swift, who was connected to Lautner in 2009, Gyllenhaal in 2010, Styles in 2012 and Hiddleston in 2016. (Recently, she has been seen with the N.F.L. player Travis Kelce.)“Then we whittled it down to — what is a good movie?” Ogburn said. Finally, she said, the team had to consider what films it could actually get the rights to show.Independent movie theaters that show more than blockbusters often target specific fan bases. In the same month that the Oriental Theater has organized and branded “The Exes Tour,” it is hosting the Milwaukee Muslim Film Festival and showing older horror favorites and current Oscar contenders like Martin Scorsese’s “Killers of the Flower Moon.”But the most vocal crowds are expected for Swift’s concert film, which in many places has become a glitter-filled, Eras-inspired mega event. She has encouraged viewers to treat the outings like the many concerts that captivated fans this year, urging the exchange of friendship bracelets and dancing to the songs that Swifties know by heart.The desire for packed theaters and a concertlike atmosphere might help explain the unique scheduling requirements for “Taylor Swift: The Eras Tour,” which collected nearly $93 million domestically in its first weekend. It also has standardized symbolic ticket prices: $19.89 for general admission and $13.13 for everyone else.Ogburn, whose team created a special drink menu for the movie’s run (red wine, for instance, became simply “Red”), said she had not fielded complaints about movie theater etiquette. “We’re kind of into enthusiastic moviegoing,” she said. “A little applauding like you’re at a concert is nothing we can’t handle.”She did wonder whether there would be a less kind reaction to “Donnie Darko,” a 2001 cult classic in which Gyllenhaal’s disturbed character encounters a life-size rabbit.“Will we get Swifties booing?” she asked. More

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      ‘Scary Movie 3’ at 20: Still Kills

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      The horror parody’s threequel remains the smartest dumb movie of its era.Just before Halloween 20 years ago, the slasher spoof “Scary Movie” released its third installment, a truly unserious sendup of “The Ring,” “8 Mile,” M. Night Shyamalan and pop culture at large. I died of laughter watching it as a preteen — that it was immature and in bad taste was entirely the point. Two decades and a college degree later, I’m afraid to say, “Scary Movie 3” still kills me.If the threequel had any chance of survival after the studio fired the Wayans brothers from their own franchise, according to Marlon Wayans, it needed a deus ex machina in the style of “Airplane!” and “The Naked Gun.” So, they hired exactly that: the spoof veteran director David Zucker and his “Olivier” of the genre, as Roger Ebert called him, Leslie Nielsen. This inspired union between golden-age 1980s parody and Y2K-era irreverent slapstick gave the cult hit a certain cachet. It was also Hollywood’s last great love affair with its silliest genre.The farce follows the journalist Cindy (Anna Faris), the aspiring rapper George (Simon Rex) and George’s farmer brother, Tom (Charlie Sheen), as they investigate a killer tape, mysterious crop circles and an alien invasion. Regina Hall reprises her role as Cindy’s best friend, Brenda, while Nielsen plays the looney-tunes president of the United States. Queen Latifah slays as (sorry!) Aunt ShaNeequa, the know-it-all oracle, married to Eddie Griffin’s Orpheus.And lampooning “The Matrix Reloaded,” the comedian George Carlin pops in as the Architect, who accidentally returned his kid’s creepy video to Blockbuster instead of “Pootie Tang.” “We loved our daughter, but she was evil. Made the horses crazy, killed our puppies, hid the remote,” the Architect explains. “My wife took her to the old family farm and drowned her in the well. I felt a simple timeout would have been sufficient.”Somewhere between pastiche and schlock, “Scary Movie 3” is more a bricolage of breathless non sequiturs and fourth-wall winks; puns, quips and zeitgeisty references; cockamamie gags and genius line readings — all executed with deadpan precision at a breakneck pace. Don’t worry if you don’t get a joke … a new one is right behind it. Even with those foul, out-of-pocket jokes you can’t make anymore, for better or worse (the Michael Jackson impersonator is still sort of funny), “Scary Movie 3” remains a quotable fan favorite that informed a generation’s brand of humor.A sheriff’s growing hat. Kevin Hart and Anthony Anderson’s paradoxes on the nature of a rat becoming a mouse if it enters a house. “Oooh, Yahtzee!” Never mind its faded shock value, toilet humor or many, many kicks to the groin. The movie is largely held up by its subtle hilarity — the shovel cocked like a shotgun or the perfect delivery behind “Tom, I’ll need a ride home” — throwaway scenes that have you laughing like you’re a kid again.The best parodies turn out coffers, or caskets in this case, for our collective obsessions. Enter: the obligatory celebrity cameo. Schoolgirl versions of Jenny McCarthy and Pamela Anderson stretch the dumb blonde shtick to death. Fat Joe and Simon Cowell appear as themselves at a rap battle. Ja Rule plays a Secret Service agent for some reason. Master P, Macy Gray and Wu-Tang members arrive as backup against the aliens but shoot at each other instead. Part of the fun of the movie today is seeing what 20 years has or hasn’t changed.“Writing ‘Scary Movie 3’ was way harder than writing ‘Chernobyl,’” the Emmy-winning scribe Craig Mazin told British GQ last year. Mazin said that he, along with his co-writer Pat Proft, would count more than 70 script revisions thanks to relentless demands from Bob Weinstein of Miramax to turn the movie into a raunchy sex comedy.Even now, Mazin loves “Scary Movie 3,” as does Zucker, who considers it one of his three best movies. Often asked if he could make his movies today, Zucker has a favorite line: “Sure, just without the jokes.”Nowadays, a good spoof is hard to find. A few theories involve cultural and moviemaking changes, as if we’re post-satire or post-genre. Franchises and tentpoles either don’t even try to beat the Oscar bait allegations anymore, or they commit to the bit so hard that it ricochets more than the car that went to outer space in “F9.”As the decade wore on, no one was safe from the onslaught of parodies, mostly with the word “Movie” in the title (“Not Another Teen Movie,” “Date Movie,” “Disaster Movie,” “Superhero Movie,” et al.). The gag got old, and the spoof soon became a nightmare.It’s fitting, then, that the franchise that single-handedly revived the genre would also deliver the final blow with “Scary Movie V” in 2013. Parody flicks have been dying a slow death ever since, and — shocker — “Scary Movie 3” might have been the killer all along. More

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      ‘The Persian Version’ Director Has Always Lived in the In-Between

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      In her new film, Maryam Keshavarz finds both gravity and levity in the struggle to reconcile her Iranian heritage and her life in the United States.When Leila, the central character in the new comedy-drama “The Persian Version,” sashays across the Brooklyn Bridge and into a Halloween party carrying a surfboard and wearing a burkini — niqab on top, bikini on the bottom — while Wet Leg’s cheeky anthem “Chaise Longue” plays, it’s clear that what’s to come will be a boundary-pushing take on straddling cultures that are at odds in the real world.Maryam Keshavarz wore a similar burkini costume once upon a time, and her semi-autobiographical film — which spans decades and moves between Iran and the United States — won an audience award and a screenwriting prize at the Sundance Film Festival in January, where it had its world premiere. The film, written and directed by Keshavarz, will have a limited theatrical release in the United States on Friday.“The reality is, I’ve never really followed the rules,” Keshavarz, 48, who was born in New York to Iranian parents, told me in a video call earlier this month. “It’s also the reason that probably I’ve been able to get to where I am, because there’s no real path for us, is there? There’s no straight path if you’re an immigrant kid, if you’re queer, if you’re an outsider.”Keshavarz was an adult when she grasped that immigrants and women could be directors. “I thought that was stuff for white Americans,” she said. “Even the idea that we have a right to tell our story and to take up space is huge.”Women who follow the rules “would be crushed,” she came to understand. “It’s a society that doesn’t allow us to get what we need to survive and flourish. So we have to take things into our own hands.”Here are edited excerpts from our conversation. Light spoilers ahead.Your film is arriving at a time when there’s heightened attention on the oppression Iranian girls and women face: The imprisoned Iranian activist Narges Mohammadi, who focuses on women’s rights in Iran, recently received the Nobel Peace Prize, and this month, a 16-year-old girl entered a subway car in Tehran with her hair uncovered and was later dragged out unconscious. How does your film fit with this larger picture?Of course, we are so grateful that the international voices have been used to amplify what’s going on in Iran in the last year, but this has been an ongoing issue ever since I can remember, we’ve been fighting against in Iran — all the morality police and, at every level, women, because they’re the symbol of the Islamic culture with the hair-covering and everything — have been on the forefront of pushing back.If you look at my film, my mother in the ’60s, she’s fighting against cultural norms to have her place in society. It’s not a battle that’s won in a day. And particularly young women, I’m in awe of them. The young girl who plays my mother at 14 (Kamand Shafieisabet), she lives in Iran, and she could have stayed in America, but she decided to go back after Sundance. She said, “It’s my duty to fight in my country.”More than anything, this is an international issue. The reason it’s caught fire around the world is because it’s not just about Iran. We also have issues here in the U.S. I think finally we understand that there’s more of an interconnectivity in our struggles.A scene from “The Persian Version.” Niousha Noor, in green, plays the mother, Shireen, who is based on Keshavarz’s own parent.Yiget Eken/Sony Pictures ClassicsKamand Shafieisabet has the film’s most dramatic moments. What was casting like for you, since you were essentially casting your own family?Everyone is Iranian. I was really dedicated to have actual Iranians. It didn’t matter what diaspora they were in, and it was so meaningful for them because all of us grew up in different countries.[Shafieisabet] lived and breathed this character, and she joked, “I’m giving birth to a child, and I’ve never kissed a boy.” She’s never acted. She was literally a freshman in high school. I wanted someone that was that innocent to play my mother, because my mother truly was at that time.When my mother met her — and my mom’s very verbose — I said, “Mom, you’re so quiet. What’s wrong?” And she said, “You know what? I never realized how young I was until I saw this girl. I was her age. I was a child. I was always struggling so hard to survive. I never had a moment to reflect.”Why is it important for you to elevate the stories of those who exist in that very particular space between cultures?To me, that’s quintessentially what it means to be American. You come to America and you’re allowed in many ways to continue your original national identity and still become American, and preserve those two things side by side. Also I wanted to take back the narrative of what it meant to be American. But more than anything, when you’re from two different places, you’re a bit of an outsider of both. And you do see the absurdity of both sides in some ways, and you understand it probably more than others would. So in some ways you become a translator of both cultures.Even Leila being a lesbian who gets pregnant by a man, as you did, plays in that in-between space.My family was so confused. That’s really the truth. Because I’ve been so adamantly with a woman and had been married and queer. We went out for drinks, and I was about to wimp out. Then the father of my daughter was like, “You’ve got to tell them.” I was like, “I’ll send them email.” And I did blurt it out just like that. Then they thought he was gay. They were so confused. The story of my life. As confused as me. [Laughs]That was very hard for me even to say “bisexual” for a long time. I was like, no, I’m queer. Also because of politics. It’s important that we have a sense of gay rights, regardless of the spectrum that you’re on. I’m from an older generation; my daughter’s generation has a completely different perspective on it. It was very important for me just to be adamant about our political rights as a community. But I realized life is more messy than the political movements allow us to be.Layla Mohammadi as Leila and Noor in a dancing scene from the movie. Yiget Eken/Sony Pictures ClassicsYou balance a lot of opposing themes: duality of identity, of course, but also comedy and drama, as well as different cinematic tones as we move through time and locales. Was it a struggle to bite off so much?I struggled with two things. One was the balance of the comedy and the drama. Another was to have an epic tale that was so intimate. That was very important for me, not to get lost in the period detail but to know that this is a story of essentially three women and to really ground it. And to do that, I decided that each character would have a different genre that’s reflective of who they are: So that the daughter is more ’80s-’90s pop. The grandmother is a tall teller of tales, as all grandmothers are, so she gets a spaghetti western. And then the mother, who, even though she’s created a new identity, is still traumatized by an old past — what you typically think of Persian films, which is like [an Abbas] Kiarostami sort of film.For me, it was important that all three women get to tell at least their version of the story. When I was writing it, I couldn’t crack the story until I realized my mother was the other writer. Because she came to this country to write her own future, rewrite her life. Once I got that, everything else fell into place. I realized all the men are just a chorus to our stories. And typically, it’s the other way around.On that note, do you really have eight brothers?In real life, I have seven brothers. In the story, I have eight. But I did grow up with one bathroom. I’m very traumatized to this day. I just have to have my own bathroom. [Laughs]The chaos of many siblings adds levity for sure. The movie, despite tackling serious topics, is also largely a comedy packed with big food scenes, choreographed dance sequences and tons of music, including Wet Leg at the start, but also Cyndi Lauper and Gagoosh.Certainly when I was a kid, Iran was synonymous with terrorist. And that was not my experience of Iran or Iranians. I’m like, “We’re so lazy. How can we be terrorists? We like to take long naps after lunch.” But honestly, it’s not the people I know; it’s not the culture and the celebration, the music, food. That’s a real political thing, too, what aspects of our culture are shown. I mean, if we can dehumanize people, it’s so much easier to invade them and to kill them and to take their oil and to create nameless wars, faceless wars. So I think the reason I went into cinema post-9/11 was to create a more nuanced view of our world. This film is in some ways a culmination of my entire career. I don’t believe in all this divisive rhetoric, and I feel like humor is a way that we can connect. More

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      ‘Old Dads’ Review: Bill Burr Rails Against Modern Life as a Dad

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      A curmudgeon, starting fatherhood late, has lots to say about the world.Don’t get your hopes up: This is not a documentary about Al Pacino, Robert De Niro and Mick Jagger. “Old Dads” is the feature directorial debut of Bill Burr, a popular 50-something comedian with a shaved head and a light beard who plays Jack, who came to fatherhood late.Jack narrates in a voice not unlike that of Burr’s standup persona, responding to the issues that confound the contemporary straight white male with profane non-sequiturs. Jack muses that he can’t leave his child in the car to pop into a convenience store, but that said store is free to sell hormone-packed junk foods, and that nobody cares because they’re addicted to internet pornography. I’m paraphrasing.As is customary in today’s Guy Comedies, Jack is part of a trio — with Bokeem Woodbine and Bobby Cannavale, who play his business partners, Mike and Conner. They’ve just sold their successful concern to an unctuous young start-up bro (Miles Robbins) whose “disrupter” shtick provides fodder for more modern-life-is-rubbish humor.The movie emphasizes Jack’s near-constant indignation about adult scooter riders and parking as much as it does his parenting concerns. Jack and his wife, Leah, are currently worried that their son might not get a proper kindergarten recommendation. As such, Jack locks horns with a principal (Rachael Harris) who, like many of the parents who surround Jack and Leah, is a parody of both 1980s-style New Age bromide-spouters and insipid practitioners of today’s “woke” philosophies.Many scenes are predicated on Jack’s eye-rolling, then shouty reactions to phrases like “inclusive adjacent” or “check your privilege.” Burr is skilled at this, for sure. And Woodbine and Cannavale, who are better actors overall, slide into Burr’s mode with ease. The results will prove satisfactory and maybe cathartic for his fans.Old DadsRated R for language themes, nudity, more language. Running time: 1 hour 44 minutes. Watch on Netflix. More

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      Vincent Patrick, Chronicler of Hustlers and Mobsters, Dies at 88

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      A novelist and screenwriter, he wrote “The Pope of Greenwich Village” and “Family Business” and brought them both to the big screen.Vincent Patrick, an author and screenwriter who set pins at a bowling alley, peddled Bibles door to door and helped start a mechanical engineering firm before finding critical success with his first novel, “The Pope of Greenwich Village,” at 44, died on Oct. 6 at his home in Manhattan. He was 88.The cause was complications of Lewy body dementia, his son Richard said.The son of a Bronx pool-hall owner and numbers runner, Mr. Patrick was raised in a milieu sprinkled with the grifters, hustlers and mobsters who would eventually become characters in his novels, which also included “Family Business” (1985) and “Smoke Screen” (1999).In manner and accent, Mr. Patrick seemed like a character he might have dreamed up himself. A 1999 profile in The Los Angeles Times noted that “his voice has that subterranean rumble of an accent, a sound that good character actors try to emulate when playing retired cops or tough but fair patriarchs.”“The Pope of Greenwich Village,” published in 1979, told the story of Charlie, the down-on-his-luck night manager of a Manhattan saloon, whose cousin Paulie sucks him and a locksmith friend into a perilous plot to crack a safe filled with what turns out to be mob money.“The connective thread is the sad state of their lives, their disenchantment and the curse of being dreamers,” Joe Flaherty wrote in a review in The New York Times. The novel, he added, “mines territory rarely encountered in fiction and, in the vernacular of his tough, streetwise characters, delivers a sweetheart of a book.”“Family Business,” the tale of three generations of hustlers from an ethnically mixed New York family, also explored the psychological allure of the big score. Jessie McMullen, the con-man grandfather; Vito, his son, who is in the wholesale meat business; and Adam, his M.I.T.-educated grandson, all find themselves drawn into a risky caper to swipe a plant cell from a California laboratory and sell it to a rival genetic engineering company.“Mr. Patrick could have drawn these characters with broad strokes, concentrating on the heist, and still have come up with a decent thriller,” Arthur Krystal wrote in The Times. “Instead he chose to provide them with interesting lives and, in the cases of Vito and Adam, with the intelligence and self-doubts of men uncomfortable with their moral upbringing.”Mr. Patrick himself was quoted by The Times: “There’s a colorfulness about their value systems that makes them attractive to a writer,” he said, “a willingness to take risks and an ability to meet life sort of head-on and wrestle with it and not retreat into a very secure position.”Some critics were less kind to the feature film versions of both books, which Mr. Patrick himself adapted. “The Pope of Greenwich Village” (1984), starring Mickey Rourke and Eric Roberts, was “less a story than a display of acting mannerisms,” the critic Vincent Canby wrote in The Times.Reviewing “Family Business” (1989), directed by Sidney Lumet and starring Sean Connery, Dustin Hoffman and Matthew Broderick, Mr. Canby found a paucity of wit. He also found the idea that three actors so physically dissimilar could be blood relatives to be a stretch.Still, Mr. Patrick understood the compromises required to make it in Hollywood, his son Richard said in a phone interview. His father, he said convinced the producer Scott Rudin that he would not treat his novels as sacrosanct works of literature, telling him, “I have no compunction at all about cannibalizing my own work in order to bring it to the big screen.’”“The Pope of Greenwich Village,” published in 1979, told the story of a down-on-his-luck saloon night manager who gets sucked into a perilous plot to crack a safe filled with what turns out to be mob money.Seaview BooksVincent Francis Patrick was born on Jan. 19, 1935, in the Bronx, the middle of three children of Vincent and Angela (Hunt) Patrick. His mother was a legal secretary. Growing up, he dreamed of being a writer, and he churned out short stories during his teens.School, however, was another matter. He chafed at the strict discipline at the Roman Catholic schools he attended, and he dropped out of Cardinal Hayes High School in the Bronx after his junior year. In order to make ends meet, he set pins at a Bronx bowling alley before taking a job selling Bibles door to door in Bronx apartment buildings.As he recounted in a 1999 performance at the storytelling series staged by the Moth, he abandoned the job after watching his sales partner persuade a housewife to raid her 7-year-old daughter’s piggy bank for the $7 down payment on a fancy leather-embossed Bible. “I didn’t know yet who I was,” he told the audience. “But I knew who I was not.”In 1954 he married Carole Unger, and the couple had two sons. With a family to support, Mr. Patrick earned his high school diploma and put himself through New York University, where he earned a bachelor’s degree in mechanical engineering. He and a partner then started a successful firm that designed, among other things, an assembly line for caskets.By his mid-30s, however, the call of a literary career had become too loud to ignore, so he left engineering to take another stab at writing professionally. “I wasn’t really happy, and I knew if I didn’t begin to write something, it wasn’t going to be written,” he told People magazine in 1979.Mr. Patrick hammered out a draft of his first book while working as a bartender at an Italian restaurant near Gramercy Park in Manhattan, where his son said he drew inspiration by rubbing elbows with the underworld types from Little Italy who would hang out there.From left, Mickey Rourke, Daryl Hannah and Eric Roberts in the film version of “The Pope of Greenwich Village” (1984), for which Mr. Patrick wrote the screenplay.MGM, via Everett CollectionWhile he was initially drawn to screenwriting as a means to adapt his own work, Richard Patrick said, it soon became a successful side career. Among other projects, he contributed to the script for “The Devil’s Own” (1997), starring Harrison Ford as a police officer and Brad Pitt as an Irish Republican Army member hiding out in Staten Island, and wrote the two-part television movie “To Serve and Protect” (1999).He was also hired to write early treatments for “Beverly Hills Cop” and “The Godfather III,” although both projects ended up in other hands.In addition to his son Richard, Mr. Patrick is survived by his wife; another son, Glen; four grandchildren; and a great-granddaughter.Hollywood, Mr. Patrick once said, was both a fabled land of opportunity and a trap. “Once you start,” he told The Los Angeles Times, “it’s hard to get out.” Discussing his third novel, “Smoke Screen,” a thriller involving international terrorism and a deadly virus, he admitted that his screenwriting work had slowed his literary output.“Yeah, this is my third novel in 20 years,” he said. “But I think when you look at it, from the point of sheer craft, I’ve gotten better. And that’s because, Hollywood or not, I write every day. It’s different writing, but it all boils down to plot and characters.” More

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      Annette Bening Knows a Thing or Two About Difficult Women

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      In our 2023 Greats issue, out Oct. 22, T celebrates four talents across music, film, art and fashion whose careers are a master class in curiosity, composure and defiance. Whenever I read the profiles for this, our annual Greats issue, I’m always struck by the same thing: how many of our subjects say that their […] More

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      ‘Waiting for the Light to Change’ Review: Listless in a Lakeside Cabin

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      In her feature debut, the director Linh Tran tries to capture the longing and inertia between adolescence and adulthood.Unspoken longings charge the atmosphere of a chilly beach getaway in the elegantly titled “Waiting for the Light to Change,” directed by Linh Tran. The film, which won the Grand Jury prize at the Slamdance Film Festival this year (a Sundance alternative showcasing microbudget works), observes a group of 20-somethings as they lounge about a lakeside cabin during a weeklong vacation in Michigan.The story hews closest to Amy (Jin Park) as she reconnects with her best friend Kim (Joyce Ha) after some time apart. Complicating their reunion are Amy’s lingering feelings for Kim’s boyfriend, Jay (Sam Straley), and Amy’s recent dramatic weight loss. During the trip, spliff-smoking breaks and strolls through the dunes offer some variation amid the interminable idling, which seems to take the same sluggish forms no matter whether they are drunk, high or hung over.There are traces of films by Eric Rohmer and Hong Sang-soo in this lonely and sometimes drowsy drama, which unfolds almost entirely in a series of static long takes. In her feature debut, Tran is intermittently successful at capturing the listlessness that defines that liminal space between adolescence and adulthood; as “Waiting” progresses, malaise envelops her characters like the gray fog over the shoreline. Since the dialogue can feel stilted, the film’s best scenes are nearly wordless: silent surveys of the wreckage of things unsaid.Waiting for the Light to ChangeNot rated. Running time: 1 hour 29 minutes. Rent or buy on most major platforms. More