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      ‘Remembering Every Night’ Review: Separate Lives, Intertwined

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      Yui Kiyohara’s slow and graceful film follows a day in the life of three women of different ages as their paths crisscross in a Tokyo suburb.The trees are omnipresent in Yui Kiyohara’s hushed and graceful film “Remembering Every Night” — perhaps even, one imagines, omnipotent. They frame each view of the suburban housing blocks where the film is set. They flutter in the sunlight. They rustle in the breeze. They loom as reminders of the ephemerality of life and memory amid all that neatly ordered steel and concrete.For the unemployed, middle-aged Chizu (Kumi Hyodo), whom we follow through a single spring day, Tama New Town is a kind of limbo where, as one man tells her: “It all looks the same here. It’s easy to get lost.” A planned community near Tokyo designed in the mid-1960s, its sidewalks and gardens have grown worn and wild with age and neglect. The same goes for its older residents, who miss the days when they knew their neighbors. Tama may be a modernist dream or nightmare, depending on your perspective or age; ideas grow old, are forgotten and disappear, just like people. Still their legacies abide.As Chizu searches for a friend’s address, she crosses paths with two younger women, whose narrative branches intertwine quietly with her own. Sanae (Minami Ohba), a gas meter inspector in her early 30s, helps a lost old man (Tadashi Okuno) find his way home; a college student, Natsu (Ai Mikami), grieves the loss of a childhood friend. Tama is for them, too, a space of transitory isolation.Ghosts linger, cameras linger. This is pensive, slow-slow cinema, like Bela Tarr with color but less compositional heft or, sometimes, clarity. Behind it all, the persistent chirping of the birds and insects in the trees.Remembering Every NightNot rated. In Japanese, with subtitles. Running time: 1 hour 56 minutes. In theaters. More

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      ‘Love at First Sight’ Review: Sense, Sensibility and Statistics

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      Two lovebirds-to-be meet at an airport in this unoriginal but sturdy Y.A. romance, which pivots on the probability of falling in love.It may be a cliché to suggest that a streaming original feels as if it were created to serve an algorithm, but rarely is a movie as openly besotted with patterns of data as “Love at First Sight,” on Netflix. Not only is the movie derivative, but its story actually pivots on the statistics of romance, and by extension the supposed romance of statistics.As in “500 Days of Summer,” the romance story whose fabric was recycled for this fleece pullover of a film, “Love at First Sight” features a narrator hyper-fixated on numerical values. Case in point: when we meet our two protagonists, Hadley (Haley Lu Richardson) and Oliver (Ben Hardy), the film encumbers us with a pedantic voice-over recitation of their heights, ages and average cellphone battery charges.Based on the Y.A. book “The Statistical Probability of Love at First Sight,” the movie traces 24 hours in the lives of these two students, who are both flying to London for significant family ceremonies. The pair meet cute at Kennedy International Airport, nap in conjoining business-class seats and very nearly kiss in line for the lavatory. Jameela Jamil, perhaps embodying the pair’s cosmic good fortune, narrates their budding romance while appearing in a variety of background roles.The movie, directed by Vanessa Caswill, hits its stride once the lovebirds touch down across the pond, where the stats subside and the cast, particularly Richardson and Sally Phillips as Oliver’s ailing mother, come aglow with authentic feeling. What are the odds that a premise as unimaginative as this one should emerge as a sturdy little romantic drama? Jamil would know.Love at First SightRated PG-13 for language and qualitative variables. Running time: 1 hour 30 minutes. Watch on Netflix. More

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      ‘Lift’ Review: The Choreography of Mentoring Young Talents

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      In this documentary, ballet has life-changing power for three New York dancers whose toughest struggles are not matters of technique.Three young New York ballet dancers get the spotlight in David Petersen’s new documentary, “Lift.” Filmed over 10 years, it focuses on the dancer-choreographer Steven Melendez. He grew up in the Bronx and learned ballet while moving in and out of the city’s shelter system. He came back to teach share what he had learned by conducting a workshop for underserved young people.The impressive time span allows the film to follow Victor Abreu, Yolanssie Cardona and Sharia Blockwood as they grow into promising young ballet stars while facing the challenges of poverty and housing insecurity. Melendez, the artistic director of New York Theater Ballet, sees himself in the struggles of his students. He’s visibly retraumatized when he first returns to the shelter where he grew up, and where he teaches the workshop. But over the years, we see this personal history help Melendez connect with his students as they go through trials he knows well.Petersen’s bare-bones, on-the-ground production works well for a story like this, highlighting how vital these small workshops in homeless shelters and community centers can be. There’s a motif of buzzing into locked buildings — a familiar noise to any New Yorker — and close-up shots of barbed-wire fences outside the shelter where the kids practice. Those surroundings stand in obvious contrast to the dance classes inside, where Melendez encourages students to mold the rarefied art of ballet into something of their own making.LiftRated PG-13 for language. Running time: 1 hour 27 minutes. In theaters. More

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      ‘Invisible Beauty’ Review: The Battle to Diversify

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      This documentary presents a vision of the fashion industry through the eyes of Bethann Hardison — a model, agent and champion of Black representation.The documentary “Invisible Beauty” presents a history of the modern fashion industry through the eyes of Bethann Hardison — an octogenarian model-turned-advocate whose life has acted as a proof of concept for Black style. Hardison co-directed the film with Frédéric Tcheng, and through a combination of archival footage and present-day interviews, the pair show the impact of Hardison’s efforts to expand the fashion industry’s view of what constitutes beauty.Hardison was born in 1942, and in interviews, she recalls with pride that she grew up in the Bedford-Stuyvesant neighborhood of Brooklyn. She summered with family in Louisiana, and there, she observed the injustice of racial segregation — an institution which failed to intimidate Hardison. Her unshakable sense of self-worth happened to coincide with a striking exterior beauty and a city girl’s instinct for how to accentuate her strengths. It was this combination of pride and personal style which opened doors for Hardison in the fashion scene of 1970s New York. She became a model, participating in famed fashion events such as the 1973 Battle of Versailles, where Black American artists stole the show from the established French elite. Later, Hardison’s vision of Black style led her to start her own modeling agency, and finally, to push for equal opportunities, hiring and pay.The documentary shows how Hardison embodied a vision of public life; to meet her gaze was to look into a future that was diverse, powerful and unapologetic. Hardison and Tcheng use interviews to show how Hardison acted as a mentor for generations of Black artists, from Iman to Naomi Campbell to Zendaya. At times, the film is hampered by the sheer amount of information there is to condense from across a 50-year career, but Hardison is never less than a fascinating subject — an artist whose medium is industrial disruption.Invisible BeautyNot rated. Running time: 1 hour 55 minutes. In theaters. More

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      ‘The Inventor’ Review: Leonardo da Vinci in the Limelight

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      This playful movie uses stop-motion and hand-drawn animation to pay homage to Leonardo as a thinker and tinkerer.More than once in “The Inventor,” an animated feature about Leonardo da Vinci, powerful patrons tell that Renaissance polymath to behave “like a good little artist.” This advice comes first from Pope Leo X (voiced by Matt Berry) and later from Louise of Savoy (Marion Cotillard), the devoted mother of King Francis I of France.The notion of a great mind that is both beneficiary of and handmaid to the agendas of the powerful runs throughout this admirably artisanal appreciation of Leonardo’s intellect and innovative spirit, which follows him (Stephen Fry) as he leaves Rome to become King Francis’s maestro. The directors, Jim Capobianco (who also wrote the screenplay) and Pierre-Luc Granjon, keep the artist’s paintings secondary to his exploits as a thinker and tinkerer. Their engaging voice cast also includes Daisy Ridley as Leonardo’s royal champion, Marguerite de Navarre, and Gauthier Battoue as the king, who proves to be in dire need of an ego-stroking statue.The filmmakers use stop-motion puppetry and hand-illustrated animation to capture Leonardo’s story. This brings to life his fears and fascinations, while drawing out both the wonder and the tribulations he experiences as he searches for the “answer to life itself,” while struggling to work under the command of the powerful. (Here, “The Inventor” shares a theme with a decidedly less child-friendly recent big-screen portrait, “Oppenheimer.”)In honoring this beautiful mind, the plot’s forward motion lags at times. “The Inventor” is rife with somewhat didactic lessons — about power, innovation, curiosity — yet a presumably unintended one might be that lessons themselves, however insightful, are not always captivating.The InventorRated PG. Running time: 1 hour 32 minutes. In theaters. More

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      ‘Mr. Jimmy’ Review: Trying for That Perfect Page Re-Creation

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      Akio Sakurai is obsessed with sounding exactly like the Led Zeppelin guitarist Jimmy Page. This documentary plumbs the depths of his devotion.The Led Zeppelin founder Jimmy Page is the envy of guitar players, and nonplayers, the world over. Mike D of the Beastie Boys expressed the wishful thinking of many when he boasted in a rap, “If I played guitar I’d be Jimmy Page.”No one understands this better, it happens, than Akio Sakurai, a Japanese musician who has devoted decades to playing guitar in the varying modes that Page applied in his years as Led Zeppelin’s lead instrumentalist. He recalls one day off from his job as a kimono salesman, seeing the Zep concert film “The Song Remains The Same,” and being mesmerized by the power of Page’s playing. He became obsessed with recreating it.The first hour of the movie contains lots of guitar wonkiness as Sakurai, nicknamed “Mr. Jimmy,” consults with technicians, working on getting his own axes and amps as close to Page’s gear as he can. After Mr. Jimmy elaborates on the idiosyncrasies of Les Paul guitar pickup guards, one of the artisans he works with comments, “We understand Jimmy’s obsession. It’s very Japanese.”The film, directed by Peter Michael Dowd, centers on Sakurai’s upending his life to move to Los Angeles and install himself in a Zep tribute band; he lasts a couple of years, leaving because the other members didn’t share his single-mindedness in reproducing Page’s onstage work.“That is the meaning of tribute. Not showing myself at all. There is no ‘me’ to begin with,” Sakurai, who is now 59, says at one point. This is a terrifying notion, but the movie doesn’t choose to run with it, instead sticking to Mr. Jimmy’s career travails in the States before landing with a “Spinal Tap”-redolent happy ending.Mr. JimmyNot rated. Running time: 1 hour 53 minutes. In theaters. More

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      Marquee Writers Push for Negotiations, but Their Clout May Not Matter

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      Some showrunners, eager for progress in the Hollywood strike, want the Writers Guild of America to meet with studios. How much sway they still have is in question.With the Hollywood writers’ strike stretching into its fifth month and the financial toll on people across the entertainment industry becoming increasingly grim, A-list showrunners have grown impatient.Some have called union leaders to ask pointed questions about the stalled talks. Why can’t you get in a negotiating room with studio representatives and not come out until you have a deal? Isn’t it time to bring in mediators? Others have pushed for a sit-down to hear their union’s strategy for resolving the strike. Union officials are scheduled to meet with Kenya Barris (“black-ish”), Noah Hawley (“Fargo”), Dan Fogelman (“This Is Us”) and other restless showrunners in the coming days. Whether marquee writers have enough juice to help end the dispute — as they did during the 2007-8 screenwriters’ strike — is an open question, however. The power dynamic has changed inside the union since then, longtime Hollywood observers say, and showrunners no longer hold the same sway.“You’ve seen a weakening of showrunner influence and a resurrection of rank-and-file writer influence,” said Stephen Galloway, the dean of Chapman University’s film school.The Writers Guild of America, which represents more than 11,000 television and film writers, and the Alliance of Motion Picture and Television Producers, which bargains for studios, have not held talks for three weeks. Last month, studios sweetened their offer — and then, in an unusual move, publicly disclosed the details, hoping rank-and-file guild members would be satisfied and pressure their leaders to make a deal.“This was the companies’ plan from the beginning — not to bargain, but to jam us,” guild leaders said shortly afterward. “It is their only strategy — to bet that we will turn on each other.”Union leaders have since insisted that the onus is on studios to keep improving their offer. The studios have rejected that demand, but it is a position supported by many Writers Guild members, including numerous showrunners. On Tuesday in Los Angeles, writers like Alexi Hawley (“The Rookie”) and Scott Gimple (“The Walking Dead”) helped stage a well-attended “showrunner solidarity day” picket at Fox Studios.“I don’t think anybody is really second-guessing and looking for ways to cause some disruption in the leadership of the guild,” Steve Levitan, whose credits include “Just Shoot Me!” and “Modern Family,” told a reporter for an entertainment trade publication at the event. “We’re just always trying to see if there are any ways anybody can help.”Behind the scenes, however, frustration among elite Writers Guild members has been mounting.Ryan Murphy, the writer-producer behind television hits like “American Horror Story” and “9-1-1,” recently had a heated conversation about the strike with Chris Keyser, a senior Writers Guild official, according to two people close to Mr. Murphy, speaking on the condition of anonymity to describe a private discussion. Mr. Murphy set up a financial assistance fund for idled workers on his shows and committed $500,000 as a starting amount. Within days, he had $10 million in requests, the people said.Tyler Perry was among the show creators planning to meet with guild leaders.A spokesman for the Writers Guild declined to comment.At 135 days, the strike is one of the longest in the history of the Writers Guild. (The longest was 153 days in 1988.) The union has called this moment “existential,” arguing that the streaming era has deteriorated its members’ working conditions and compensation levels. Studios have defended their proposal as offering the highest wage increase to writers in more than three decades, while also offering “landmark protections” against artificial intelligence.Studios have also signaled a willingness to negotiate with the guild on the sticky matter of staffing minimums in television writers’ rooms. (The studio alliance declined to comment for this article.)In July, tens of thousands of actors represented by SAG-AFTRA joined writers on picket lines, the first time both unions have been on strike at the same time since the 1960s.The result has been a near-complete shutdown in Hollywood production. Writers and actors have lost income, of course. But the collateral damage is also mounting, with crew members and support staff beginning to feel a severe financial squeeze. Hollywood workers have taken $45 million in hardship withdrawals from the Motion Picture Industry Pension Plan since Sept. 1, according to a document compiled by plan administrators that was viewed by The New York Times. Workers have been allowed to pull $20,000 each from their retirement funds for the time being.Showrunners like Mr. Murphy and Mr. Fogelman employ thousands of crew members across their productions, putting them in the position of being besieged by people who ask when they can get back to work and having no answers.Conventional wisdom in Hollywood held that the strikes would be resolved by Labor Day. Now time is running out to salvage the year, given the time it takes to reassemble casts and crews, a complex process complicated by the coming holidays. Preproduction (before cameras roll) for new shows can take up to 12 weeks, with movies taking roughly 16 weeks. Even if the Writers Guild and studios can come to an agreement in the coming weeks, studios need to engage with the actors’ union, and no talks in that dispute have been scheduled, either.Showrunners have gotten more involved as studios have suspended first-look deals worth millions of dollars. Last week, Warner Bros. suspended deals with J.J. Abrams, Mindy Kaling, Greg Berlanti and Bill Lawrence.Yet despite the real implications that this strike is having on all ranks of the business, no guild member wants to be seen as agitating against the union’s leadership. Prominent showrunners are concerned about having their names in public and are instead trying to push things forward without looking like elites who aren’t in alignment with guild leaders. The appearance of dissension in the ranks scuttled a meeting this week between showrunners and Writers Guild officials, with both groups subsequently bickering over who canceled on whom.As the 100-day writers’ strike in 2007 wore on, a group of showrunners pushed union leadership to settle with the studios. But several entertainment executives said showrunners were more of a power center within the Writers Guild 15 years ago. For one thing, there were just a few dozen of them.In recent years, as the showrunner pool has expanded to hundreds, some Hollywood observers have argued that their influence within the union has waned. The limits of their power were on display four years ago in a failed attempt to wield influence to end another Hollywood stalemate.In 2019, Writers Guild leaders told thousands of screenwriters to fire their talent agents over what they described as significant conflicts of interest. As months passed, with the agency standoff showing no signs of resolution, some marquee writers went public with objections over the union’s strategy. They said the dispute with the agencies was a worthy one, but they objected to a seeming lack of urgency in returning to negotiating.One of the opposing writers, Phyllis Nagy, who was nominated for an Oscar in 2016 for her “Carol” screenplay, ran for president of the Writers Guild’s West Coast branch. She was vying to unseat David Goodman (“Family Guy”), who was standing for re-election. A who’s who of showrunners and writers — including Mr. Murphy, Mr. Berlanti, Shonda Rhimes and Ava DuVernay — endorsed Ms. Nagy.But Mr. Goodman won re-election with a strong majority. He is currently a chair of the Writers Guild’s committee squaring off against studios for a new contract.In the fight with agencies, the Writers Guild held firm for nearly two years. Many people in Hollywood have credited that lengthy dispute — ostensibly won by the Writers Guild — as galvanizing union leaders in the current standoff with studios. More

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      ‘Days of Wine and Roses’ Musical to Open on Broadway This Winter

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      Kelli O’Hara and Brian d’Arcy James will reprise the roles they played Off Broadway earlier this year.“Days of Wine and Roses,” a musical adaptation of a midcentury story about a loving marriage destroyed by alcoholism, will come to Broadway early next year starring the acclaimed stage performers Kelli O’Hara and Brian d’Arcy James.The production had a 10-week run earlier this year at the Atlantic Theater Company, an Off Broadway nonprofit. Writing in The New York Times, the critic Laura Collins-Hughes called it a “jazzy, aching musical,” and praised its “glorious sound.”O’Hara is a seven-time Tony Award nominee who won the award in 2015 for her performance in a revival of “The King and I.” James is a four-time nominee, most recently for last season’s revival of “Into the Woods.”The Broadway production, directed by Michael Greif (“Dear Evan Hansen”), is scheduled to begin previews Jan. 6 and to open Jan. 28 at Studio 54 for a 16-week run. The lead producers are Kevin McCollum, Mark Cortale, Lorenzo Thione and Joey Monda.“Days of Wine and Roses” began its life as a teleplay in 1958; it was then adapted into a film in 1962. The musical features a score by Adam Guettel and a book by Craig Lucas; they previously collaborated on the 2005 musical “The Light in the Piazza,” and both of them have spoken about their own struggles with substance abuse.Guettel said he’s not sure when he first encountered the film, but that it immediately resonated. “I was really streaming tears at that point,” he said. “I had a sense of how alcohol and drugs had affected my life, and even though I had escaped the clutches of all that, the vivid recognition of it really spurred me on, not to create some sort of cautionary tale, but to depict how being addicted affects your life and the people around you.”The musical, like many, has had a long and bumpy road to Broadway. Guettel said he first discussed the idea with O’Hara two decades ago, when the two were working on “The Light in the Piazza,” and that he had developed the score for her.“It seemed like the right role for her, even then, in terms of the tenderness and the strength,” he said.James joined the project in the earliest days as well; he and O’Hara are friends who performed together in “Sweet Smell of Success.”There have been others who have come and gone — at one point, John Logan was the writer; at one point, Scott Rudin was the producer; at one point, Lincoln Center Theater was going to stage the show.“The fact that it is coming through the steeplechase intact is incredible,” Guettel said. More