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Watch a Sniper Scene From ‘Civil War’
Alex Garland, the film’s writer and director, narrates a sequence from his movie.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.In this sequence from the writer and director Alex Garland’s latest film, “Civil War,” about a modern-day conflict that has broken out in America, journalists making their way to Washington, D.C., stumble across a field set up with Christmas decorations. But the situation couldn’t be less festive. A sniper is set up in a house on a hill above the field. And men in uniform are trying to take the sniper down.Discussing the scene and its surrealist imagery in his narration, Garland said that in scouting locations, he and his crew came across decorations that were intact more or less as you see them in the film. He said they initially belonged to “a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival and he’d gone bankrupt. And he decided just to leave everything just strewn around on a farmer’s field.”Garland’s aim for the sequence, he said, was to show that “when things get extreme, the reasons why things got extreme no longer become relevant. And the knife edge of the problem is all that really remains relevant.”Read the “Civil War” review.Read an extensive interview with Alex Garland.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More
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‘Brandy Hellville’ Documentary Is a New Twist on Exposés About Cults
The film examines the retailer’s tactics and is surprisingly similar to exposés about cults.What’s most provocative about “Brandy Hellville & the Cult of Fast Fashion” (streaming on Max), and about the horror show it contends is behind the immensely popular cheap-clothing retailer Brandy Melville, isn’t necessarily its content. Other documentaries have tread similar ground with similar methods — the Netflix documentary “White Hot: The Rise & Fall of Abercrombie & Fitch,” for instance — which is to say that everything in “Brandy Hellville” has been reported before.Documentary participants allege that the company and its leaders, especially co-founder and owner Stephan Marsan, engaged in a host of terrible behaviors ranging from fat-shaming and exploitative practices to really awful racism and sexism. Aimed at teen girls, the company’s marketing and messaging is to Gen Z what Abercrombie was to my generation: an aspirational brand designed to make you feel terrible about yourself, even if you were the skinny white girl in the pictures or working in the store. You can read about it all, of course; what the documentary provides is a host of eyewitnesses, including girls who worked in the store as teenagers and men who worked closely with the company to open new stores. Experts and activists also attest to the threat that fast fashion (that is, inexpensive, essentially disposable clothing sold at retailers like Zara, H&M, Shein and Forever 21) poses to global economies and the environment.The documentary also looks at the economic and environmental fallout from fast fashion.HBOBut the subtitle of “Brandy Hellville,” directed by Eva Orner, points to an interesting idea, even if it’s underdeveloped in the movie. Brands like Brandy Melville and their ilk resemble a cult, and even harness some techniques employed by cults to keep their “members” (in this case, high school girls, whether as customers or as workers) in line. The documentary shows how employees were flattered, and then shamed by the leadership so that each would want to be more of a “Brandy girl” (which, the film hints at, usually required disordered eating). There was a strict image projected for “Brandy girls,” which many of the former employees in the film detail at length. Being part of the group requires constantly giving your money and time (which is to say, buying marked-up, poorly made clothing, according to the documentary, and then posting pictures on social media) to stay in the group. At times, girls were isolated from family and friends. And as in a cult, there’s a small, secretive inner circle (in this case, Marsan and some cronies) that makes all the decisions. There’s also a whole weird thing related to Marsan’s obsession with Ayn Rand’s “Atlas Shrugged,” but I’ll let you find that out for yourself.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 O.J. Simpson White Bronco Is Now a Museum Piece. In Tennessee.
The vehicle that Simpson fled in as 95 million Americans watched on television is on display at the Alcatraz East Crime Museum in Pigeon Forge, Tenn.Tyler Starrett was on vacation with his family in Pigeon Forge, about 35 miles from Knoxville in eastern Tennessee, when they learned on Thursday that O.J. Simpson had died.So they changed plans. They had heard that one of the key artifacts of the Simpson case happened to be on display nearby at the Alcatraz East Crime Museum: the 1993 white Ford Bronco that Simpson fled from the police in, just days after the murders of Nicole Brown Simpson, his former wife, and Ronald L. Goldman. They could not resist.“If the Bronco is here in Pigeon Forge, why don’t we go see it?” Starrett, 23, said.Starrett is too young to have been among the 95 million television viewers who watched the low-speed chase unfold on June 17, 1994, when a swarm of police cars followed the white Bronco over some 60 miles of Southern California freeways, with Simpson holding a gun to his head in the back seat. But he was among those who visited the museum to see the vehicle in person on Thursday, as a three-minute clip of the police chase played on loop in the background.Pigeon Forge, best known for Dollywood, Dolly Parton’s theme park, is at first glance not an obvious home for such a relic. But in recent years, this town has increasingly become a place for attractions and museums dedicated to the offbeat and believe-it-or-not interests of an American tourist — including the Alcatraz East Crime Museum, which is housed in a prisonlike building designed to be a cross between the Tennessee State Prison just outside Nashville and the original Alcatraz, in San Francisco Bay.Inside the museum, the white Bronco is one of several notorious vehicles.It sits alongside the 1968 Volkswagen Beetle that was owned by the serial killer Ted Bundy, the 1933 Essex-Terraplane used by the bank robber John Dillinger and the so-called death car from the 1967 movie “Bonnie and Clyde,” riddled with bullet holes. (A Pigeon Forge snow globe featuring the museum, the Bronco and the Beetle can be purchased for $10.99 in the gift shop.)“There are events in history that will always stick in people’s minds, and I think the O.J. chase is one of those for a large number of people,” said Ally Pennington, the artifacts and projects manager for the museum.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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‘Civil War,’ ‘Sasquatch Sunset’ and Other New Movies Our Critics Are Talking About
Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about even if you’re not planning to see them.Critic’s PickA hot-button movie people are arguing over.Kirsten Dunst plays a war photographer in Alex Garland’s “Civil War.” A24, via Associated Press‘Civil War’Alex Garland’s “Civil War” is set in a near-future when the United States is at war with itself and something called the Western Front, made up of Texas and California, is fighting the federal government.From our review:It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right.In theaters. Read the full review.Critic’s PickThe rare reboot that gets it right.Donielle Hansley Jr. and Simone Joy Jones in “Don’t Tell Mom the Babysitter’s Dead.”2024 Fence 2021 Films LLC‘Don’t Tell Mom the Babysitter’s Dead’After the babysitter hired to watch them for the summer keels over, a 17-year-old slacker named Tanya (Simone Joy Jones) is forced to support her even lazier younger siblings.From our review:Don’t tell helicopter parents, but the gleefully transgressive flicks that entertained a generation of latchkey wildlings are coming back in style. Wade Allain-Marcus’s rollicking update of the 1991 cult favorite keeps the plot … and amps up the immoral humor. It’s a snappy, gutsy comedy about how kids are spoiled and ignorant, and yet the adult workplace is only passingly more mature.In theaters. Read the full review.Critic’s PickA deceptive horror film where the good guys aren’t so good.Ramesha Nawal in “In Flames.”Game Theory Films‘In Flames’In Pakistan, 20-something Mariam, her widowed mother, Fariha, and her younger brother are struggling when Uncle Nasir suddenly becomes very interested in the relatives he had been neglecting.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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7 New Movies Our Critics Are Talking About This Week
Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about even if you’re not planning to see them.Critic’s PickA hot-button movie people are arguing over.Kirsten Dunst plays a war photographer in Alex Garland’s “Civil War.” A24, via Associated Press‘Civil War’Alex Garland’s “Civil War” is set in a near-future when the United States is at war with itself and something called the Western Front, made up of Texas and California, is fighting the federal government.From our review:It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right.In theaters. Read the full review.Critic’s PickThe rare reboot that gets it right.Donielle Hansley Jr. and Simone Joy Jones in “Don’t Tell Mom the Babysitter’s Dead.”2024 Fence 2021 Films LLC‘Don’t Tell Mom the Babysitter’s Dead’After the babysitter hired to watch them for the summer keels over, a 17-year-old slacker named Tanya (Simone Joy Jones) is forced to support her even lazier younger siblings.From our review:Don’t tell helicopter parents, but the gleefully transgressive flicks that entertained a generation of latchkey wildlings are coming back in style. Wade Allain-Marcus’s rollicking update of the 1991 cult favorite keeps the plot … and amps up the immoral humor. It’s a snappy, gutsy comedy about how kids are spoiled and ignorant, and yet the adult workplace is only passingly more mature.In theaters. Read the full review.Critic’s PickA deceptive horror film where the good guys aren’t so good.Ramesha Nawal in “In Flames.”Game Theory Films‘In Flames’In Pakistan, 20-something Mariam, her widowed mother, Fariha, and her younger brother are struggling when Uncle Nasir suddenly becomes very interested in the relatives he had been neglecting.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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Before He Was Infamous, O.J. Simpson’s Acting Helped Make Him Famous
Simpson began acting while still a football star, appearing in titles as varied as “Roots,” “The Towering Inferno” and the “Naked Gun” films.Before O.J. Simpson became synonymous with the sensational murder trial that riveted the nation in the mid-1990s, he was a football star turned Hollywood fixture who played roles as varied as an astronaut, a comic detective and a fake priest.His acting career began while he was still a star running back. As Simpson, who died on Wednesday, told it, he was waiting out the best deal he could get in the N.F.L. when producers reached out to him asking if he could act. “Sure, I can try to act,” he replied.He scored bit parts in a medical series and a western, but the allure of an onscreen career didn’t grab him until his first major film, “The Klansman” (1974), in which he appeared alongside Richard Burton and Lee Marvin, playing a man seeking to avenge his friend’s death at the hands of the Ku Klux Klan.Simpson told Johnny Carson in an interview in 1979 on “The Tonight Show” that during the production, the actors were casually chatting about food when Elizabeth Taylor said the best chili she’d had was at a restaurant called Chasen’s in West Hollywood.Simpson with Richard Burton in “The Klansman.”Moviestore Collection Ltd, via Alamy“Somebody made a call, and in an hour and a half they had a private jet bring a pot of chili from Chasen’s to Oroville, Calif.,” Simpson said in the interview. “Two hours later we’re eating chili and I’m saying, ‘I like this life.’”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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Academy Museum to Highlight Hollywood’s Jewish History After All
The museum was criticized earlier for failing to acknowledge the contributions of the Jewish pioneers who helped establish the American film studio system.Having initially drawn criticism for failing to acknowledge the formative role that Jewish immigrants like Samuel Goldwyn and Louis B. Mayer played in creating Hollywood and the film industry, the Academy Museum of Motion Pictures on Thursday announced the details of a new permanent exhibition that will spotlight their contributions.The show, called “Hollywoodland,” is scheduled to open May 19, the museum said in its news release, and will spotlight “the impact of the predominately Jewish filmmakers whose establishment of the American film studio system transformed Los Angeles into a global epicenter of cinema.”When the museum opened in 2021, it made a point of highlighting the contributions of women, artists of color and people from other backgrounds, but there was barely a mention of the Jewish immigrants who were central to founding the Hollywood studio system — titans like Harry and Jack Warner, Adolph Zukor, Goldwyn and Mayer.The omission, coming at a time of growing concerns about antisemitism, drew complaints from Jewish leaders and concern from the museum’s supporters, many of whom saw it as example of Hollywood’s strained relationship with its Jewish history. Striving to assimilate, Hollywood’s founders feared being identified as Jews.The museum’s permanent exhibition about Jewish contributions is called “Hollywoodland.” via Margaret Herrick Library, Academy of Motion Picture Arts and SciencesVarious publications called out the affront, like The Forward, which ran a piece headlined “Jews built Hollywood. So why is their history erased from the Academy’s new museum?”The museum said then that it had always intended to open a temporary exhibit devoted to the subject, but in response to the backlash it decided to make a permanent gallery, and it consulted rabbis and Jewish scholars on what should be included.“We learned,” Bill Kramer, the chief executive of the Academy of Motion Picture Arts and Sciences who was then the museum’s director, said in an interview. “We took a lot of the information from the conversations that we’ve had and grew from that.“The show will be organized in three distinct parts: “Studio Origins,” which explores the founding of Hollywood’s original eight major film studios and their studio heads; “Los Angeles: From Film Frontier to Industry Town, 1902-1929,” which traces how the city evolved alongside the movie industry; and “From the Shtetl to the Studio: The Jewish Story of Hollywood,” a short-form documentary — narrated by Ben Mankiewicz, the TCM host and author — that looks at the Jewish immigrants and first-generation Jewish Americans who built the Hollywood studio system.The exhibition was organized by Dara Jaffe, an associate curator, with help from Gary Dauphin, a former associate curator of digital presentations, and Josue L. Lopez, a research assistant. Neal Gabler, the author and film critic who wrote “An Empire of Their Own: How the Jews Invented Hollywood,” served as an adviser.“They were the ones who established this system,” Jaffe said of the pioneering Jewish filmmakers. “They were drawn to this industry because they were restricted from so many others.” More
