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      Who’s Who in ‘Oppenheimer’: A Guide to the Real People

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      Christopher Nolan’s complex drama depicts the development of the nuclear bomb and midcentury political machinations. Here’s the back story.The premise of “Oppenheimer,” Christopher Nolan’s biopic, is straightforward: tell the story of J. Robert Oppenheimer, the physicist known as the “father of the atomic bomb.” But, as with the director’s other movies, the execution is far from simple. The film skips between time periods, and it features a dizzying array of scientists, politicians and possible Communist agents amid a series of government hearings.Here’s a guide to help you keep track of the real-life characters and events of the movie.J. Robert Oppenheimer (played by Cillian Murphy)The American theoretical physicist (played by Cillian Murphy) spearheaded the development of the atomic bomb through the Manhattan Project.Born in New York City in 1904, Oppenheimer spent his undergraduate years at Harvard before moving to Cambridge, England, for graduate work in physics. There, he grew frustrated with his tutor’s insistence that he focus on lab work instead of theory and is reported to have given the man, Patrick Blackett, a poisoned apple. The tutor never ate the apple, but university officials placed him on probation. That said, the episode is the subject of conflicting stories.After receiving his doctorate in physics at a German university, Oppenheimer accepted professorships at the University of California, Berkeley, and the California Institute of Technology, helping to pioneer work in an American school of theoretical physics.With World War II well underway, Oppenheimer was appointed director of Los Alamos, part of the mammoth effort to develop the bomb. Having fallen in love with New Mexico when he was sent there as a boy to recover from dysentery, he established a secret lab in the desert of Los Alamos, N.M., coordinating efforts by top physicists and engineers that culminated in the first nuclear explosion, at Alamogordo on July 16, 1945, known as the Trinity test.He later directed the Institute for Advanced Study, an independent center for theoretical research, in Princeton, N.J., and became chairman of the General Advisory Committee to the Atomic Energy Commission.Lewis Strauss (played by Robert Downey Jr.)Robert Downey Jr. plays the man who campaigned to revoke Oppenheimer’s security clearance.Melinda Sue Gordon/Universal Pictures, via Associated PressOppenheimer’s primary antagonist in the film, Strauss (Robert Downey Jr.) was chairman of the Atomic Energy Commission and a leader of the campaign to revoke Oppenheimer’s security clearance.Born in West Virginia, he worked variously as a traveling shoe salesman, an investment bank partner and a bureaucrat helping the future president Herbert Hoover’s Food Administration during World War I. After World War II, President Harry S. Truman appointed Strauss to the Atomic Energy Commission and he became its chairman, pushing for the development of the hydrogen bomb. Strauss later served as acting secretary of commerce under President Dwight D. Eisenhower, but his nomination was rejected by the Senate, in part because of the scientific community’s outrage over his treatment of Oppenheimer.Jean Tatlock (played by Florence Pugh)An active member of the Bay Area’s Communist Party, Tatlock (Florence Pugh) was a graduate student at Stanford Medical School when she began dating Oppenheimer in 1936. She helped introduce him to Communist activists, fueling his left-leaning sympathies. She ended her relationship with Oppenheimer in 1939, even as he continued to visit her. Their last meeting, in June 1943, was surveilled by F.B.I. agents. In 1944, the 29-year-old Tatlock was found dead in her bathroom. Most historians conclude she died by suicide.William Borden (played by David Dastmalchian)Born in 1920 in Washington, D.C., Borden (David Dastmalchian) had degrees from Yale and Yale Law. He eventually worked as legislative secretary for a Connecticut senator, Brien McMahon, and became staff director of the congressional Joint Committee on Atomic Energy in 1949.In 1953, most likely with the encouragement of Strauss, he sent a letter to the F.B.I. director, J. Edgar Hoover, suggesting that “more probably than not J. Robert Oppenheimer is an agent of the Soviet Union.” This was the catalyst for a closed-door hearing about Oppenheimer’s Communist ties — depicted in the film — and the eventual revocation of his security clearance.Ernest Lawrence (played by Josh Hartnett)A Nobel Prize-winning scientist, Lawrence (Josh Hartnett) was born in 1901 in South Dakota. He earned a doctorate in physics from Yale and became a professor of physics at U.C. Berkeley, where he invented the cyclotron, a particle accelerator that was instrumental to the development of the atomic bomb. It was Lawrence who helped introduce Oppenheimer to the Manhattan Project. After the war, he advocated for the development of hydrogen nuclear weapons.Edward Teller (played by Benny Safdie)Benny Safdie as the physicist Edward Teller, who testified against Oppenheimer.Melinda Sue Gordon/Universal Pictures, via Associated PressBorn in Budapest, Teller (Benny Safdie) earned his physics doctorate in Germany and was later offered a professorship at George Washington University, becoming a naturalized U.S. citizen in 1941. Known for his research into nuclear energy, he joined Oppenheimer’s team at Los Alamos, where he worked in the theoretical physics division.Teller was obsessed with hydrogen energy and the development of a hydrogen bomb, which led him to butt heads with other members of the Manhattan Project. After the Soviet Union tested an atomic weapon in 1949, Teller became a primary proponent of developing hydrogen bombs to gain leverage in the Cold War.He later testified against Oppenheimer in the closed-door hearing, saying, “I feel I would prefer to see the vital interests of this country in hands that I understand better and therefore trust more.”Did Oppenheimer really meet Einstein?Yes, they were colleagues at the Institute for Advanced Study. “Though I knew Einstein for two or three decades, it was only in the last decade of his life that we were close colleagues and something of friends,” Oppenheimer wrote in The New York Review of Books in 1966.However, Nolan has admitted that he made up a key scene between the two: At one point, Oppenheimer goes to the taciturn Einstein for advice on calculations by the Los Alamos team, which showed that the Trinity test could be contained and wouldn’t blow up the world.“It wasn’t Einstein who Oppenheimer went to consult about it,” Nolan said in a recent interview. “It was Arthur Compton, who directed an outpost of the Manhattan Project at the University of Chicago. But I shifted that to Einstein.”What are the two hearings featured in the film?Cillian Murphy, center, as Oppenheimer. Black-and-white scenes follow 1959 Senate hearings on the nomination of Lewis Strauss for commerce secretary. Melinda Sue Gordon/Universal PicturesThe film revolves around two committee hearings — one, in 1954, depicted in color and the other, in 1959, in black and white.The first was a four-week secret meeting in which the Atomic Energy Commission deliberated on whether to revoke Oppenheimer’s security clearance. Amid a scare about Soviet technological advances, Oppenheimer’s possible links to left-wing causes had come under scrutiny, and Borden’s letter to Hoover provided the tipping point. When the commission chairman, Strauss, informed Oppenheimer that his security clearance had been suspended, Oppenheimer refused to resign and demanded a hearing from the commission’s Personnel Security Board.That hearing was one-sided from the beginning, with Oppenheimer’s lawyers barred from accessing confidential materials, while the commission’s prosecuting attorney had access to hundreds of wiretap recordings. Ultimately, the three-person board decided that Oppenheimer was a loyal citizen but that his security clearance should be rescinded.In 1959, the Senate held a hearing on Strauss’s nomination for commerce secretary, a heated process that Time magazine called “U.S. history’s bitterest battle over confirmation of a presidential nomination.” The nomination was rejected, in a 49-to-46 vote.What ultimately happened to Oppenheimer?After losing his security clearance, Oppenheimer continued to teach and conduct research with the support of many in the scientific community, who saw him as a martyr. In 1963, President Lyndon B. Johnson granted him the Enrico Fermi Award, which honors lifetime achievements in energy science.In 1966, he retired from the Institute for Advanced Study and died from throat cancer the next year.In December 2022, a few days after a trailer for “Oppenheimer” was released, Energy Secretary Jennifer M. Granholm nullified the 1954 decision to revoke Oppenheimer’s clearance. She cited a “flawed process” that violated the Atomic Energy Commission’s own regulations.“More evidence has come to light of the bias and unfairness of the process that Dr. Oppenheimer was subjected to,” Granholm said, “while the evidence of his loyalty and love of country have only been further affirmed.” More

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      Searching for Someone to Deliver a Hollywood Ending

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      Thanks to a changing culture and differing business models, the entertainment industry lacks power brokers with the stature to bring on labor peace.The 1954 Hollywood classic “On the Waterfront” ends with unionized longshoremen on a dock. They’re fed up and standing idle, staring at a bloodied Marlon Brando. All of a sudden, an authoritative man in a fancy suit and a natty hat arrives. “We gotta get this ship going,” he barks. “It’s costing us money!”Over the last week, as TV and movie actors went on strike for the first time in 43 years, joining already striking screenwriters on picket lines, Hollywood started looking around for its version of that figure — someone, anyone, to find a solution to the standoff and get America’s motion picture factories running again.But the more the entertainment industry looked, the more it became clear that such a person may no longer exist.“Back in the day, it was Lew Wasserman who would enter the talks and move them along,” said Jason E. Squire, professor emeritus at the University of Southern California’s School of Cinematic Arts, referring to the superagent turned studio mogul. “Today, it is different. Traditional studios and the technology companies that have moved into Hollywood have different cultures and business models. There is no studio elder, respected by both sides, to help broker a deal.”At the moment, no talks between union leaders and the involved companies are happening and none have been scheduled, with each side insisting the other has to make the first move.Two federal mediators have been studying the issues that led to the breakdown in negotiations. Agents and lawyers are engaged in a flurry of back-channel phone conversations, encouraging union leaders and studio executives to soften their unmovable positions; Bryan Lourd, the Creative Artists Agency heavyweight, asked the Biden administration and Gov. Gavin Newsom of California to get involved, according to three people briefed on the matter, who spoke on condition of anonymity because of the sensitivity of the labor situation. A spokesman for Mr. Lourd declined to comment.Emotions must cool before talks restart, said one entertainment lawyer who has been working in the background to bring the sides together again. When does that happen? He said it could be next week or it could be-mid August.Starting in 1960, the last time both actors and writers were on strike, and continuing into the 1990s, the person who could break an impasse was the feared Wasserman. He commanded the respect of both labor and management and could push beyond the colorful personalities in each camp.It was an era when the entertainment business, for the most part, was much less complicated. Studios had not become buried inside conglomerates and beholden to lucrative toy divisions, not to mention having to deliver quarterly growth.Bob Daly, who ran Warner Bros. in the 1980s and ’90s, said he thought it was troubling that the labor strife had gotten personal.Valerie Macon/WireImage, via Getty ImagesBob Daly, who ran Warner Bros. in the 1980s and ’90s, picked up the mantle from Wasserman, who died in 2002. Mr. Daly, who went on to run the Los Angeles Dodgers, said by phone that he was no longer involved in Hollywood’s labor strife. But he had some advice.“One thing that has troubled me is that it has become personal, which I think is a mistake,” Mr. Daly said. “The only way this is going to get solved is for both sides to get in a room and talk, talk, talk until they find compromises. Neither side is going to get everything it wants. You can yell and scream inside that room — I did myself many times — but don’t come out until you have a deal.”The last Hollywood strike took place in 2007 and 2008. The Writers Guild of America walked out over a variety of issues, with compensation for shows distributed online a major sticking point. It was resolved after 100 days (the current writers’ strike was 81 days old on Thursday) when Peter Chernin, then president of News Corporation, and Robert A. Iger, Disney’s relatively new chief executive at the time, took a hands-on role in solving the stalemate. Barry M. Meyer, who was chairman of Warner Bros., and Jeffrey Katzenberg, then the chief executive of DreamWorks Animation, also played roles.All those men, with the possible exception of Mr. Chernin, are now busy with other matters or viewed as villains by actors.Mr. Iger, who returned to run Disney in November after a brief retirement, became a picket line piñata last week after telling CNBC that, while he respected “their right and their desire to get as much as they possibly can,” union leaders were not being “realistic.” The backdrop of his interview, a meeting of elite media and technology executives in Sun Valley, Idaho, poured gasoline on the moment.Mr. Katzenberg largely left the entertainment business in 2020 after the collapse of Quibi, his streaming start-up. In April, Mr. Katzenberg was named a co-chair of President Biden’s re-election campaign.Mr. Meyer retired from Hollywood in 2013 after a celebrated 42 years and went on to sit on the board of the Federal Reserve Bank of San Francisco. “I’ve had nothing to do with the negotiations this year,” he said in an email. “That being said, it doesn’t stop me from feeling sad about the way things are stuck right now.”Peter Chernin was instrumental in ending the last writers’ strike when he was president of News Corporation. He left Hollywood’s corporate ranks in 2009.Annie Tritt for The New York TimesThat leaves Mr. Chernin. He left Hollywood’s corporate ranks in 2009 and founded an independent company that includes a film and television production arm — he has a deal with Netflix — and a sprawling investment portfolio focused on new technology and media companies. In recent days, Mr. Chernin told one senior associate that he had not been approached for help in the strikes, but that he would be hard-pressed to say no if asked.A spokeswoman for Mr. Chernin declined to comment.The studios that now must figure out how to appease actors and writers are wildly different in size and have diverging priorities. They all say they want to resolve the strikes. But some are more willing than others to compromise and immediately restart talks. The willing camp includes WarnerBros. Discovery, while Disney, which owns Disney+ and Hulu, has taken a harder line, according to two people involved in the negotiations. WarnerBros. Discovery and Disney declined to comment.Some people in Hollywood have been looking to elected officials to help smooth a path, but so far direct involvement, if any, has been unclear. The mayor of Los Angeles, Karen Bass, last week called the actors’ strike “an urgent issue that must be resolved, and I will be working to make that happen.” A spokesman did not respond to queries about what she was specifically doing.Mr. Newsom said in May that he would intervene in the writers’ strike “when called in by both sides.” He has not commented on the actors’ walkout, and a spokesman did not respond to queries.With two unions on strike, it could be months before new contracts can be negotiated and ratified. The Alliance of Motion Picture and Television Producers, which negotiates on behalf of the biggest studios, has decided to first focus on resolving differences with SAG-AFTRA, as the actors’ union is known, according to the two people involved in the negotiations.Cameras may not begin rolling again until January, given the time it takes to reassemble casts and crews, with the end-of-year holidays as a complication, executives at WarnerBros. Discovery and other companies told staff members this week.SAG-AFTRA and the Writers Guild of America are striking largely because, they say, entertainment companies — led by Netflix — have adopted unfair compensation formulas for streaming. This was the biggest sticking point at the negotiating table, much more so than union demands for guardrails around artificial intelligence, according to three people briefed on the matter. (The companies defended their proposed improvements to the contract as “historic.”)Under the now-expired contracts, streaming services pay residuals (a form of royalty) to actors and writers based on subscriber totals in the United States and Canada. The actors’ union, in particular, has made it clear that a new contract must go back to a version of the old way — with streaming services using pay formulas that are based on the popularity of shows and movies, the way traditional television channels have done for decades, with Nielsen as an independent measuring stick.Streaming companies refuse to divulge granular viewership data; secrecy is part of Big Tech’s culture. Independent measuring companies, including Nielsen, have tried to fill the gap, but they have provided only vague information — what is generating a lot of views, what is not. Nobody except the companies knows if a streaming show like “Stranger Things” is watched by 100 million people worldwide or 50 million.Netflix signaled on Wednesday that it saw the data it discloses as sufficient. The company posts weekly top-10 lists on its site; the rankings are based on “engagement,” which Netflix defines as total hours viewed divided by run time.“We believe sharing this engagement data on a regular basis helps talent and the broader industry understand what success looks like on Netflix — and we hope that other streamers become more transparent about engagement on their services over time,” Netflix said in its quarterly letter to shareholders.John Koblin More

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      ‘Barbenheimer’ and a Film Critic’s Perspective, in Review

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      Manohla Dargis, the chief film critic for The New York Times, shares her thoughts on the movie event of the year and an industry still reeling from the pandemic.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.Manohla Dargis’s notebooks are full of illegible words and phrases.The chief film critic for The New York Times, Ms. Dargis takes note of memorable scenes while watching films she intends to review. In the darkness of a movie theater, her notes are rarely coherent, she admits, and distractions are inevitable.“Every so often when I’m watching a film, my pen drifts onto my shirt and I ruin it,” she said. “This is one of the great tragedies of being a movie critic.”This week, Ms. Dargis reviewed two much-talked-about movies new to theaters, “Barbie” and “Oppenheimer” — nicknamed the “Barbenheimer” movie event of the year on the internet.This highly anticipated film pairing comes at a fractious time for the American film industry, as 160,000 actors represented by SAG-AFTRA went on strike last week. They joined the thousands of television and film screenwriters already on the picket line over issues including pay and the use of artificial intelligence in creative capacities. The strikes have brought Hollywood productions largely to a standstill.In an interview, Ms. Dargis shared her thoughts on the industry’s recovery from the pandemic and what the strikes may bode for the imminent future of film. This interview has been edited.How does one begin to cover two of the most highly anticipated movies of the year?I’ve been at The New York Times for about 20 years, so I’ve experienced similar moments when two huge movies open on top of each other. Around Christmas time, movie studios release their big, so-called prestige movies, for example.I try to avoid reading about the movies before I write about them, but I do background research. I just want to have my own experience with a movie and know that a review is made up of my thoughts.How do you decide which films to write about?I try to find a balance that works for readers and what they expect from a film critic. I also have to be interested in the film. I reviewed an array of movies the other week, like the new “Mission Impossible,” a big studio movie, and “Earth Mama,” a smaller independent film.That week in some ways represents my ideal mix, where I’m really covering the field. I think if you only cover the spectacle blockbusters, you’re really missing out on the splendor of cinema.Can you take me through your review process?I try to see movies about a week in advance of their release date. I go to screenings; some are called all media screenings, where there are several hundred people in a big room at a commercial movie theater or at a movie studio. There are also smaller private screening rooms scattered across Los Angeles, where I live. I like seeing movies with other people. There’s something very special about the kind of energy that you have from being with others, particularly when you’re watching a comedy or horror movie and there’s a crowd dynamic.I always bring a notepad and a pen and write in the dark. Writing helps me remember things later because I try to absorb as much as possible while watching a film.You wrote in January about your optimism about women in film amid a range of movies centered on female characters. Are there other trends you are seeing in film right now?I mentioned that I reviewed a film called “Earth Mama” by a woman named Savanah Leaf; it’s her first feature film. It’s exciting to me that she’s one of a number of Black women filmmakers. We’re nowhere near where it needs to be, but there is a diversity of women who are making movies.Has there ever been moment like this in the movie industry?One of the funny things about the American movie industry is that it has lurched from crisis to crisis over time. Part of my optimism and hope is hanging onto the idea that the industry has managed to survive its transition to movies with sound, for example. Then TV came along and everyone thought it was the end. And then the internet happened.The American movie industry is built on crises. Right now, the streaming bubble has passed. We don’t know what happens next. That’s my greatest concern.Which film did you screen first, “Barbie” or “Oppenheimer?’I saw “Barbie” first; I saw them a few days apart, so I could be in the right head space. “Barbie” is enjoyable, but it didn’t linger with me. It wasn’t something where I came back home and said to my husband, “I just need to talk about ‘Barbie’ and its deep impression on me,” because it didn’t have one. I enjoyed it and then I had to figure out how to write about it.After a heavy film like “Oppenheimer,” do you need a film palate cleanser? How do you come down?Right after a movie, I often don’t want to talk to anyone about it. Except maybe my husband. When you leave a movie that really affects you, you’re still in the bubble of the movie for a while. That can be a joyous experience sometimes. I remember seeing a “Fast and Furious” movie and really enjoying it. But I also remember driving home a little too fast that night.A film like “Oppenheimer” — a smart, thoughtful movie talking about profound issues of great philosophical meaning — is pretty damn special. Even though I was shocked by the movie, I was happy to say that the film made me think about life. I am grateful for that experience. More

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      AMC Theater Chain to Stop Charging for Better Seats

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      The contentious initiative will be abandoned next month, though the company will roll out a new one involving lounge-style seating in the front rows.AMC is abandoning plans to charge more for movie seats depending on their location. But higher prices for center-middle seats at theaters where AMC has been testing the concept will remain in effect this weekend, when “Barbie” and “Oppenheimer” are expected to draw significant crowds.AMC Entertainment, the world’s largest theater chain, said on Thursday that it would “pivot away” from a contentious initiative called Sightline, in which seats at evening screenings had three tiers of pricing, ending the long-held cinema custom of charging the same amount for any seat in a theater. (Discounts of $1 to $2 were offered for the neck-craning front row, increases of $1 to $2 for the center-middle and the status quo for the rest.)The concept was rolled out in March at theaters in New York, Illinois and Kansas to howls of protest from some moviegoers. AMC always labeled it as a test.The experiment will end sometime in August, an AMC spokesman said. But the company plans to start a new trial involving front-row seats, which often go unsold. Later this year, AMC said it would pull out traditional front-row seats and replace them with “large, comfortable, lounge-style seating areas that will allow guests to lay all the way back.”AMC and other theater chains, after steadily raising prices at their concession stands, have started to focus more intently on seats for revenue growth. Increasingly, for instance, multiplexes have been pushing customers toward premium-priced tickets for screenings that feature extra-extra-large screens or enhanced sound systems.Adding to the pressure, attendance has still not recovered from the early pandemic, when many theaters were closed for months. So far this year, ticket sales are running roughly 20 percent behind the same period in 2019.AMC said Sightline did not pan out as it had hoped. In particular, the company saw “little or no incremental lift in front-row attendance, even with a price reduction applied to those seats.” About three out of every four customers who previously sat in center-middle seats paid the surcharge to continue doing so, AMC said. Some of those people moved to other seats. A small percentage stopped buying tickets at AMC.Notably, competitors did not follow AMC in re-pricing seats, making the company less competitive in the test markets.AMC’s plans to stop the initiative were reported earlier by Bloomberg News. More

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      ‘Bawaal’ Review: Getting Some Perspective

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      In this Bollywood production, a narcissistic history teacher reconnects with his wife on a trip through Europe.“Bawaal” is a sensationally absurd Bollywood production that tells a simple moral story about what it means to be a Real Man. Directed by Nitesh Tiwari (“Dangal”), this globe-trotting romance is, like many Bollywood movies, willfully over the top. But this one’s not very fun.Ajay (Varun Dhawan), a grade-school history teacher, is only interested in one thing: looking good. Impeccably groomed and chiseled, he doesn’t seem to care that his students aren’t learning, nor that his wife, Nisha (Janhvi Kapoor), is desperately unhappy.Ajay keeps Nisha out of sight and at home with his parents — she has epilepsy, and he fears tarnishing his image should she have a seizure in public. When Ajay is suspended from work for slapping a student, he cooks up a scheme to prove his pedagogical worth. He heads to Europe, where he delivers video lectures from various historical sites to his students back home in small-town India.Nisha tags along, despite Ajay’s protests, and proves herself, too. In Europe, she’s much more capable — and, of course, more beautiful — than Ajay had cared to realize, while he, in sleepy comic-relief segments, suffers through travel’s minor hardships: lost luggage, pickpockets and a dastardly exchange rate.Ajay becomes more compassionate with each leg of the trip. Monochrome fantasy sequences plunge him and Nisha into battle on the shores of Normandy; in another, they’re victims inside an Auschwitz gas chamber. It’s an egregious metaphor for the dire state of their relationship, and one of the film’s many unearned pivots to high drama.Dhawan (too convincing a narcissist to pull off a change of heart) and Kapoor (devoid of charisma) don’t have chemistry, and you’re never truly rooting for Ajay so much as you’re hoping Nisha makes a run for it. The film’s macho, save-the-marriage traditionalism will seem icky to some viewers — especially because, absent genuine laughs or stakes, there’s little else to take in.BawaalNot rated. Running time: 2 hours 17 minutes. Watch on Prime Video. More

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      ‘Fear the Night’ Review: Party Raid

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      Neil LaBute’s new thriller, starring Maggie Q, feels stapled together from a pile of threadbare tropes.One rarely roots for the bad guys in a home-invasion shocker, but, as the majority of the victims in Neil LaBute’s “Fear the Night” are either insufferably stupid or gratingly snippy, their survival is perhaps not the priority it ought to be.In any event, most of them will be slaughtered before we can tell them apart in a movie that appears not so much written by LaBute as stapled together from a pile of threadbare thriller tropes. The plot could fit on a pistol barrel (or, in this case, an arrowhead): Eight women descend on a remote farmhouse for a bachelorette party, only to find their stripper-and-sex-toy revelries interrupted by leering louts who favor artisanal over mechanical weaponry. Bloody chaos ensues as the ladies bemoan their inability to sprint in high heels and struggle to memorize a three-count knock signal that differentiates friend from foe.“What is happening to us?” one distraught partygoer inquires, echoing my bewilderment. Like her cohort, she will turn hopefully — and, in the case of Mia (Gia Crovatin), longingly — to the one guest that no one else seems to like: Tess (a valiant Maggie Q), a super-serious military veteran and recovering addict. Tess has suffered. Tess has seen things. Tess will use her very particular skills to rally these nitwits or die trying.Pausing mid-murders to allow for a touching reconciliation and a romantic confession (not the time, Mia!), the back-of-napkin script stumbles forward. As for LaBute, a once incisive chronicler of male cruelty and ineptitude, his continued dabblings in genre are lamentable. Perhaps the kindest thing to do is pretend this dud never happened; it certainly worked for the Farrelly brothers’ “Dumb and Dumber To.”Fear the NightNot rated. Running time: 1 hour 32 minutes. In theaters and available to rent or buy on most major platforms. More

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      ‘The Deepest Breath’ Review: A Perilous Drop Into the Ocean

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      Astonishing underwater footage elevates this documentary about two people drawn to the extreme sport of free diving.While watching “The Deepest Breath,” a documentary that palpably conjures the mystery and menace of the deep sea, I found it difficult not to think of the Titan submersible disaster last month. But this film, on Netflix, invites viewers to submerge alongside thrill-seekers unconfined by a vessel: Its subject is the extreme sport of free diving, in which competitors plunge into the depths for minutes at a time without scuba gear.The story centers on the Italian champion Alessia Zecchini and the Irish diver Stephen Keenan, who met at a 2017 competition in the Bahamas, began training together and engaged in a brief romance. Using astonishing underwater footage and videos from their travels, the film profiles the two adventurers before looking at a cataclysmic tragedy that rocked the free diving community.As the film’s director, Laura McGann, relays these stories, she deliberately withholds certain material to keep audiences in suspense about whether a death occurred. Extreme risks attend free diving; during their training, Zecchini and Keenan grew accustomed to experiencing blackouts. The film opens with alarming footage of one such incident, using the life-threatening scenario for narrative tension.This approach might have passed muster had the film matched its apprehensive mood with an equally compelling, clearer window into Zecchini and Keenan’s psychology. But despite hearing from their fathers and friends, we learn precious little about the personal lives of these impressive individuals. When it comes to what drove them, how they associated with others or how they dealt with danger, “The Deepest Breath” offers only surface-level observations.The Deepest BreathRated PG. Running time: 1 hour 48 minutes. Watch on Netflix. More

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      ‘How to Dance in Ohio,’ a Musical, Plans a Fall Broadway Opening

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      A teenage ritual takes on deeper significance as a setting where autistic young people can blossom — and exercise their social skills along the way.“How to Dance in Ohio,” a poignant new musical about a group of young autistic adults gearing up for a spring dance, will open on Broadway late this year, with a cast of seven autistic performers playing the central roles.The musical is based on a 2015 documentary from the filmmaker Alexandra Shiva that followed participants in a social skills therapy program for people on the autism spectrum; the musical is also set at a therapy program, and it tells the story of young adults preparing for a dance that they hope could help them confront some of the challenges they face in navigating social interactions.The musical had a previous run last year at Syracuse Stage in central New York; the production schedule was cut short when Covid cases arose among the cast and crew. The review of the show in The Post-Standard, a Syracuse newspaper, was headlined “The musical you’ll talk about for the rest of your life” and called it “exhilarating, groundbreaking, celebratory.”Casting is not yet complete, but will include several actors making their Broadway debuts: Desmond Edwards, Amelia Fei, Madison Kopec, Liam Pearce, Imani Russell, Conor Tague and Ashley Wool. Among the others on the bill so far are Haven Burton and Darlesia Cearcy.“How to Dance in Ohio” features a book and lyrics by Rebekah Greer Melocik and music by Jacob Yandura; it is directed by Sammi Cannold and choreographed by Mayte Natalio. The famed director and producer Hal Prince was initially attached to the project; he died in 2019.The musical is being produced by a company called P3 Productions, which is led by Ben Holtzman, Sammy Lopez and Fiona Howe Rudin, along with Level Forward, the production company co-founded by Abigail Disney. It is being capitalized for up to $15.5 million, according to a filing with the Securities and Exchange Commission.The show is to begin previews Nov. 15 and to open Dec. 10 at the Belasco Theater. More