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      William Friedkin’s Final Film to Premiere at the Venice Film Festival

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      “The Caine Mutiny Court-Martial,” with Jake Lacy and Kiefer Sutherland, was the director’s first new drama in more than a decade.The director William Friedkin died on Monday at age 87, leaving behind a filmography that included hits like “The Exorcist” and “The French Connection.”But Friedkin had also completed one last project, “The Caine Mutiny Court-Martial.” Made for Paramount and Showtime, it is set to premiere in a few weeks at the Venice Film Festival, where in 2013 he won a lifetime achievement prize.Adapted from the Pulitzer Prize-winning novel by Herman Wouk, “The Caine Mutiny Court-Martial” follows the trial of a naval officer (played by Jake Lacy) who is accused of leading a mutiny against his unstable commander (Kiefer Sutherland). The story was first adapted for the 1954 film “The Caine Mutiny,” which was nominated for seven Oscars including best picture. Though that film and Wouk’s novel take place during World War II, Friedkin contemporized the story and relocated the action to the Persian Gulf.“The Caine Mutiny Court-Martial” is Friedkin’s 20th narrative film and his first since 2011’s “Killer Joe,” which starred Matthew McConaughey. In the interim, Friedkin directed a documentary, “The Devil and Father Amorth,” about a purported real-life exorcism.“I’ve looked at a lot of scripts in the last 10 years, and I haven’t seen anything I really wanted to do,” Friedkin said in an interview last year while announcing the project. “But I think about it a lot, and it occurred to me that could be a very timely and important piece, as well as being great drama. ‘The Caine Mutiny Court-Martial’ is one of the best court-martial dramas ever written.”The Venice Film Festival runs Aug. 30 to Sept. 9, though organizers have not yet announced a premiere date for Friedkin’s film. Unlike high-profile Venice films like Bradley Cooper’s “Maestro” and Sofia Coppola’s “Priscilla,” this posthumous effort will play out of competition, as per Friedkin’s wishes: In an expletive-laden scene from the documentary “Friedkin Uncut,” the director ranted against the idea of festival competitions manned by “a bunch of schmucks who call themselves judges.” More

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      Who Is Neil Breen?

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      The producer, writer, director and star has made five imaginative, bewildering low-budget paranormal thrillers, spurring both ridicule and awe.A mysterious orb blares across the sky and punches into the sun-baked bed of a desert landscape. From it a messianic being emerges. For the viewer it’s at this point, early in the 2009 film “I Am Here …. Now,” that the proceedings veer in one of two directions: a solemn polemic about drug use, corporate corruption and environmental exploitation; or an endearingly inept science-fiction parable, the charms of which center wholly on the middle-aged man who plays the alien being. His name is Neil Breen.Breen has produced, written, directed and starred in five films. His sixth, “Cade: The Tortured Crossing,” just opened in select theaters (it screens in New York in August), and if the trailer is any indication, then his singular, if peculiar, vision has remained intact.For the past 18 years Breen has been making imaginative but bewildering low-budget paranormal thrillers in and near his suburban Las Vegas home. Some concern interstellar visitors like the one in “I Am Here …. Now”; others focus on hackers with superhuman abilities. There are talismanic crystals, mystical animals (predominantly eagles or tigers), and what I assume is Breen’s own Ferrari Testarossa. His dialogue tends to be peppered with technological keywords: artificial intelligence, cyberterrorism, metaverse, virtual reality — concepts that Breen never convincingly grasps and that seem abstract considering his films look as if they were made for tens of thousands of dollars. (Breen claims to have funded his early films with his income as an architect.)He serves in multiple roles in each production: location manager, music director, sound effects supervisor, editor, lighting designer, set designer, special effects designer, prop master, stunt coordinator, even legal and accounting services. And it’s his face emblazoned on each poster, making it indisputably clear that the distinguishing feature of a Neil Breen film is Neil Breen.“I am honestly sincerely doing the best I can, with the resources that I have, both physically and financially,” Breen said in a 2014 interview with New York Cine Radio. (He didn’t respond to interview requests for this article.)If resourcefulness is considered one of the core tenets of independent film, then Breen could be one of the central filmmakers of the past two decades. When he talks about his work, he tends to proudly reiterate the same anecdotes about how he assembles his casts via Craigslist ads or how he corresponds directly with the theaters that exhibit his work. Instead of ruminating on the meaning of his ambitious if barely coherent forays into science fiction, he’ll explain at length how he feeds his cast and crew.Breen’s entire cinematic approach can be encapsulated in a backyard cookout scene in “Fateful Findings” (2013), in which the characters are actually eating. You get the sense that Breen’s intent here was to simultaneously direct, act and do the catering.A scene from “Fateful Findings” (2013). The drama covers alcoholism, painkiller addiction and unrequited love, but also teleportation.Neil Breen Films, LLC“There’s an uncanny quality,” Cristina Cacioppo, a director of programming at Nitehawk Cinema in Brooklyn, said when asked to describe Breen’s films. “Sort of a resemblance to reality, but just sort of like otherworldly.”All of Breen’s films seem clearly to mean something, and watching them, one’s suspension of disbelief is constantly threatened by strange directorial choices. Even when they’re 90 minutes, some feel interminable. In a simple scene of dialogue he’ll freely break the 180-degree rule, a basic staging technique meant to keep the viewer oriented. His later films make generous use of composite photography, and characters will be both uncannily too large and too small in the same ethereal vista. My favorite among his many idiosyncrasies is the thunderously expository dialogue. This is from the 2016 “Pass-Thru”:Media President: I know senior national elected government officials who I can force my political bias and influence on fellow politicians, to vote my way. For a payoff, of course.Thgil (Breen): Isn’t that corrupt?None of this logically anticipates Breen’s dire, cartoonishly violent narratives. “Pass-Thru” culminates in his darkest sequence, with Thgil — another of the messianic aliens in which Breen specializes — walking toward the horizon’s vanishing point. The landscape is strewn with hundreds of thousands of bodies, a genocide he’s issued as punishment for those who’ve abused Earth’s precious resources.“Fateful Findings,” which I and many others consider Breen’s most deranged film, exemplifies the tonal stiltedness and libertarian rage that pervades his work. The first two-thirds qualify as a drama, marked by alcoholism, painkiller addiction and unrequited love. By the time it ends there has been an abduction, murders, teleportation and a revelatory news conference that culminates in six consecutive suicides.With each production, Breen’s audience, drawn from word of mouth and social media, has grown. He began to raise interest when “I Am Here …. Now” played at West Coast theaters like the now defunct Cinefamily in West Hollywood, Calif., where it was marketed as a hilarious oddity.For many audiences the natural response to Breen’s films is laughter. He’s often likened to Tommy Wiseau, whose “The Room” (2003) is considered one of the worst movies ever made, or Ed Wood, whose charmingly ramshackle genre exercises from the 1950s might be considered forerunners of Breen’s work. But these comparisons are shallow. By the end of his career Wood had fallen into obscurity, directing pornography under a pseudonym. And Wiseau seems to have succumbed by self-parody. His six-episode sitcom, “The Neighbors,” and his appearances in other films (like “Samurai Cop 2: Deadly Vengeance”) demonstrate none of “The Room’s” manic power.Breen is still making films under the same unpretentious conditions, which is to say they’re just as incoherent as ever, even if they’ve evolved in technical ambition. Whereas his early films favored suburban Las Vegas and the nearby desert, his 2018 cyberthriller “Twisted Pair” is replete with green-screen photography and stock footage. Breen plays a double role, twins Cale and Cade, bestowed at birth with superhuman powers and pitted against each other with potentially world-changing consequences. The action scenes — when Cade freezes time, for instance, or leaps grasshopper-like to the upper floor of a building — contain flashes of “The Matrix.” During these sequences at a 2018 screening at the Music Box in Chicago, the crowd went berserk.In “Twisted Pair” Breen plays a double role, twins Cade (no beard) and Cale (beard).Neil Breen Films, LLC“When I used to go to see the first screenings of films like ‘Double Down’ and ‘I Am Here …. Now,’ I’d be in the back of the theater listening to the audience,” Breen said in the 2014 interview. “The audience may chuckle at parts that I never intended, but in the second half of the film they sort of begin to get it.”Trevor Dillon, who’s programmed Breen’s work at the Frida Cinema in Santa Ana, Calif., said he thought “Neil Breen is very much like ‘I’m about the movies, I am a filmmaker, my movies play at 8 p.m.’” Dillon added that the question “is whether or not there’s a ton of self-awareness there.”“I think he’s a scrappy independent filmmaker and I think he’s an even better businessman,” Dillon added.Jake Isgar has programmed “Twisted Pair” and its forthcoming sequel, “Cade: The Tortured Crossing,” at Alamo Drafthouse in San Francisco. “I don’t ever want to call his movies midnight movies or create this other sort of distinction,” he said. “Why should an independent artist who’s putting his own work out there have to be ghettoized in any particular way?”(Like me, Isgar has yet to see Breen’s newest. He said Breen “was very straightforward” and declined to send a screener to preview the film. “He says, ‘Well, you’ve seen my other movies.’”)In his correspondence with theaters Breen stipulates that his movies should screen at around 7 p.m., and that showings should be limited to maintain demand. But embedded in such restrictions one may infer either a resistance to having his work pushed to the fringes, or a pretension in contextualizing it as a mainstream experience. Regardless, Breen’s films continue to engage audiences worldwide.Consider a 2019 showing of “Twisted Pair” in Paris, at Le Grand Rex, the largest movie theater in Europe. At the sold-out screening, put on by the publication Nanarland (“Nanar” is a French colloquialism that roughly translates as “so bad it’s good”), the crowd “went nuts,” the Nanarland co-founder Régis Brochier said. “It was really an incredible screening.”A clip posted to YouTube captures the mania: the roaring crowd spills out from both balconies. People start to stand and clap. The film they’re all there to see hasn’t even begun. More

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      ‘Barbie’ Is a Sleeper Hit in China

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      The movie has exceeded box office expectations, as China’s female moviegoers celebrate a film that addresses women’s rights head-on.There were plenty of reasons to think the “Barbie” movie might have a hard time finding an audience in China. It’s an American film, when Chinese moviegoers’ interest in, and government approval of, Hollywood movies is falling. It’s been widely described as feminist, when women’s rights and political representation in China are backsliding.But not only did the film screen in China — it has been something of a sleeper hit, precisely because of its unusual nature in the Chinese movie landscape.“There aren’t many movies about women’s independence, or that have some flavors of feminism, in China,” said Mina Li, 36, who went alone to a recent screening in Beijing after several female friends recommended it. “So they thought it was worth seeing.”Despite limited availability — the film, directed by Greta Gerwig, made up only 2.4 percent of screenings in China on its opening day — “Barbie” has quickly become widely discussed on Chinese social media, at one point even topping searches on Weibo, China’s version of Twitter. It has an 8.3 rating on the movie rating site Douban, higher than any other currently showing live-action feature. Theaters have raced to add showings, with the number nearly quadrupling in the first week.Though not nearly as hotly anticipated as in the United States, where it left some movie theaters running low on refreshments, “Barbie” has set off its own mini-mania in some Chinese circles, with moviegoers posting photos of themselves decked out in pink or showing off glossy souvenir tickets. As of Wednesday, the movie has earned $28 million in China — less than the new “Mission Impossible,” but more than the latest “Indiana Jones.” American movies’ hauls have been declining in general in China, in part because of strict controls on the number of foreign films allowed each year.Mia Tan, a Beijing college student, saw “Barbie” with two friends, in an array of festive attire that included a peach-colored skirt and pink-accented tops. During a scene in which the Ken dolls realized that being male was its own qualification, she joked that the characters sounded like fellow students in their major.Theaters in China have raced to add showings of “Barbie,” with the number nearly quadrupling in the first week.Cfoto/Future Publishing, via Getty Images“The movie was great,” Ms. Tan said. “It used straightforward dialogue and an exaggerated plot to tell the audience about objective reality. Honestly, I think this is the only way to make women realize what kind of environment they’re in, and to make men realize how much privilege they’ve had.”The discussion about women’s empowerment that “Barbie” has set off is in some ways a rare bright spot for Chinese feminists. In recent years, the authorities have arrested feminist activists, urged women to embrace traditional gender roles and rejected high-profile sexual harassment lawsuits. State media has suggested that feminism is part of a Western plot to weaken China, and social media companies block insults of men but allow offensive comments about women.Some social media comments have disparaged “Barbie” as inciting conflict between the sexes, and moviegoers have shared stories of men walking out of theaters. (In the United States, conservatives have similarly railed against the movie.)At the same time, public awareness of women’s rights has been growing. Online discussions about topics such as violence against women have blossomed, despite censorship. While many of China’s top movies in recent years have been chest-thumping war or action movies, a few female-directed movies, about themes like complicated family relationships, have also drawn huge audiences.And the Chinese government has proved most intent on preventing feminists from organizing and gathering, rather than stopping discussions of gender equality writ large, said Jia Tan, a professor of cultural studies at the Chinese University of Hong Kong.Even some Chinese state media outlets have offered cautious praise of the movie’s themes. One said that “Barbie” “encourages contemplation of the status and portrayal of women.” Another quoted a film critic as saying it was normal that the topic of gender would stir disagreement, but that “Barbie” was actually about the perils of either men or women being treated with favor.In a sign of how Chinese women’s expectations have shifted, some of the most popular — and critical — online reviews of “Barbie” came from women who said it hadn’t gone far enough. Some said they had hoped a Western movie would be more insightful about women’s rights than a Chinese one could be, but found it still exalted conventional beauty standards or focused too much on Ken. Others said they felt compelled to give the movie a higher rating than it deserved because they expected men to pan it.Vicky Chan, a 27-year-old tech worker in Shenzhen, said she thought mainstream conversations about feminism in China were still in their early stages, focusing on surface-level differences between men and women rather than structural problems. The movie’s critique of patriarchy was ultimately gentle, she said — and that was probably why it had gotten such wide approval in China, she said in an interview. (Ms. Chan gave the movie two stars on Douban.)A display of Barbie toys in Beijing in 2013.Andy Wong/Associated PressSome lingering wariness of feminism and its implications was evident at the recent Beijing showing of “Barbie,” where several audience members — male and female — told a reporter that they saw the movie as promoting equal rights, not women’s rights. Opponents of feminism in China have tarred the movement as pitching women above men.The Chinese subtitles for “Barbie” translated “feminism” as “nu xing zhu yi,” or literally “women-ism,” rather than “nu quan zhu yi,” or “women’s rights-ism.” While both are generally translated as “feminism,” the latter is seen as more politically charged.Wang Pengfei, a college student from Jiangsu Province, also drew that distinction. He had liked “Barbie” so much that he wanted to take his mother to see it, feeling she would appreciate the movie’s climactic speech about the double standards imposed on women.But Mr. Wang also said he was alarmed by what he called extreme feminist rhetoric, with women declaring that they didn’t need men. He liked the movie, he said, because it hadn’t gone as far as some other films did.“If Chinese women are really going to become independent,” he said, “it won’t be because of movie gimmicks.”Vivian Wang More

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      Jess Search, a Force in the Documentary Genre, Dies at 54

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      As one of the leaders of Doc Society, she supported countless filmmakers, with an emphasis on underrepresented groups and unconventional stories.Jess Search, a producer on dozens of important documentaries and a catalyst on many more as one of the directors of Doc Society, a nonprofit organization she helped found in 2005 that supports documentary filmmakers, died on July 31 in London. She was 54.Doc Society said in a statement that the death, in a hospital, was caused by brain cancer. Search had announced last month that she was stepping away from the organization because of her illness.Search had been a central figure in the documentary scene in Britain and beyond for years. She was gender nonconforming (she used the pronouns “she” and “her” but preferred not to use the gendered courtesy title Ms.), and she had a special interest in promoting work by filmmakers from underrepresented populations or that dealt with out-of-the-mainstream subjects.She was a producer or executive producer on some of those films, like Matthew Barbato’s “Alexis Arquette: She’s My Brother” (2007), about a sex reassignment surgery, and Agniia Galdanova’s “Queendom,” which was released earlier this year and is about a queer Russian performance artist.Her family and colleagues said she was even more devoted to her work at Doc Society, which she led with several other directors and which describes itself as “committed to enabling great documentary films and connecting them to audiences globally.” Since its founding, it has backed hundreds of documentary projects, supporting emerging filmmakers financially and with expert input.“Jess was a builder,” Laura Poitras, director of the Oscar-winning “Citizenfour” (2014), about Edward J. Snowden, the former National Security Agency contractor who leaked classified information, said by email. “A builder of communities, infrastructures (material and immaterial), and imaginations.”That film had support from Doc Society, which at the time was called the Britdoc Foundation. (The name changed in 2017 to better reflect the organization’s global focus.) So did “While We Watched” (2022), about the travails of independent television journalism in India, on which Search is credited as an executive producer. Vinay Shukla, its director, called Search “ragingly courageous and resolutely funny.”“It was an impossible film,” he said by email, “and I’d wake up to find new holes in our boat everyday. I would spin and spiral. And then I’d get on a call with Jess and everything would be all right. She would read me poems over Zoom while figuring out my legal strategy. She was always 10 steps ahead.”Tabitha Jackson, who was director of the documentary film program at the Sundance Institute for years and was the Sundance Film Festival director from 2020 to 2022, said Search invigorated the entire genre.A poster for “While We Watched,” about the travails of independent television journalism in India. Search was an executive producer.MetFilm Distribution/Courtesy Everett Collection“In her championing of the field of independent film, and the art of impact and the impact of art, Jess often said that ‘If you are going to move people to act, first you have to move them,’” she said by email, “and that was apparent in the many independent films she was deeply involved in.”“But beyond individual films,” she added, “her strategic laser focus and abundant kinetic energy evangelized and galvanized a collective that could turn a moment into a movement and a challenge into an opportunity for transformation.”Jess Search was born on May 15, 1969, in Waterlooville, England, near Portsmouth, to Phil and Henrietta Search. She grew up in Sevenoaks, southeast of London, and attended Tonbridge Grammar School before earning a bachelor’s degree in politics, philosophy and economics at Oxford University. In 2008 she added a master’s degree from Cass (now Bayes) Business School.In an interview at the 2021 BFI London Film Festival, Search said she had no particular career aspirations after earning her undergraduate degree but chose her path for an unusual reason.“I knew I was gender nonconforming,” she said, “and at that time, leaving university at the very beginning of the ’90s, I knew that I couldn’t work anywhere that had any kind of formal or informal dress code.”Being a lawyer or management consultant was out, she said, “because I’ll have to turn up every day wearing clothes I don’t want to wear.”“So,” she added, “I was like, ‘I think I’d better go into the media,’ because that seemed like a space where it was less formal.”An uncle working in television hired her as his assistant. That led to a job as a commissioning editor for independent film and video at Britain’s Channel 4, which at the time was programming a wide variety of documentaries. In the BFI interview, she expressed a particular fondness for “the Box,” a cardboard box where unsolicited films and ideas for films were collected.“This box was full of amazing, crazy stuff that people just sent in to us,” she recalled in the interview. The channel programmed mainstream documentaries as well, she said, but the Box provided “that sense that anything might happen, that anything might be in there, and you might hear from anyone around the world with something to say.”In 1998 Search was one of the founders of Shooting People, a networking organization for people in the documentary world. In late 2004 Channel 4 shut down its independent film and video department, prompting her and others to start what became Doc Society.Search is survived by her wife, the producer and director Beadie Finzi, and their children, Ella Wilson and Ben Wilson.The outpouring of tributes to Search on social media and elsewhere after her death included a statement from Joanna Natasegara, an Oscar-winning producer who had worked with her.“She believed documentaries could change the world,” she said, “and she spent much of her life lifting up others and proving her thesis.” More

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      Thanks to Carol Burnett and Dolly Parton, New Life for a 1988 Film

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      “Tokyo Pop,” starring Carrie Hamilton, a daughter of the comedian, was a critical hit that had fallen into obscurity and has now been restored.When “Tokyo Pop” opened in April 1988, critics were upbeat, at least about its lead actress, Carrie Hamilton, a newcomer to movies who had appeared on TV’s “Fame.” The Los Angeles Times critic Sheila Benson wrote that Hamilton stalked through the film “straight into our hearts.” In The New York Times, Walter Goodman praised the movie, about an aspiring American pop star in Japan, for its “rhythm and zing.” The opening titles were designed by the artist Keith Haring at the height of his fame.But by November 2019, when a print of “Tokyo Pop” played at the Japan Society in Manhattan, the film had fallen into obscurity. The theatrical distributor, Spectrafilm in Canada, was long defunct. Although VHS copies existed, the movie never made it to disc or streaming. Even its director, Fran Rubel Kuzui, hadn’t seen it — her debut feature — in three decades. And Hamilton, a daughter of Carol Burnett, had died of cancer at 38 in 2002.But the Japan Society showing proved to be the start of the film’s second life. During the post-screening Q. and A., Sandra Schulberg, president of the preservation organization IndieCollect, volunteered from the audience that she would love to restore and rerelease the film. After a complicated search for original elements, and financial help from backers including Burnett and Dolly Parton, that restoration is here. “Tokyo Pop” opens Friday at the Brooklyn Academy of Music and will continue at engagements throughout the country.“You don’t think about that when you make something: How will I feel about this in 35 years? Especially your first film,” Kuzui, 78, said at an interview in New York in June, the day after the restoration had its premiere at the Museum of Modern Art.Hamilton with Diamond Yukai in “Tokyo Pop,” directed by Fran Rubel Kuzui. She herself hadn’t seen the film in three decades.Kuzui Enterprises, via Kino LorberAlthough she used to love seeing the video on Blockbuster shelves, and every year or so would get queries from festivals, she knew little about what had happened to the film, other than that she paid $40 a month to keep the internegative in storage. In the pre-internet days, without the distributor, there wasn’t much way to check in on the film’s afterlife, she explained. Thanks to digital and streaming, she added, “my generation is the first generation that I’ve seen that really is having an opportunity to look back on work in such a broad sense.”The fish-out-of-water scenario of “Tokyo Pop” was personal to Kuzui, who was raised in Great Neck, N.Y., and is married to Kaz Kuzui, a Japanese film producer whom she met when she was a script supervisor and he was an assistant director. The movie centers on Wendy (Hamilton), a backup singer in New York who on impulse travels to Japan at a time when American culture was all the rage there. With the language barrier a struggle, she is helped by Hiro (Yutaka Tadokoro, now better known as Diamond Yukai), a frustrated rock musician who speaks a little English. They begin a relationship and, with some reluctance, she joins his band covering American hits. Hamilton herself wrote — and is shown performing — the closing-credits song.Although Kuzui wrote the screenplay with her friend Lynn Grossman, “Tokyo Pop” was made with a mostly Japanese crew — unusual at the time for any American director, let alone a woman. Kuzui remembered that even her calls of “Action!” were perceived as unfeminine shouting.Part of the subtext of the movie, she said, was that she didn’t want to become an example of a gaijin, or foreigner, who was dependent on Japan. When Wendy’s star starts to rise there, it’s because she’s viewed as a novelty. “Foreigners in Japan — they were not held to, and they still aren’t held to, exactly the same rules that Japanese people follow,” Kuzui said. If she was going to be successful as a director, she felt, it couldn’t be with that sort of advantage.Although she and Kaz have divided their time between the United States and Japan for 40 years — they made much of their living handling the Japanese distribution of American independent films like the Coen brothers’ “Barton Fink” and David Lynch’s “Wild at Heart” — Kuzui said that for a long period, she would go back and forth every six to eight weeks because she lacked a visa. She has always seen herself as living in the United States. “I really didn’t start living in Japan until the pandemic,” she said.Hamilton’s mother, Carol Burnett, said she remembered the actress telling her she had a difficult time with her bleached hair.Kuzui Enterprises, via Kino LorberKuzui went on to direct only one other feature, which many more people saw: “Buffy the Vampire Slayer” (1992). Pointing to an admiring 2022 article in The Atlantic, Kuzui believes that even that film may receive the kind of re-evaluation that she anticipates for “Tokyo Pop.” It’s in the zeitgeist, she said, that audiences are giving a fresh look to work made in the 1980s and ’90s.Kazu Watanabe, who programmed “Tokyo Pop” at the Japan Society and now runs distribution at Grasshopper Film, discovered the film while curating a series on outsiders making movies in Tokyo. He thought the movie held up, even in small ways, and, unlike some films of the era, seemed in tune with modern sensibilities. “There’s a scene where the two leads are in bed together, and then she changes her mind, doesn’t want to sleep with him,” he said. “And it’s done so matter-of-factly. There’s no big dramatic scene about it.”Schulberg of IndieCollect said she wanted to restore the film in part because it was a remarkable directorial debut by a woman “who in my view never got the opportunities and attention she deserved.”Burnett, speaking by phone in early July, before the actors’ strike, recalled when Hamilton was shooting the film. “I remember she had a terrible time, she said, with her hair, because the bleach or whatever it was over in Japan made her hair fall out,” Burnett said, with a laugh. “So she wore a lot of scarves and kind of had to make do with what she had.” In an anecdote Burnett also recounted in “Carrie and Me” (2013), her book about her relationship with her daughter, she said that Marlon Brando somehow saw “Tokyo Pop” and called Hamilton to discuss a project — which Hamilton turned down.While Burnett occasionally searches for her daughter on YouTube and reads the comments, keeping tabs on her “small following,” she added, “I’m thrilled that, again, after all these years, people are going to discover her all over again.” More

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      Children’s Movies to Stream: ‘Guardians of the Galaxy’ and More

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      This month’s picks include a stereotype-defying shape-shifter, superpowered shelter pets and the newest “Guardians of the Galaxy” adventure.‘Nimona’Watch it on Netflix.Nimona is a shape-shifter, a monster, a misunderstood hellion with a heart of gold. Voiced by Chloë Grace Moretz, the title character busts into a futuristic world where knights defend the castle and the powerful might not be as benevolent as they’d like the citizens to believe. Based on a best-selling graphic novel by ND Stevenson and directed by Nick Bruno and Troy Quane (who also co-directed “Spies in Disguise”), this 2023 animated feature from Netflix gives young children a mile-a-minute main character who slides between “good guy” and “bad guy” status, defying the usual stereotypes. Stevenson has called the story a transgender allegory, and the L.G.B.T.Q. representation is a welcome change from the usual kids’ movie universes, where knights fall in love with princesses, not with each other. Here, Riz Ahmed voices Ballister Boldheart, a knight who has been wrongly accused of murdering Queen Valerin (Lorraine Toussaint). Ballister reluctantly allows Nimona to help him take down a corrupt system, prove his innocence and reunite with his partner, Ambrosius Goldenloin (Eugene Lee Yang). As a character, Nimona has zero chill and might prove a little tough for adults to watch for any length of time, but my son was entertained by the character’s constant motion, chaotic energy and what-will-come-next transformations.‘Miraculous: Ladybug & Cat Noir, The Movie’Watch it on Netflix.Many youngsters will already be familiar with the hit French series “Miraculous: Tales of Ladybug & Cat Noir,” about two Parisian teen superheroes named Marinette (voiced by Cristina Vee for the English-speaking cast) and Adrien (Bryce Papenbrook), who secretly transform into Ladybug and Cat Noir to save their city from villains. They’re members of The Miraculous, a group of protectors who vanquish evil all over the world. This time, the superheroes get nearly two hours of screen time to join forces and stop the evil Hawk Moth (Keith Silverstein) from unleashing destruction throughout the City of Light. Directed by Jeremy Zag, who co-wrote the screenplay with Bettina López Mendoza and also wrote the songs, the 2023 movie amps up the action, with plenty of scenes in which Ladybug and Cat Noir fly over Parisian landmarks and battle the bad guys. There are musical numbers, moments of valor, and enough silly humor and flirty banter between the real-life teenagers and their alter egos to keep elementary-age kids watching. The vibrant reds and purples that make the series stand out visually are on full display, and the same girl power theme that defines the series carries over to the film.‘Heroes of the Golden Mask’Rent it on Amazon Prime and Vudu.In this Arcana Studios 2023 production directed by Sean Patrick O’Reilly, an orphan named Charlie (voiced by Kiefer O’Reilly) is trying his best to survive on the mean streets of his city. Just as Charlie is about to get nabbed by the cops for another petty crime, a door opens and a strange figure offers him a quick escape in the form of a magic portal. Charlie hops through, and he’s transported to an ancient Chinese kingdom called Sanxingdui. He meets an unlikely group of golden-masked superheroes who tell Charlie they need his help defeating a ruthless enemy set on conquering the kingdom. At first Charlie schemes to help the heroes with the secret intention of taking the golden masks, but lessons are learned and Charlie discovers that money and greed aren’t the most important things in life. The animation looks a little like a low-budget video game, and the writing and performances are definitely not awards-season worthy, but Patton Oswalt voices a blue ogre named Aesop, Ron Perlman voices Kunyi, and Christopher Plummer, before his death, voiced the character Rizzo. It’s a bit of a mishmash, but if your kid is craving swordplay, winged tigers and dragons that look like they mated with a moose, give this one a try.‘Guardians of the Galaxy Vol. 3’Watch it on Disney+.The final installment of the director James Gunn’s “Guardians of the Galaxy” trilogy, released in May, might not go down as the best of the three, but it should entertain older elementary school and middle school kids who’ve come to love Peter Quill/Star-Lord (Chris Pratt), Gamora (Zoe Saldaña), Groot (voiced by Vin Diesel), Rocket (voiced by Bradley Cooper) and Drax (Dave Bautista). When we meet back up with the Marvel gang, Star-Lord is grieving Gamora, who died in “Avengers: Infinity War.” Never fear, though! Gamora (sort of) returns to the crew in the form of a time-traveling variant, but this Gamora has no memory of her relationship with Peter. The story largely centers on Rocket, and the Guardians’ attempts to save his life and take down the High Evolutionary (Chukwudi Iwuji), an evil scientist who created Rocket and who is now intent on mutiny. Cooper brings some genuine emotion to Rocket’s journey, and Iwuji portrays a formidable villain.‘DC League of Super-Pets’Watch it on Max.One could easily imagine this movie being pitched in a conference room: An animated superhero movie, but about their pets! The delightful simplicity of it would be tough to pass up. Here, we have Dwayne Johnson voicing Superman’s dog, Krypto, a pup whose favorite chew toy is a little squeaky Batman doll. Youngsters won’t care about the voices behind the adorable super-pets, but Kevin Hart, Keanu Reeves, Kate McKinnon, Natasha Lyonne and Marc Maron make a formidable cast. Krypto was sent to Earth as a puppy to look after Superman (voiced by John Krasinski), so the two have a sweet bond that might make both children and adults feel a little weepy because dogs are the best. Krypto can fight crime, but he’s a misfit when it comes to relating to non-superhero dogs. When Superman proposes marriage to Lois Lane (Olivia Wilde), he takes Krypto to a shelter to meet some other dogs, so he won’t feel like a third wheel, and just like that, a league of super-pets is formed. With a screenplay by the “Lego Batman Movie” writers Jared Stern and John Whittington, this 2022 charmer, directed by Stern and Sam Levine, has enough action, sweetness and humor to warrant multiple viewings. More

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      Myron Goldfinger, 90, Architect of Monumental Modernist Homes, Dies

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      His houses, which dot the Hamptons and other parts of the New York region, include a residence featured in “The Wolf of Wall Street.”Myron Goldfinger, whose monumental modernist homes around New York made him a favorite architect of the city’s rich and powerful during the 1980s, died on July 20 in Westchester County, N.Y. He was 90.His daughter Thira Goldfinger and his wife, June Goldfinger, said the death, at a hospital, was from liver cancer.Mr. Goldfinger designed his homes by amassing basic shapes — half-circles, blocks, triangles — into dramatic sculptural statements that seem both modern and ancient, as if a Roman palace had lost all its ornamentation but otherwise escaped the wear of time.He first gained prominence with his own weekend retreat, which he built in 1970 in Waccabuc, a hamlet in northern Westchester. Its plan was simple: A rectangular block topped by two perpendicular triangles. But the structure, four stories tall, was full of surprises, like a hidden rooftop patio where the triangles intersected.Like the architect Louis Kahn, who had been his mentor at the University of Pennsylvania, Mr. Goldfinger sought to fuse modern styles with features found in vernacular Mediterranean architecture: barrel vaults, interior courtyards, vast blank walls.“All architecture must eventually fade and return to dust,” he wrote in the introduction to “Myron Goldfinger: Architect,” a 1992 compendium of his work. “The fashion of the moment is so temporary. Only the timeless basic geometry repeats in time.”Millennium House, designed by Mr. Goldfinger and built in Montague, N.J., in 1978. His expansive, theatrical designs fit perfectly with the lavish ethos of the era. Norman McGrathHis success came not only from his timelessness but also his timeliness. His expansive, theatrical designs fit perfectly with the lavish ethos of the 1980s. His giant walls accommodated massive works of art; his wide picture windows allowed c-suite clients to imagine that they were, indeed, masters of the universe.His homes dot the suburban landscape from northern New Jersey to southwest Connecticut, but his best-known projects lie in the wealthier enclaves that stretch east from New York City on the Long Island shore — above all in the Hamptons, where an influx of luxury buyers were looking for something different than the area’s traditional shingle-style homes.“He was a complete original,” Timothy Godbold, an interior designer and the founder of Hamptons 20th Century Modern, a preservation group, said in a phone interview. “He was completely pure in his aesthetic, which was geometry.”Mr. Goldfinger’s interiors were likewise spectacular. Fitted out by his wife, an interior designer, they included bridges, conversation pits and intimate hallways that led to living rooms with double-height ceilings. They were at once trophies to be displayed and cozy escape pods from the bustle of Manhattan.In 1981 he designed a home for Fred Jaroslow, the chief operating officer of Weight Watchers, in Sands Point, on Long Island’s North Shore. A pile of blocks, cylinders and vaults, it has an almost completely windowless facade, save for a kitchen aperture, a concession to Mr. Jaroslow’s wife.The back is the opposite: Double-height windows, a pool and a broad lawn opening to the water make it an inviting space for entertaining. The house gained prominence when Martin Scorsese used it as the setting for a debauched party hosted by Leonardo DiCaprio’s corrupt broker in the 2013 film “The Wolf of Wall Street.”Myron Goldfinger in 1965. He designed his homes by amassing basic shapes — half-circles, blocks, triangles — into dramatic sculptural statements.The New York TimesMyron Henry Goldfinger was born on Feb. 17, 1933, in Atlantic City, N.J., to William and Bertha (Sass) Goldfinger. His father was a mail carrier, his mother a homemaker.As a child growing up working class on the Jersey Shore, Myron gawked at the stately homes in some of his hometown’s more affluent neighbors, like Marven Gardens to the south.“I guess we all search for a certain meaning and understanding of life,” he wrote in the foreword to “Myron Goldfinger: Architect.” “I know I am always building the houses I never lived in as a boy.”He graduated from Penn with a bachelor’s degree in architecture in 1955, then served two years in the Army, designing cabinets at the Pentagon. Afterward he spent almost a decade working for large and small design firms in New York, including the office of Karl Linn, a noted landscape architect; the giant Skidmore, Owings & Merrill; and the office of Philip Johnson.In 1966, he decided to go off on his own, opening a firm with June Matkovic, whom he married that same year. Through Mr. Johnson, he also secured a teaching position at the Pratt Institute, a design and engineering university in Brooklyn, where he stayed for a decade.Along with his wife and daughter, he is survived by another daughter, Djerba Goldfinger, and a grandchild.Later in his career, Mr. Goldfinger expanded beyond the New York area, designing luxury villas on the Caribbean island of Anguilla and two homes in the Southwest, including one in Santa Fe, N.M., for himself and his wife.David Michael KennedyMr. Goldfinger wrote two other books, “Villages in the Sun: Mediterranean Community Architecture” (1969) and “Images of the Southwest” (2008), both of which explored vernacular architecture and how it reflected its surrounding landscape, history and culture.“I love the intuitive artistic sense that drove these ancient peoples,” he told The Santa Fe New Mexican in 1996. “It was an organic process that used whatever materials were available in a basic, honest fashion.”Later in his career, Mr. Goldfinger expanded somewhat beyond the New York area, designing a series of luxury villas on the Caribbean island of Anguilla and two homes in the American Southwest, including one in Santa Fe, for himself and his wife. They had fallen in love with the region, and amassed a sizable collection of Southwestern art.Today, many critics and preservationists speak of Mr. Goldfinger’s work in the same sentence as that of Charles Gwathmey and Richard Meier, two world-renowned modernists who likewise designed homes around New York City.If they are better known, it may be because they also completed high-profile public works — Mr. Gwathmey and his partner, Robert Siegel, renovated the Guggenheim Museum in 1992, and Mr. Meier designed the Getty Center in Los Angeles. Mr. Goldfinger’s single significant nonresidential work was a synagogue in Brighton Beach, Brooklyn.His work also went out of fashion for a time, as postmodernism swept in and clients returned to more traditional styles. But, Mr. Godbold said, the pendulum may be swinging back: On social media, he often sees younger architecture fans fawning over a Goldfinger house.“We’re all going to be loving it in a few years,” he said. More

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      ‘Shortcomings’ Review: Dazed and Confused

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      Directed by Randall Park, this charming comedy about a Japanese American man’s belated coming-of-age touches upon fascinating questions of identity but fails to dig below the surface.“Shortcomings,” the directorial debut of the actor Randall Park, opens with a movie-within-the-movie: it’s a spoof of “Crazy Rich Asians,” playing at an Asian film festival in the Bay Area. As Ben (Justin H. Min), a Japanese American cinephile, and his girlfriend Miko (Ally Maki), a festival organizer, step out of the theater, Ben blasts it as “a garish mainstream rom-com that glorifies the capitalist fantasy of vindication through materialism and wealth.”I nodded enthusiastically. Too bad Ben turns out to be a jerk.If the meme “the worst person you know just made a great point” were a movie, it would be “Shortcomings.” Ben’s opinions aren’t wrong — market-tested corporate ploys at diversity do deserve our skepticism, for instance, and the toilet-bowl art of Ben’s hipster co-worker (Tavi Gevinson) does deserve the snide laugh it elicits from him — but he is self-absorbed and fickle. His moping and griping are unearned, lobbed like wet blankets at anyone trying to actually do something with their lives, like Miko, or his best friend, Alice (Sherry Cola).“Shortcomings” traces the belated coming-of-age of Ben, as Miko abruptly leaves for New York for the summer and Ben fumbles around, dating different women and confronting the looming closure of the art house movie theater where he works. His character arc isn’t new: Hollywood has given us numerous stunted heroes who slowly, begrudgingly, come to realize their, err, shortcomings. Where Park’s movie, adapted from a 2007 graphic novel by Adrian Tomine, feels fresh is in the way it brings Ben’s Asian American identity into the mix. Is his maladjustment a consequence of his experience of otherness, or is he just a regular old man-child?Ben, for his part, invokes and denies racism opportunistically: He is dismissive when Miko accuses him of ogling white women, but quickly labels her new lover, Leon — a white man, played hilariously by Timothy Simons, who speaks Japanese and busts out Taekwondo moves — a “rice king.” Ben isn’t being fair — but neither is the scorned date who tells Ben that his lot in life is owed only to him, not to his race. What these arguments get at is the genuine struggle, familiar to people of color, to wrest some agency from a world that tells us who we can and cannot be.Park’s film isn’t intrepid enough to really plumb the thorny terrain of that struggle. The movie is funny and touching, with a star-making performance by Min and a script full of lovely, self-aware little touches: When Jacob Batalon, who plays one of Ben’s co-workers, derides the “Spider-Man” movies that the actor himself stars in, I chuckled. But it’s shot like a sitcom — flat, shiny, perfunctory — and structured like one, too, with quip-heavy vignettes that resolve in pat conclusions. Ben surely deserves his comeuppance, but “Shortcomings” traces too neat a narrative journey to that end, leaving a trail of unexplored questions and missed opportunities in its wake.ShortcomingsRated R for some references to sex and pornography, and some disturbingly unintelligible punk art. Running time: 1 hour 32 minutes. In theaters. More