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      ‘The Outwaters’ Review: Massacre in the Mojave

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      Stunning sound design, creative mood-setting and a fearless finale elevate this found-footage horror film about an ill-fated camping trip.The found-footage genre can be catnip to young filmmakers, embracing as it does a low-budget aesthetic and the kind of incoherent crashing-about that even the most unseasoned actors can manage. There’s nothing green, though, about Robbie Banfitch, the director (as well as writer, editor, cinematographer and sound designer) of “The Outwaters,” a movie that lavishes as much attention on its setup as its payoff.Those early images, as four friends (played by Banfitch, Scott Schamell, Michelle May and Angela Basolis) prepare to film a music video in the Mojave Desert, have a woozy beauty that’s sneakily soothing. From the start, the desert is an alien presence, captured in inverted shots and unexpected close-ups as Banfitch thrusts his camera into thorned bushes and cracked earth. The light is blinding, the vistas so vast they magnify the friends’ vulnerability. In this eerie moonscape, the lingering sight of a barefoot young woman posing for the camera, hair and dress wind-whipped around her, has an aching poignancy.Culled from three memory cards found after the friends disappeared, “The Outwaters” conjures a swoony, dreamlike atmosphere that heightens the shocks to come. The camera swings and dips, the air shimmers and someone notices a strange vibration in the earth, a sense of something stirring far below their feet. Seemingly casual remarks — about a strange ball of light, or the long tail of an acid trip — return to haunt us as we try to make sense of the eventual slaughter.Backed by a sound design that expertly combines the naturalistic with the otherworldly, “The Outwaters” builds to a truly disconcerting sequence as Robbie wanders alone, wounded and gibbering. He doesn’t know who he is, but the audience might.The OutwatersNot rated. Running time: 1 hour 40 minutes. In theaters. More

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      ‘Magic Mike’s Last Dance’ Review: Stripping Down to Bare Essentials

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      Channing Tatum returns as Florida’s favorite male exotic dancer, romancing a restless socialite played by Salma Hayek Pinault.“What does a woman want?” Sigmund Freud famously confessed that he had spent most of his career flummoxed by that question. In the 21st century it seems that the director Steven Soderbergh, the screenwriter Reid Carolin and the heterodox psychoanalytic theorist Channing Tatum have come up with an answer that Freud would never have dreamed of: Magic Mike.In “Magic Mike’s Last Dance,” the final chapter in a trilogy about lust, ambition and abdominal fitness in the modern age, Mike is focused on the desires of one woman in particular, a wealthy Londoner named Maxandra Mendoza. But the sources of Mike’s appeal — a heart as big as his trapezius, resolve as firm as his glutes, a character as sturdy as his quadriceps — haven’t changed.More than a decade has passed since the first movie, “Magic Mike” (2012), which was followed by “Magic Mike XXL” (directed by Gregory Jacobs) in 2015. Mike Lane, middle-aging gracefully, still resides in South Florida, but he isn’t quite where he had dreamed of being in life. A narrator (who will turn out to be an important character) informs us that Mike has lost his beloved furniture business. He also seems to have hung up his backless chaps and his fake police uniform and traded in stripping for bartending at fancy charity events.At one of these, he meets Maxandra — she goes by Max, and is played with regal insouciance by Salma Hayek Pinault — who discovers his background in expressive dance and hires him for a private performance. They settle on a price and establish boundaries that are promptly transgressed. She says she’s not hiring him for sex, and when they have sex anyway he declines payment. The ethical and other ambiguities raised by this encounter are potentially interesting, but the movie mostly has other matters on its mind.Each of the “Magic Mike” films has explored the nexus of sex, art and money from a different angle. “Magic Mike” was about how, in a precarious labor market, a gig worker might wrest dignity and autonomy from conditions rife with exploitation. “XXL” emphasized the extravagant pleasure of selling oneself as a high-end commodity and the aesthetic fulfillment of satisfying a customer. “Last Dance” is about the relationship between artist and patron, and also about something that can’t be reduced to libidinal or economic transactions.In other words, it’s a love story. Which makes things a little awkward, for Max and Mike and for the movie itself. Mike’s vocation as a stripper had been to embody a male object of female fantasy — or, given Tatum, Carolin and Soderbergh’s joint authorship, a male idea of what women long for. He and his fellow dancers perfected a choreography of swagger and surrender, an enactment of conquest that encoded submission as the highest form of gallantry.In “Last Dance,” the dance sequences that don’t involve Mike uphold that tradition, even as, offstage, Mike evolves into a different kind of fantasy object. He isn’t just supposed to be a camped-up embodiment of the perfect man, but the real thing.After jetting over to London, where Mike is installed in a guest room, he and Max embark on a tricky creative collaboration. Max’s faithless husband (a briefly encountered Alan Cox) owns a historic theater, and Max hires Mike to direct a sexed-up version of a stodgy costume drama, turning it into a rousing spectacle of masculine hotness and feminist empowerment. Which means hiring a lot of strippers.Those dudes do their jobs competently, though London may not be the first city that comes to mind when you think of rippling, glistening hunks of well-muscled man meat. And it’s only when Tatum himself takes the stage, to splash and writhe with Kylie Shea, that the heat and humidity rise to appropriately Floridian levels.A stage production in London only heats up when Tatum takes to the stage himself, with Kylie Shea.Warner Bros.Like its predecessors, “Last Dance” never forgets that it’s a musical at heart. Soderbergh, also serving as cinematographer and editor (under his customary pseudonyms, Peter Andrews and Mary Ann Bernard), keeps our eye on the bodies in motion. The dance numbers, choreographed by Alison Faulk and Luke Broadlick, feel a bit tame this time around, but the movie still pays ample respect to the terpsichorean craft practiced by Tatum and the hard-working members of Mike’s ensemble.As a romance, though, it demonstrates flat feet and balky rhythm. There are a handful of comic secondary characters, vaguely embodying familiar varieties of Britishness — a repressed city bureaucrat (Vicki Pepperdine); a grouchy manservant (Ayub Khan Din); a sharp-tongued adolescent (the excellent Jemelia George) — but Max and Mike inhabit a thinly imagined, flatly rendered world.Hayek Pinault and Tatum have a tantalizing chemistry, but the script doesn’t always help them activate it. All of the drama comes from Max, whose whims and mood swings sometimes complement and sometimes clash with Mike’s steady good humor. His easy, endless charm may, finally, get in the way. This man is so affable, so grounded, so gentlemanly that he achieves a kind of blank passivity. His chivalry begins to feel like a way of refusing emotional connection, a suit of armor that he neglected to take off when he shed his other costumes.What does Mike want? It’s probably the wrong question. And maybe the answer is exactly what a woman doesn’t want to know.Magic Mike’s Last DanceRated R. Adult entertainment. Running time: 1 hour 52 minutes. In theaters. More

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      The Oscars’ Andrea Riseborough Controversy, Explained

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      You’ve got questions about the surprise best-actress nominee, and our awards columnist has the answers (and a few more questions).The seismic Will Smith slap? The jaw-dropping “La La Land”-“Moonlight” mix-up? You can have ’em. I like my Oscar controversies like I like my “Curb Your Enthusiasm” plot lines: small, petty and a little bit deranged.That’s why I’ve been gripped by all the new developments surrounding Andrea Riseborough, who managed a surprise best-actress nomination last month that quickly turned from boon to boondoggle. It’s the story everyone in Hollywood is talking about, though you’d be forgiven for wondering what exactly has gone down or why any of it matters. With that in mind, let’s see if I can find the answers to your questions:Who is Andrea Riseborough?The 41-year-old Brit is a real actor’s actor, the sort of committed thespian who is well-respected by her peers but has mostly flown under the pop-cultural radar. Without even clocking that it was the same actress, you might have seen Riseborough playing Nicolas Cage’s wife in the hallucinogenic “Mandy”; seducing Emma Stone in “Battle of the Sexes”; covering up an accidental death in an episode of “Black Mirror”; or exploring a ruined Earth with Tom Cruise in “Oblivion.”Because Riseborough has played such a wide variety of roles without developing a tangible star persona, she is often described as a “chameleon” or even “unrecognizable,” which is Hollywood-speak for an actress who doesn’t wear eye makeup. Still, the woman is damn castable: She appeared in four movies last year alone, including “To Leslie,” the tiny indie at the heart of this Oscar controversy. Spot the chameleonic Riseborough: Clockwise from top left, in “Oblivion,” “Mandy,” “Black Mirror” and “Battle of the Sexes.”What is “To Leslie”?Directed by Michael Morris, “To Leslie” stars Riseborough as the title character, a hard-drinking West Texan who won the lottery years ago but has blown through her money and torpedoed her relationships in the time since. As her frustrated family and friends wonder what to do with the belligerent Leslie, big questions are bandied about: Is it better to let an addict hit rock bottom or to extend a helping hand? Does there ever come a time when severing family ties should be done for your own good? And hey, is that Stephen Root, the stapler nerd from “Office Space,” playing a leather-daddy biker? (Alongside a glowering Allison Janney, no less!)The film debuted at South by Southwest last March alongside a much more high-profile Oscar contender, “Everything Everywhere All at Once,” and though “To Leslie” received mostly positive reviews, it earned less than $30,000 during its October release. In a year when many specialty films struggled to find an audience in theaters, that box office total was still so low that Riseborough’s co-star, the podcaster Marc Maron, accused the “To Leslie” distributor, Momentum Pictures, of “gross incompetence” on Twitter, then blasted the studio for failing to submit the film for awards consideration by most industry guilds. That sort of negligence might make people want to take matters into their own hands … but we’ll get to that.How is Riseborough’s performance?Though Leslie is a scrappy slip of a person, Riseborough makes a lot of big choices while playing her. It’s a pugnacious, eccentric performance, and though I’m an on-the-record fan of maximalist acting, I should let you know that if this were measured on a scale of 1 (utter naturalism) to 10 (Kristen Wiig as Liza Minnelli trying to turn off a lamp), Riseborough would be pulling an awfully high number.In other words, it’s the sort of big, actressy transformation that awards voters flock to like catnip, and if someone like Charlize Theron or Michelle Williams had de-glammed to play Leslie, there likely would have been Oscar buzz from the beginning. But without box office success or a big name, Riseborough appeared to be a non-starter.What was unusual about her Oscar campaign?A typical Oscar race plays out like a couture-clad season of “Squid Game,” where a large number of hopefuls are winnowed down to a surviving few. To stay in the conversation until the very end, it helps to win critics awards and earn nominations at televised awards shows, and Riseborough lagged on both counts: She hadn’t mustered much more than an Independent Spirit Award nomination and had no deep-pocketed distributor ready to buy For Your Consideration ads on her behalf. By most pundits’ estimation, she was not a serious contender, nor even an on-the-bubble dark horse.Interviews With the Oscar NomineesKerry Condon: An ardent animal lover, the supporting actress Oscar nominee for “The Banshees of Inisherin” said that she channeled grief from her dog’s death into her performance.Michelle Yeoh: The “Everything Everywhere All at Once” star, nominated for best actress, said she was “bursting with joy” but “a little sad” that previous Asian actresses hadn’t been recognized.Angela Bassett: The actress nearly missed the announcement because of troubles with her TV. She tuned in just in time to find out that she was nominated for her supporting role in “Black Panther: Wakanda Forever.”Austin Butler: In discussing his best actor nomination, the “Elvis” star said that he wished Lisa Marie Presley, who died on Jan. 12, had been able to celebrate the moment with him.But during the second week of January, just days before voting for the Oscar nominations began, a cadre of movie stars suddenly took to social media on Riseborough’s behalf. Edward Norton was the first big booster, telling his two million Twitter followers that Riseborough gave “the most fully committed, emotionally deep … physically harrowing performance I’ve seen in a while.” The next day, Gwyneth Paltrow announced on Instagram that “Andrea should win every award there is and all the ones that haven’t been invented yet.”As the week wore on, at least two dozen more celebrities climbed aboard the Riseborough Railroad — from A-listers like Amy Adams, Kate Winslet and Jennifer Aniston to random stowaways like Jenny McCarthy and Tan France — and award watchers started to wonder what the hell was going on. The answer that emerged is that a late-breaking campaign had been waged by Riseborough’s manager, Jason Weinberg, and the actress Mary McCormack, who is married to Morris, the “To Leslie” director, to get the film in front of as many of their famous industry friends as possible.Riseborough, opposite Owen Teague in “To Leslie,” wasn’t even a dark-horse contender until mid-January. Momentum Pictures“The movie cannot afford any FYC ads, so this letter and invitation will have to do instead!” McCormack wrote in one of her mass emails, which were published by Vanity Fair. In a later missive, she said movies like “To Leslie” were an endangered species in need of support, writing, “I worry that unless we all support small independent filmmaking, it’ll just get eaten up by Marvel movies and go away forever.”With those entreaties, McCormack, Weinberg and Riseborough assembled a starry battalion of boosters that eventually included even her best actress competitor Cate Blanchett, who gave Riseborough a shout-out during her televised acceptance speech at the Critics Choice Awards. (This begs the question: Would Lydia Tár have been Team Riseborough? I don’t think the fictional conductor could ever bring herself to endorse a movie about West Texas — they eat too much barbecue there — though I could imagine a scene where she receives McCormack’s mass email, grimaces and then orders an underling to delete it.)Why were people so upset?This was hardly the first time that a contender had taken Oscar promotion into her own hands: Who can forget Melissa Leo’s iconic “Consider” ad campaign, in which the eventual Oscar winner donned furs and posed among pillars like a Blackglama model prowling Hearst Castle? But Riseborough’s team bypassed the FYC-ad industrial complex entirely, opting to wage a weeklong war powered mostly by word of mouth instead of an expensive, multi-month campaign that would have involved round tables, parties, red-carpet appearances, film-festival tributes and endless press hits.It was an unprecedented awards-season gambit, and it worked: When the presenter Riz Ahmed read Riseborough’s name out loud during the Jan. 24 announcement of the Oscar nominations, the journalists in attendance gasped, giggled and oohed like a scandalized sitcom audience. They knew that Riseborough had just pulled off something crazy, and it didn’t take long before rival awards strategists began working the phones, suggesting that her grass-roots campaign may have run afoul of Oscar rules.And as the Riseborough surge sunk in, her surprise nomination was weighed against the snubs of the “Woman King” star Viola Davis and the “Till” lead Danielle Deadwyler: If those two Black actresses had been nominated alongside the “Everything Everywhere All at Once” star Michelle Yeoh, as many pundits were expecting, it would have been the first time in Oscar history that the best actress race featured a majority of women of color.Viola Davis’s performance in “The Woman King” was snubbed in the nominations.Sony Pictures, via Associated PressIn an essay for The Hollywood Reporter published Tuesday, the “Woman King” director, Gina Prince-Bythewood, did not mention Riseborough by name but alluded to the “social capital” that had helped propel her to a nomination. “Black women in this industry, we don’t have that power,” Prince-Bythewood wrote. “There is no groundswell from privileged people with enormous social capital to get behind Black women. There never has been.”Did the campaign break any rules?In a statement released on Jan. 27, the academy announced it would review the campaign procedures of the year’s nominees to make sure none of its guidelines were violated. Though Riseborough and “To Leslie” weren’t mentioned specifically, a reference to grass-roots campaigns in the statement all but confirmed that her nomination was the subject of investigation.Which aspects of the campaign might have earned scrutiny? Online sleuths noticed that a slew of copy-paste phrases — including the description of “To Leslie” as “a small film with a giant heart” — had appeared in social-media posts from the unlikely likes of Mia Farrow, Meredith Vieira and Joe Mantegna. And there was an eyebrow-raising Instagram post from the actress Frances Fisher, soon to be seen tightening Kate Winslet’s corset in the “Titanic” rerelease, who encouraged voters to select Riseborough because “Viola, Michelle, Danielle & Cate are a lock,” though it’s generally forbidden to mention specific competitors in that way.As the controversy began to heat up, wild rumors flew that Riseborough’s nomination could be rescinded. Puck News even wondered, “Was the Andrea Riseborough Oscar Campaign Illegal?” — a headline so breathless that you’d half-expect someone like Paltrow to be hauled before The Hague as an accomplice. (Hey, if you can’t lock someone up for selling jade vagina eggs, maybe they could be arrested for the lesser charge of Oscar meddling. Isn’t that how they got Al Capone?)Have Oscar nominations ever been rescinded before?Rarely, but the last two times it happened, the cause was improper campaigning. In 2014, the academy rescinded Bruce Broughton’s extremely “huh?” original-song nomination from the obscure faith-based film “Alone Yet Not Alone” because he’d leaned on his influence as a former academy governor when soliciting consideration. And in 2017, the academy yanked the nomination for the “13 Hours: The Secret Soldiers of Benghazi” sound mixer Greg P. Russell because he had engaged in “telephone lobbying.” It was tempting, then, to wonder if a Riseborough rebuke might change the entire makeup of the best actress race: After all, the Emmys rescinded Peter MacNicol’s 2016 nomination for guest actor in a comedy after learning he had appeared in too many “Veep” episodes to qualify, and then his replacement, the “Girls” guest star Peter Scolari, actually went on to win in the category. But even if the academy had seen fit to give Riseborough the hook, there would be no one to take her place. According to the academy’s bylaws, the race would simply be reduced to the remaining four nominees.So what happens now?On the last day of January, the academy’s chief executive, Bill Kramer, released another statement about the investigation, and though this statement did mention the “To Leslie” awards campaign by name, it concluded that Riseborough’s nomination would not be rescinded. “However, we did discover social media and outreach campaigning tactics that caused concern,” Kramer wrote. “These tactics are being addressed with the responsible parties directly.”It’s unclear who those parties are: The academy didn’t name names, Riseborough hasn’t given an interview since the morning of the nominations, and Fisher’s Instagram post was still up last time I checked. But even if the terms of the scolding are unclear, the far-reaching effects of Riseborough’s curveball campaign have the potential to change the way we think of awards season.For one, a new spotlight has been put on the academy’s vaunted diversity efforts: Is it enough to simply recruit more members of color when so many of the voters remain obstinate, older white people who, for example, told Prince-Bythewood that they’d had no interest in seeing her movie? Of the four acting categories, the best-actress race has proved most hostile to recognizing people of color, and that won’t change until voters recognize the biases they hold when determining whose stories matter.But it also means that next season, just when we think the amount of viable Oscar contenders has shrunk to almost five, a surprise could come from nowhere that completely changes the race. Riseborough pioneered a risky new tactic that other would-be contenders could use to slingshot themselves back into viability. All they’ll need is patience — well, and an improbably starry Rolodex that hopefully has little overlap with Riseborough’s. After all, if Winslet has already called Riseborough “the greatest female performance onscreen I have ever seen in my life,” will we believe her when she says the same thing next year about M3gan? More

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      Tom Brady Continues a Long History of Athletes in Sports Movies

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      With Tom Brady appearing in the comedy “80 for Brady,” a look at other sports figures who have made their way to the big screen.When is a famous athlete not a famous athlete? When they’re appearing as themselves in a Hollywood movie — then they’re a movie star. Or are they? Despite more than a century of sports legends appearing in films, very few have brought the stardust of their exploits on the field to the very different arena of the big screen. The latest to try is the football godhead Tom Brady.Not only does the ex-New England Patriot/current Tampa Bay Buccaneer (who recently announced his retirement) appear as himself in the new comedy “80 For Brady,” but the mythos surrounding him forms the basis of the plot, with four senior Patriots fans — played by Jane Fonda, Lily Tomlin, Rita Moreno and Sally Field — road-tripping to the 2017 Super Bowl in Houston. Brady appears in the final scenes, getting pep-talked by Tomlin’s character, and let’s just say that he should probably hold onto his day job. But audiences aren’t really expecting the 45-year-old quarterback to suddenly reveal his inner Christian Bale. They just want — well, what do they want? What’s the appeal of a jock out of water?The movies have been wrestling with this conundrum from the start, when Thomas Edison filmed an 1894 match between the boxers Mike Leonard and Jack Cushing and sold it to the public on Kinetoscope at 10 cents a round. The silent era, once it got going, was a heyday for sports stars onscreen, both since it gave audiences a chance to see their heroes up close, and because the lack of dialogue obviated any need for trained acting.The Detroit Tigers slugger Ty Cobb appeared in a 1917 drama called “Somewhere in Georgia,” now lost, that cast him as a baseball-playing bank clerk who rescues his girl from kidnappers and wins the big game. The Bambino himself, Babe Ruth of the New York Yankees, starred as a fictionalized small-town Babe in the 1920 film “Headin’ Home.” Available on YouTube, that century-old film is amusingly of its time and Ruth is an amiably persuasive screen presence — a movie star.Jackie Robinson, second from right, in “The Jackie Robinson Story.”Jewel Pictures/Getty ImagesWith the coming of sound in the mid-1920s, athletes reverted to being found objects onscreen, making cameos and called upon to speak one or two lines to show that they were, in fact, human. Even those Olympians who carved out bona fide screen careers — the swimmers Johnny Weissmuller (“Tarzan”) and Esther Williams, the skater Sonja Henie — weren’t taken seriously as actors. More typical was the 1952 Spencer Tracy-Katherine Hepburn comedy “Pat and Mike,” which brought on a raft of real-life names to give its sports-centric story line background credibility: the tennis stars Gussie Moran and Don Budge; the golfers Babe Didrikson Zaharias and Helen Dettweiler. None of them were called upon to do any dialogue heavy lifting.The exception here is “The Jackie Robinson Story,” a 1950 feature that cast the Brooklyn Dodger as himself in a dramatically softened version of how he broke the color barrier in professional baseball. Robinson is clearly an amateur actor but is believable even in fictionalized romantic scenes involving his co-star, a very young Ruby Dee. The performance is really the first to tease out a fundamental difference between two types of stardom — sports and film — that continues to play out on screens today when players like Brady ascend the stage.The difference lies in the minds and expectations of spectators, and it’s the difference between endeavor and imposture. Simply put, we love to watch athletes do and we love to watch actors be. When actors play sports stars — Will Smith as Muhammad Ali (“Ali,” 2001), Gary Cooper as Lou Gehrig (“The Pride of the Yankees,” 1942), Saniyya Sidney and Demi Singleton as Venus and Serena Williams (“King Richard,” 2021) — we appreciate the skill and charisma of the performance and we buy in for the duration of the show, but we know it’s not the real thing. With star athletes, “the real thing” is paramount — the knowledge that their accomplishments are happening in actual time and space and thanks to finely-honed reflexes. An acting performance is a product of thought, but if an athlete thinks too hard about what they do, it can give them the yips.Jim Brown, far left, with Donald Sutherland, far right, and other cast members in “The Dirty Dozen.”MGMIn a sense, then, asking a sports legend to deliver a convincing movie performance is like asking a horse to moo. The surprise is that some can do it at all. Back to the timeline: With the breakdown of the studio star system in the 1960s and the coming of the civil rights era, athlete involvement in films began to change. Figures previously considered outsiders now had an in: The Cleveland Browns running back Jim Brown was having so much fun shooting “The Dirty Dozen” in 1966 that when the Browns owner Art Modell told him to report back to practice, Brown announced his retirement from football.An above-the-title action star by the late 1960s, Brown had a taboo-busting interracial sex scene with Raquel Welch in “100 Rifles” (1969), and he paved the way for other N.F.L. emigrants like Rosey Grier, O.J. Simpson, the blaxploitation star Fred Williamson, Joe Namath, and Alex Karras of the Detroit Lions, who rose from playing Mongo in “Blazing Saddles” (1974) to starring in his own successful 1980s sitcom (“Webster”).Many of these athlete-actors weren’t playing themselves — and yet, in a sense, they were: The hoops star Kareem Abdul-Jabbar was cast as a co-pilot in the madcap comedy “Airplane!” (1980), but the joke was that no one else in the movie pretended he was anyone but Kareem Abdul-Jabbar. The award for juggling identities probably goes to Muhammad Ali, who played himself in his own 1977 biopic, “The Greatest,” and two years later played a slave-turned-U.S. senator in the historical TV drama “Freedom Road.” Neither performance was award-worthy in the traditional sense, yet both are engaging and assured — exactly what you’d expect from a man who’d long since proved himself a genius at creating a persona. Ali was an actor from the get-go, and his talent was much bigger than the boxing ring.Gina Carano, left, with Channing Tatum in “Haywire.”Claudette Barius/Relativity MediaIt’s in his mold that today’s sports stars work their mojo onscreen, tacking between appearing as themselves and more serio-comic versions of themselves in films, commercials and on “Saturday Night Live.” Given the business branding now built into pro sports and the endless close-ups of cable news and social media, an athlete with any measure of renown develops a persona — a public version of who they are — or has it developed for them by a management team or, more dangerously, by the public.As a result, filmed performances are more nuanced, more self-aware — more professional: Michael Jordan as a live-action cartoon among the Warner Bros. menagerie in “Space Jam” (1996), Lawrence Taylor doling out steam room advice to Jamie Foxx in “Any Given Sunday” (1999), Mike Tyson playing a comically scary version of his scary self in “The Hangover” (2009). Two more recent high-water marks of N.B.A. thespianism are LeBron James’s thoroughly charming supporting turn in the 2015 Amy Schumer romantic comedy “Trainwreck” and Kevin Garnett’s appearance in the Safdie brothers’ gritty drama “Uncut Gems” (2019) — basketball players “playing themselves” while bringing a subtle understanding of what that means on the stage of modern fame.Indeed, the line between professional sports and professional entertainers may finally be said to have been obliterated when an M.M.A. fighter like Gina Carano can land a lead in a Steven Soderbergh movie (“Haywire,” 2011) and the cartoon theater of professional wrestling can give us pop culture’s biggest movie star of the moment, Dwayne Johnson, a.k.a. The Rock. Next to them, Tom Brady in “80 for Brady” is a throwback to an earlier and gentler day, when athletes excelled at playing — and not so much at playing themselves. More

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      How Much to See a Movie at AMC? It Will Soon Depend Where You Sit.

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      By the end of 2023, the movie theater chain will offer tickets at three different price tiers, with middle seats costing the most. You’ll pay less if you like the front row.Some middle seats at AMC movie theaters will be more expensive than others as part of the company’s new ticket-pricing strategy, announced this week.AMC Entertainment, the world’s largest cinema chain, said in a news release on Monday that this new pricing system, known as Sightline at AMC, would be in place at all of its United States theaters by the end of the year.The seats in the front row of the theater will be the least expensive and seats in the middle of the theater will be the most expensive, the company said. However, new prices will not affect showings before 4 p.m. or tickets sold at a special discount on Tuesdays, AMC said.AMC’s executive vice president and chief marketing officer, Eliot Hamlisch, said in the news release that the tiered system “more closely aligns” with the reserved seats and pricing models of other types of ticketed events, such as sporting events and concerts.Mr. Hamlisch said that the change would give people “more control over their experience.”Critics of the new system, including the actor Elijah Wood, have said it would give wealthy people an unfair advantage.“The movie theater is and always has been a sacred democratic space for all, and this new initiative by @AMCTheatres would essentially penalize people for lower income and reward for higher income,” Mr. Wood wrote on Twitter.Under the new system, the most common seats available, the Standard Sightline tickets, would be priced as traditional movie tickets, AMC said.If you’re willing to crane your neck to see the screen, you’ll be able to pay less to sit in the “Value Sightline” seats in the front row. Some accessible seating for people with disabilities will also be priced in the value tier. To access the value tier prices, people must register with the AMC loyalty program, which includes one free membership tier.The seats in the middle of the theater will become “Preferred Sightline” tickets. The extra cost of these tickets will be waived for members of AMC’s top-tier loyalty program, A-List.A map outlining seating options will be available when buying tickets online, through the company’s app and at the box office, the company said in its announcement.AMC did not specify what the price differences would be for each ticket or whether prices would be consistent across cities and films.In New York City, the price differences were about to take effect at some locations later this week. At AMC’s 34th Street location in Manhattan, tickets were listed under the new pricing system for Friday’s showings of films, including “Magic Mike’s Last Dance” and a 25th anniversary screening of “Titanic.”For the 6:45 p.m. showing of “Magic Mike’s Last Dance,” the front row seats, a space for a person in a wheelchair and a seat for the companion of someone in a wheelchair were described as “Value Sightline” seats and colored blue on the seating map.A key for the map explained that the value tickets were $2 off and that the preferred seats were $1 extra. Those were the five middle seats in each of the four back rows of the theater with gold-colored icons. Discounts for children and older moviegoers remain in effect.The “Standard Sightline” tickets for this showing included the two to three seats on either side of the preferred seats, the second-row seats and the six other seats made available for people in wheelchairs and their companions.Movie theaters have been experimenting with new tactics to boost ticket sales in response to two decades of weakening attendance, shutdowns during the first years of the coronavirus pandemic and the widening availability of digital streaming of first-run movies.In September, Cineworld, the London-based company that operates Regal Cinemas in the United States, filed for bankruptcy.Cineworld is the second-largest theater chain in the world behind AMC, and the company’s chief executive, Mooky Greidinger, said in the bankruptcy filing that “the pandemic was an incredibly difficult time for our business.”AMC said that by the end of the year, its new pricing system would be in place at all of the company’s theaters in the United States. AMC has about 950 theaters and 10,500 screens worldwide. More

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      ‘They Wait in the Dark’ Review: If It’s Not One Thing, It’s Your Mother

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      A terrified woman finds her childhood home contains more than bad memories in this loopy horror movie.Made with just a handful of actors and a thimbleful of cash, Patrick Rea’s “They Wait in the Dark” is a gruesome ghost story that plays with our expectations. Filmed in 2021, the movie gathers four mothers — one murdered, two murderous, plus the rageful spirit of a fourth — into a twisted tale of abuse and revenge.The delightfully baroque script, also by Rea, isn’t the most lucid, but it is economical. When we meet Amy (Sarah McGuire) and her adopted eight-year-old son, Adrian (Patrick McGee), they are on the run. Hollow-eyed and haunted, Amy is carrying a burner phone and nursing an unhealed knife wound in her ribs. Having survived an abusive mother, Amy is now fleeing her partner, Judith (Laurie Catherine Winkel), who — as a catcalling trucker learns to his peril — might be even more unhinged.From its succinct opening to its exclamation-point finale, “Dark” delivers a tight, demented look at toxic parenting. With admirable speed, the movie installs Amy and Adrian in a creaky farmhouse in rural Kansas, furnishes her with an empathetic friend (Paige Maria) and introduces an initially invisible supernatural presence. Yet it isn’t the home’s frightful history — or even Judith’s remorseless approach — that concerns us so much as Amy’s darkening moods and growing volatility.More tingly than terrifying (and more than a smidge off-the-wall), “Dark” has a cheeky boldness. Rea, a prolific independent filmmaker, deploys the gore judiciously and his actors are above reproach. As we watch Amy slowly decompensate, trapped between her boarded-up windows and creepy basement, it’s unclear whether her most urgent threat will come from without or within.They Wait in the DarkNot rated. Running time: 1 hour 25 minutes. Rent or buy on most major platforms. More

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      Home-Cooked Spaghetti Dinners and a Glam Photo Shoot: Eight Unusual Oscar Bids

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      The campaign on behalf of Andrea Riseborough is the latest to provoke controversy, but it’s hardly the most memorable.When the actress Andrea Riseborough wrapped a 19-day shoot on the microbudget indie “To Leslie” in Los Angeles during the height of the pandemic, her hopes probably extended to positive reviews from critics and indie film enthusiasts.But now, after a social media campaign on her behalf by some famous friends, among them Gwyneth Paltrow, Edward Norton and Sarah Paulson, she’s been nominated for an Oscar for best actress — an honor she can keep, the Academy of Motion Picture Arts and Sciences ruled Tuesday after reviewing the unorthodox lobbying on her behalf.While the regulations around campaigning have become ever murkier in the age of social media, the Riseborough campaign was hardly the first to stretch the rules, which forbid, among other things, mentioning competitors or their films directly or calling academy members personally.Here are eight memorable bids for a statuette that went rogue.1961Chill Wills, ‘The Alamo’After Chill Wills was nominated for best supporting actor for his role as Davy Crockett’s buddy Beekeeper in “The Alamo,” he hired the veteran publicist W.S. “Bow-Wow” Wojciechowicz to run his campaign. Wojciechowicz submitted an ad to Variety with a photo of the film’s cast and text that read, “We of the ‘Alamo’ cast are praying harder — than the real Texans prayed for their lives in the Alamo — for Chill Wills to win the Oscar as best supporting actor.”Variety refused to run it, and John Wayne, the film’s director and star, took out his own ad rebuking Wills that said neither he nor his production company were in any way involved in the effort. (“I am sure his intentions are not as bad as his taste,” Wayne wrote of Wills, who later blamed Wojciechowicz.) After this fiasco — Wills lost to Peter Ustinov for “Spartacus” — it became rare for actors to run their own campaigns, which have since mostly been the purview of studios and teams of publicists.Interviews With the Oscar NomineesKerry Condon: An ardent animal lover, the supporting actress Oscar nominee for “The Banshees of Inisherin” said that she channeled grief from her dog’s death into her performance.Michelle Yeoh: The “Everything Everywhere All at Once” star, nominated for best actress, said she was “bursting with joy” but “a little sad” that previous Asian actresses hadn’t been recognized.Angela Bassett: The actress nearly missed the announcement because of troubles with her TV. She tuned in just in time to find out that she was nominated for her supporting role in “Black Panther: Wakanda Forever.”Austin Butler: In discussing his best actor nomination, the “Elvis” star said that he wished Lisa Marie Presley, who died on Jan. 12, had been able to celebrate the moment with him.1974Candy Clark, ‘American Graffiti’Candy Clark with Charles Martin Smith in “American Graffiti.”Universal PicturesThe nostalgic coming-of-age feature “American Graffiti” included some future big names like Ron Howard, Richard Dreyfuss and Harrison Ford among its ensemble cast, but Candy Clark, then a little-known actress, was the only one to embark on an Oscar campaign. She paid $1,700 to take out a series of quarter-page ads in The Hollywood Reporter and Variety — a strategy that paid off when she was the only member of the film’s cast to be nominated, for best supporting actress. (She lost to a 10-year-old Tatum O’Neal for “Paper Moon.”)1975Liv Ullmann, ‘Scenes From a Marriage’The Norwegian actress Liv Ullmann delivered a standout performance in Ingmar Bergman’s domestic drama “Scenes From a Marriage,” but a potential nomination was tripped up by a technicality that The New York Times likened to a situation “one usually encounters at obscure border stations in Central Asia.” Because a television cut of “Scenes From a Marriage” had premiered on Swedish TV in 1973 — the year before its American theatrical release — it was deemed ineligible for the Oscars thanks to an academy rule that prohibited the film’s being shown on television during the year before its theatrical release.Three of that year’s eventual best actress nominees — Ellen Burstyn (who went on to win), Diahann Carroll and Gena Rowlands — took up Ullmann’s cause, even signing an open letter supporting her right to compete, but the academy stood firm. (Ullmann, now 84, did receive an honorary award from the academy last year.)1986Margaret Avery, ‘The Color Purple’Margaret Avery with Bennet Guillory in “The Color Purple.”Warner Bros.After being nominated for best supporting actress for “The Color Purple,” Margaret Avery used $1,160 of her own money to pay for a Variety ad promoting her performance. Intended to suggest the voice of her character, Shug Avery, it read: “Well God, I guess the time has come fo’ the Academy voters to decide whether I is one of the best supporting actresses this year or not! Either way, thank you, Lord for the opportunity.” Avery was criticized for the ad, which did not reflect the way her character actually spoke in the film. (She lost to Anjelica Huston for “Prizzi’s Honor.”)1988Sally Kirkland, ‘Anna’Sally Kirkland took a letter-writing fiend approach in an effort to score a best actress nomination for her role as a once-famous Czech actress in the small indie “Anna.” Kirkland not only personally wrote letters to academy voters, she also financed her own ad campaign — the film had no budget to do so — and spoke to any and every journalist who asked. Her persistence paid off with a nomination, though she eventually lost to Cher for “Moonstruck.”1991Diane Ladd, ‘Wild at Heart’After she was nominated for David Lynch’s “Wild at Heart,” Diane Ladd — Laura Dern’s mother — decided that the way to voters’ hearts was through a home-cooked spaghetti dinner. She embarked on a one-woman blitz that involved not only writing personalized letters to voters, but also inviting 20 academy members to a screening of her film, accompanied by a spaghetti dinner that she prepared herself. She might have wanted to spend more time perfecting that spaghetti recipe, though — she lost to Whoopi Goldberg, who won for “Ghost.”2011Melissa Leo, ‘The Fighter’Melissa Leo, fourth from right, in a scene from “The Fighter.”Jojo Whilden/Paramount PicturesUnlike other nominees who took matters into their own hands, Melissa Leo was considered the front-runner when she began her campaign to secure a best supporting actress win for the boxing drama “The Fighter.” But she took out her now-infamous “Consider” ads anyway, she told Deadline in 2011, because she was frustrated at not being able to land magazine covers as a 50-year-old woman. The ads, which showed off her glamorous side as she leaned forward in a low-cut black evening gown, presented a stark contrast to the gritty, blue-collar mother and fight manager she played in the film (which was not even mentioned in the ad). There’s no way to say for sure if the strategy helped her chances, but it certainly didn’t hurt — she beat out her co-star Amy Adams, as well as Helena Bonham Carter of “The King’s Speech,” to claim the Oscar.2013Ann Dowd, ‘Compliance’Ann Dowd received stellar reviews for the Craig Zobel thriller “Compliance,” a flop of an indie with such a tiny budget that Dowd was paid just $100 per day for her role. But she believed in her performance, and after raising $13,000 by dipping into her bank account, borrowing money from friends and colleagues and maxing out her credit cards, she mailed DVDs to academy members and placed ads in trade publications in an effort to secure a best supporting actress nomination. While the Oscar recognition proved elusive — Anne Hathaway won that year for “Les Misérables” — the media coverage of her efforts may have helped put her on the radar of directors. (And now she has an Emmy for “The Handmaid’s Tale.”) More