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      ‘Quiz Lady’ Review: Dog in Jeopardy

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      Sandra Oh shines in this road trip buddy comedy about a pair of sisters getting on a TV quiz show to pay the ransom for their stolen dog.Jenny (Sandra Oh), a 40-something ball of chaos, is introduced in “Quiz Lady” the way you might expect of someone whose life savings are contingent on a hazardous fish bone-related lawsuit against a chain restaurant called Choochie’s: off in the distance, skittering heedlessly across the street before she’s suddenly struck by a car. Naturally, she pops right back up before having a meltdown over the mechanical entrance to the senior home where her younger sister, Anne (Awkwafina), is frustratingly watching from inside.It’s often said that comedic roles are deceptively trickier to play than dramatic ones, and Jenny is the type of character that would seem rife with potential pitfalls for an actor like Oh: an over-the-top eccentric whose humor can easily fall into caricature. Yet, “Quiz Lady,” a mostly winning comedy directed by Jessica Yu, is elevated most of all on the shoulders of Oh’s delightful and nuanced performance.When Jenny shows up at the senior home, Anne is already fed up. Their mother has run off to Macau to escape an $80,000 debt she owes Ken (Jon Park), a doggy daycare-owning gangster, and Anne naturally will be the one to take care of things. It’s the way things have been ever since Jenny, who has always lived a more free-spirited, if erratic and unstable, life, exited from their lives and left Anne to take care of their mother.Isolated and working as an office drone, Anne’s only form of solace is a Jeopardy-esque quiz show she’s watched religiously since childhood. When Ken steals Anne’s dog as collateral, Jenny, feeling the surge of her latest pipe dream of becoming a life coach, kidnaps Anne and drives her to an audition for the show in the hopes she’ll win the money to pay off the debt.Like so many road trip buddy comedies, the effectiveness of the enterprise rests, arguably more than the writing or direction itself, on the balance and chemistry between the central duo. And “Quiz Lady” in particular is predicated upon a role-reversing gamble: Typically a dramatic actress, Oh is playing the freewheeling Jenny, while her co-star, Awkwafina, who aside from her role in “The Farewell” has mostly made her name as the often cartoonish comic relief (“Crazy Rich Asians,” “The Little Mermaid”), is the serious and high-strung Anne.But the pair finds an easy harmony together, even as Oh does most of the heavy lifting. While Awkwafina’s little-sister turn often falls into uptight, one-note outbursts, Oh is a charismatic and natural counterbalance as the outsize Jenny. She knows when to reel her choices in and, most important, imbues Jenny’s kookiness with an emotional depth bubbling just underneath the surface.The funniest scene comes toward the end, when Jenny and Anne play a high-stakes game of charades on the quiz show. As they hit their stride, the sequence, punctuated by a strikingly tender moment that would have rung forced in lesser hands, floats off the comedic brilliance of Oh, at once natural and ridiculous, as her answers burst out of her via an intuition that could only exist through a lifetime of sisterhood.Quiz LadyRated R for some drug use and language. Running time: 1 hour 39 minutes. Watch on Hulu. More

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      ‘In the Court of the Crimson King’ Review: 50 Years of Off-Kilter Rock

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      Toby Amies’s documentary dives into the history of the British progressive rock band King Crimson and its chief disciplinarian, Robert Fripp.The director Toby Amies’s documentary “In the Court of the Crimson King” is part road chronicle and part retrospective, and captures King Crimson, the adventurous British rock ensemble, at what may be the end of its existence. Robert Fripp, for years the band’s sole original member, has strongly suggested that its 2021 tour would be its last. (It hasn’t toured since.)One of the originators of the subgenre called progressive rock or art rock, King Crimson is, depending on whom you ask, either impossibly pretentious or startlingly adventurous. Fripp, an endlessly thoughtful and meticulously articulate guitarist, is the group’s most tireless and paradoxical explainer in the film. He’s fond of pronouncements like, “For silence to become audible, it requires a vehicle. And that vehicle is music.”At one point Fripp describes his experience in the band from 1969 to 2016 as “wretched.” What changed in 2016? He put together a group of stellar musicians who did as he requested. The film features their thoughts along with interviews with past members who had strong differences with Fripp.While the YouTube videos Fripp and his wife, the singer Toyah Willcox, began making during the pandemic reveal the guitarist as a mild-mannered, eccentric, uxorious madcap, he can come off like an egghead martinet in the context of the band he has helmed for half a century. But he is as hard on himself as he is on anyone else, practicing the guitar four to five hours a day and subjecting himself to other forms of discipline such as taking a cold shower in the morning: “Your body doesn’t want to go under a cold shower,” he says in the film. “So you’re saying to your body, ‘Do as you’re told.’”Bill Rieflin offers another perspective on the band, as a musician who chose to spend his last years alive touring with Crimson. He died of cancer in 2020. His devotion renders Fripp’s adages about the sacred nature of music-making palpable.In the Court of the Crimson King: King Crimson at 50Not rated. Running time: 1 hour 26 minutes. In theaters. More

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      ‘Sly’ Review: No More Mr. Tough Guy

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      This documentary from Thom Zimny tracks Sylvester Stallone’s life and career, though focuses too much on “Rocky” and “Rambo.”“An actor is what he looks like,” Sylvester Stallone told The New York Times in 1976, and more than most stars, Stallone has been viewed as an action figure come to life. In “Sly,” the director Thom Zimny excavates the acts of self-creation behind a career that minted two indelible titular characters in “Rocky” and “Rambo” — whose underdog narratives proved highly influential.“Sly” kicks off with Stallone, now 77, lamenting how life whizzes by, followed by a montage set to Gang of Four’s sizzling “To Hell with Poverty.” Made in collaboration with Stallone’s production company, Balboa Productions, the film doesn’t go on to become an exposé. But it does dwell on his being the son of a violently abusive father, growing up in Hell’s Kitchen in Manhattan before a series of moves.His resulting desire for approval is par for the course among star biographies, but that hurt and his father’s vicious jealousy become the most poignant aspects in the film’s increasingly predictable path. Stymied in the 1970s by stereotypes about his looks and voice, Stallone essentially became his own hero by writing screenplays, soon manifesting success when “Rocky” (1976), which he wrote, won the best picture Oscar over “Taxi Driver,” “All the President’s Men,” “Network” and “Bound for Glory.”What ensues in this documentary is largely a pop-psychologized tour through the “Rambo” and “Rocky” sequels, with the odd outlier. Quentin Tarantino, a Stallone superfan; Frank Stallone, Sylvester’s brother; Talia Shire (Adrian herself); and Wesley Morris, a Times culture critic, offer commentary — with Arnold Schwarzenegger (who also recently got the Netflix documentary treatment) playing hype man.But Stallone’s flair for words — and his references to Arthur Miller’s “A View from the Bridge” and the 1968 dynastic drama “The Lion in Winter” — make one wish he’d talked about much more than his greatest hits and misses.SlyRated R for tough talk. Running time: 1 hour 35 minutes. Watch on Netflix. More

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      ‘Radical’ Review: To Sergio With Love

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      A vaguely unconventional teacher galvanizes disadvantaged eighth graders in this highly conventional drama.Stop me if you’ve seen this one before: A free-spirited teacher takes a stake in a classroom full of underprivileged youth and unleashes their true potential. This stale and sometimes patronizing premise is recycled in Christopher Zalla’s “Radical,” a sentimental drama that is based on a true story but boxes neatly into familiar packaging. The title is nearly oxymoronic: It boldly belies how close to convention the film hews.Set at an under resourced school in Matamoros, Mexico, the film charts the development of a group of eighth graders after Sergio (Eugenio Derbez) transfers in as their teacher. Drawing side eyes from fellow staff (“the key is to discipline them,” one advises), Sergio adopts a novel method: He lets the students steer their education, and encourages them to seek out knowledge through experiments and play.Sergio’s approach is admirable. But the screenplay distills each of his students into a single salient problem: the one with gang ties; the one saddled with caring for younger siblings; the impoverished one whose timidity veils genius. The film trades in the trope of the angelic, sage child of the slums just waiting for a galvanizing mentor. (One of Sergio’s students constructs a telescope out of garbage heap scraps.)“Do you want to learn from books or from life?” a gang member flaunting a gun asks one of the kids early in the movie, vocalizing the only two paths this movie permits for its young ensemble. Despite its foundation in reality, “Radical” is as by the books as it gets.RadicalRated PG-13 for some gang violence, lots of grandstanding. Running time: 2 hours 5 minutes. In theaters. More

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      ‘All Dirt Roads Taste of Salt’ Review: Mississippi Memories

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      Raven Jackson’s film offers a rich portrait of growing up in rural Mississippi and heralds a fresh, poetic talent.The opening of Raven Jackson’s debut feature, “All Dirt Roads Taste of Salt,” announces the arrival of a filmmaker grounded in the lyrical beauty of her characters and the loamy grace of the place they so deeply inhabit. In this case, rural Mississippi.Mack (Kaylee Nicole Johnson), our protagonist, strokes a fish’s opalescent scales. Frogs call and cicadae whir. Mack’s father (Chris Chalk) guides her fishing as her sister, Josie (Jayah Henry), watches doubtful. This scene offers the first close-up of hands. There will be many more: hands grasping river silt, long fingers against the weave of a blanket swaddling a newborn, hands clasped in youthful want.While several performers portray Mack at different stages of her life, Charleen McClure depicts her as an observant teenager and as a pensive woman. The film sidesteps being a coming-of-age tale, instead looping from Mack’s past to her present, again and again, because that’s how memory unfolds.So, the film isn’t chiefly about what happens, however understatedly: the death of a young mother (the mesmerizing Sheila Atim), the tentativeness of first love, the relinquishment of a child. It is about the where of these events and how they really feel.The movie is steeped in the sensual (like a Toni Morrison novel or a Mary Oliver poem). Exquisite use of close-ups, fluid editing and a deeply observant sound design renders Mack’s story tactile but also poetic, making plain that the salt here is the stuff of tears, the stuff of sorrows and of joys.All Dirt Roads Taste of SaltRated PG. Running time: 1 hour 32 minutes. In theaters. More

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      ‘I’m Still Alive’: Sean Young Takes the Stage in ‘Ode to the Wasp Woman’

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      “I walk into a show and everybody’s kind of a little afraid. Then I hear, ‘Oh, but you’re so nice,’” the actress said of her Hollywood baggage.Manhattan has dressing rooms dingier than the one in the basement of the Actors Temple Theater. But not many. Sean Young, curled into a folding chair atop peeling linoleum tiles with a smudged mirror behind her, claimed not to mind.“I don’t have the disease of snobbery,” she said on a late October morning. “I have an incredibly high tolerance for dirty dressing rooms, you know what I mean? I like slumming it.”Young was in rehearsal blacks — leggings, a muscle tee, sneakers — her hair half up. She was two weeks out from the first preview of “Ode to the Wasp Woman,” which is scheduled to open Nov. 9 and run through Jan. 31. Written and directed by Rider McDowell, the play details the lurid, untimely deaths of four Hollywood has-beens and barely-weres. Young, in her New York stage debut, plays Susan Cabot, a B-movie actress whose titles include “The Wasp Woman.” Cabot was beaten to death in 1986 by her 22-year-old son.Young has had her own tragedies. “But here’s the good part of the story,” she cheerfully said. “I didn’t end up damaged.”A movie star in the 1980s (“Dune,” “Blade Runner,” “No Way Out”), Young saw her career derailed by the mid-1990s. She refused to play certain Hollywood games. In past interviews, she has claimed that after rejecting the advances of colleagues, including the actor and director Warren Beatty, she was dropped from projects. (A representative for Beatty denied this.) She played other games too enthusiastically, as when she showed up on the Warner Bros. set dressed as Catwoman, angling for a role, or tried to crash an Oscars party.James Woods, who starred with Young in the 1988 film “The Boost,” filed a $2 million civil suit accusing her of stalking behavior. Though that suit was eventually settled out of court, with Woods required to pay all of Young’s legal fees, Hollywood had already branded her as volatile, difficult, even crazy. Which explains a slide toward TV movies and guest spots. She also appeared on “Celebrity Rehab” for alcohol abuse.McDowell, the “Ode to the Wasp Woman” playwright and director, knew about what he referred to in a recent phone interview as Young’s “past antics,” but he had wanted a well-known actress of Cabot’s age. Young fit that bill. He had found rehearsing with her pleasant.“She’s very lighthearted,” he said. “There’s no Hollywood behavior.”In that grim dressing room, her voice was throatier, her features no longer those of an ingénue. But at 63, Young still has the fidgety electricity and easy glamour that made her indelible in those early screen roles. On a break from rehearsal, she discussed her current role and her early career. (She refers to films, series and plays indiscriminately as “shows.”) These are edited excerpts from the conversation.Young and her castmates during rehearsals at the Actors Temple Theater in Manhattan. She plays a B-movie actress whose son beat her to death.Ye Fan for The New York TimesWhat was the first decade of your career like?I look at the first 10 years of my career as somewhat tragic, actually, because my mother — who has passed away, so I can say whatever I want — inserted herself into my career. What she really wanted was to collect 10 percent and not have to work too hard. By 28, I basically divorced her. I said, “I’m not doing this anymore. I’m sorry.” Those first years were messed up, in terms of career strategy. If I’d had a better manager, I would have had more of a running start. I don’t feel like the rest of my career was as great.What happened? It began so well and then it fell off a cliff.Part of that cliff was when James Woods accused me of stalking him. Then I moved to Sedona. And I said you can all go [expletive] yourselves. So I created part of that cliff.That generated a rumor, for a while, that you were crazy.Oh, that still floats! I walk into a show and everybody’s kind of a little afraid. Then I hear, “Oh, but you’re so nice.” Believe me, that was a pain in my ass. I did not like having to prove myself over and over and over again. This is what I’ve taught my sons: Mommy was right, but it didn’t do me any good. Being right is not actually your best play. Your self-preservation is actually more important than being right. Do you remember when I got fired by Warren Beatty?From “Dick Tracy”? Yes.I worked a week on that show. At the end of one day, he’s dropping me off at the Sheraton. He walks around the car. Mr. Gentleman opens the door. I’m getting out and he grabs my ears, trying to pull me into a kiss. I go, “What the [expletive] are you doing?” I mean, I yell at him. And he goes, “Well, I was just testing you.” I lean into him and I say, “Well, OK, are you clear now? That I’m not here to [expletive] you? I’m just here to do this part. Do you need to test me anymore?” Several days after that, I get fired. They put out in the papers “artistic differences.” Like I was the problem. That really was the definitive cliff. My joke now is I should have just said, “I’d love to [expletive]. I’m just busy right now.”Was there a culture of abuse in 1980s Hollywood?I don’t think there’s ever been a time in Hollywood where there wasn’t abuse. But a feature of the ’80s is that we were really overpaid. There was also a cocaine habit that pervaded, and that could lead to some very dramatic circumstances.Have things improved?I’m not so sure. I don’t think there’s any less egotism or narcissism. It’s funny. You see leading men or sometimes leading women, they turn. They lose their humility. They lose their sense of humor. They lose their gratitude. Those were things I was very lucky to hang on to.I’ve read that you’re a Trump supporter. He’s someone who has been accused of abuse. How do you square that?Until you’ve actually been red-pilled, until you’ve actually gotten some proof or done enough research or really taken a look at what modern life is, then you’re still eating the propaganda. I believe that the reason Trump has gotten the treatment he’s gotten is because he’s a direct threat to permanent Washington, D.C. I don’t care what kind of a person he is. What I care about is that he put a border on the southern part of our country. That’s the priority I feel.Young said her character in the play has “some damage to deal with. But it is also an opportunity to purge whatever’s there of your own.” Ye Fan for The New York TimesSo it matters less to you who he is than what he might be able to achieve?We have no way to really verify it. If you’re going on the assumption that [abuse] actually happened, you also have to ask yourself why this woman’s [expletive] was right there to be grabbed.But so many women have come forward.That’s why it’s done that way. Because that makes it much more believable. Even going on the assumption that maybe it is true, and I feel very bad that that could be the case, it’s still Trump coming in and being a very humongous threat to a part of the Washington, D.C., culture that actually, in my view, needs to be completely wiped out. That’s the priority I feel.What drew you to this play?I know this sounds silly, but actors just like to work. I can do anything. So when something comes my way now it’s like, thank you very much.Had you heard of Susan Cabot before this?I had heard of “The Wasp Woman,” although I never had seen it. For this, I watched it all the way through. It’s pretty cheesy, but I wanted to make sure I knew who she was. She had a great face.Do you think Susan Cabot is a tragic figure?Well, her son murdered her. That’s tragic. That’s at the top of the list. But her dad left her before her first birthday, and her mother was placed in an insane asylum. Show business might have been the thing that offered her any self-confidence. That was the one thing that had meaning for her. Maybe her career was the one moment where she might have felt like, I’m somebody. There’s a line in the script: “I came from nothing. From less than nothing where people laughed at my dreams.” So she’s pretty messed up.She didn’t have the career she wanted.There’s more than just her in this business who can say that. The way in for me, with every part, is I say: What am I going to learn by doing this? And is there anything about the role that I wouldn’t want to deal with? There was a feeling with Susan that there was going to be some damage to deal with. But it is also an opportunity to purge whatever’s there of your own. And when you purge something, it doesn’t haunt you anymore. You cry yourself out, and you really don’t need to cry anymore. You’ve gone to that place of discomfort and it didn’t kill you. I’m still alive. More

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      ‘Beyond Utopia’ Review: Exit Strategies

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      This film, directed by Madeleine Gavin, documents the experiences of defectors from North Korea.“Beyond Utopia,” a documentary on defectors from North Korea, begins by pre-empting the inevitable questions about how it was made. “The film contains no recreations,” the opening titles explain. The footage, we are told, was shot by the filmmakers, the subjects and operatives in the underground network that helped those subjects escape.That access alone gives the movie an intense interest. Directed by the longtime editor Madeleine Gavin, “Beyond Utopia” pivots around Seungeun Kim, a pastor in South Korea who has spent more than two decades assisting North Koreans who want to escape the totalitarian regime. The precarious course to safety generally runs through multiple countries.There are two main rescue missions chronicled in the film. One involves Soyeon Lee, a past defector who lives in South Korea and is trying to retrieve her son from the North. At the time this documentary was shot, the boy was 17, and she had not seen him in 10 years. Does he want to defect? The mother believes so, although communication is difficult, and there is no choice but to trust middlemen.The other mission involves the Ro family — a mother, father, two children and a grandmother who have, at the time Pastor Kim gets word of them, successfully crossed the heavily guarded Yalu River, which separates North Korea from China. But they need the pastor’s network to shuttle them through Southeast Asia. Until they reach Thailand, they will be at constant risk of being returned. Some of the people who cross, Pastor Kim says, wind up being sold for sex trafficking or organ harvesting.The family’s journey forms the backbone of the film, and not only because “Beyond Utopia” has some footage of them navigating the jungle by night. (Who could even keep a camera going under those circumstances?) There is also a chance to see them adapt to an unfamiliar — and, to them, practically unbelievable — environment, and to see their reactions as they realize what they learned in North Korea was wrong. “I feel like our country must become more developed,” says the grandmother, once they have reached Vietnam. “I mean I know how intelligent our Marshal Kim Jong-un is, so are our people just not smart?”“Beyond Utopia” fills out these stories with the history of North Korea, a country that Sue Mi Terry, a former C.I.A. analyst and a producer on the film, describes as “the only communist Confucian hereditary dynasty in the world.” Defectors like the activist Hyeonseo Lee fill in the picture on what life is like there, and how propaganda could convince the North Korean populace that they are living in a utopia.The engrossing, often tense proceedings are slightly marred by a pushy score. All the same, being able to experience the escape alongside these subjects greatly distinguishes this documentary.Beyond UtopiaRated PG-13. Descriptions of torture and brutality. In English and Korean, with subtitles. Running time: 1 hour 55 minutes. In theaters. More

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      ‘Fingernails’ Review: Love, Factually

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      Jessie Buckley and Riz Ahmed play confused lonely-hearts torn between science and emotion in this adorable near-future romance.Heartache and horror walk hand in hand in “Fingernails,” a disarmingly sweet science-fiction romance from the Greek director Christos Nikou. Opening with a brief explanation of the title — the first sign of heart disease is often noticed in the fingernails — and closing on a note of indescribable yearning, this gently humorous movie operates so smoothly you may not notice its subversiveness.Set in an indeterminate near future (the production design has a warm, slightly worn familiarity), the story follows an unemployed schoolteacher named Anna (Jessie Buckley, glowing beneath one of the most unflattering hairdos since Cameron Diaz’s scary perm in 1999’s “Being John Malkovich”). Though comfortably settled with her longtime boyfriend, Ryan (Jeremy Allen White), Anna feels strangely lost: Ryan is sweet but dull, their interaction as predictable as the job interviews she disinterestedly pursues.“Have you tested?” a friend inquires one evening. Responding to a crisis of dwindling romantic partnerships, scientists have developed a test that can determine whether you and your significant other are truly in love. Years earlier, Anna and Ryan had passed the test with flying colors; so why was she feeling so restless, and so attracted to Amir (Riz Ahmed), her handsome new work colleague?And it’s here, in the sly, dry wit of the movie’s middle section, that Nikou jabs cheekily at the wearying clichés of the rom-com, from its de rigueur tropes (wordless eye-gazing, rain-soaked encounters) to its too-easily-forecast finales. As Anna and Amir work with couples at the Love Institute, preparing them to take the test under the benign guidance of a true believer (perfectly played by Luke Wilson), the cinematographer, Marcell Rév, washes scenes in a comforting antique glaze that grounds their ludicrousness. Like eager children, loving couples perfect their romance skills — like memorizing their partner’s scent and, of course, inhaling Hugh Grant movies — before surrendering to the test. Few are thrilled to learn that this will require one of their fingernails, a pair of pliers and a clanking contraption that looks like a vintage oven.Offsetting its outlandish premise with performances of touching credibility, “Fingernails” chooses restraint over passion and silent longing over emotional declaration. The result may feel too cool for some; but Buckley and Ahmed are so naturally expressive that their scenes together have a haunting, wistful quality that’s more moving than any number of florid speeches. And watching White, currently burning hot off “The Bear,” play an unadventurous dullard is its own twisted pleasure.Like Nikou’s first feature, “Apples” (2022), “Fingernails” is absurd and more than a little dystopian. Both movies are carefully paced and mildly melancholic, their characters alienated from the common herd. This time, though, Nikou is more clearly linking belonging with pain, underscoring the foolishness of believing we can love without risk — and questioning why we would want to.Unlike too many conventional rom-coms, “Fingernails” sees love as ineffable, its ebb and flow impervious to scientific measurement or behavioral tinkering. Maybe, in the words of the unimpeachable Iris DeMent, we should just let the mystery be.FingernailsRated R for bloodied fingers and bruised feelings. Running time: 1 hour 53 minutes. Watch on Apple TV+. More