Movies

Subterms

    More stories

    • 150 Shares149 Views

      in Movies

      ‘Back on the Strip’ Review: Just Some Mikes in Need of Magic

      by

      Wesley Snipes plays the leader of a has-been group of strippers vying for a second act in this ensemble comedy, which struggles to turn its gimmicky ideas into laughs.According to “Back on the Strip,” a tedious ensemble comedy from Chris Spencer, what makes a man a successful stripper is not good looks, the right moves, or a memorable stage persona: Being a true once-in-a-generation talent, it posits, requires a substantial endowment down south. That’s what gave Mr. Big (Wesley Snipes), the leader of a once-famous male revue crew, his legendary status, and it’s what allows him to see a prodigy in Merlin (Spence Moore II), a young man who accidentally reveals himself onstage during a disastrous magic show in Las Vegas.After Mr. Big spots this promise, he gets his old squad, the Chocolate Chips, back together, now with Merlin at the helm. But Merlin’s so-called gift is also the gimmicky curse at the heart of the movie. Traveling to Vegas at the behest of his mother (Tiffany Haddish, whose voice-over relentlessly narrates practically every scene), Merlin wants to become a professional magician, but his body puts him on a path that he feels is a compromise to that dream.It’s both a shame and a wonder that the film managed to assemble such a beefed-up roster of talent — Snipes, Haddish, J.B. Smoove, Faizon Love and, in a cameo, Kevin Hart — for what amounts to a stilted, factory-line comedy.Seeing Hart’s brief but flat cameo is a study in how even megawatt star power can be rendered lifeless without the right writing and direction. Snipes in particular gets lost in an overdone, confusingly drawn performance as a stud whose best days are behind him.Back on the StripRated R for sex stuff, language and some drug use. Running time: 1 hour 57 minutes. In theaters. More

    • 113 Shares199 Views

      in Movies

      ‘Landscape With Invisible Hand’ Review: Hit Subscribe, Alien Overlords

      by

      The latest film from Cory Finley follows two teens on an alien-controlled earth who stream their love life to an extraterrestrial audience.“Landscape With Invisible Hand” mashes up the teen romantic comedy and alien-invasion horror genres to campy, mixed results. In an opening montage of paintings created by one of our high-school-age heroes, Adam (Asante Blackk), we’re introduced to a near-future in which an alien race known as the Vuvv has taken over Earth, not by force but through salacious dealings with the planet’s most enterprising capitalists. Over time, the Vuvv — who, far from ferocious creatures, resemble hermit crabs without shells and communicate by rubbing their paddle-like hands together — have rendered most Earth jobs obsolete with advanced technology, forcing humans to find creative ways to scrape together enough money to survive.While in art class, Adam falls for the new girl at school, Chloe (Kylie Rogers), and invites her struggling family to stay in the rundown house where he, his mother, Beth (Tiffany Haddish), and sister, Natalie (Brooklynn MacKinzie), are living. Tensions arise between Beth and Chloe’s father (Josh Hamilton) and brother (Michael Gandolfini) because the new arrivals can’t pay rent. This leads Chloe to suggest a “courtship broadcast,” where she and Adam stream their dating life to a paying alien audience — a sort of intergalactic Twitch channel, broadcast through futuristic implants. The Vuvv, who reproduce asexually, have a fixation on human dating culture and romance. It’s as unnerving and darkly funny as it sounds.Based on a young-adult novel by M.T. Anderson, “Landscape With Invisible Hand” is the director Cory Finley’s third feature after “Thoroughbreds,” and “Bad Education,” and like those prior films, it relishes in eerie discontent punctuated by oddball humor. But the plot never fully gels; characters ebb and flow in and out of the spotlight, and soon Adam and Chloe’s get-rich-quick scheme — and its strain on their relationship — falls by the wayside for a much stranger charade involving Beth and a young Vuvv who wants to play the role of a nuclear-family father. The one constant is Adam’s beautifully rendered artwork, which depicts the gradual creep of Vuvv control over human life through a teenager’s eyes.Finley’s allegorical gestures toward issues of class, race and authoritarianism are more than apparent, but the film’s tonal inconsistencies make the satire wobble. There’s certainly intention in the way Finley depicts the Vuvv’s injection of propaganda into the human school curriculum, and how he shows certain Earthlings, like Chloe’s father, eagerly prostrating themselves in front of the alien invaders. But despite real-world parallels, these thematic elements contain no bite. The Vuvv, with their blatant lack of empathy and outdated perception of human society, are treated as jokes from the beginning. As a result, even their most alarming threats to Adam and his family come across as slight and inconsequential, undercutting the film’s central theme of resiliency.Landscape With Invisible HandRated R for science-fiction violence and a space alien’s idea of intimacy. Running time: 1 hour 45 minutes. In theaters. More

    • 75 Shares149 Views

      in Movies

      ‘Birth/Rebirth’ Review: Staying (Not Quite) Alive

      by

      Two women nurture a reanimated child in this grisly gynecological horror movie.Motherhood is both mad and monstrous in “Birth/Rebirth,” Laura Moss’s ultrasmart, ferociously feminist take on the Frankenstein myth. Yet while the story (by Moss and Brendan J. O’Brien) surges to corporeal extremes, the movie is most resonant when — like Prime Video’s “Dead Ringers” and the harrowing AMC+ drama “This Is Going to Hurt” — it resolutely records the gross indignities of everyday procreation.For Dr. Rose Casper (Marin Ireland), a chilly morgue technician, dead tissue is infinitely more interesting than living. In her dingy apartment in the Bronx, Rose experiments obsessively with reanimation, using embryonic stem cells. (How she obtains them involves a sick joke which I refuse to spoil.) A snuffling pig called Muriel has so far been Rose’s sole success.Elsewhere in Rose’s hospital, an overworked maternity nurse named Celie (a terrific Judy Reyes), struggles to find time for her lively six-year-old daughter, Lila (A.J. Lister). But after Lila succumbs to a deadly infection, a guilt-wracked Celie and an avid Rose will find common purpose in revivifying the child’s corpse. What follows is a quietly freakish, slyly humorous tale of devoted co-parenting, with Lila serving as daughter to one woman and science experiment to the other.Wrapped in drab locations and jaundiced lighting (Chananun Chotrungroj’s photography is brilliantly bleak), this grisly gynecological horror movie is not for the squeamish. Pregnancy hasn’t been this perverse since the underappreciated “Alien 3” (1992); yet as the women’s behavior grows ever more shocking — and Ariel Marx’s nerve-plucking score intensifies — Moss offers no rebuke to their heedless amorality. There is only the audience to judge.And, perhaps, Lila. “I’m not getting enough attention,” she whispers to her mother early in the film. Little did she know that all she had to do was die.Birth/RebirthRated R for purloined placentas and stolen semen. Running time: 1 hour 38 minutes. In theaters. More

    • 138 Shares189 Views

      in Movies

      ‘Simone: Woman of the Century’ Review: An Admired Leader in Focus

      by

      Elsa Zylberstein and Rebecca Marder play the French politician Simone Veil in this heavy-handed biopic.In “Simone: Woman of the Century,” the director Olivier Dahan applies the same ultra-glossy lacquer he lavished on biopics of Edith Piaf (“La Vie en Rose”) and Grace Kelly (“Grace of Monaco”) to the life of the French politician Simone Veil (1927-2017), a Holocaust survivor who, as health minister, fought for the legalization of abortion in France and who later served as the first female president of the European Parliament.Veil’s remarkable, decades-spanning career — which also included advocacy for the rights of Algerian prisoners and for patients with H.I.V., at times when both were shunned — calls for a grand canvas. Dahan’s default mode is closer to bombast.Early on, in a sequence set on the brink of the abortion law’s passage in 1974, he supplies a lengthy montage of male legislators shouting invective in close-up. Later, in this decidedly nonchronological film, Veil’s internment at Bergen-Belsen becomes an occasion for Dahan to execute a virtuoso Steadicam shot through the barracks. No matter how grave the situation, “Simone: Woman of the Century” treats it as spectacle.Veil is played at different ages by Rebecca Marder and Elsa Zylberstein. Timeline-wise, the actresses switch sometime around the upheaval of May 1968, although the complicated, at times barely motivated flashback structure means that they are in effect coleads throughout.Dahan, who also wrote the screenplay, provides a serviceable overview of Veil’s accomplishments and ethical sense (partly shaped by her experiences in the camps), and of the barriers she overcame in misogynistic civic spheres. But her biography deserved a more considered treatment — and a considerably less heavy hand.Simone: Woman of the CenturyNot rated. In French, with subtitles. Running time: 2 hours 20 minutes. In theaters. More

    • 113 Shares149 Views

      in Movies

      ‘Miguel Wants to Fight’ Review: A Rite of Passage

      by

      In Oz Rodriguez’s coming-of-age film, a martial arts-obsessed teenager is determined to throw his first punch.In the lives of the four protagonists of “Miguel Wants to Fight,” brawls are ubiquitous. But when a fight breaks out on a basketball court and the martial arts film aficionado of the group, Miguel (Tyler Dean Flores), doesn’t participate, it becomes clear that he has never actually thrown a punch.After his parents break the news that his family will be moving soon, Miguel becomes obsessed with picking a fight before he leaves — a misguided way to cope with his anger.Directed by Oz Rodriguez (“Vampires vs. the Bronx”), “Miguel Wants to Fight” is an endearing and offbeat take on the teenage coming-of-age film. It centers on best friends Srini (Suraj Partha), Cass (Imani Lewis), David (Christian Vunipola) and Miguel, who grew up together in Syracuse, N.Y., immersed in the boxing world. Miguel’s father Alberto (Raúl Castillo), owns a gym, and David’s father was a boxing star. Miguel spends his time making TikTok reels of fight scenes starring his friends.There are some laughs and the cast is talented, but the movie ultimately falls flat, missing an opportunity to delve into the insecurity, teen bravado and anger that leads to physical fighting in the first place.Instead, it leans too heavily into references to and re-enactments of classic films, like “The Matrix” or “Crouching Tiger, Hidden Dragon,” which take up space in the film that could instead have been devoted to character development. As a result, “Miguel Wants to Fight” ends up feeling one-note, lacking the depth that might have elevated it to a must-watch movie.Miguel Wants to FightNot rated. Running time: 1 hour 23 minutes. Watch it on Hulu. More

    • 125 Shares99 Views

      in Movies

      ‘Chitty Chitty Bang Bang’ Windmill Is for Sale in England

      by

      The property, which was the home of Dick an Dyke’s character in the 1968 film, is listed for 9 million pounds, or $11.4 million.A historic windmill in the English countryside that appeared alongside Dick Van Dyke and a magical flying car in the 1968 movie “Chitty Chitty Bang Bang” has gone up for sale.The black-and-white Cobstone Mill, in Buckinghamshire, England, just outside London, is part of a property that also includes a main house, about 37 acres of land and a swimming pool. It could be yours for 9 million pounds (about $11.4 million).The mill is thought to have been built around 1816 and was used to grind cereal until 1873, according to Savills, the real estate firm selling the property. Before the windmill could be used as a movie location it needed substantial renovations. The property had been damaged by a fire and, according to local media reports at the time, squatters had been living in it.In the film, which was loosely based on a children’s book by the James Bond creator Ian Fleming, the windmill served as the home for Mr. Van Dyke’s character, a nutty, widowed inventor named Caractacus Potts, who lives with his children, Jeremy and Jemima. Together with his love interest Truly Scrumptious, played by Sally Ann Howes, and his car, named Chitty Chitty Bang Bang for its distinctive engine sounds, they journey to the land of Vulgaria to battle the tyrant Baron Bomburst.The windmill survived this encounter with Van Dyke’s character’s latest invention. Hughes Warfield/United Artists Britain, via ShutterstockBut the windmill’s film industry connections didn’t end there.In 1971, the actress Hayley Mills bought the property at auction with her husband, Roy Boulting, a film director. Ms. Mills wrote about the first time she saw the property in her 2021 memoir, “Forever Young.”“I recognized it at once as the children’s home in ‘Chitty Chitty Bang Bang’ and it was love at first sight,” she wrote, envisioning her and her husband watching their child play in the afternoon sun, even though the property was “utterly impractical.”Mr. Boulting then surprised her by buying it at auction for 30,000 pounds (about $38,000). “It was crazy, completely, marvelously crazy,” she wrote. While she hoped the windmill would become her dream home in the country, and while she started renovating the property to make it livable, the windmill’s renovations weren’t finished, according to the autobiography, and the couple later divorced.The property was later owned by David Brown, an English industrialist and a former owner of the automaker Aston Martin. In the 1980s, the property was sold to the current owner, according to Stephen Christie-Miller, one of the realtors on the listing.“It’s such a landmark when you drive through the valley,” Mr. Christie-Miller said, “It dominates.”The windmill is a Grade II-listed building, which means it’s considered of national importance and is legally protected from being demolished or significantly altered without special permission.Though the price tag is steep, there has been interest in the property, Mr. Christie-Miller said, especially for the usually slow month of August during which many prospective buyers are on vacation.“So many people know it,” he said, adding that he was planning to show the windmill to two potential buyers on Wednesday and had already showed it to one couple who were, he said, “very keen.”Since peaking in August last year, house prices in Britain have begun to drop. Last month, prices fell 3.8 percent compared with a year earlier, according to Nationwide Building Society, the steepest annual drop in more than a decade.Between the windmill and the house, the property has six bedrooms and four bathrooms, according to the listing. The windmill’s sails were restored in the past 18 months, according to Savills.With views over the nearby countryside, “the windmill itself would be a lovely place to have an office,” Mr. Christie-Miller said, but added, “not that you’d get any work done.”It’s not just “Chitty Chitty Bang Bang” fans who might be excited. The windmill looks over the village of Turville, where scenes from the 1990s English sitcom “Vicar of Dibley” were filmed.Mr. Christie-Miller said the listing stands out in his 40-year career. “It comes up once in a generation,” he said. “It was last on the market in 1988. The next person will probably own it for another 30 years.” More

    • 100 Shares149 Views

      in Movies

      A Dormant Dome for Cinephiles Is Unsettling Hollywood

      by

      Since the November night in 1963 when the Cinerama Dome opened its doors with the premiere of “It’s a Mad Mad Mad Mad World” — drawing Milton Berle, Buddy Hackett and Ethel Merman to the sidewalks of Sunset Boulevard in Hollywood — the theater, and the multiplex that later rose around it, has been a home for people who liked to watch movies and people who liked to make movies.Its distinctive geodesic dome, memorialized by Quentin Tarantino in the 2019 film “Once Upon a Time … in Hollywood,” has become more retro than futuristic over the years, a reminder of a Technicolor past. Yet through it all, the complex known as the ArcLight Hollywood remained a cinephile favorite, with no commercials, no latecomers admitted and ushers who would, after introducing the upcoming show, promise to stay behind to make sure the sound and picture were “up to ArcLight standards.”But today the ArcLight Hollywood is closed, both a victim of the coronavirus pandemic and a symbol of a movie industry in turmoil, even in its own backyard.“There was nothing like the ArcLight — I was really surprised they closed,” said Amy Aquino, an actor who played Lt. Grace Billets in the television show “Bosch” and who had been drawn by the theater’s serious approach to moviegoing since seeing “Sideways” there in 2004.Her husband, Drew McCoy, said he now worried every time he passed the abandoned complex. “It’s too strange that a pre-eminent structure that was once killing it is sitting there like a white elephant,” he said.The shuttered complex — its entrance marked by plywood boards instead of movie posters — stands as a reminder of the great uncertainty that now shadows old-fashioned cinema in American culture. Dual strikes have shut down production. Competition from streaming services, as well as shortened attention spans in a smartphone era, has led movie theaters around the nation to shut their doors.The theater, with its distinctive geodesic dome, was memorialized by Quentin Tarantino in the 2019 film “Once Upon a Time … in Hollywood.” Alex Welsh for The New York TimesThe record-shattering box office for “Barbie” and the strong showing for “Oppenheimer” this summer gave a beleaguered industry hope after what had been a long, slow decline in moviegoing, accelerated by the pandemic. But other big-budget would-be blockbusters have been humbled by soft ticket sales, and the lingering strike has prompted some studios to delay major releases. The fundamental challenges to theatergoing have not gone away, and the boarded-up ArcLight is a daily reminder of that.“Times are sad,” said Bill Counter, a cinema historian who has documented the history of the ArcLight. “The theaters that survive will be those that make filmgoing an event by offering the sort of amenities that made ArcLight a destination originally.”It is only fitting the ArcLight has become a Los Angeles mystery, the subject of speculation that befits a movie theater that was always more than just another neighborhood cinema.When the company that owns the ArcLight, the Decurion Corp., applied for a liquor license last year, movie fans seized on even that slight bit of movement as a sign that coming attractions might not be far behind. And executives at Decurion, which closed 11 ArcLight theaters across the country as part of a bankruptcy reorganization, have assured theater preservation groups that they will not walk away from what was known as the ArcLight Hollywood. But it has remained closed.“Everybody has been hoping it was on the verge of reopening,” Counter said. “Periodically things leak out. You hear about an architecture firm. It would be lovely to think about reopening for its 60th anniversary, which would be November.”The closing of the theater, a favorite among people who make movies and people who like movies, comes as Hollywood’s strikes have brought new production to a halt.Alex Welsh for The New York Times“Everyone loves it,” he added. “Filmmakers want to go there. It will reopen. They are just taking their time.”But Decurion continues to offer little insight into its intentions. “Thank you for reaching out,” Ted Mundorff, a senior executive with Decurion, said by email. “We are not commenting on the Hollywood property.”There has been some encouraging news recently for film enthusiasts in Los Angeles. The New Beverly Cinema, a revival movie house that Tarantino took over in 2014, reopened in June 2021 after being shut down because of Covid-19. Its motto: “All Shows Presented in Glorious 35 mm (unless noted in 16 mm).” Vidiots, the landmark store that closed in 2017 in Santa Monica, reopened in the old Eagle Theater in June, renting videos and showing a rich array of old movies. And a 12-screen multiplex opened this summer at Hollywood Park, across the way from the new SoFi Stadium in Inglewood.The concern about the ArcLight’s future is unfolding in a city where landmarks and institutions can disappear overnight in a burst of construction dust. Amoeba Music, a revered record store a block away from the ArcLight, recently bowed to the demands of a developer and abandoned its building for a new complex on Hollywood Boulevard. (“The building may be new, but Amoeba’s personality shines throughout,” its website promises.)“People have every right to be cautious when something closes in L.A.,” said Tiffany Nitsche, the president of the board of directors of the Los Angeles Historic Theater Foundation. “We lose things so fast.”Fans have jumped on any indication that the complex could reopen. Alex Welsh for The New York TimesThe murkiness of the deliberations has fed the concern. “I don’t know what they are doing,” said Antonio Villaraigosa, the former Los Angeles mayor who “went all the time” when he lived 10 minutes away in the Hollywood Hills. “If they are bringing it back, I’d like to be a part of it. Why wouldn’t we want to restore that beautiful place?”The Cinerama Dome, a geodesic dome modeled after a Buckminster Fuller design, rises like a 70-foot-high golf ball along Sunset Boulevard. As an officially designated Los Angeles cultural monument, the Dome is protected, which means it would be difficult — though not impossible — to knock it down for, say, an office building.“It’s very iconic,” said Linda Dishman, the president of the Los Angeles Conservancy.In 2002, the Dome expanded with the addition of an adjacent three-level 14-screen multiplex. Those theaters in particular drew a discriminating audience who appreciated the top-of-the-line sound and picture (and were willing to pay the premium prices). It was rare to hear anyone talk once the lights down, much less spot anyone sneaking a text. The coming attractions before the feature film were kept relatively short, and never cluttered by on-screen advertisements for, say, Coca-Cola. It became a popular place for premieres.Hugo Soto-Martinez, whose Los Angeles City Council district includes the ArcLight, said his constituents regularly press him on what was going on with the theater; he is as mystified as everyone else.Nitsche said that for all the mystery, she remained certain the ArcLight would be back. “We’ve watched theaters struggle for the last two years,” she said. “I’m not sure anyone is jumping to get back into that game.”“But I can’t imagine the ArcLight not reopening,” she said. “ I just don’t know when.”Nicole Sperling More

    • 75 Shares179 Views

      in Movies

      8 TikTokers Redefining the Movie Review

      by

      The personalities of MovieTok are not critics in the traditional sense. Their upbeat videos earn them contracts with Hollywood studios in addition to the devotion of movie lovers. These accounts offer a sampling of the new breed of movie reviewers.@straw hat goofy

      @straw_hat_goofy ♬ original sound – Straw Hat Goofy Name: Juju GreenAge: 31Followers: 3.4 millionSpecialty: Easter eggs and red carpet interviewsPast Clients: Disney, Universal, Warner Bros., ParamountBefore TikTok: Worked as an advertising copywriterMovie Hall of Fame: “Her” (2013)@maddikoch

      @maddikoch Why won’t they let him leave??? #plottwist #movie #movierecommendation #moviesuggestions #movieclips ♬ original sound – Maddi Moo Name: Maddi KochAge: 22Followers: 3 millionSpecialty: Movies you might have missedPast Clients: Peacock, Hulu, Amazon Prime Video, Paramount+Outside of TikTok: Studying finance at Virginia TechMovie Hall of Fame: “What Happened to Monday” (2017)@kodak_cameron

      @kodak_cameron Even technologically these movies are on par with Lord of The Rings. #spiderman #milesmorales #acrossthespiderverse #intothespiderverse ♬ Aesthetic – Megacreate Name: Cameron KozakAge: 21Followers: 1.5 millionSpecialty: News and analysisPast Clients: A24, Neon, PeacockOutside of TikTok: Studying film production at Oakland University in MichiganMovie Hall of Fame: “Whiplash” (2014)@cvnela

      @cvnela INFINITY POOL: CRAZIEST HORROR MOVIE⁉️ GO SEE IT IN THEATERS NOW TO DECIDE FOR YOURSELF #creepy #scary #horror #movierecommendations ♬ Creepy and simple horror background music(1070744) – howlingindicator Name: Monse GutierrezAge: 26Followers: 1.4 millionSpecialty: HorrorPast Clients: Neon, Amazon Prime VideoBefore TikTok: Worked as a substitute teacherMovie Hall of Fame: “Pan’s Labyrinth” (2006)@cinema.joe

      @cinema.joe #fyp #foryou #movies ♬ original sound – Cinema.Joe Name: Joe AragonAge: 33Followers: 931,000Specialty: Monthly movie guidesPast Clients: A24, Peacock, Apple, Lionsgate, HuluBefore TikTok: Worked for an insurance companyMovie Hall of Fame: “Anything by David Fincher”@jstoobs

      @jstoobs It’s finally getting a wide release this month so see it and cry your eyes our #film #movies #pastlives ♬ original sound – stoobs Name: Megan CruzAge: 34Followers: 535,000Specialty: Women filmmakersPast Clients: Disney, Warner Bros.Before TikTok: Worked in restaurantsMovie Hall of Fame: “Jennifer’s Body” (2009)@stoney_tha_great

      @stoney_tha_great They Cloned Tyrone is GENIUS #TheyClonedTyrone #Netflix #MovieReview #JamieFoxx #JohnBoyega #SciFi #Comedy #Blaxploitation #BlackTikTok #conspiracytiktok #MovieTok #CapCut ♬ original sound – Stoney Tha Great Name: Bryan LuciousAge: 31Followers: 387,000Specialty: HorrorPast Clients: A24, Sony Pictures, Hulu, MGM+, Peacock, NetflixOutside of TikTok: Works for a tech companyMovie Hall of Fame: “Twister” (1996)@sethsfilmreviews

      @sethsfilmreviews #oppenheimer #moviereview #movies #foryou #fyp #filmtok #movietok ♬ original sound – Sethsfilmreviews Name: Seth Mullan-FerozeAge: 24Followers: 256,000Specialty: Audience polls, art house and foreign cinemaPast Clients: Mubi, Lionsgate, StudioCanal, HBOOutside of TikTok: Works as an online personal trainerMovie Hall of Fame: “Persona” (1966) More