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      Movie Tickets Veer Away From One-Price-Fits-All

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      Anyone buying a ticket for a concert, baseball game, Broadway play or flight has experienced it: Seats are now priced with dizzying complexity, with costs in some instances changing minute by minute, based on demand.But movie theaters? In many ways, they have been trapped in pricing amber. A seat has cost the same no matter where it is or when it is bought.No more.As they struggle in a fast-changing business, multiplex operators — some carrying astounding debt because of pandemic shutdowns — have started to experiment with pricing in ways that have startled moviegoers. AMC Entertainment, the world’s largest cinema chain, is testing “sightline” pricing, giving seats at evening screenings different costs depending on their location. (Discounts of $1 to $2 for the neck-craning front row, increases of $1 to $2 for the center middle, status quo for the rest.) Chains have also started to charge more on opening weekends for expected blockbusters like “The Batman” and “Spider-Man: No Way Home,” with plans to ramp up the practice.“It’s a taste of what’s coming,” said Stacy Spikes, who co-founded the subscription ticketing service MoviePass, which he plans to reintroduce nationwide this summer. “The big theater chains are gaining the technology to implement variable pricing on a wide scale. This may have near-term financial benefits, but it may also reduce attendance of younger customers who are more price sensitive and key to future growth.”Increasingly, theaters have been pushing customers toward premium-priced specialty tickets. On Saturday evening at AMC Lincoln Square in New York, for instance, patrons interested in the boxing drama “Creed III” could choose from three IMAX screenings (a $7 to $11 surcharge, depending on seat location), three screenings with Dolby audio and visual technology and reclining chairs ($8 to $12 more), and two standard screenings ($18 for a regular adult ticket).“I’m going to go, no matter what, because I love it, but sorting through all the options is starting to feel like a nuisance,” said Chris Ordal, a tech executive in Los Angeles. “I understand why chains are doing this, but they’re not doing a good job of communicating how it helps the consumer.”Theaters have increasingly been pushing premium-priced specialty tickets for movies like “Creed III.”Eli Ade/MGM, via Associated PressThe move toward pricing complexity adds risk as theater owners look for ways to get people back into the ticket-buying habit after three pandemic-battered years. IMAX has been experimenting with live events, including concert simulcasts. Fathom Events has premiered episodes of a religious TV show, “The Chosen,” in theaters; episodes have generated $20 million at the box office since November, despite being available free online.Prices may actually be going down for certain types of movies — ones that have struggled to attract ticket buyers in the streaming age, including comedies, conventional dramas and art films. Last month, theaters lowered opening-weekend prices for the octogenarian comedy “80 for Brady” to attract value-sensitive older customers. Tickets for evening screenings cost the same as a matinee, a discount of up to 30 percent, depending on the location. Some theaters offered the same deal for “A Man Called Otto,” starring Tom Hanks.“In a business where the only innovation in pricing has been to go up, this is a good first step,” said Chris Aronson, the president of domestic distribution at Paramount Pictures, which released “80 for Brady” and urged theaters to lower prices.Inside the Media IndustryRupert Murdoch: The conservative media mogul acknowledged in a deposition in a $1.6 billion defamation lawsuit that several Fox News hosts promoted the false narrative that the 2020 election was stolen.Dropping ‘Dilbert’: Hundreds of newspapers across the country will stop running the comic strip after its creator, Scott Adams, said that Black people were “a hate group.”Carlos Watson: The founder of the troubled digital start-up Ozy Media was arrested on fraud charges, punctuating one of the more precipitous falls in the annals of online journalism.Vice Media: The departure of Nancy Dubuc, the chief executive of Vice, highlights the fallen fortunes of a group of digital media companies that not long ago was talked about as the future of the industry.“We’re hopeful that others will follow,” Mr. Aronson added, “and that this is hopefully the beginning of alternative ways of looking at pricing.” (Antitrust rules prevent studios from setting ticket prices themselves.)Theaters offered lower ticket prices for “80 for Brady,” hoping to attract value-conscious older customers.Scott Garfield/Paramount PicturesParamount spent about $28 million to make “80 for Brady,” which has so far collected about $40 million. Roughly 15 percent of the film’s target audience, women over 50, had not been to a theater in more than a year, according to exit surveys.Charging less for certain kinds of movies and more for others has long been a Hollywood third rail, with filmmakers panicking that it will send a message about quality. Just try telling Martin Scorsese that tickets for his next prestige drama will cost less than ones for “Ant-Man and the Wasp: Quantumania.”The difference now is that the theatrical marketplace has become so difficult for certain genres that many filmmakers may have no choice. Do you want your film to be seen in theaters? Or are you fine with it going straight to streaming, where it could get lost in the digital maw? If the answer is theaters, you may have to accept a discounted price.The average movie ticket cost $11.75 in 2022, according to EntTelligence, a research firm. In New York, prices reach $28, depending on the format. A small popcorn at AMC Lincoln Square costs $10 with tax. (Fun fact: The average movie ticket price in 1969 was $1.42, according to the National Association of Theatre Owners. Adjusted for inflation, that ticket would cost $11.93 today.)Because multiplex chains make most of their money from popcorn and soda, it is in their economic interest to keep ticket prices low; concession counters rely on foot traffic. But there isn’t much room to raise the price of popcorn anymore, prompting some operators to look at “creative” ticket pricing for growth.It has been a tough stretch for theaters. More than 500 movie screens have closed since the start of the pandemic.Philip Cheung for The New York TimesCinema attendance had been declining for decades, with people citing a variety of reasons for going less often: 50-inch TVs at home, streaming services, rude patrons who text on their phones when the lights go down. But the pandemic caused ticket sales to collapse in 2020 and 2021. More than 500 movie screens have closed since the start of the pandemic. Cineworld, the world’s No. 2 chain, filed for bankruptcy in September, and dozens of its Regal multiplexes in the United States have closed.A recovery has been slower than expected. Cinemas in North America sold $7.5 billion in tickets in 2022, a 34 percent decrease from 2019, according to EntTelligence. This year, domestic ticket sales are running 24 percent behind the same period in 2019, according to Comscore.The gap is expected to narrow this summer, largely because the flow of new movies is normalizing. Movies delayed by pandemic bottlenecks are finally ready. Studios are also rerouting fewer movies to streaming services. Twelve movies costing at least $100 million to make will arrive in theaters from May to July, up from six during that period last year.“If you squint hard enough, it is possible now to see a return to the better days,” Robert Fishman, an analyst at SVB MoffettNathanson who follows the Cinemark multiplex chain.Cinemark has comparatively little debt, but the hole for other theater companies is deep. AMC, which according to security filings has more than $5 billion in debt, said last week that it generated $990 million in the fourth quarter of last year, a 15 percent decline from 2021, and lost about $288 million.To shore itself up, AMC has offered $5 movie tickets on Tuesdays, introduced home popcorn products in partnership with Walmart, enhanced its Stubs loyalty program, announced plans to turn some theaters into Zoom conference rooms for corporate events and invested in a struggling Nevada gold mine. (Yes, really.) Last month, AMC announced its pricing experiment with seat location, which it calls Sightline.Adam Aron, AMC’s chief executive, characterized that move — charging a bit more for the best seats — as less a moneymaking gambit than a way to avoid broader price increases.“In these inflationary times, we are coming under pressure to raise prices,” Mr. Aron said in an interview. “We could have raised prices on every seat in the house. Instead, we are holding the line on 75 percent of the seats in the house.” (Also, subscribers to AMC’s premium loyalty program, Stubs A-List, can book a “preferred” seat at no extra charge.)Wall Street responded favorably. But cinephiles had a conniption. In a column, The Chicago Tribune’s film critic, Michael Phillips, called Sightline “a bush-league pickpocket move” and “the latest tiny nail getting tap-tap-tapped into the coffin currently under construction for an entire era of filmgoing.”AMC has pushed back, noting that some European cinemas have charged a premium for prime seats for years. Yes, prices are high in New York and Los Angeles, Mr. Aron acknowledged. But he said 30 percent of AMC customers paid less than $8 a ticket.“When you change the way an industry has priced itself for 100 years, it is not surprising that there is going to be lots of reaction,” Mr. Aron said. “It is our expectation that consumers will adjust to this very quickly.” More

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      Tom Sizemore, Intense Actor With a Troubled Life, Dies at 61

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      He earned praise for his work in films like “Saving Private Ryan” and “Black Hawk Down.” He also served prison time for drug possession and domestic abuse.Tom Sizemore, a tough-guy actor whose career, which included roles in major films like “Saving Private Ryan” and “Black Hawk Down,” was overshadowed at times by his problems with substance abuse and the law, died on Friday in Burbank, Calif. He was 61.The death was announced by his manager, Charles Lago. The cause was not immediately known, but Mr. Sizemore suffered a stroke on Feb. 18, which caused a brain aneurysm. He had been in a coma and on life support since then. Mr. Sizemore could be intense, charismatic and manic in roles as soldiers, thugs, cops, killers and, in a television movie, the baseball player Pete Rose. As Sgt. Mike Horvath in Steven Spielberg’s “Saving Private Ryan” (1998), he was the devoted second in command to Captain Miller (played by Tom Hanks) in a small group of Army Rangers whose mission after the D-Day invasion was to locate a soldier whose three brothers had already died in battle.Near the end of the movie, Horvath eloquently lays out the choices facing Miller: Let Private Ryan stay and fight, which he prefers, or send him home, as the unit had been ordered to do.“Part of me thinks the kid’s right — what’s he done to deserve this?” Mr. Sizemore, as Horvath, says. “He wants to stay here? Fine, let’s leave him and go home. But then another part of me thinks, what if by some miracle we stay, and actually make it out of here? Someday we might look back on this and decide that saving Private Ryan was the one decent thing we were able to pull out of this.” “That’s what I was thinking, sir,” he concludes. “Like you said, Captain, we do that, we all earn the right to go home.”Mr. Spielberg was not the only A-list director Mr. Sizemore worked with. In Oliver Stone’s “Natural Born Killers” (1994), he was an obsessed detective pursuing a young couple on a murder spree. In Michael Mann’s “Heat” (1995), he was a member of a crew of thieves led by Robert De Niro. And in Ridley Scott’s “Black Hawk Down” (2002), based on a botched United States military raid in 1993 in Mogadishu, Somalia, to capture lieutenants of a brutal warlord, he was the commander of the 75th Ranger Regiment.Mr. Sizemore in a scene from the television series “Robbery Homicide Division.” One critic said Mr. Sizemore was the main reason to watch the show.Tony Esparza/CBSWhen Mr. Sizemore starred on the television series “Robbery Homicide Division,” a police procedural set in Los Angeles and aired in the 2002-3 season, Robert Philpot of The Fort Worth Star-Telegram said he was the main reason to watch.“Using his oversized head, which hangs down slightly as if it were too heavy for his body, and his expressive eyes,” Mr. Philpot wrote, “Sizemore projects complete authority, keeping underlings as well as suspects in line.”Mr. Sizemore at the time was dealing with serious drug problems, which dated to the 1990s. Over the years he used heroin, crystal methamphetamine and cocaine, and he was in and out of rehab.“How long sober now?” Larry King asked him on his CNN show in 2010.“Three hundred twenty-six days,” Mr. Sizemore said.“What was the longest you were ever sober before that?” Mr. King asked.“A couple minutes,” Mr. Sizemore said. “No, that’s not true. I got sober in ’97 and was sober through 2002.”In 2003, he was convicted of physically abusing his former girlfriend, Heidi Fleiss, who in the 1990s ran an upscale prostitution ring and was referred to in the news media as the Hollywood Madam.In a letter to the judge who sentenced him, Mr. Sizemore wrote, “I am convinced that if I had not been under the influence of drugs, I would have controlled my behavior.”He served eight months in prison.In October 2004, he pleaded guilty to a felony count of possessing methamphetamine and was placed on probation. The probation was revoked in 2005 when he was caught using a prosthetic device to fake a drug test. His probation was later reinstated.And in 2007 he served several months in jail for violating his probation after being arrested in a hotel in Bakersfield, Calif., for possessing methamphetamine.“God’s trying to tell me he doesn’t want me using drugs because every time I use them I get caught,” Mr. Sizemore said in a jailhouse interview with The Associated Press.He participated in 10 episodes of the reality series “Celebrity Rehab With Dr. Drew” from 2010 to 2011, along with Ms. Fleiss, the former basketball player Dennis Rodman, the actress Mackenzie Phillips and others.In an article in The New York Times Magazine in 2009 about the series, Chris Norris wrote that Mr. Sizemore had fallen “from an Olympus populated by Pacino, De Niro, Spielberg and Scorsese to this beige-carpeted, cable-only Hades.”Mr. Sizemore played the Mafia boss John Gotti in the two-part 1998 TV movie “Witness to the Mob.”Thomas Edward Sizemore Jr. was born on Nov. 29, 1961, in Detroit. His father was a lawyer. His mother, Judith (Schannault) Sizemore, worked for the City of Detroit’s ombudsman.After graduating from Wayne State University in Detroit with a bachelor’s degree in theater in 1983, he earned a master’s in the same subject from Temple University in 1986. Three years later, he made his debut on television, in the series “Gideon Oliver,” and on film, in “Lock Up,” starring Sylvester Stallone.“Lock Up” was a flop, but United Press International wrote that Mr. Sizemore, as a “whacked-out scheming loser of an inmate,” had emerged “with semi-star potential.”By the time “Lock Up” was released, he had filmed parts in the forthcoming films “Born on the Fourth of July,” directed by Mr. Stone and starring Tom Cruise; “Blue Steel,” with Jamie Lee Curtis; and the dark comedy “Penn & Teller Get Killed.”“Most of the characters I play are losers, like the convict Dallas in ‘Lock Up,’” Mr. Sizemore told U.P.I. “In ‘Born on the Fourth of July’ I’m a quadriplegic. In “Penn & Teller,’ I’m a crazed killer. In ‘Blue Steel,’ I’m a crack maniac.”His role as a mobster in “Witness Protection” (1999) earned him a Golden Globe nomination for best performance by an actor in a made-for-TV movie or mini-series. That year, he and eight other actors from “Saving Private Ryan” were nominated for a Screen Actors Guild Award for outstanding cast.Mr. Sizemore continued to play characters on either side of the law, and despite his substance abuse problems, he remained busy for the rest of his career. He portrayed an internal affairs investigator on five episodes of “Hawaii Five-O” in 2011 and 2012; a C.I.A. agent assigned to rescue three American journalists taken hostage in “Radical” (2017); and a commander in the science fiction film “Battle for Pandora” (2022).And in a preternaturally chilling role, he played a depraved building manager who is tried for kidnapping and killing a little boy in a 2015 episode of “Law & Order: Special Victims Unit.”Mr. Sizemore in 2022. Despite his substance abuse problems, he remained busy until the end. Gonzalo Marroquin/Getty ImagesMr. Sizemore is survived by his mother; his twin sons, Jagger and Jayden; his brother Paul; his half sister, Katherine Sizemore; and his half brother, Charles Sizemore. His brother Aaron died last year. His marriage to Maeve Quinlan ended in divorce.During his 2010 interview with Mr. King, Mr. Sizemore said that soon after he had become successful in Hollywood, he started using cocaine with a famous actor, whom he would not identify.“I didn’t want to do it,” he said, “but there was people in this room and he did it, and I went, ‘If he did it, I’m going to do it.’ And I did it, it took a couple minutes and I went, ‘Wow, that is bomb. Where do you get that? Do you have any more of it?’” More

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      Pieces of Paul Newman and Joanne Woodward’s Life Together Head to Auction

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      More than 300 items that belonged to Paul Newman and Joanne Woodward will be sold in June in a series of auctions run by Sotheby’s in New York.Shackles from the film “Cool Hand Luke”; a script from the 1963 comedy “A New Kind of Love”; the wedding dress that Joanne Woodward wore the day she married Paul Newman in 1958.These artifacts, along with some 300 others, tell the story of a union between two of Hollywood’s most enduring film stars that lasted more than a half century. It began in 1953 and lasted until Mr. Newman, a magnetic titan of the screen, died in 2008 at the age of 83. Ms. Woodward, 93, a formidable talent, has kept a private life since she was diagnosed with Alzheimer’s disease in 2007.The objects will also take on another kind of value later this year, when they are put up for sale in a series of auctions by Sotheby’s. If previous demand for Mr. Newman’s belongings is any measure, the events are likely to be lucrative: A Rolex he owned sold in 2017 for a record $17.8 million. Three years later, another of Mr. Newman’s watches sold for more than $5.4 million.The auctions, which will take place both online and in person in New York, follow the recent release of “The Last Movie Stars,” a six-part HBO Max documentary series directed by Ethan Hawke and based on audio transcripts of interviews with the couple’s friends, colleagues and family members.Mr. Newman’s posthumous memoir, “The Extraordinary Life of an Ordinary Man,” was also published last year.Putting a Price Tag on ArtCard 1 of 6Hot commodities. More

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      ‘The Holly’ Review: The Tragic Case of a Denver Activist

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      Julian Rubinstein’s investigative documentary traces the engrossing case of a Denver community organizer, Terrance Roberts, who faced charges of attempted murderAt the point where Julian Rubinstein’s investigative documentary “The Holly” begins, an entire biopic’s worth of drama has already happened. After years in gangs and prison, Terrance Roberts became an activist and founded a successful youth program to rejuvenate a troubled Denver neighborhood known as the Holly. Then, in 2013, while organizing a peace rally in the area, he shot a gang member he knew, and was arrested and charged with attempted murder.The film portrays Roberts’s turmoil as the 2015 trial approached, and sorts through a paranoia-inducing churn of local police crackdowns, gang activity and general controversy. Roberts prepares a self-defense plea, but vents about further blowback after he speaks out against the back channels between law enforcement and gangs.Dangling speculations in voice-over, Rubinstein at times suggests a lower-key, adenoidal Nick Broomfield as he taps his surprisingly outspoken sources: amiable former gang members, the flamboyant Rev. Lee Kelly (who takes over as a neighborhood liaison after Roberts) and Roberts’s supportive father, also a reverend.Roberts emerges as a Shakespearean figure of forceful magnetism who fights mightily against being viewed as a walking metaphor for the Holly’s struggles. His fearlessness is both heroic and tragic, though Rubinstein’s sometimes foggy explanations of community politics make the film feel as if it might vanish into the night at any moment. (The director, a journalist, partly shot the movie while writing a more detailed book with the same title.)It’s all a heady brew that leaves one wanting to know even more about Roberts, who is now running for mayor in Denver. The movie resists encapsulating him, or perhaps he escapes its director’s full understanding.The HollyNot rated. Running time: 1 hour 43 minutes. In theaters and available to rent or buy on most major streaming platforms. More

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      ‘Women Talking’ | Anatomy of a Scene

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      Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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      Growing a Generation of Movie-Loving Global Citizens

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      The selections at this year’s New York International Children’s Film Festival blend fantastical elements with serious real-world themes.The characters in the offerings at the 2023 New York International Children’s Film Festival often resolve crises in unexpected ways: by tossing magical seeds. Or slamming enchanted doors. Or, in what may be the most startling example, following a giant porcupine as it lumbers through the streets of Rotterdam.These fantastical elements, however, appear alongside realities that more commercial movies for young people usually avoid. This year’s festival, which begins on Friday evening and continues for three weekends — two in Manhattan and Brooklyn theaters, and one at the Sag Harbor Cinema on Long Island — explores subjects like the civil war in Syria, accelerating threats of natural disaster, the plight of unauthorized immigrants and, in one short documentary, the effects of the Russian invasion of Ukraine on a family with members in both New York and Odesa. Now in its 26th year, the festival seeks not just to entertain young audiences but also to expand their worldviews.“There’s a concerted effort to talk about human rights and focus on global citizenry,” Maria-Christina Villaseñor, the festival’s programming director, said in an interview. But, she added, “I think that playfulness is really rolling out in all kinds of interesting ways throughout our slate.”That menu, comprising 16 features and nearly 60 short films, which will be offered entirely in person for the first time since 2020, begins with Friday’s world premiere of “Ernest & Celestine: A Trip to Gibberitia.” (This title and many others will be shown more than once.) An animated film from France and Luxembourg, it follows Ernest, a gruff but good-hearted bear, and Celestine, a vivacious mouse, as they journey to Ernest’s homeland to have his cherished violin, a “Stradibearius,” repaired. Once there, they’re shocked to learn that the country has prohibited almost all music-making.“Ernest & Celestine: A Trip to Gibberitia,” which will make its world premiere at the festival, follows a bear and a mouse on a wild journey that touches on themes of autocracy and personal autonomy.GKIDS/StudioCanalThe filmmakers, Julien Chheng and Jean-Christophe Roger (Roger will visit the festival for an opening-night Q. and A.), have filled the movie with wild chases, narrow escapes and a full-fledged musical resistance. But it also touches on autocracy and personal autonomy — relevant themes in a world where dissenters are sometimes imprisoned and certain children’s books are being banned.“Kids are able to enter these films at the level that they are comfortable or ready for,” said Nina Guralnick, the executive director of the festival, which offers titles for viewers as young as 3 and has a jury that judges a broad swath of the short films. (The prizewinners then become eligible for Academy Award consideration.) “But that’s also what makes those films last,” she said, “because they will come back and think about them as their thinking becomes more sophisticated.”The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.The Tom Cruise Factor: Stars were starstruck when the “Top Gun: Maverick” headliner showed up at the Oscar nominees luncheon.An Andrea Riseborough FAQ: Confused about the brouhaha surrounding the best actress nominee? We explain why her nod was controversial.Sundance and the Oscars: Which films from the festival could follow “CODA” to the 2024 Academy Awards.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.Marya Zarif, a Syrian-born filmmaker who lives in Montreal, said in a video interview that she intended “Dounia & the Princess of Aleppo,” the Canadian and French animated feature that she directed with André Kadi, to be a festival film to which young viewers can repeatedly return for new insights.Dounia, its vibrant 6-year-old heroine, sees the war steadily encroaching on her joyful life in Syria. But she has powerful protection: nigella seeds, a Middle Eastern spice. In the movie, they have mystical properties that Dounia discovers after she and her grandparents become refugees on a dangerous and sometimes heartbreaking odyssey.“I needed a magic that was rooted in Dounia’s culture,” said Zarif, who will appear via video link for a post-screening Q. and A. on Sunday. “And I needed something very small but that had big effects, like Dounia herself.”The festival also has fare for viewers well into their teens. “Suzume,” an anime feature by Makoto Shinkai that is already a blockbuster in Japan, will receive its North American premiere at the festival on Sunday.The title character, an orphaned high school student who lives with her aunt, encounters Souta, a youth who is “a closer” — one who has the task of shutting ordinary-looking doors that, when left open, unleash terrors like earthquakes and tsunamis. When a spell transforms Souta into a walking, talking chair, Suzume shoulders his world-saving burden.Such stories of female empowerment are a favorite with the festival, which annually features the short-film program “Girls’ POV.” Its offerings this year include a story that illustrates the frustrations of obtaining menstrual products and a documentary about an American all-girl tackle football league.Girls also take charge in the Dutch live-action feature “Okthanksbye,” whose two main characters are deaf 13-year-olds. When the beloved Parisian grandmother of one of the teenagers is hospitalized, they leave their Netherlands boarding school and head to France. Portrayed by Mae van de Loo and Douae Zine El Abidine — young, deaf first-time actresses — the girls embark on an adventure that includes traveling with a female punk band.The film’s director, Nicole van Kilsdonk, who wrote the script with Lilian Sijbesma, said the movie wasn’t meant to be about disability, even though the girls’ situations — one has a cochlear implant; one doesn’t — play a role. Van Kilsdonk, who on Saturday will attend the first of two open-captioned screenings and take part in a sign-language-interpreted discussion, said this coming-of-age story held a universal message: “You can do more than you think.”Douae Zine El Abidine, left, and Mae van de Loo are first-time actresses, both deaf, who play deaf teenagers in the Dutch coming-of-age feature “Okthanksbye.”Labyrint FilmFar more perilous border crossings lie at the heart of the features about immigration. “Home Is Somewhere Else,” a Mexican documentary, chronicles, in their own words, the experiences of young people with different legal statuses. Framed by the spoken-word poetry of José Eduardo Aguilar, who was himself deported from the United States, the film eschews live action in favor of vivid, varied animation.“That also was a way to protect our protagonists’ identity,” said Jorge Villalobos, who wrote and directed the film with Carlos Hagerman. (Hagerman will participate in a Q. and A. after the film’s screening on March 11.) But the men, who dealt with families on each side of the U.S.-Mexico border, also found that animation gave them freedom to employ visual metaphors and depict the world through their subjects’ eyes.“Usually, documentaries are kind of talking about how the system doesn’t work,” Hagerman said. “And we are more into experiencing how does it feel to live in these situations.”Similar struggles infuse “Totem,” Sander Burger’s fictional live-action feature from Germany, Luxembourg and the Netherlands, which focuses on Ama (Amani-Jean Philippe), an 11-year-old whose Senegalese family lives in Rotterdam without documentation. Regarding herself as thoroughly Dutch, Ama ends up on the run and searching for her father after the authorities detain her other relatives. This high-spirited heroine gets aid from her spirit animal, a massive porcupine.The strong language in both immigration-related features hasn’t deterred the festival’s organizers, who provide parental advisories online. And families who may be reluctant to take children into theaters during a virus-filled winter can look forward to the festival’s Kid Flicks National Touring Program, which, in the summer, will begin sharing selections from some of its short-film packages — including Celebrating Black Stories and the Latin-themed ¡Hola Cine! — with museums, libraries and cinemas. (The festival also offers film-based curriculums for schools.)“We think we’ve doubled the number of programs that we send out,” Guralnick said. “And I feel like we just keep adding partners.” All share a goal, she added: “growing that next generation of filmgoers.”The New York International Children’s Film FestivalMarch 3-19; 212-349-0330; nyicff.org. More

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      ‘Palm Trees and Power Lines’ Review: A Teen’s Cautionary Tale

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      Lily McInerny stars as a 17-year-old girl who is groomed by a predator in Jamie Dack’s feature debut.It starts with a wink at a diner. When the 17-year-old, Lea (Lily McInerny), the heroine of “Palm Trees and Power Lines” sees it — or maybe just the man delivering it — her world falls off its axis. The wink flusters Lea; it also apparently primes her. So when the guy later rolls up next to her while she’s walking home, his mouth and engine both running, she responds to his attention, somehow oblivious to the Klaxon horns of warning shrieking in the viewer’s head.Directed by Jamie Dack, who shares screenplay credit with Audrey Findlay, “Palm Trees” tracks the bleak, depressing story of Lea, who falls for the wrong guy only to tumble headlong into the abyss. Set in an especially cheerless pocket of Southern California, where high-voltage lines loom over the sparsely treed landscape, it opens in the summer. Lea is on a break and conspicuously bored. Under the inattentive watch of her single mom (Gretchen Mol, doing what she can), Lea drifts through the days and nights, sunbathing in her yard and hanging out with friends. She gets high, hooks up and so it sluggishly goes.Everything shifts when the diner guy rolls into her life. He calls himself Tom (Jonathan Tucker), although once he gets talking it’s hard to believe anything that he says. Lea, though, is nothing if not credulous, and after jokingly ordering him not to murder her, she climbs in his truck next to him. She awkwardly lights a cigarette, he asks for a drag, the camera framing their hands hovering near each other. Lea and Tom chat, and her wariness soon eases, his flirting and her interest warming the cab. They keep chatting, she asks his age — he’s 34 — and by the time that he drops her off, Lea is a goner and the story is on its way.Ambitious, torpid, wildly overlong and frustratingly underdeveloped, “Palm Trees” follows Lea as she falls for Tom, who turns out to be as awful — and as much a near-parody of villainy — as his clichéd smooth talk. He’s less overtly sleazy and certainly less well-written than the pimp played by Harvey Keitel in “Taxi Driver,” but Tom’s moves and words come right from the same predator playbook. Unfortunately, and curiously for a 21st-century sentient teenager with a phone in her back pocket, Lea seems not to have watched a single movie, television show, newscast, Instagram story or viral TikTok about human trafficking.It would be easier to believe Lea’s sorry tale, her naïveté and spiraling trajectory, if she had more of a discernible personality. McInerny gives the character a convincing physical diffidence, a droopy reserve that, by turns, registers as shyness, apathy and self-protectiveness, and which can make this slight, already young-looking performer look even younger than her character’s age. But Lea’s personality is as lacking in expressive detail as her bland house and cramped world, and she rarely comes persuasively alive and then not for long, which might be interesting if it seemed intentional. Instead, too often, she is a narratively convenient blank.That’s a problem for a movie about sexual agency and sexual exploitation. Dack rightly doesn’t pass judgment on Lea, and she remains on the character’s side throughout. But because she never gets in the teen’s head and even seems oddly incurious about the girl’s inner life, she fails to adequately engage with questions of sexual consent, free will and whether Lea’s choices (or those of any underage child) are truly her own. Dack takes obvious care to make sure that the filmmaking and camerawork don’t further exploit the character. Yet it’s a bummer that the ethical and political thoughtfulness that she extends during Lea’s most harrowingly vulnerable moments doesn’t extend to the rest of the movie.Palm Trees and Power LinesRated R. Running time: 1 hour 50 minutes. In theaters and available to rent or buy on most major platforms. More

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      ‘What We Do Next’ Review: A Political Morality Play

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      In this three-person chamber drama, an ex-convict, a politician and a white-collar defense engage in tense conversations while pursuing their individual goals.“What We Do Next” is a three-person chamber drama that takes the scheming and blackmailing of political thrillers like “House of Cards” and shapes them into something like a morality play.In seven acts, the film tracks the relationship between Elsa (Michelle Veintimilla), an ex-convict; Sandy (Karen Pittman), a New York City politician; and Paul (Corey Stoll), a white-collar defense attorney. Years ago, when Sandy was running for office, she gave Elsa some cash to presumably flee her family home, where her father was sexually abusing her. Instead, Elsa bought a gun and shot him dead.Her lengthy prison sentence is an injustice in and of itself, the film makes clear. Like many women, Elsa is the victim of a criminal justice system that too often fails to take into account the context of abuse and survival in which such crimes take root. After being released, Elsa is left with a criminal record that has largely condemned her to low-paying work.Elsa refuses to settle for this, challenging the authenticity of Sandy’s progressive platform in the process. She threatens to publicly reveal Sandy’s connection to the killing in exchange for a decent job, while Paul, desperate to rebrand himself and transition to anti-corruption law, inserts himself into the women’s negotiations for the sake of good public relations.These talks unfold in various small and nondescript locations — the film was shot during quarantine — but the drama’s stripped-down, dialogue-heavy approach isn’t entirely an extension of the minimalism that defined many sets at the height of the pandemic. The writer and director Stephen Belber is best known as a playwright, which explains many of the film’s strengths and weaknesses. Elegantly composed if ultimately visually bland for the big screen, “What We Do Next” is essentially a series of debates powered by the performers and Belber’s intelligent script, an intricately drawn microcosm of the country’s dynamics of power. The result doesn’t make the best use of the medium’s powers, but the chatty ride does make for good food for thought.What We Do NextNot rated. Running time: 1 hour 17 minutes. In theaters. More