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      The Voices of A.I. Are Telling Us a Lot

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      What does artificial intelligence sound like? Hollywood has been imagining it for decades. Now A.I. developers are cribbing from the movies, crafting voices for real machines based on dated cinematic fantasies of how machines should talk.Last month, OpenAI revealed upgrades to its artificially intelligent chatbot. ChatGPT, the company said, was learning how to hear, see and converse in a naturalistic voice — one that sounded much like the disembodied operating system voiced by Scarlett Johansson in the 2013 Spike Jonze movie “Her.”ChatGPT’s voice, called Sky, also had a husky timbre, a soothing affect and a sexy edge. She was agreeable and self-effacing; she sounded like she was game for anything. After Sky’s debut, Johansson expressed displeasure at the “eerily similar” sound, and said that she had previously declined OpenAI’s request that she voice the bot. The company protested that Sky was voiced by a “different professional actress,” but agreed to pause her voice in deference to Johansson. Bereft OpenAI users have started a petition to bring her back. More

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      A New Norman Mailer Documentary Explores His Thorny Legacy

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      “How to Come Alive With Norman Mailer” hits on an ingenious structure that avoids hagiography even as it includes friends and family.Given the hagiographic bias of most celebrity documentaries, “How to Come Alive With Norman Mailer” (in theaters) sails into choppy waters. The director Jeff Zimbalist had to figure out a way to sum up one of the 20th century’s most admired, and most notorious, cultural figures. Mailer’s legacy as a novelist, speaker, filmmaker and pop culture icon — the movie reminded me how often he’s mentioned in “Gilmore Girls” — is full of bad behavior and also brilliant work, and making a film about such a person seems nearly impossible in our nuance-averse climate.The key is to play with the documentary’s structure, eschewing the usual soup-to-nuts setup. “How to Come Alive With Norman Mailer” is admittedly designed as a roughly chronological recounting of the writer’s life, covering all the highlights: six wives (one of whom he famously, horribly stabbed with a penknife), nine children, a stint in the military, best-selling novels, a fascination with brawling, combative TV appearances, opinions about God and machines and Americans’ midcentury impulse toward conformity.But Zimbalist hits on a great idea: arrange the film in terms of what Mailer’s friends, enemies and acquaintances believe his “rules for coming alive” might be. The author’s life and legacy can thus be traced through those rules, and his evolution as a person — and he did evolve, constantly, insatiably — starts to make more sense. What emerges is a portrait of a man as often at war with himself as with his family, friends and countrymen, driven relentlessly toward machismo and always spoiling for a fight. This is not a person you can present neutrally to an audience.There are seven rules, announced in intertitles, including, “Don’t Be a Nice Jewish Boy,” “Be Wrong More Than You’re Right” and “Be Willing to Die for an Idea.” It’s an appealing structure, and the many interviewees discuss the ways Mailer embodied them, supported by archival film and interviews with the man himself. There’s a lot of footage to work with. By midcareer, Mailer was ubiquitous on camera; as one person notes, he seemed to never turn down an opportunity to be interviewed or share his views publicly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘A Family Affair’ Review: A Rom-Com With a Third Wheel

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      When Zara (Joey King) realizes that her mom (Nicole Kidman) is dating her boss (Zac Efron), she tries to split them up.Joey King is a bit of a unicorn: a genuine movie star brought into being by Netflix. As far as movies are concerned, the streamer does make a lot of them, but often seems at a loss to promote them or the actors. But in 2018, King starred in the Netflix-produced “The Kissing Booth” and made enough of an impression to power two sequels.“A Family Affair,” King’s newest film on the streaming service, may appear to be a kind of lab experiment — how does the buoyant actress react when thrown into a pool with Hollywood luminaries? King is not exactly outclassed by Nicole Kidman, Kathy Bates and Zac Efron. But the movie’s script, by Carrie Solomon, puts her at a disadvantage.Set in Los Angeles, “A Family Affair” finds King’s character, Zara, stuck in a personal assistant loop with Chris Cole (Efron), an action movie hunk who seems even more shallow and self-absorbed than the average caricature of such types. As is often the case in such arrangements, their relationship is creepily close; in the opening scene, Zara is late delivering the expensive but insincere gift Chris is about to bestow on a girlfriend he’s dumping.The movie serves up a light critique of Hollywood. Discussing Chris’s latest project, Zara repeats the log line, “It’s like ‘Die Hard’ meets ‘Miracle on 34th Street,’” to which her pal replies, “So it’s not about anything.”The beacons of integrity here are Zara’s mom, Brooke (Kidman), described by Zara in one of her frequent outbursts as a “Pulitzer Prize, National Book Award whatever,” and Zara’s paternal grandmother, Leila (Bates). Important plot point: Brooke is a widow who hasn’t been on a date in a long time. One afternoon, while dusting the house, Brooke is interrupted by Chris (semi-repentant, he’s looking for Zara, whom he’s just fired for the umpteenth time); they hit the tequila together and erotic attraction flares up. Awkward.But there’s “something real” between them, they insist to Zara, whose reaction to this development is vehemently off the charts. Until her grandmother gives her a good talking to, King’s character has three modes: peeved, indignant and grossed out. You could almost call the movie “The Longest Eye Roll.” (By contrast, Kidman, once a consistently expressive actress, performs with an inertia that could be read as a form of serenity.)King gets to show a little charm in the final third of the movie, and it’s refreshing. But every now and then you wonder whether “A Family Affair,” directed by Richard LaGravenese in a mode that vaguely recalls the work of Nancy Meyers, might have been more compelling as, instead of a rom-com, a drama about an entitled, manipulative daughter who almost ruins the lives of those around her.A Family AffairRated PG-13 for adult themes and language. Running time: 1 hour 51 minutes. Watch on Netflix. More

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      Trump Biopic ‘The Apprentice’ Nears Distribution Deal

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      “The Apprentice,” a dramatized origin story about Donald J. Trump, has faced fierce criticism from the former president and his allies.Hollywood executives love to characterize themselves as fearless. The truth is that they spend most of their time trying to minimize risk.It’s why theaters are clogged with vacuous sequels. It’s why so many Hollywood power players hide behind P.R. people. And it’s why all of the big movie studios and streaming services — and, in fact, most indie film companies — declined to distribute “The Apprentice,” a dramatized origin story about Donald J. Trump that the former president has called “malicious defamation” and showered with cease-and-desist letters.But the movie business still has at least one wildcatter: Tom Ortenberg.Mr. Ortenberg, 63, and his Briarcliff Entertainment are pushing to complete a deal to acquire “The Apprentice” for wide release in theaters in the United States in September or early October — close enough to the presidential election to bask in its heat, but far enough away to avoid final-stretch media overload. Briarcliff’s pursuit of the $16 million film was confirmed by five people involved with the sale process, who spoke on the condition of anonymity to discuss a private negotiation.“Tom’s got more courage than most people in Hollywood combined,” said Stephen Galloway, the dean of Chapman University’s film school. “His interest in this kind of movie involves business, of course. He sees money to be made by leveraging millions of dollars in free publicity. But part of it is wanting to do his bit. He’s liberal and cares about social issues.”Hurdles remain, the people cautioned. “Apprentice” producers cobbled together the money to make the movie from various sources. One was Kinematics, an upstart film company backed by Dan Snyder, the former Washington Commanders owner — and a Trump supporter. Kinematics, which invested about $5 million, would need to sign off on the Briarcliff deal and has balked, calling the offer subpar, according to the five people involved in the sale process. The Kinematics snag was reported earlier by a Puck newsletter.So producers have put together a package to buy out Kinematics at a premium. The sides are now haggling over terms, including the timing of payment.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Horizon: An American Saga — Chapter 1’ Review: The Beauty, and the Bloodshed

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      In the first of a projected four-film cycle, Kevin Costner revisits the western genre and U.S. history in a big, busy drama.Midway through Kevin Costner’s big, busy, decentered western “Horizon: An American Saga — Chapter 1,” the actor Danny Huston delivers a brief speech. The year is 1863 — two years into the Civil War — and his character, a colonel in charge of a military fort in the southwest, is discoursing on a nearby settlement called Horizon. Apaches have recently burned the hamlet to the ground, killing scores of settlers. You simply need look at the land, the colonel says, to see why the newcomers will keep coming.“You may recall that’s what drove us across the ocean to this country in the first place.”Huston, an imposing presence with a rich, sepulchral voice that can suggest depths, delivers this nod at Manifest Destiny with arid sobriety. His words certainly sound meaningful yet this reference to American expansionism just hangs in the air, untethered from history or ideology. Given this nod as well as the film’s large scale, crowded cast, multiple story lines and nearly three-hour run time, it’s reasonable to assume that Costner will add context, commentary or, really, anything. Yet all that’s clear from “Chapter 1,” the lead-in for his splashily publicized four-film cycle, is that the land was vast and beautiful, and everyone wanted a piece.“Chapter 1” is the first movie that Costner has directed since his 2003 western “Open Range,” an earnest period drama about free-grazing cattlemen facing down a wealthy rancher. What’s striking about that film, beyond how Costner draws from so many different genre touchstones — John Ford, Clint Eastwood and Sam Peckinpah, among others — is how he tries to honor old-fashioned westerns that he so clearly loves while also complicating the myth of the American West through his character, a violence-haunted gunfighter.A version of that same man — tough, terse, good with a gun, not bad with the little ladies and now named Hayes Ellison — rides into “Chapter 1” about an hour in, handsomely framed against a bright blue sky. What takes him so long? Given how the movie plays like an extended prologue, I suspect that Costner timed his entrance for a four-part project rather than for a stand-alone film. That makes it tough to get a handle on precisely what he’s up to here, other than gesturing at history, re-engaging with an archetypically American genre and readying the foundation for an epic that will continue when “Chapter 2” opens in August.Written by Costner and Jon Baird, “Chapter 1” features uneven lines of action that jump across the map, from the southwest to the Territory of Wyoming. In one section, bad men with good cheekbones, their dusters trimmed with animals skins à la Gladiatorial Rome, chase after a righteously violent woman (Jena Malone in a lively, credible turn). In time, they end up in one of those frontier towns with muddy streets and desperate characters, a sinkhole where Hayes rides in with some gold and exits with Marigold (Abbey Lee), a lady of the evening (and afternoon). In another section, Luke Wilson leads a wagon train peopled with tough Americans, Laplander goons and two British twits itching for some punishment.The story line that revs up the action centers on the settlement, a riverfront hamlet on a ribbon of green that winds through the desert and has attracted the attention of a tribe of White Mountain Apache led by Tuayeseh (Gregory Cruz). Soon after the movie opens, the settlers are swinging their partners to fiddles like good John Ford folk; not long after, many are dead, cut down by Apaches. Among the survivors are the newly widowed, impeccably manicured Frances Kittredge (Sienna Miller) and her daughter, Elizabeth (Georgia MacPhail), who take refuge in the fort. There, they meet a first lieutenant, Trent Gephart (Sam Worthington), a thoughtful soul who refers to Native Americans as Indigenous.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Last Summer’ Review: A Shocking Affair to Remember

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      Few directors get as deeply under the skin as Catherine Breillat, a longtime provocateur who tests the limits of what the world thinks women should do and say and be.When Anne, the elegant, enigmatic protagonist in Catherine Breillat’s “Last Summer,” walks in a room, she holds your gaze as formidably as she holds those of everyone in this startling, perverse French movie. A lawyer, wife, mother and sister, Anne likes sheath dresses and high heels, tasteful antiques and a sense of order. She’s serenely self-possessed, and everything in her life is just so, which suggests that she’s either invincible or waiting to break. Both are in play when she abandons herself in a shocking, recklessly consuming affair.Few directors get as deeply under the skin as Breillat, a longtime, reliably interesting provocateur who tests the limits of what the world thinks women should do and say and be. Breillat is interested in complexity, not orthodoxy (feminist or otherwise), in autonomy and subjugation, and in all the ways that pleasure and desire can take violent hold of minds and bodies. She was in her 20s when she directed her first feature, “A Real Young Girl” (1976), about a teenager’s sexual coming-of-age. It’s a messy, jolting movie; there aren’t many filmmakers who shock you like Breillat does and with such supremely natural ease.Anne, played by a superb Léa Drucker, seems wholly satisfied in her world. She and her loving, attentive husband, Pierre (Olivier Rabourdin), have two sweet girls, and live in a large, handsome suburban home. She’s close to her sister, Mina (Clotilde Courau), and Anne’s work seems satisfying and perhaps even important: She advocates for victims of sexual abuse and in cases involving parental custodianship. Outwardly, her life looks ideal, if maybe overly comfortable, and its frictionless surfaces — especially in a French movie about upper-class people — seem primed for disruption. Even so, nothing about her suggests that she will soon lose herself in an affair with her 17-year-old stepson, Théo (Samuel Kircher).When “Last Summer” opens, Théo is living with his mother and has just been arrested. Pierre has decided to bring his son back home with him, a decision he explains to Anne while the couple are in their bedroom, an intimate setting that is as meaningful as it is banal. As Pierre hurriedly packs his bag, Breillat discreetly pushes the camera closer to him as he and an offscreen Anne talk. The scene is brief, and seemingly purely informational. Yet right after Pierre says that Théo punched a teacher, Breillat cuts to Anne who’s busily changing her clothes. Her dress is hiked over her face, exposing her trim body and pretty bra.Within minutes, Breillat has introduced both her characters and their world with brisk narrative economy and a sly, telegraphing conflation of sex and violence: the bedroom, the couple, the son, the punch, the lingerie. The movie has scarcely begun yet everything, including the complacency and first stirrings of trouble, is in place. These stirrings abruptly turn into klaxons when Théo arrives shortly thereafter, and Anne goes to speak to him. The moment that he appears onscreen — he’s on the bed in his room, his messy dark curls cascading over his face — it’s clear that he is this movie’s version of Chekhov’s gun.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘A Quiet Place: Day One’ Review: Lupita Nyong’o Commands the Screen

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      The chills are more effective than the thrills in this prequel to the “A Quiet Place” franchise.The cat. It’s all about the cat.No matter what else happens in “A Quiet Place: Day One,” no matter how sensational Lupita Nyong’o is — and she is — her character’s feline buddy is going to take over the story and, likely, the discourse around it.Mind you, there also was a cat, Jones, in “Alien,” a movie that’s a major influence on the “Quiet Place” universe — one in which aliens land on Earth and massacre everybody for no reason besides sheer killing instinct. John Krasinski’s “A Quiet Place” (2018) and “A Quiet Place Part II” (2021) laid down the basic parameters, mainly that the creatures’ extremely developed hearing makes up for their blindness, and they hate bodies of water.But Jones was peripheral to “Alien,” the masterpiece that kicked off a franchise revolving around body invasion. Our fearless new hero is very much embedded in the theme running through all three “Quiet Place” movies: the importance of family, whether biological or chosen.In Michael Sarnoski’s prequel, Frodo (played by both Nico and Schnitzel) is the support cat of Samira (Nyong’o), a New York City poet living in crippling cancer-induced pain in a hospice. She takes Frodo everywhere, including an outing to a puppet show, where the audience members include a man (Djimon Hounsou) whom viewers of the second movie will instantly recognize. When the invasion begins, he is quick to impart the importance of making as little noise as possible to avoid alerting the attackers.Somehow borne on meteorites (don’t ask), the aliens immediately get down to their gruesome business. The movie allows us a few good looks at the toothy monsters, who made me think of hellish Giacometti sculptures. But otherwise Sarnoski (who made the endearing Nicolas Cage drama “Pig”) does not add all that much crucial new information to their basic character sheet — “Day One” is refreshingly free of origin story explaining.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Confessions of a Good Samaritan’ Review: An Altruistic Story

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      In Penny Lane’s newest film, she turns the camera on herself to document her experience donating a kidney to a stranger.Would you donate a kidney to a stranger? Early in “Confessions of a Good Samaritan,” the filmmaker Penny Lane (“Hail Satan?”) flips the question around. With so many people in need of transplants, why wouldn’t you give one of yours?In the film, Lane puts this conviction to the test. Seated before a backdrop, she mulls over her drive to donate — she cringes at the idea that people will think she’s only doing it for a film — and explores the practice more broadly by interviewing doctors and other non-directed donors (a.k.a. altruistic donors). She pairs these testimonies with the history and ethics of organ transplants, including an impressive selection of archival clips. (I’d watch an entire documentary about the Dutch “Donor Show” that featured patients supposedly competing for a transplant.)But what begins as an optimistic piece of advocacy eventually veers into something more complex, ambivalent and even frantic. As Lane prepares for surgery, undergoing health screenings and drawing up a will, she grows increasingly aware of her solitude. A single woman without children, she struggles to name a health care proxy, cries while appointing a cat guardian and worries about being alone during recovery.Lane’s grappling with these feelings lends depth to what could have been a pat participatory exercise. The film never draws a line between its subject’s isolation and despair and that of the tens of thousands of Americans awaiting kidney transplants, but it doesn’t have to. Like the deed of a good Samaritan, the work speaks for itself.Confessions of a Good SamaritanNot rated. Running time: 1 hour 45 minutes. In theaters. More