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      Hollywood Has Enough Fake Accents. Bring Back the Weird Voices.

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      David Lynch’s voice is unmistakable — and a national treasure. The world of film deserves more like it.“Something is coming along for you to see and hear,” mewled the filmmaker David Lynch in a video posted online this past spring. The clip was a teaser for a music project, and it caught the eye via the director’s old-school cool — his shades and upswept silver locks, framed in close-up. But it was another bit of business that actually held attention: the jangle and blare of Lynch’s reedy voice.Larger-than-life screen personalities are necessarily watchable. Some also prove mysteriously listenable. Lynch is among them, a member of the small pantheon of filmmakers whose mystique is partly indebted to the textures of their speech: the gorgeous intonations of Orson Welles, the reminiscing tones of Agnès Varda, the runaway-train enthusiasm of Quentin Tarantino.Over his long career, Lynch has offered his own locomotive thrills. It begins with that unmistakable voice — what the director Mel Brooks once called his “kind of crazy Midwestern accent.” In fact, Lynch’s family moved frequently, and his childhood unfurled across a wide swath of midcentury America. Along the way, his voice settled into a faintly comic register: thin and tremulous, with a hint of helium, containing both the threat of a whine and the chirpy approachability of an archetypal 1950s suburbia.Lynch is a raconteur of some renown; he has spoken of Wookiees, decaying factories and an overfed Chihuahua who resembled “a water balloon with little legs.” He enjoys folksy turns of phrase (“Golden sunshine all along the way,” he often declared in the online weather reports he used to offer) and intriguing maxims (“A washed butt never boils”). Ideas, he argues, are pre-existing “gifts” that artists can “catch.” You can sense a similar pursuit in his interviews: At times he speaks as if he were reciting the words of a dimly heard incoming transmission, wiggling his fingers and shutting his eyes. Even his mundane remarks can take on an air of profundity, ringing persistently in the mind.And sometimes, the ears. Lynch “has to have his megaphone to make his voice sound even more nasal,” the actress Naomi Watts once said, describing his on-set carnival barking. “When he’s two feet away from you as well.” He’s liable to stretch out words like “beautiful,” imbuing them with the deep emotion of an explorer bringing home tales of briefly glimpsed miracles. His born-in-the-’40s diction makes matters even stranger: Lynch, a self-identified Eagle Scout, can be heard in one documentary repeatedly and earnestly exclaiming, “Oh my golly.”Lynch ‘has to have his megaphone to make his voice sound even more nasal.’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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      7 People Who Helped Define the ‘Star Wars’ Galaxy

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      James Earl Jones, who died last week, was one of many who made the “Star Wars” films immersive and intricate. Here is a look back at several who have died, having made a lasting impact.In 1977, a space opera movie tinged with samurai culture, cowboy attitudes and alien rivalries seemed like a mishmash doomed to fail, or at least to trickle into the annals of cinema as a cult classic.But on its release in theaters far, far and wide, “Star Wars” became an unexpected global phenomenon.It has since inspired decades of movies and television series and countless imaginary lightsaber battles in backyards around the world. The franchise became a merchandising juggernaut, and to this day remains as active as ever in sci-fi discourse.James Earl Jones, the voice of Darth Vader, died last week. He was one of many members of the “Star Wars” universe who have died, having made an indelible impact on the series.Here are the stories of some of the members of the film’s cast and crew who brought alien planets to life, perfected the beep-boop of android languages and imbued the characters with their gravitas and timeless appeal.James Earl Jones (1931 – 2024)Before he found his powerful voice, he stuttered.Even if you did not recognize James Earl Jones’s face as he shifted into different roles throughout the decades, you would surely have recognized his thunderous voice. His belonged to the embittered but resilient writer in “Field of Dreams”; the tragic commander Othello on Broadway; and, to the delight and spine-tingling terror of “Star Wars” fans, the masked arch-villain Darth Vader.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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      How ‘Speak No Evil’ Starring James McAvoy Differs From the Original

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      The 2022 original retains its chilling power thanks to a worldview that the new version seems unwilling to embrace.Warning: Spoilers ahead.No movie haunts me more than “Speak No Evil.”Not the version starring James McAvoy that’s currently in theaters, but the Danish original from 2022 (streaming on Shudder and Hoopla). That film’s Danish title translates to “The Guests,” which feels more apt than the English name: It’s about an ordinary offer of hospitality that goes horribly, horribly wrong.In the original formulation, written by the brothers Mads and Christian Tafdrup, its director, two couples meet on vacation in the Italian countryside. Bjorn and Louise and their school-age daughter, Agnes, are Danish. Patrick and Karin are Dutch; their son, Abel, is around Agnes’s age, though he seems nonverbal. The families hit it off, and months later, the Dutch invite the Danes to spend a weekend at their rural home. Almost immediately, things feel strange.The genius of the original “Speak No Evil” — and, to an extent, the remake — lies in how it keeps the audience on edge. Most of the tension involves trying to decide whether Patrick is lacking the more buttoned-up Danes’ sense of social niceties or is actually a violent psychopath. Patrick and Karin’s offers of food, for instance, can be read as generous or menacing. Is this a horror film, or just a really, really dark comedy about cultural differences? The filmmakers make us second-guess our reactions to every image, word and action, exactly the way Bjorn and Louise do in their hosts’ home.For a long stretch of the new “Speak No Evil,” directed by James Watkins, the plot matches the original more or less, but the visitors are Americans living abroad (played by Mackenzie Davis and Scoot McNairy) and the hosts are British (played by Aisling Franciosi and McAvoy). The couples share meals, including one at a local roadhouse that becomes uncomfortable when the wine loosens everyone up and the conversation turns inappropriate. One night, Louise wakes to discover that her daughter is in the other couple’s bed. The guests try to flee based on a bad feeling, but are then drawn back because their daughter cannot find her favorite stuffed bunny.By the end, the hosts are actively trying to murder their guests, who have realized their game: They meet families on vacation, invite them to visit, then murder the parents, steal their child and cut out their tongue. In both movies, when Ben/Bjorn asks Patrick/Paddy why he’s doing this, the response is the same: “Because you let me.”From left, Alix West Lefler, Scoot McNairy and Mackenzie Davis in the new film, which more or less matches the original until the end.Susie Allnutt/Universal Pictures and Blumhouse, via Associated PressWe 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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      The Life of Chuck’ Wins Toronto Film Festival’s People’s Choice Award

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      This adaptation of a Stephen King novella stars Tom Hiddleston, Chiwetel Ejiofor and Mark Hamill. “The Substance” and a Tragically Hip documentary also won.“The Life of Chuck,” a cosmic story of accounting and life’s mysteries adapted from a Stephen King novella, won the People’s Choice Award at the Toronto International Film Festival on Sunday. Winners often go on to best picture nominations at the Oscars or even, as in the case of “Green Book” and “Nomadland,” to take the top Academy Award.Told in reverse chronological order and closer in tone to the King adaptation “Stand by Me,” “The Life of Chuck” opens as the world seems about to end. Amid phenomena like enormous sinkholes and television blackouts, ads thanking Charles Krantz (Tom Hiddleston) for his service are everywhere, puzzling denizens played by Chiwetel Ejiofor, Karen Gillan and Carl Lumbly. The film, which also stars Mark Hamill and features a much talked about dance sequence with Hiddleston, was written and directed by Mike Flanagan, who’s no stranger to King’s work: “Gerald’s Game” and “Doctor Sleep” are among his credits. “The Life of Chuck” doesn’t have a release date yet.The festival announced other People’s Choice winners on Sunday. In the Midnight Madness section, devoted to genre titles, the prize went to “The Substance,” written and directed by Coralie Fargeat. That horror film, which won best screenplay at Cannes, stars Demi Moore as an aging actress who takes the mysterious elixir of the title, giving birth to a youthful version of herself played by Margaret Qualley. “The Substance” is due in theaters on Sept. 20.In the documentary section, the People’s Choice award went to “The Tragically Hip: No Dress Rehearsal,” centered on the Canadian band’s final concert. The docuseries was directed by Mike Downie, brother of the band’s lead singer, Gord Downie, who died at 53 of brain cancer. The series is expected to be released on Amazon Prime Video later in the fall. More

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      ‘Beetlejuice Beetlejuice’ Hands Warner Bros. a Lifeline

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      The movie has made roughly $190 million in its first 10 days, giving the studio a needed hit after a summer of misfires.Warner Bros. managed only a 4.7 percent share of domestic movie-ticket sales over the summer. By that measure, it was Warner’s worst performance since analysts started to compile seasonal box office data in 1982.A haze of despair had settled over the studio by mid-August. Warner Bros. Discovery, the studio’s parent company, had announced yet another round of layoffs. Then it botched the renewal of a crucial television rights deal with the National Basketball Association, prompting investors to flee. Shares were trading in the $6 range, down 90 percent from March 2021.So the horror comedy “Beetlejuice Beetlejuice,” which arrived in theaters from Warner on Sept. 6, in some ways became a flash referendum on the studio’s future. Some people in Hollywood were starting to wonder aloud if there would even be one, at least without a merger with a competitor.Talk about the undead: “Beetlejuice Beetlejuice” collected $111 million in its first weekend in North America, one of the best results on record for September. The PG-13 sequel, directed by Tim Burton, has now been No. 1 for two weeks in a row. It took in another $52 million over the weekend, for a 10-day domestic total of roughly $190 million.Worldwide ticket sales will total about $250 million through Sunday, according to box office analysts. The film cost $99 million to make.“Dancing in the hallways, smiles on faces,” said Michael De Luca, one of Warner’s top film executives. “There is really nothing better for morale than a hit.”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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      39 Movies to See This Fall: ‘Joker’ Sequel, Bob Dylan Biopic and More

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      From the “Joker” sequel and Timothée Chalamet’s Bob Dylan biopic to a handful of festival darlings, it’s a jam-packed season. Plan accordingly.From an outsize Francis Ford Coppola passion project to a “Joker” follow-up that multiplies the madness by two, the fall movie calendar is going big. Reducing it to a select list of noteworthy titles was a daunting task. Alongside major releases, including sequels to “Gladiator” and “Moana,” we’ve included a large number of films that earned acclaim at this year’s festivals. Many other titles haven’t yet settled on release dates. (All dates and platforms are subject to change.)September‘A DIFFERENT MAN’ Sebastian Stan won best lead performance at the Berlin Film Festival for his turn as an actor with a facial disfigurement. As he pines for a new neighbor (Renate Reinsve), a playwright, he undergoes an experimental treatment. Aaron Schimberg directed this offbeat comedy, featuring Adam Pearson as the Stan character’s rival. (Sept. 20; in theaters)‘THE SUBSTANCE’ In what would make an excellent Sept. 20 double feature with “A Different Man,” Demi Moore plays an aging actress reduced to fitness guru-dom who undergoes an experimental treatment of her own. A mysterious injection will divide her into, essentially, two people. Margaret Qualley plays her counterpart. Coralie Fargeat, who wrote and directed, won the screenplay prize at Cannes. (Sept. 20; in theaters)‘WOLFS’ George Clooney and Brad Pitt mastered the art of smooth teamwork over three “Ocean’s” movies, but in this action comedy, their characters — two fixers who wind up on the same job — are initially at loggerheads. Amy Ryan also stars. Jon Watts (“Spider-Man: No Way Home”) wrote and directed. (Sept. 20 in theaters, Sept. 27 on Apple TV+)‘LEE’ The celebrated photojournalist Lee Miller got a shoutout in “Civil War” earlier this year. Now she gets a biopic, with Kate Winslet in the role. Josh O’Connor, Andrea Riseborough and Andy Samberg co-star. Ellen Kuras, best known for her work as a cinematographer, directed. (Sept. 27; in theaters)‘MEGALOPOLIS’ Francis Ford Coppola’s first feature since 2011 is a project he’s been talking up for more than 40 years. In an amalgam of contemporary New York and ancient Rome, Adam Driver plays an urban-planning visionary who at various points evokes Robert Moses, Ayn Rand’s Howard Roark and Coppola himself. (Sept. 27; in theaters)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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      At the Movies, the Apocalypse Has Already Arrived

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      In “Joker: Folie à Deux,” “Megalopolis” and more, the sense of an isolated and fearful humanity pervades this season’s films.The apocalypse started earlier this year.Back in March, “Dune: Part Two” picked up the story of Paul Atreides, set 10,000 years after a war with artificial-intelligence beings nearly obliterated humanity. The “Dune” saga suggests history is cyclical, even if the details rearrange themselves. Paul’s world once again teeters on the brink, though the characters don’t know just how close to the edge they are. No matter. The precarity is plenty palpable.Hollywood has sustained a long love affair with tales of apocalypse — look no further than the Marvel Cinematic Universe’s obsession with the end of the world. But frequently, the storytelling fits a familiar template. Humanity faces some great threat: aliens, viruses, zombies, meteors, nuclear devices, megalomaniac villains in shadowy lairs. Governments are incapable of dealing with the threat. Only some hero (a retired cop, a retired soldier, a retired superhero) can save the day. He does, and we all cheer.The “Dune” saga feels different, though, and not just because Paul Atreides is not your typical popcorn-movie messiah. This world is darker; the fate of humanity is not guaranteed. The biggest threat to life is not a single clear menace, but a mysterious confluence of factors that nobody, not even the most savvy of characters, quite understands.Here apocalypse moves away from the meaning we usually ascribe to it — mass destruction, curtains on humanity and so on — and toward its older meaning. The English word “apocalypse” comes from the Greek “apokalypsis,” which means revelation. It’s a moment of unveiling, of the hidden things becoming clear. The curtain blows aside briefly and reality becomes lucid. Apocalypse is not always world-historical. Our lives are full of personal apocalypses; our nations experience them repeatedly, often in times of great distress. We learn who we are, what we stand for and what really matters in apocalyptic times. What comes next might be dystopian, or utopian. Most likely, it will be a bit of both.So perhaps it’s unsurprising that cinematic apocalypse, so visible everywhere, has been diversifying. (After all, the movie business is itself fast reaching an apocalyptic moment.) In March, the best picture Oscar went to “Oppenheimer,” a movie about how we arrive at moments of apocalypse. Soon after, “Civil War” — a movie set in a country in the midst of disintegrating — kicked up arguments about its politics. But its real insight was that habitually looking at trauma has changed the characters’ relationship to humanity itself, an apocalyptic realization if there ever was one.“Megalopolis,” with Adam Driver and Nathalie Emmanuel, explores the difference between expedient relationships and those that endure.LionsgateWe 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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      ‘The Interview’: Demi Moore Is Done With the Male Gaze

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      Demi Moore’s new movie, “The Substance,” which opens Sept. 20, is a dark comedy about the horrors of getting older as a woman in Hollywood. But it’s also a literal body-horror film — the basic premise is that Moore’s character, an aging actress-turned-celebrity-fitness-instructor named Elisabeth Sparkle, takes a strange elixir (the substance) that allows her to create a younger, more perfect version of herself. And you see that creation in bloody, visceral detail. The movie kind of grossed me out, to be honest, but I couldn’t stop thinking about it afterward. And it was fascinating to see Moore, who has been open about her own struggles with her body image and has lived most of her life in the public eye, play this role.Listen to the Conversation With Demi MooreThe actress discusses how her relationship to her body and fame has changed after decades in the public eye.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppI’ve been mesmerized by Moore for decades, starting in 1985 with “St. Elmo’s Fire,” when her husky voice and bold onscreen persona — in this instance, a kind of wildness that made her seem both alluring and destructive — first broke through. There was a period when it felt as if every movie Moore starred in was an event — “Ghost,” “A Few Good Men,” “G.I. Jane,” “Striptease,” “Indecent Proposal.” She eventually became the highest-paid actress in Hollywood, and also an early advocate for pay equity in the industry, long before the issue was part of the national discourse.But even though Moore was such a visible celebrity of my teenage and early adult years, I never felt I knew much about her until reading her revealing 2019 memoir, “Inside Out,” which opens at the lowest point in her life, with the end of her marriage to Ashton Kutcher and her relapse into alcoholism. Moore’s struggles started early as the child of a mentally ill, alcoholic mother. But much of the book is about the extreme lengths she went to during her prime Hollywood days to control her body through disordered eating and exercise. Now in her 60s and a grandmother, Moore tells me she has finally grown comfortable in her own skin and, with “The Substance” and this stage of her career, is hoping to upend expectations about what it means to be an aging woman in an industry that both embraced and judged her harshly. (And a note: I asked Moore how her former husband Bruce Willis, who’s living with frontotemporal dementia, is doing, and she said he’s stable and OK, all things considered.)Why did you sign on to star in a movie about a woman who’s aging in Hollywood and at war with her own body? It felt very meta watching you do this. Why it was easy for me to step in and do this is because I don’t feel I am her. This is a woman who has no family — she’s dedicated her entire life to her career, and when that’s taken, what does she have? And so, in a way, I had enough separation from her, and at the same time, a deep, internal connection to the pain that she was experiencing, the rejection that she felt. I knew it would be challenging, but potentially a really important exploration of the issue.Tell me what you understand the issue to be. That it’s not about what’s being done to us — it’s what we do to ourselves. It’s the violence we have against ourselves. The lack of love and self-acceptance, and that within the story, we have this male perspective of the idealized woman that I feel we as women have bought into. More