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      Paul Haggis Arrested on Sexual Assault Charges in Italy

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      Haggis, who wrote and directed the Oscar-winning crime drama “Crash,” was accused of assaulting a woman in Ostuni over the course of two days.The Oscar-winning director and writer Paul Haggis was arrested on charges of aggravated sexual violence and aggravated personal injuries in the Southern Italian city of Ostuni on Sunday, according to the local police.According to a statement from the prosecutor’s office in the nearby city of Brindisi, which ordered the arrest, the accuser was not Italian. The statement identifies the man who was arrested as P.H., a Canadian; Vincenzo Leo, the duty officer of the local Italian police, confirmed it was Mr. Haggis.The statement said that after two days of “nonconsensual intercourse,” he had brought the woman to the Papola Casale airport in Brindisi on Friday and left her there “at the first lights of dawn, despite the precarious physical and psychological conditions of the woman.”The airport’s staff and the border police noticed her in the airport in a “confusional state,” assisted her and took her to the local police office, the statement continued. She was then brought to a hospital where she was treated following a protocol used in Italy for victims of violence against women; she subsequently reported the violence to the police.According to the accusations, Mr. Haggis, 69, “would have forced the young woman, that he had met some time before, to endure sexual intercourse.”“I am confident that all allegations will be dismissed against Mr. Haggis,” Priya Chaudhry, a lawyer for Mr. Haggis, said in an email. “He is totally innocent, and willing to fully cooperate with the authorities so the truth comes out quickly.”Mr. Haggis, who won a screenwriting Oscar in 2006 for the crime drama “Crash,” and who wrote acclaimed movies such as “Million Dollar Baby,” was in the southern city to attend the Allora film festival, where he was set to participate in panels and discussions with the audience, starting on June 21, according to the festival’s program.Mr. Haggis was sued for sexual assault in New York in 2017 by a publicist, Haleigh Breest. Ms. Breest accused Mr. Haggis of forcing her to give him oral sex before raping her after a premiere in 2013. Mr. Haggis has contended that the encounter with Ms. Breest was consensual.Following the lawsuit, which is still pending because of delays related to the coronavirus pandemic, three other women accused Mr. Haggis of sexually assaulting them, according to The Associated Press.A lawyer for Mr. Haggis, Christine Lepera, has denied the three other accusations, saying “he did not rape anybody,” according to The A.P.’s report.Mr. Haggis got his start as a TV writer in the 1980s and went on to help create several series, including “Walker, Texas Ranger,” the long-running drama starring Chuck Norris. But he is perhaps best known for his film work, notably “Crash,” the 2005 ensemble drama he directed and co-wrote. The film won best picture at the Academy Awards as well as best original screenplay for Mr. Haggis and Bobby Moresco.In 2009, Mr. Haggis left the Church of Scientology over its support of Proposition 8, the ban on same-sex marriage passed by California voters and later overturned. In a resignation letter that was circulated in Hollywood, Mr. Haggis wrote that the church’s position was “a stain on the integrity of our organization and a stain on us personally.” In the documentary “Going Clear” and elsewhere, Mr. Haggis has become among the more prominent critics of the church. And he has said that, in response, the church has mounted a campaign of harassment.In a court filing last year, Mr. Haggis asserted that the pending sexual assault lawsuit in New York had essentially frozen his career, leaving him unable to work as a director or producer.“I have had discussions with producers and financiers, but have been repeatedly told that they cannot work with me until I clear my name,” he wrote in the filing, which was submitted as part of a motion requesting that the court set a trial date.Stephanie Goodman contributed reporting. More

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      ‘Civil: Ben Crump’ Review: What Becomes of a Missed Opportunity?

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      The documentary “Civil” follows Ben Crump, the prominent attorney who has represented families affected by police violence, for one turbulent year.At the beginning of “Civil” — a documentary about the civil-rights attorney Ben Crump — a phone call from Tera Brown, a cousin of George Floyd, comes into Crump’s office. Crump listens compassionately as Brown relates the 2020 murder of her cousin by a Minneapolis police officer. Crump gently offers her some advice about next steps, then rests his head in his hands. The image of Crump holding his own head, and of Crump rubbing his eyes, is repeated throughout “Civil.” It is the weary physical response to ongoing injustice and to a schedule that keeps the lawyer on planes and on his smartphone, pursuing lawsuits intended to make police departments and municipalities pay financially — and the media and the court of public opinion pay heed.Most viewers will likely recognize Crump as a high-profile legal representative for family members not just of Floyd but of Trayvon Martin, Michael Brown, Tamir Rice, Breonna Taylor and Andre Hill, too, to name some of his clients’ loved ones who have been killed during encounters with the police.The director Nadia Hallgren filmed Crump over a year during 2020 and 2021, and her portrait has instances of tag-along intimacy. The phone calls to Crump’s wife, Genae, and daughter, Brooklyn, as well as his check-ins with his mother, Helen, provide ballast amid the upheaval. And the biographical details about the college, law school and fraternity that shaped Crump tease his roots in Black communities.Yet “Civil” yields fewer insights than hoped. At times, the neat documentary feels nearly as tailored as Crump’s suits. (Perhaps this is what happens when verité-style filmmaking follows such a camera-ready subject?) Given Crump’s vital role in momentous litigation, “Civil” may be crucial viewing — but it’s not always revealing.Civil: Ben CrumpRated PG-13 for strong language and images of violence. Running time: 1 hour 41 minutes. Watch on Netflix. More

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      Events for Fans of Horror Films in New York City

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      For fans of scary movies, three horror series around New York just may keep you up all night.Forget the Bahamas, horror fans. This summer, New York is your paradise.That’s because three of the city’s highbrow cinema presenters are offering ambitious and adventurous horror movie series with scares enough for everyone, from squeamish newbies to hardened connoisseurs.The biggie is “Horror: Messaging the Monstrous,” which runs for a whopping 10 weeks at the Museum of Modern Art. With more than 110 features and short films, the series digs deep into sociopolitical horror cinema, with sections devoted to gender, race, sexuality and additional concerns.The other programs are equally enterprising. Film at Lincoln Center and Cinecittà, the esteemed Italian film studio, are partnering on “Beware of Dario Argento,” a 20-film retrospective of Argento, the horror movie master best known for “Suspiria.” The director himself will be at select screenings.And the Museum of the Moving Image is hosting “Films of the Dead: Romero & Co.,” an 11-film series dedicated to zombie movies by, and inspired by, the maverick horror filmmaker George A. Romero, who died in 2017. It’s a companion to “Living With ‘The Walking Dead’” (June 25-Jan. 1, 2023), an exhibition about the origins and impact of the AMC series. A second film program, “White Zombies: Nightmares of Empire,” follows in August.Caryn Coleman, a guest curator on the MoMA series, said it should be no surprise that all three organizations are turning to horror to “process the world.”“We’re certainly in a collective moment of turmoil, so it seems right on target for New York to be hosting horror programming as both a tool of discussion and celebration,” she wrote in an email.To make your decision-making less scary, here’s one horror lover’s guide to what to watch.From left, Debra De Liso, Michelle Michaels and Andree Honore in “The Slumber Party Massacre.”New World Pictures‘Horror: Messaging the Monstrous’ (June 23-Sept. 5)Museum of Modern Art, moma.orgThe Guilty Pleasure: ‘The Slumber Party Massacre’ (1982)What happens when a female director (Amy Holden Jones) and a feminist writer (Rita Mae Brown) team up to make a movie about a deranged murderer with a power drill who kills high schoolers on the night of a sleepover? You get this crazed classic from the golden age of slashers, a film that continues to inspire new generations of female horror moviemakers.The Must-See: ‘The Last House on the Left’ (1972)Wes Craven wrote and directed this rape-revenge film about two young women who are brutalized by psychopaths. This one’s a don’t-miss movie only for folks with a strong constitution and a morbid curiosity about a game-changing but troubling exploitation film. Consider this: Howard Thompson, reviewing for The Times, called it “sickening tripe,” and said he walked out before the film ended.The Find: ‘Jack Be Nimble’ (1993)A terrific rediscovery in the series is this horror-fantasy film from New Zealand. Directed by Garth Maxwell, it stars Alexis Arquette and Sarah Smuts-Kennedy as twins who reunite as adults after being separated and raised in broken homes. In his Times review, Stephen Holden called it a “superior” genre film with “hallucinatory power and psychological refinement.”The Throwback: ‘Def by Temptation’ (1990)The writer-director James Bond III stars as a young man who visits New York to see a friend (Kadeem Hardison), but instead falls under the spell of a succubus (Cynthia Bond). A supernatural investigator (Bill Nunn), a medium (Melba Moore) and a preacher (Samuel L. Jackson) all try to keep the evil at bay. For a low-budget horror comedy, the film takes a surprisingly frank look at Black Gen Xers and presents questions of friendship, sex and faith.Jennifer Connelly in “Phenomena.”DAC Film, via AGFA‘Beware of Dario Argento’ (June 17-29)Film at Lincoln Center, filmlinc.orgThe Must-See: ‘Phenomena’ (1985)Argento’s trippy psycho-thriller stars Jennifer Connelly as a young student at a Swiss girls school who discovers she has supernatural powers to control insects. Donald Pleasence is the scientist who helps her use that power to find a killer. The big screen is the best way to experience the film’s spectacular flesh-dissolving bug attack.The Begetter: ‘The Bird With the Crystal Plumage’ (1970)Argento’s directing debut, for which he also wrote the screenplay, is a stylish prototype of Italian giallo. Set in Rome, it’s a thriller about an American writer who gets entangled in a murder mystery after he witnesses a woman stabbed by an intruder inside a gallery. The gore is mild compared to Argento’s later films. But giallo’s visual signatures — plunging razors, menacing lighting, a killer in chic leather — are abundant.The New Kid on the Block: ‘Dark Glasses’ (2022)One of the films I’m excited to see is Argento’s latest, his first movie since the poorly received “Argento’s Dracula 3D.” Ilenia Pastorelli stars as a prostitute who struggles to adjust to a new life after being blinded during her escape from a killer. True to Argento form, the movie looks as sleek as it is deranged.Duane Jones in “Night of the Living Dead.”Janus Films‘Films of the Dead’ (June 25-July 30)Museum of the Moving Image, movingimage.usThe Must-See: ‘Night of the Living Dead’ (1968)When Romero’s black-and-white groundbreaker comes to the big screen, just go. Romero championed the oppressed, and for his first feature film he cast Duane Jones, a Black actor, as the man who protects a group of strangers trapped in a rural Pennsylvania farmhouse under siege by the flesh-chewing undead. Movies that view horror through a social justice lens, especially when it comes to American racism, bow to this one.The Batty Comedy: ‘One Cut of the Dead’ (2017)Shinichiro Ueda’s film is an absurdly gory horror-comedy about a film crew shooting a zombie movie that’s interrupted by actual hungry zombies. Instead of cutting and running, the director forces his cast and crew to keep rolling. What happens next is a meta-marvel of slapstick, butchery and, surprisingly, heart.The Guilty Pleasure: ‘Day of the Dead’ (1985)I have a soft spot for this talky doomsday story, written and directed by Romero. Set in a dystopian future America — one of Romero’s favorite places to visit — it’s about a group of literally underground scientists and soldiers (with fragile egos) who battle the zombies left above ground after an apocalypse. Tom Savini’s gruesome special effects gave me the heebie jeebies back in the day, and still do. More

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      Jean-Louis Trintignant, Star of Celebrated European Films, Dies at 91

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      For 50 years, in movies like “A Man and a Woman” and “My Night at Maud’s,” his specialty was playing the flawed Everyman.Jean-Louis Trintignant, a leading French actor of subtle power who appeared in some of the most celebrated European films of the last 50 years, among them Bernardo Bertolucci’s “The Conformist,” Eric Rohmer’s “My Night at Maud’s” and Claude Lelouch’s “A Man and a Woman,” died on Friday at his home in southern France. He was 91.His wife, Marianne Hoepfner Trintignant, confirmed the death to Agence France-Presse. Mr. Trintignant had announced in 2018 that he had prostate cancer and was retiring.Mr. Trintignant seemed to specialize in playing the flawed Everyman and revealing his characters’ depths slowly.“Jean-Louis Trintignant has been, for better than half a century, one of the great stealth actors of the movies,” the critic Terrence Rafferty wrote in The New York Times in 2012. “He knows how to catch an audience unaware.”The occasion was the release that year of Michael Haneke’s “Amour,” which went on to win the 2013 Academy Award for best foreign-language film. In a starring role for the first time in the millennium, Mr. Trintignant, by then nearly blind, portrayed a frail old man caring for his dying wife, played by Emmanuelle Riva — “two titans of French cinema,” Manohla Dargis wrote in The Times — in a film that is both a love story and a stark examination of illness and mortality.It was the capstone to a rich career playing a gallery of characters who were rarely glamorous. Mr. Trintignant was an emotionally fragile Fascist in “The Conformist” (1970); a timid, meticulous graduate student who accidentally falls in with a ribald bon vivant in Dino Risi’s 1962 “Il Sorpasso” (“The Easy Life”); and a repressed Roman Catholic from the provinces who resists the seductive advances of a beautiful divorced woman in “My Night at Maud’s” (1969).“If some people laugh because I did not have sex with Maud, well, I would prefer being thought ridiculous to being thought a hero,” Mr. Trintignant said in a 1970 interview with The Times. “Even kissing scenes bore me.”In 1969 he won the best actor award at the Cannes Film Festival for his performance as a magistrate investigating the assassination of a Greek politician in Costa-Gavras’s political thriller “Z,” which also won the foreign-language Oscar that year.For American audiences, Mr. Trintignant did not fit the conventional images of French film stars, like the wisecracking Jean-Paul Belmondo, the working-class hero Jean Gabin or the suave sophisticate Maurice Chevalier. He was more understated.“The best actors in the world,” he once said, “are those who feel the most and show the least.”Jean-Louis Xavier Trintignant was born on Dec. 11, 1930, in Piolenc, a small town in southeastern France, where his father, Raoul, was a wealthy industrialist and local politician. Jean-Louis seriously considered becoming a racecar driver like his uncle Maurice Trintignant, a top competitor in the 1950s and ’60s who was only 13 years older than Jean-Louis. (Another uncle, Louis Trintignant, also raced and was killed in 1933 when his car crashed.)Jean-Louis took up law studies instead, thinking he would follow his father into politics. But while a law student in Aix-en-Provence he attended a performance of “The Miser” by Molière and was so smitten that he decided on a stage career.Mr. Trintignant moved to Paris to study acting and began appearing in theater productions at 20. After touring France in the early 1950s, he was hailed as one of the country’s most gifted young stage actors and was soon offered film contracts.Mr. Trintignant with Brigitte Bardot in “And God Created Woman” (1956), directed by Roger Vadim, Ms. Bardot’s husband at the time.Kingsley InternationalIn Roger Vadim’s 1956 movie “And God Created Woman,” Mr. Trintignant starred as a young, naïve husband who is in love with his diabolically flirtatious wife, played by Brigitte Bardot (Mr. Vadim’s wife at the time) in what was considered her breakout sex-kitten role. Whether true or not, rumors circulated that she and Mr. Trintignant had a real-life affair during the filming. Ms. Bardot’s marriage to Mr. Vadim ended in 1957.Mr. Vadim nonetheless cast Mr. Trintignant in the 1959 film “Les Liaisons Dangereuses,” adapted from a sexually scandalous 18th-century novel about a scheming noblewoman. Mr. Trintignant had the lesser but romantic role of the charming Chevalier Danceny, a music teacher for French nobility.The Académie Française, the official arbiter of French culture, denounced the film as “desecrating a classic,” and it was condemned as salacious from Roman Catholic pulpits on both sides of the Atlantic.Mr. Trintignant shared top billing with Vittorio Gassman in “Il Sorpasso,” which is widely considered Mr. Risi’s masterpiece. He played a shy law student who is enticed by Mr. Gassman’s libidinous extrovert and embarks on a rollicking car journey through the Italian countryside that ends tragically.Still more memorable was Mr. Trintignant’s performance eight years laterin “The Conformist.” Based on a novel of the same title by Alberto Moravia, the film is a chilling psychological portrait of a secret policeman in Fascist Italy. Mr. Trintignant, in the lead role, arranges the assassination of his old friend, a left-wing university professor, whose young wife he covets.Mr. Trintignant assumed his most romantic role, as a racecar driver, in “A Man and a Woman” (1966). The movie was an international hit, generating more box-office receipts than any previous French film. He said his early passion for racing — and an intimate knowledge of the sport conveyed to him by his uncles — had made his performance especially credible.But he professed that he was uncomfortable in the movie’s explicit love scenes, in which his co-star was Anouk Aimée, a longtime friend of his wife at the time, the director Nadine Trintignant.“It was embarrassing to find myself in bed with a woman that way,” he told The Times in 1970. “I had known Anouk for 10 years, and she was Nadine’s best friend, and the whole crew was watching.” The movie’s best scenes, Mr. Trintignant insisted, were his hairpin racing turns in Monte Carlo.He went on to appear in an average of three films a year for the next three decades, more often as a supporting actor than as the lead.Mr. Trintignant in “Amour” (2012), which won the Oscar for best foreign-language film. By then nearly blind, he portrayed a frail old man caring for his dying wife, played by Emmanuelle Riva.Sony Pictures ClassicsAn exception was the acclaimed 1994 film “Red,” the finale of the Polish director Krzysztof Kieslowski’s “Three Colors” trilogy. In a work that tracks the parallel lives of a group of people living outside Geneva, Mr. Trintignant played a cold retired judge who spied on his neighbors using high-tech surveillance equipment.He also continued to act onstage occasionally.Later in life Mr. Trintignant returned to his early passion for sports-car racing, participating in the 24 Hours of Le Mans in 1980 and the Monte Carlo Rally in 1984. In the ’90s he spent much of his time tending a vineyard he operated in the South of France or acting in theater. His return to film in “Amour” came after an absence of more than a decade.Mr. Trintignant’s first marriage, to the actress Stéphane Audran, ended in divorce. He married Nadine Marquand, then an actress, in 1960 and had three children with her: Vincent, now a director; Pauline, who died in infancy; and Marie, a successful actress (she had acted alongside her father at age 4 in “Mon Amour, Mon Amour,” which was directed by her mother) and the mother of four who at 41 was beaten to death in her hotel room in Vilnius, Lithuania, in the summer of 2003 while filming there.The murder was a sensation in the European press. Ms. Trintignant’s 39-year-old boyfriend, Bertrand Cantat, one of France’s biggest rock stars, later admitted in a Lithuanian court that he had beaten her in a jealous rage over her plans to vacation with an ex-husband.He was convicted of manslaughter in 2004 and released on parole in 2007, angering the Trintignant family and its supporters.After Marie’s death, Mr. Trintignant fell into a severe depression.“For three months I didn’t speak,” he told the Montreal newspaper The Gazette in 2012. “After that I realized I had to either stop living, commit suicide or continue to live.”In 2011 he withdrew from a planned one-man show at the summer Avignon Festival in France when he learned that Mr. Cantat was to appear at the festival as well in an acting role onstage.Mr. Trintignant’s marriage to Nadine Trintignant ended in divorce in 1976. He married Marianne Hoepfner, a racecar driver, in 2000. Information on other survivors was not immediately available.Mr. Trintignant’s eyesight deteriorated in his later years, but he was accepting of his condition. “We weren’t meant to live more than 80 years,” he told The Gazette. “It’s not so bad as all that. I’m still happy when I’m alone. I have an inner life.”Even at the height of his popularity, Mr. Trintignant insisted that acting was always a struggle.“I am not a born actor,” he said in the 1970 Times interview. “Even today, I am not an instinctive actor. I prepare meticulously, and it is only when I am before the camera that I become completely free.” More

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      ‘Jurassic World Dominion’ | 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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      ‘Cha Cha Real Smooth’ Review: The Boy in the Bubble

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      A recent college graduate moves back home, drifts along and strikes up an unlikely friendship with a single mother in this Sundance indie.The American indie “Cha Cha Real Smooth” is the story of a young man finding himself. It isn’t much of a search. He’s pretty much the exact same easygoing, uninteresting guy at the end of the movie that he is at the beginning.Things happen between the start and the finish of his journey inward, true. Mostly, though, feelings and hurts and slights are shared, and lessons learned, none surprising. He and the other characters talk and talk some more, and what they mostly talk about is him, the dim star at the center of this small, bland world.“Cha Cha Real Smooth” had its premiere at the Sundance Film Festival in January. But don’t blame the festival, or not entirely. Sundance has always been greater, messier and more diverse — including aesthetically — than the clichés that cling to it. Over time those clichés have changed as the festival has transformed, from its early homespun years to its guys-with-guns era and endless tales of dysfunction. Yet if the festival has retained a reputation for feel-bad-so-you-can-feel-good navel-gazing, it’s partly because it puts a premium on young directors who deliver the most Sundance-y of Sundance movies: coming-of-age tear-jerkers.Although “Cha Cha Real Smooth” opens with an obligatory flashback, Andrew (Cooper Raiff, who also directed) is 22 for most of the story. Recently graduated from college, he works at a fast-food joint and lives in a leafy New Jersey suburb with his mother, brother and stepfather. Andrew pines for his girlfriend, who’s abroad, and has vowed to follow her. But he has no clear path forward, views or interests. (No one here discusses the news, or shows curiosity about the larger world.) He’s nice, dull, quippy, with a toothy smile, full beard and slender frame that bring to mind the British actor David Tennant if David Tennant were a slobbering puppy.Andrew’s path to adulthood largely involves his friendship with Domino (an unconvincing Dakota Johnson), an older, melancholic single mother of a teenager who has autism, Lola (an appealing, spikily real Vanessa Burghardt, who also has autism). Andrew meets them at a bar mitzvah where he’s chaperoning his brother. Andrew notices her straight away, you bet, and before long they’re beaming at each other, exchanging small talk and hitting the dance floor. Women smile at Andrew a lot; at one point, a gaggle of mothers from the bar mitzvah follow him into the parking lot and hire him as “their motivational dancer,” a.k.a. party starter.Soon enough Andrew is playing M.C. at bar and bat mitzvahs, rocking them as he fumbles through the rest of his life. Raiff uses these parties for visual energy and comedy, and while he doesn’t deploy overt stereotypes he flirts with them. Certainly, it’s hard to see him wringing laughs as readily out of, say, confirmations or quinceañeras, much less staging a brawl at one, as he does here, ruining a bar mitzvah (for a kid named Benjamin Schindler, no less) so Andrew can have a teachable moment. As if to reassure the audience that it’s all in good fun, Domino says in one scene, “Sometimes I really envy Judaism.” “Same,” Andrew chirps.Raiff also wrote and helped produce “Cha Cha Real Smooth,” so he is clearly ambitious. But if he has something to say about life, it’s not apparent from this movie. It’s derivative and unpersuasive, and as pandering as any big studio soft sell; it’s filled with stylistic clichés (hovering camerawork, mewling songs), cardboard characters, silly dialogue and absurd narrative contrivances, starting with Domino, a trite male fantasy who’s only a vessel for Andrew’s narcissism. Raiff shrewdly complicates this cliché a touch, though, again, only to exploit it. Their relationship never makes sense; but, then, neither does most of the movie.I didn’t believe a single second in “Cha Cha Real Smooth,” but the movie isn’t trying to convince you of anything. It just wants you to like it. It wants you to smile, nod in recognition, shed a tear or two and feel good about yourself for liking it. It’s an exemplar of American indie entertainment at its most canned and solipsistic.Indeed the most startling thing about the whole thing is Raiff’s regard for his own charms, which presumably explains the close-ups he lavishes on both Andrew and the women who indulge him. Again and again, they gaze on Andrew with misty eyes and crinkly smiles, bathing him in adoration that Raiff clearly shares.Cha Cha Real SmoothRated R for language. Running time: 1 hour 47 minutes. In theaters and on Apple TV+. More

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      Watch Bryce Dallas Howard’s Slow Escape in ‘Jurassic World Dominion’

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      The director Colin Trevorrow narrates a sequence featuring the actor, a testy Therizinosaurus and a murky pond.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.We’ve seen the character Claire Dearing, played by Bryce Dallas Howard, run from dinosaurs while wearing high heels in “Jurassic World.” We’ve seen her climb atop a sleeping T-Rex in “Jurassic World: Fallen Kingdom.” But her rendezvous with a feathered dino in “Jurassic World Dominion” adds something new to the franchise.For the first time, Howard gets a harrowing solo sequence with a dinosaur. It’s the Therizinosaurus, a feathered creature that is no less menacing even as an herbivore.Discussing the moment, the director Colin Trevorrow said about Howard: “I built this sequence that I felt would both showcase her as an actor, her absolute best long-take looks of horrified terror, while also being able to collaborate with her as a director and really understand the intention of every single shot.”Trevorrow called Howard “one of the most precise and expressive actors. And because she’s also a director, she understands what the scene needs, not just from the perspective of performance, but from filmmaking and craft and form.”One part of the sequence involves a long take that keeps the focus on Howard as she enters a pond hoping to slowly evade the creature.“We tried to make sure that the camera was always very, very slowly moving at the same speed,” Trevorrow said. “So it had that same sense of heaviness and weight to it.”Read the “Jurassic World Dominion” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      Andy Garcia Is the Father of the Bride in More Ways Than One

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      The actor, who’s playing the role onscreen and in reality, understands his rigid character: “He’s an amalgamation of everybody I’ve ever known, including myself.”Andy Garcia still believes in the American promise of prosperity for all. “If you come here and you work hard, there’s a future for you,” he said. “There will always be obstacles, but the opportunity is there.”In more ways than one, the Cuban-born Garcia, 66, understands the worldview of Billy Herrera, the patriarch he plays in the new Latino-centric take on “Father of the Bride,” streaming on HBO Max. The poignant reinterpretation highlights the generational plight that immigrants and their American-born children face as they try to communicate with one another. The comedy, from the director Gaz Alazraki and the screenwriter Matt Lopez, also manages to avoid depicting Latinos as a monolith.For his latest lead role, the veteran actor best known for his turns in “The Untouchables,” “The Godfather Part III” and “Ocean’s Eleven,” portrays a proud, self-made Cuban architect whose oldest daughter is about to marry her Mexican sweetheart.At the same time, Herrera’s wife, Ingrid, played by the singer Gloria Estefan (Garcia’s longtime friend and fellow Cuban exile), announces she wants a divorce, leading Billy to re-examine his inflexible beliefs about masculinity, the work ethic and marriage.On a recent sunny afternoon at a golf club in the Toluca Lake neighborhood of Los Angeles, Garcia looked appropriately casual chic in a light-blue button-down shirt and beige slacks. Occasionally enhancing his anecdotes with words in Spanish, he spoke about his father’s thoughts on his profession, breaking ground before inclusion was a Hollywood priority, and staying on the entertainment industry “menu.” These are excerpts from our conversation.Garcia in “Father of the Bride” opposite Gloria Estefan, center, Diego Boneta and Adria Arjona. Claudette Barius/Warner Bros.You achieved substantial success long before conversations on representation were as prominent as they are today. What was it like for you at the onset of your career?It was very difficult for someone with a Hispanic surname because you were never considered. There were exceptions to the rule like Raul Julia, and José Ferrer before him. But for people who weren’t established, it was very hard to be considered for anything other than a Hispanic part. When I started in ’78, there were only about five studios, three networks and PBS; there was no cable. You were typecast and the parts they were writing for Hispanics were predominantly gang members and maids. But they wouldn’t consider me for the gang member roles because I wasn’t physically right: In their minds, gang members were only, in the case of Los Angeles, Chicanos.When did it feel like you were starting to break through despite the roadblocks?I was lucky to begin getting some work because I was a member of an improvisational theater group. Casting directors would see me there, and I would land a little thing here and there. But it was very hard to get it going. It took a long time, from ’78 to ’85, to get a part that was integral to the story. When I got “The Untouchables” (1987), I didn’t have to work as a waiter anymore. Before that I was also doing walla groups, which provide all the incidental dialogue in movies. That was my first post-waiter job. It kept my only child back then in Pampers.Were your parents encouraging or concerned by your choices?My father was very concerned about me leaving the family [fragrance] business, which I had worked in all my life and was growing rapidly. As a lawyer by trade and a farmer who worked hard all his life to give his kids opportunities and trained his children to take over the business, it was very difficult for him to see that I was going off in another direction.Not that he wasn’t supportive, but I know he struggled with concern because there was no understanding of what that industry was. It wasn’t like that with my kids. I have two daughters who are actresses. They grew up in it. They understand the pitfalls.My father had no concept of the entertainment business or acting. To him, an actor was Humphrey Bogart or Clark Gable. I’m sure in the back of his mind he said, “I love my son, but he’s no Humphrey Bogart.” [Laughs] My mother, on the other hand, was like, “Go and fly. If you break a wing, come back to heal and then decide.” She was more reckless.There’s a scene in “Father of the Bride” where your character and Gloria’s talk about the difficulty of passing along your native language, Spanish, to your American-born children. Did that dialogue speak to you personally?Yes. Growing up we spoke Spanish at home, but we also grew up in Miami, where everybody spoke Spanish. My children have had a harder time with it because no matter how much Spanish we spoke, they always favor English because of the environment. They become more Americanized. They can understand and speak it, but they’re not as fluent. If you’re not on top of it every day and practicing it, the language suffers. We as parents are as much at fault for not ingraining it as much as we should have, because we fall into the pattern of speaking English. We could probably be doing this interview in Spanish, but we’re talking in English.Have you become the father of the bride in your own family?Two of my daughters are getting married. [There was] a wedding on June 11, then the movie, and I have another wedding on July 9. I’m the father of bride three times within a 30-day period. When we saw the movie together, my youngest daughter said, “Dad, you’re nothing like this guy in the movie.” And I go, “Really?” That was her impression.Garcia said his decision to act was concerning to his father, whose conception of actors ran to stars like Humphrey Bogart: “I’m sure in the back of his mind he said, ‘I love my son, but he’s no Humphrey Bogart.’”Daniel Dorsa for The New York TimesDo you agree with her or does Billy and his mentality remind you of yourself?He’s an amalgamation of everybody I’ve ever known, including myself, and the traditions of people who come from a conservative background. There’s a psyche that happens with the immigrant populations — in our case we’re political exiles — that you come to this country with a basic understanding that it is a place, with all its flaws and warts, where you’re free to express yourself and to pursue your dreams. We fled, with my parents, like many Cubana to this day fleeing, to seek freedom and opportunities for their families. And when you come here, there is a certain responsibility that you have to honor that freedom and have a strong work ethic and better yourself and your family. That is prevalent in all immigrant stories.That’s a heavy burden to carry.My brother René and I, we always kid that because we come from this situation where everything was taken away from our family in Cuba there’s a part of us that always says, “We have to work hard and save because one day they’re going to come and take everything away from us again.” We all have these trigger points subconsciously that become behavioral patterns. They’re ingrained in you since childhood depending on your journey.Do you long to return to Cuba?Every day.Did you ever consider visiting after the Obama administration eased restrictions on travel to the island for American citizens in 2015?No. It’s like asking a Jewish person if they’d go back to Nazi Germany. Everybody has their own personal reason to go, and I don’t pass judgment. But I’ve been critical of that regime; if I went, they would use it to say, “See, he believes we’re doing the right thing. He’s here vacationing.” They won’t let us in there to do a concert and speak my mind. But I did go back to the Guantánamo Bay Naval Base with Gloria and Emilio [Estefan]. We did a concert for the rafters [Cuban refugees] in 1995. At the time, there were around 16,000 rafters in an interim camp.One time the U.S. interests section in Havana invited us — at the time there wasn’t an embassy there — to show my movie “The Lost City” [his 2006 film set in Cuba]. I said, “Can you guarantee my safety?” They said, “We cannot.” And I said, “Thanks for the invite.” But I know many people who have gone to Cuba who are in the public eye. The Cuban ones who have gone, they’re watched. They have government people following them around.You are a prolific performer, playing leads, as in “Father of the Bride,” as well as numerous supporting parts. What’s your philosophy on longevity?I had a conversation with Tom Hanks at an event one time. We were talking about the business and I said, “Tom, I just want to stay on the menu.” When you open the menu, just let me be one of the choices: an appetizer or a main course. If you can stay on the menu, then you can provide for your family and explore your art form. If you’re off the menu, it’s hard to get ordered. If you’re fortunate, you might be the flavor of the month for a moment, but then you’ve got to keep yourself on the menu. Be there for the long haul, for a body of work. More