Movies

Subterms

    More stories

    • 150 Shares129 Views

      in Movies

      How ‘Her Story,’ a Feminist Comedy, Came to Rule China’s Box Office

      by

      “Her Story” touches on sensitive topics in China, like censorship and gender inequality. But its humorous, nonconfrontational approach may have helped it pass censors.The movie calls out stigmas against female sexuality and stereotypes about single mothers. It name-drops feminist scholars, features a woman recalling domestic violence and laments Chinese censorship.This is not some indie film, streamed secretly by viewers circumventing China’s internet firewall. It is China’s biggest movie right now — and has even garnered praise from the ruling Communist Party’s mouthpiece.The success of “Her Story,” a comedy that topped China’s box office for the last three weeks, is in some ways unexpected, at a time when the government has cracked down on feminist activism, encouraged women to embrace marriage and childbearing and severely limited independent speech. The film’s reception reflects the unpredictable nature of censorship in the country, as well as the growing appetite for female-centered stories. Discussion of women’s issues is generally allowed so long as it does not morph into calls for rights. “Her Story,” which some have called China’s answer to “Barbie,” cushions many of its social critiques with jokes.The director of “Her Story,” Shao Yihui, has emphasized at public appearances that she is not interested in provoking “gender antagonism,” an accusation that official media has sometimes lobbed against feminists.At a time of sluggish growth and anemic ticket sales, movie producers — and perhaps government regulators — have been eager to attract female audience members, an increasingly important consumer base. Other recent hit movies have also been directed by and starred women, including the year’s top box office performer, “YOLO.”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

    • 125 Shares189 Views

      in Movies

      ‘Nature of the Crime’ Review: Yearning for a Second Chance

      by

      Two incarcerated men navigate parole boards in a documentary that asks the question: Should the guiding principle of criminal justice be retribution or rehabilitation?Peering into the heart of the beast we call the justice system, the directors Ricki Stern and Jesse Sweet zero in on parole, a part of the process that usually unfolds behind closed doors. “Nature of the Crime” offers rare glimpses of the make-or-break interviews that, in more cases than not, deny petitioners their longed-for second chance. As it traces, over a four-year period, the cycles of hope and despair for two incarcerated men — both in New York prisons for crimes committed in the state — this quiet and affecting documentary is at once an argument for reform and a soul-searching question: Should the guiding principle of criminal justice be retribution or rehabilitation?The men at the center of the film have been behind bars for more than 30 years. Todd Scott was 19 when he was charged, alongside three others, with the killing of a rookie police officer in Queens. Chad Campbell was charged at 14 with committing a horrific double murder in his upstate hometown. Speaking to the filmmakers, and in conversations with their devoted pro bono attorneys, they are thoughtful and sincere. When they also recall the abuse they suffered as children, they provide context, not excuses.For Scott and Campbell, the past is not mere prologue, but an ever-present, insurmountable barrier. The film’s title refers to a boilerplate bit of legalese that many New York parole boards invoke, a catch-22 that essentially denies the possibility of redemption. When Scott asks, “How can you be more remorseful?,” he’s speaking in terms both practical and philosophical. “Nature of the Crime” doesn’t sugarcoat the offenses, but, looking head-on at the offenders and where they are now, it asks that we do the same.Nature of the CrimeNot rated. Running time: 1 hour 29 minutes. Watch on Max. More

    • 125 Shares99 Views

      in Movies

      ‘It’s Not Me’ Review: Entering the Mind of Leos Carax

      by

      This personal film is a dynamic, even chaotic, collage of moments that bring the director back to his beginnings.Love poem, restless dream, troubled history, alchemist’s scrapbook — Leos Carax’s “It’s Not Me” is pure cinema as it dances through its dense 42 minutes. He crafted this indelibly personal and eccentric film in response to a prompt he was given from the Pompidou Center in Paris: “Where are you at, Leos Carax?”The answer sends the filmmaker, 64, back to beginnings. That means reflections on bad dads, artistic inspirations, his piano-playing daughter, and the 20th century in all its light and darkness, its movies and mass destruction. Carax creates a dynamic, even chaotic, collage of moments — including Denis Lavant and Juliette Binoche in clips from his movies “Mauvais Sang” (1986) and “Holy Motors” (2012) — alongside quotations and songs. (Among the audiovisual references: David Bowie, Jonas Mekas, the Apollo 17 astronauts, Nina Simone, Tintin, The Fall.)“It’s Not Me” displays the “can he do that?” spark that made his features cinematic events, here on a shaggier, smaller scale. Carax’s smoky voice-over, bold title cards and patchwork style might evoke Jean-Luc Godard’s later enigmas, but the film feels more like late-night conversations with a beloved, weirdo friend. How can you not love a filmmaker who portrays his writing method as scribbling in his sleep, surrounded by pets?One idea the film nurtures is that speed is of the essence (and the definition of motion pictures). You can slow down and pore over its references, or you can let Carax’s cinematic flow glide you along. The lovely “Annette”-inspired coda should bring a twinkle to your eye.It’s Not MeNot rated. Running time: 42 minutes. In theaters and available to rent or buy on most major platforms. More

    • 150 Shares99 Views

      in Movies

      It’s Ariana Grande vs. Selena Gomez at the Oscars (in Fans’ Minds)

      by

      Anyone who follows the Oscar race knows it can get nasty. Over the long arc of awards season, films can fall in and out of favor, villains can emerge, and campaigns can be ferocious in their pursuit of gold statues. But movie fans aren’t used to the vitriol that comes along with pop music. Now, they are getting a taste.This year two major pop stars have big roles in notable movies, both of which happen to be musicals. Ariana Grande is the pink-clad mean girl Glinda in “Wicked,” and Selena Gomez plays a cartel boss’s wife in “Emilia Pérez.” While these women have been nothing but nice to one another in the press, their stans, or armies of supporters, have been going to war and drawing unsuspecting bystanders into the battle.Pop music fans are notoriously ruthless — far more so than movie lovers. Their loyalty is unwavering to the point that they take aim at anyone who dare criticize their beloved stars. Perceived slights have resulted in threats and doxxing. And now they have a stake in the Oscars. It’s causing chaos.It’s not as if pop stars have never competed for movie prizes. Cher and Barbra Streisand might have something to say about that. More recently Lady Gaga was nominated in 2019 for her role in “A Star Is Born.” But rarely have two pop idols gone head to head in the way Grande and Gomez are. The notion of a rivalry gained even more fuel this week when they both landed in the same supporting actress category in the Golden Globe nominations.Not that Grande and Gomez seem to have any personal beef. In an October red carpet interview, Gomez said she was “just excited to see Ariana’s movie.” Grande then posted on Instagram: “and we cannot wait for Emilia Perez,” adding a message to Gomez, “I just adore you.”But you would not know that these lovely words had been exchanged if you look at how their fans are acting on X.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

    • 163 Shares149 Views

      in Movies

      Golden Globes 2025: ‘Emilia Pérez’ Leads Nominations, Plus Nods for ‘Conclave’ and ‘Wicked’

      by

      The movie received 10 nods, leading the field. Angelina Jolie, Timothée Chalamet, Pamela Anderson and Zendaya drew acting nominations.The point of the Golden Globes has become clearer in recent years: It’s a cash register masquerading as an awards show — an opportunity to sell advertising, promote winter movies and flog designer gowns.Celebrity attendance makes the whole thing run, of course, and so trophies are dangled as bait. On Monday, the companies behind the Globes announced the 2025 list of nominees, and — ka-ching! — there are a ton of stars on it, including Angelina Jolie, Timothée Chalamet, Zoe Saldaña, Nicole Kidman, Jamie Foxx, Jake Gyllenhaal, Ariana Grande, Keira Knightley, Pamela Anderson, Zendaya, Demi Moore, Glen Powell, Selena Gomez, Daniel Craig, Kate Winslet, Miley Cyrus and Denzel Washington.Netflix’s “Emilia Pérez,” a Spanish-language musical exploring trans identity, received 10 nominations, the most of any movie, including one for best comedy or musical. “The Brutalist,” “Conclave,” “Wicked” and “Anora” will be among the other films contending for the top prizes, with “The Bear,” “Shogun,” “Only Murders in the Building” and “Baby Reindeer” among the programs vying for the TV equivalents.Notable nominations included Winslet, a surprise double nominee for “Lee,” a little-seen biopic with mediocre reviews, and “The Regime,” a poorly reviewed HBO mini-series. The best director category included Coralie Fargeat for her satirical body horror film “The Substance” and Payal Kapadia for “All We Imagine Is Light,” about a Mumbai nurse; both women will now figure more prominently in the Oscar conversation.And the notable omissions? Danielle Deadwyler (“The Piano Lesson”) and Marianne Jean-Baptiste (“Hard Truths”), both perceived as potential Oscar nominees, were among several Black performers who did not make the list. Similarly, the prison drama “Sing Sing” was largely passed over, although its star, Colman Domingo, received a nod.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

    • 100 Shares129 Views

      in Movies

      Golden Globes Nominees 2025: See the Complete List

      by

      The movies and TV series competing for the 82nd Golden Globe Awards. The ceremony will air on Jan. 5.The nominations for the 82nd Golden Globes were announced Monday, and “Emilia Pérez” and “The Brutalist” are the top nominees.The musical “Emilia Pérez” received the most nominations at 10, followed by the epic period drama “The Brutalist” with seven. On the television side, “The Bear” led with five nominations, but was in good company with “Only Murders in the Building” and “Shogun” receiving four each.The ceremony, hosted by the comedian Nikki Glaser, will air on Jan. 5 on both CBS and Paramount+. See below for the full list.Best Motion Picture, Drama“The Brutalist”“A Complete Unknown”“Conclave”“Dune: Part 2”“Nickel Boys”“September 5”Timothée Chalamet in “A Complete Unknown.”Searchlight PicturesBest Motion Picture, Musical or Comedy“Anora”“Challengers”“Emilia Pérez”“A Real Pain”“The Substance”“Wicked”Best Motion Picture, Animated“Flow”“Inside Out 2”“Memoir of a Snail”“The Wild Robot”“Wallace and Gromit: Vengence Most Fowl”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

    • 150 Shares99 Views

      in Movies

      Elaine May Makes a Rare Appearance to Talk About ‘Mikey and Nicky’

      by

      At a screening of the gangster tale starring Peter Falk and John Cassavetes, the director recalls her battle with Paramount to get the film released.At Metrograph theater on Friday, a crowd of around 175 people was treated to the cinephile’s equivalent of a Bigfoot sighting on the Lower East Side: A rare public appearance by the 92-year-old writer, director and actress Elaine May.May chooses her creative projects sparingly — she won a Tony in 2019 for her last major acting role, in “The Waverly Gallery” — and almost never sits for interviews. But her friend and longtime collaborator Phillip Schopper convinced her that it was a worthwhile occasion: A screening, hosted by the American Cinema Editors society, of the director’s cut of her storied 1976 gangster flick, “Mikey and Nicky,” followed by a craft-oriented discussion with Schopper and an assistant editor on the film, Jeffrey Wolf. “Ask me anything,” May said to them at the start of a lively 40-minute discussion — a tantalizing prospect coming from such an elusive figure.May’s directorial career started out with a hit: Her riotous 1971 comedy “A New Leaf,” which was released a decade after the dissolution of her era-defining professional partnership with Mike Nichols.But in 1973, as she began shooting “Mikey and Nicky” — a bleakly funny tale of wounded masculinity and betrayal, starring John Cassavetes and Peter Falk — she and the executives at Paramount started butting heads. In part because she needed to work around Falk’s busy “Columbo” schedule, production went late and over budget. When May did not deliver a cut of the film by the contractual deadline, and several reels of the film mysteriously disappeared, Paramount sued her. Litigation stretched on for nearly year, until, in May’s telling on Friday, studio executives “got really nervous that I would be jailed.” She heard one of the higher-ups reason, “Do we really want to be the only studio that has ever jailed a director for going over budget?”In the end, as May recalled, they reached a compromise: “They actually gave me the movie back because they didn’t want to promote it, because they thought it would be such a flop.” Paramount buried it with an extremely limited release over Christmas 1976. Critics largely spurned it — in The Times, Vincent Canby wrote of May that “it took guts for her to attempt a film like this, but she failed” — and audiences who associated May’s name with zany comedy were put off by the film’s dark tone.In recent years, though, “Mikey and Nicky” has been the subject of a reappraisal and has finally found an audience, thanks in part to a 4K restoration of the director’s cut that was supervised by Schopper and released by Criterion in 2019. May’s directorial reputation, too, has been on the rise over the past decade. To a younger generation of cinephiles that does not remember the press’s frenzied fascination with the Paramount lawsuit or the production travails of her fourth and final film, “Ishtar,” May is now appreciated as a maverick filmmaker who challenged the studio’s whims and worked on her own terms. The audience that had sold out the Metrograph screening in mere minutes was noticeably reverent and intergenerational.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

    • 175 Shares179 Views

      in Movies

      Golden Globes Snubs and Surprises: Jon M. Chu, Danielle Deadwyler, ‘The Substance’ and More

      by

      Female directors were well-represented, while “Dune: Part Two” and “Sing Sing” didn’t do as well as expected.The 82nd Golden Globes nominations were announced Monday morning and the unconventional musical “Emilia Pérez” had plenty to sing about: The Netflix film topped all movies with 10 nominations, followed by “The Brutalist” and “Conclave.” Here are some of the most notable takeaways from this year’s field.Ryan Reynolds rebuffedRyan Reynolds wasn’t nominated for “Deadpool & Wolverine.”20th Century Studios/MarvelBefore a series of recent scandals prompted the Golden Globes to diversify its voting membership, you could count on this show to favor celebrity over critical consensus: Every year, the list of nominees included A-list megastars who were recognized even when their projects were not up to par. The old Globes voters, for instance, would have been eager to nominate the “Deadpool & Wolverine” star Ryan Reynolds for best actor in a comedy or musical, if only to lure Reynolds and his wife, Blake Lively, to their red carpet. The new Globes voters proved more resistant to his charms, though they did find room for the Marvel blockbuster in their dubious box-office achievement category, added last year.A ‘Sing Sing’ setbackClarence Maclin, left, and Colman Domingo in “Sing Sing.”A24Just last week, the A24 prison drama “Sing Sing” had a strong night at the Gothams, picking up wins for lead performance (Colman Domingo) and supporting performance (Clarence Maclin). The Globes proved less enamored: Only Domingo scored a nomination, and both Maclin and the film were snubbed. After an acclaimed but quiet run in theaters earlier this summer, the “Sing Sing” awards-season relaunch just took its first notable 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