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      Robert Towne, Screenwriter of ‘Chinatown’ and More, Dies at 89

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      Celebrated for his mastery of dialogue, he also contributed (though without credit) to the scripts of “Bonnie and Clyde” and “The Godfather.”Robert Towne, whose screenplay for Roman Polanski’s “Chinatown” won an Oscar, and whose work on that and other important films established him as one of the leading screenwriters of the so-called New Hollywood, died on Monday at his home in Los Angeles. He was 89.His publicist, Carri McClure, confirmed his death on Tuesday. She did not cite a cause.Mr. Towne’s Oscar was part of a phenomenal run. He was nominated for best-screenplay Oscars three years in a row; his “Chinatown” win, in 1974, came between nominations for “The Last Detail” and “Shampoo,” both directed by Hal Ashby. He had also worked as an uncredited script doctor on “Bonnie and Clyde” (1967) and “The Godfather” (1972).He was widely regarded as a master at writing dialogue, though he was less gifted at meeting deadlines — he was notorious for delivering long, unshapely scripts way past their due dates. The film historian David Thomson called him “a fascinating contradiction: in many ways idealistic, sentimental and very talented; in others a devout compromiser, a delayer, so insecure that he can sometimes seem devious.”Mr. Towne speaking at the Writers Guild Awards in Los Angeles in 2016.Phillip Faraone/Getty Images North AmericaMr. Towne later directed a few movies, and occasionally appeared onscreen, but he left his most lasting mark as a writer. And although he remained active into the 21st century, his reputation is based largely on the work he did in the 1970s.Beginning in the late 1960s with cutting-edge movies like “Midnight Cowboy” and “Easy Rider” and running through “Raging Bull” in 1980, the New Hollywood was a pinnacle for American directors, who followed the French auteur model of making idiosyncratic, personal movies, and also for talented screenwriters like Mr. Towne and a small army of gifted actors, like Jack Nicholson and Dustin Hoffman, who did not fit the old Hollywood mold.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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      ‘Beverly Hills Cop: Axel F’ Review: It’s Busted

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      Eddie Murphy struggles to revive the moribund action-comedy franchise.In “Beverly Hills Cop: Axel F,” the Detroit detective Axel Foley (Eddie Murphy) is no longer the fast, young cop we last saw 30 years ago. The beleaguered Captain Jeffrey Friedman (Paul Reiser) thinks the older and slower Axel should reconnect with his estranged daughter, Jane (Taylour Paige), who works as a defense attorney in Los Angeles. She is representing someone accused of killing a possible dirty cop. When masked men dangle Jane’s car with her inside from a roof, Axel, at the request of his longtime pal Billy Rosewood (Judge Reinhold), comes to Los Angeles to find the culprits.Murphy returns with the same Detroit Lions jacket, his familiar chuckle and his movie star grin. But there’s little to smile about in this painfully lackluster retread desperately trying to justify its own existence.In his feature directing debut, Mark Molloy — who plied his trade making commercials — tries to imagine a world where Axel is no longer a beloved wisecracker. Jane hates Axel for abandoning her as a child. Her former flame, Detective Bobby Abbott (Joseph Gordon-Levitt), who later teams up with Axel, also thinks Axel’s penchant for public destruction is outdated. Axel’s ruminations on parenting and policing are short-lived in the face of the flashy Captain Cade Grant (Kevin Bacon), who seems to be actively impeding Axel’s investigation as a bemused Chief John Taggart (John Ashton) looks on.Molloy’s film (streaming on Netflix) is a slog: The dirty cop mystery is half-baked; the visual effects are half-rendered; the action lacks any sense of physical space. In the opening scene, Axel’s attempt to stop a robbery in the Red Wings’ locker room becomes a shaky street chase with Axel in a snowplow and the robbers on bikes. Rather than film the scene as a cohesive shot, Molloy filmed the bikers and Murphy separately. The result is a scattered set piece without any visual cohesion.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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      Andrew Scott’s Best Roles and Moments

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      The star of “Ripley” and “All of Us Strangers” has become one of our most reliably excellent actors.There are some actors who always, no matter the size of their role or the context of their performance, draw the eye. Andrew Scott, who has most recently appeared as the slippery, scheming protagonist in the Netflix series “Ripley,” is one of them. He is enthralling to watch, his emotional notes meticulously constructed, with playful touches of chaos that always leave space for moments of discovery and surprise. Here are a few of Scott’s favorite modes of performance, and how his popular roles reflect an actor excelling at his craft.The MadmanBBC/Hartswood Films for MasterpieceIn Scott’s breakout role, in “Sherlock,” he plays Moriarty, the criminal mastermind opposite Benedict Cumberbatch’s contemporary Sherlock Holmes. From Scott’s first appearance, in the Season 1 finale, he electrifies an already energetic show. Cumberbatch set the tone for “Sherlock” with his brutal, fast-paced wit; deductions tumble out of his mouth with strict precision, and in an impersonal monotone. Scott’s arrival, and his erratic singsong speaking, break this rhythm. There’s a menacing playfulness to not only his rhetorical delivery but also to his facial expressions. It adds a new dimension to the show.In their initial confrontation scene, Sherlock aims a gun at Moriarty, asking, “What if I was to shoot you now?” Moriarty responds with a cartoonish look of shock that starts at the top of his head and ripples down: his eyebrows popping up, his eyes widening, jaw dropping and neck drawing back. 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 94, June Squibb Is Scaling the Box Office in ‘Thelma’ and ‘Inside Out 2’

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      Still ambitious, she’s also starring in Scarlett Johansson’s directing debut. “I have always had this sense that I am going to get what I wanted.”At 94, June Squibb became an unlikely box office champ last month. She had roles in two of the country’s Top 10 movies: “Thelma,” the charming action comedy in which she plays the lead, and the No. 1 blockbuster “Inside Out 2.”Her career has spanned seven decades, Broadway, TV and an Oscar nomination, in 2014, for Alexander Payne’s “Nebraska.” But it’s “Thelma” that has ignited audiences: In it, Squibb is a live-wire nonagenarian grandmother who sets out to retrieve her money after being scammed. “We thought ‘Nebraska’ was hot,” she said during a recent video interview. “This is hotter.”“Thelma” is based on (and named for) the writer-director Josh Margolin’s real-life grandmother, who will turn 104 in July. Though the offscreen Thelma did not engage in a stunt-filled chase or even fall for the con, she and her alter ego share a sense of tenacity and a joie de vivre, if not a daredevil style on a mobility scooter.Squibb’s co-star is Richard Roundtree, the original “Shaft.” It was his final feature role before his death last year, at 81, from pancreatic cancer. He got to see the movie about a week before he died, Squibb said, explaining, “We had no idea that he was ill. It was a joy of my life to have had that time with him.”In “Inside Out 2,” Squibb plays Nostalgia, depicted as a bespectacled granny. “The rose-colored glasses got me right away,” she said, laughing. “I thought that was so funny.”She tap-danced her way though childhood in a small town in Illinois, and said she always wanted to be an actress. “It never occurred to me when I was growing up that I was anything else — that was it,” said Squibb, who is also the lead in Scarlett Johansson’s forthcoming directorial debut, “Eleanor the Great.” She is not considering retirement; she still thinks of herself as ambitious.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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      The Best Movies and TV Shows Streaming in July

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      “Sausage Party: Foodtopia,” “Lady in the Lake,” “Love Lies Bleeding” and “Those About to Die” arrive, and “Snowpiercer” returns.Every month, streaming services add movies and TV shows to their libraries. Here are our picks for some of July’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘Sausage Party: Foodtopia’ Season 1Starts streaming: July 11This sequel series to the raunchy 2016 animated comedy “Sausage Party” begins in the aftermath of that movie’s climactic battle between sentient supermarket foods and the humans who consume them. Seth Rogen (who also cocreated the franchise) returns as the voice of Frank, a hot dog who alongside his girlfriend/bun Brenda (Kristen Wiig) has to figure out how to build and lead a new society, for the benefit of all foodstuffs. The original film’s sex-obsessed Pixar parody gives way here to more of a political satire, as the well-meaning sausages try to prevent their friends from succumbing to anarchy or authoritarianism.‘Betty la Fea, The Story Continues’Starts streaming: July 19One of the most popular TV series ever produced, the Colombian telenovela “Yo soy Betty, la fea” has been adapted dozens of times, all over the world — including in the United States as “Ugly Betty.” Now much of the original’s cast members and characters return for a sequel, set over 20 years after their story began. In “The Story Continues,” Betty (Ana María Orozco) comes home to the fashion house where she started her rags-to-riches rise and met her now-estranged husband, Armando (Jorge Enrique Abello). While dealing with bittersweet memories and some familiar old rivalries, Betty once again has to fight to be respected for her sharp mind and kind heart, in an industry that tends to value superficiality and swagger.Also arriving:July 4“Space Cadet”July 9“Sam Morril: You’ve Changed”July 11“Tyler Perry’s Divorce in the Black”July 18“My Spy: The Eternal City”“Uninterrupted’s Top Class Tennis”July 25“Cirque du Soleil: Without a Net”“Troppo” Season 2Daveed Diggs in Season 4 of “Snowpiercer” on AMC+.AMC+New to AMC+‘Snowpiercer’ Season 4Starts streaming: July 21After three seasons on TNT, the fourth and final season of this postapocalyptic thriller moves to AMC, completing the saga of a heavily stratified society ripe for a revolution. Adapted from Bong Joon Ho’s 2013 film (itself adapted from a comic book series originated in 1982 by the writer Jacques Lob and the illustrator Jean-Marc Rochette), “Snowpiercer” stars Daveed Diggs as Andre Layton, one of the masses of underclass citizens who once were living in squalor on a massive passenger train, speeding across a ruined, ice-covered Earth. At the end of Season 3, Layton’s band of rebels went literally off the rails to found a new democratic community; but as the new season begins, they realize that their old nemeses from the train aren’t going to leave them alone.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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      5 Places to Visit in Baltimore, Maryland, With John Waters

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      The writer and director, famous for making theatergoers squirm in their seats, says he feels most at home wherever the outsiders gather in his native city.The 1998 John Waters film “Pecker” ends with an unlikely crowd carousing in a seedy basement bar/impromptu photo gallery in Baltimore. Strippers and one busty, enthusiastic art collector dance on tables as a talking Virgin Mary icon watches. It’s a jubilant, chaotic and naughty party open to anyone with a sense of humor, just the way the director likes it.Mr. Waters, 78, gained a cult following in the 1970s with delightfully shocking films like “Multiple Maniacs,” “Female Trouble” and, of course, the raunchy “Pink Flamingos” before breaking big with “Hairspray,” in 1988.Since then, Mr. Waters has built an empire of camp, now comprising more than a dozen films, spoken-word shows and numerous books, including his 2022 debut novel, “Liarmouth,” which has been optioned for a movie that Mr. Waters hopes will star Aubrey Plaza.Mr. Waters, a Baltimore native, grew up in Lutherville, Md., a suburb he described in a recent phone interview as “upper-middle-class everything.” Yearning for escape, he had his mom drop him off at a Baltimore beatnik hangout called Martick’s, even though he was underage. “She said, ‘Maybe you’ll meet your people here,’” he recalled.“I did find my people — bohemia!” he said.Since those days, Mr. Waters has become an unofficial spokesman for all things Baltimore, which was one of The New York Times’s 52 Places to Go in 2024. The city has embraced him, too. It honored him with an official day, Feb. 7, 1985 (it was a one-off), and the all-gender restrooms at the Baltimore Museum of Art, the institution to which he has bequeathed his sizable art collection, are named for him.Though Mr. Waters has apartments in San Francisco and New York and spends summers in Provincetown, Mass., he lives primarily in North Baltimore and has no plans to change that. “If I had to give up everywhere,” Mr. Waters said, “this is where I’d live.”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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      What Does Anxiety Look Like? How Pixar Created the ‘Inside Out 2’ Villain

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      The breakout character was initially envisioned as a monster. But when the filmmakers saw it wasn’t working, they found their way to a softer antagonist.“Inside Out 2” delivers a fresh crop of emotions for Riley, the film’s 13-year-old protagonist, who begins the story at the cusp of puberty. Anxiety, Embarrassment, Envy and Ennui join the core emotions from the original film: Joy, Anger, Fear, Disgust and Sadness.The most consequential of the new arrivals is Anxiety, whose well-meaning but chaotic influence pushes Riley and the other emotions to the edge of mental and social catastrophe. Voiced by Maya Hawke and bursting with discomfiting character details — unruly hair, bulging eyes, a grand-piano grin — Anxiety emerges as the hit sequel’s breakout star and unstable center of gravity.In a series of interviews, the team at Pixar that brought the character to life — the director Kelsey Mann, character designer Deanna Marsigliese and animation supervisors Evan Bonifacio and Dovi Anderson — broke down Anxiety’s anatomy and discussed taking inspiration from psychology research, the bird kingdom and the produce aisle. These are edited excerpts from the conversations.What was the initial idea for the character? Who was Anxiety?KELSEY MANN, director Initially, she was a shape-shifter. She was going to be this person who was lying about who she was. I wanted somebody that was almost made of clay. Kind of a monster character, almost like a lizard. But we eventually got rid of that twist because it made the movie really complicated.In early concept art, Anxiety, here opposite Joy, looked like a monster and had a claylike feel.Disney/PixarThe character was imagined as a shape-shifter and a liar.Disney/PixarWe 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’: Eddie Murphy Is Ready to Look Back

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      Eddie Murphy has been so famous for so long, occupying such a lofty place in the cultural landscape, that it can be easy to overlook just how game-changing a figure he actually is.Let’s start, as Murphy’s career did, with standup. There had been star comics before — Steve Martin, Richard Pryor — but none exploded with anything like Murphy’s speed or intensity. Swaggering, magnetic and able to bounce between sweet personal storytelling and controversial, defiantly un-P.C. material, he was, and forgive me for mixing disciplines, a rock star. “Eddie Murphy: Raw,” released in 1987 when he was only 26, is the highest-grossing standup-comedy film ever — still. The scale of his success, and the fact he achieved it without dulling his edge, redefined what a comedian could do, paving the way for the likes of Kevin Hart and Chris Rock.Listen to the Conversation With Eddie MurphyDavid Marchese talks to the comedy legend about navigating the minefield of fame, “Family Feud” and changing Hollywood forever.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon Music | NYT Audio AppHe also, of course, cast his spell on TV. When Murphy arrived at “Saturday Night Live” in 1980, the show was thought to be on the verge of cancellation. Through sheer force of charisma as well as instantly iconic, hilariously unpredictable recurring characters like his crotchety Gumby and the Mr. Rogers parody Mr. Robinson, Murphy brought the show back to life. A highly plausible argument can be made that without him, television’s most reliable comedy-star-making machine might not have made it to a 10th anniversary, let alone be nearing its 50th.But Murphy made his greatest mark in movies, where he reached new heights, for comedians and Black performers, of popularity and bankability. He helped pioneer the action-comedy genre with his quippy, improvisational-feeling performances in movies like “Beverly Hills Cop” and “48 Hrs.” And then in the mid-1990s, after a bit of a career dip, he transitioned to family-friendly films like “Shrek” and “The Nutty Professor” (one of multiple comedies in which Murphy virtuosically played wildly different characters), and continued to score giant hits.All of which is to say that American pop culture looked different after Eddie Murphy came along. Now he’s returning to the character that sent his career into the stratosphere with “Beverly Hills Cop: Axel F,” which comes to Netflix on July 3. It arrives 40 years after the first film in the series, in which Murphy stars as the wisecracking detective Axel Foley. He is clearly comfortable with the role — and with himself. In recent years, Murphy has been a somewhat enigmatic offscreen presence, but as I found out over the course of our two long conversations in the spring, he can be open and relaxed. He was eager to reflect on what he has achieved, share some Hollywood stories, explain why doing standup doesn’t appeal to him anymore and reveal the dream project he has never gotten off the ground. More