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    John Cena Got Sick From Filming 'Most Difficult Stunt' for 'The Suicide Squad'

    Warner Bros. Pictures

    The wrestler-turned-actor shows his ‘face of defeat’ as he talks about the ‘most difficult stunt’ he filmed for James Gunn’s upcoming DC star-studded anti-hero movie.

    Feb 3, 2021
    AceShowbiz – Wrestling icon-turned-actor John Cena was made to force down 40 empanadas in one take for filmmaker James Gunn’s upcoming “The Suicide Squad”.
    The “Blockers” star portrays Peacemaker in the DC Comics blockbuster, and he showed off his superhero costume on Monday (01Feb21) as he appeared on “The Tonight Show Starring Jimmy Fallon”.
    During the interview, Cena shared a photo of himself onset as he struggled to wolf down his 37th pastry for one scene, and admitted eating empanada after empanada was his biggest challenge in the film.
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    “That, right there, is the face of defeat,” he said of the image.
    “It was one big take, because the horribly beautiful, corrupted mind of James Gunn operates in so many intricate pieces and he wanted this big, giant take where I thought it’d be cool to be like, ‘Oh, it’d be funny to eat the whole empanada. Throw the thing over my shoulder, the guy catches it. It’s gonna be great. Everybody’s gonna think it’s awesome.'”
    It was only when he realised he had to repeat the stunt multiple times that Cena realised it wasn’t the best idea. “I had to do it 40 times, and nearly made myself sick,” he confessed. “That was my most difficult stunt in The Suicide Squad.”
    Gunn’s “The Suicide Squad”, due for release in August (21), is set to serve as a standalone sequel to 2016’s “Suicide Squad”, and will feature Cena alongside Margot Robbie, Joel Kinnaman, Sylvester Stallone, Viola Davis, Jai Courtney, Idris Elba, and Peter Capaldi.
    Cena will also be filming a Peacemaker TV spin-off, written and directed by Gunn.

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    ‘Ma Rainey’s Black Bottom’ and Beyonce Among Nominees at NAACP Image Awards 2021

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    Kehinde Wiley’s Black Rock Resident Artists Are Named

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyKehinde Wiley’s Black Rock Resident Artists Are NamedMembers of the global group share the painter’s passion for using art to explore social change.Kehinde Wiley at the Black Rock artist residence he founded in Dakar, Senegal, in 2019. It is welcoming its second group of artists, filmmakers and writers from around the world. Hilary Balu’s “Voyage vers Mars 5,” explores the flight of populations to other continents.Credit…Jane Hahn for The New York TimesFeb. 2, 2021Updated 2:59 p.m. ETA Congolese painter whose art reflects how globalization and consumerism have transformed African society. A Nigerian-American filmmaker whose work focuses on cultures and experiences of Africans and the diaspora. A visual activist from Texas who forces her viewers to confront issues that are deemed difficult to tackle.These are among the 16 artists selected for the 2021 residency at Black Rock Senegal, the seaside studio in the West African capital city of Dakar belonging to Kehinde Wiley, the painter best known for his portrait of former President Barack Obama.The artists, who will spend several weeks at the lavish studio along a volcanic-rock-lined shore, express themselves in a variety of formats and come from across the globe. But many in this year’s group share Wiley’s passion for using art to explore social change.His most recent works include the stained glass fresco of breakdancers in the Moynihan Train Hall and his “Rumors of War” statue in Richmond, Va. — a Black man with ponytailed dreadlocks on horseback in the style of monuments to Confederate war generals. Wiley is not part of the Black Rock selection committee, which aims to consider the class of artists as a whole and tries to pick a diverse group of residents, including personal identities and nationalities and the medium they work in.Among the residents is Hilary Balu, from Kinshasa, Democratic Republic of Congo, whose recent brightly colored yet sorrowful series “Voyage vers Mars” explores the tragedy of contemporary migration — in this case the flight of a population to another continent, like astronauts leaving a destroyed earth for another planet.Hilary Balu’s “Voyage vers Mars 5,” explores the flight of populations to other continents.Credit…MAGNIN-AAbbesi Akhamie, who lives in Washington, is a Nigerian-American writer, director and producer whose latest short film, ​“The Couple Next Door” from last year, premiered at the Aspen Shortsfest and won the Audience Choice Award at the Reel Sisters of the Diaspora Film Festival.Irene Antonia Diane Reece from Houston uses her family archives as a form of activism and liberation, with some of her work exploring family history and racial identity.Other residents include Delali Ayivor, a Ghanaian-American writer; Mbali Dhlamini, a multidisciplinary artist, and Arinze Ifeakandu, a Nigerian writer who recently graduated from the Iowa Writers’ Workshop and writes about queer male intimacy. The residents will each spend several weeks at a time in the studio, with coronavirus restrictions in place, in staggered stages, beginning this month.Some might overlap with Wiley, who has spent much of the past year in Dakar, using the global pandemic as an opportunity to pause and paint, sometimes working with Black Rock residents who have helped him in his work.“I’m learning to view, discuss, and critique art that often depicts the Black body from a range of perspectives that span the globe,” Wiley said in an email exchange. “There’s an unending variety of rubrics through which artists are pushing the possibilities of representation.”AdvertisementContinue reading the main story More

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    First 'Thor: Love and Thunder' Set Photos Show Chris Hemsworth and Chris Pratt in Full Costume

    Marvel Studios

    The ‘Guardians of the Galaxy’ star joins the Australian hunk during the filming of the fourth ‘Thor’ movie on Centennial Park in Sydney under the direction of Taika Waititi.

    Feb 2, 2021
    AceShowbiz – Photos from the set of “Thor: Love and Thunder” have landed online, giving first look at Chris Hemsworth and Chris Pratt in full costume. Both actors were spotted filming on Centennial Park in Sydney on Monday, February 1.
    The God of Thunder depicter flexed his biceps in Thor’s new costume as he rocked a red sleeveless vest with black accent on the collar, paired with blue pants. He also had Thor’s long hair back, with what looked like a small braid on one side.
    The Aussie hunk held Thor’s trusted Mjolnir, while Pratt joined his fellow “Avengers” actor on the set and seemed to admire the weapon as well. Star-Lord himself appeared to sport a familiar outfit, with some new trimmings.

    Chris Hemsworth and Chris Pratt were spotted on ‘Thor: Love and Thunder’ set in Sydney.
    Earlier that day, Thor embraced his more human side as Hemsworth was seen ditching his vest and only donning a white sleeveless top, paired with jeans. Pratt also took off Star-Lord’s robe, unveiling a long-sleeve shirt underneath.

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    They stood near a pile of ruins, which was dumped in the middle of the park, surrounded by brown set pieces that resemble rocks or ant colonies. Hemsworth’s stunt double was seen getting ready nearby. Also spotted on the set that day were Sean Gunn, who was dressed in a purple outfit as Kraglin, and Karen Gillan, who was fully dressed as Nebula.
    Hemsworth and Taika Waititi, who is directing the film, previously kicked off the production of “Thor: Love and Thunder” by taking part in a traditional ceremony. On January 25, the 37-year-old actor shared pictures taken from an indigenous land acknowledgment ceremony called Welcome to Country ceremony.
    He posted on Instagram photos of him and the filmmaker posing with native Australian dancers. The God of Thunder depicter dressed casually in a white sleeveless top and black shorts, while Waititi opted for a formal look in a navy suit.
    While Hemsworth and his family have been staying in their native Australia during the COVID-19 pandemic, other actors, including Tessa Thompson and Dave Bautista, had been isolating themselves after arriving in the country before the start of the shooting. Matt Damon recently brought his family Down Under, sparking a speculation that he’s joining the movie in an undisclosed role.
    The upcoming fourth installment of the Thor film franchise will also bring back Natalie Portman as Jane Foster, who will be taking up the mantle as Thor, and feature Christian Bale as the villain, Gorr the God Butcher.
    It is set for a May 6, 2022 release in the United States.

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    Hal Holbrook, Actor Who Channeled Mark Twain, Is Dead at 95

    AdvertisementContinue reading the main storySupported byContinue reading the main storyHal Holbrook, Actor Who Channeled Mark Twain, Is Dead at 95He carved out a substantial career in television and film but achieved the widest acclaim with his one-man stage show, playing Twain for more than six decades.Hal Holbrook on stage as Mark Twain in 2005. Mr. Holbrook was 29 when he started playing Twain at 70; as he grew older, he found he needed less and less makeup to look elderly.Credit…Sara Krulwich/The New York TimesFeb. 2, 2021, 12:17 a.m. ETHal Holbrook, who carved out a substantial acting career in television and film but who achieved his widest acclaim onstage, embodying Mark Twain in all his craggy splendor and vinegary wit in a one-man show seen around the world, died on Jan. 23 at his home in Beverly Hills, Calif. He was 95.His death was confirmed by his assistant, Joyce Cohen, on Monday night.Mr. Holbrook had a long and fruitful run as an actor. He was the shadowy patriot Deep Throat in “All the President’s Men” (1976); an achingly grandfatherly character in “Into the Wild” (2007), for which he received an Oscar nomination; and the influential Republican Preston Blair in Steven Spielberg’s “Lincoln” (2012).He played the 16th president himself, on television, in Carl Sandburg’s “Lincoln,” a 1974 mini-series. The performance earned him an Emmy Award, one of five he won for his acting in television movies and mini-series; the others included “The Bold Ones: The Senator” (1970),his protagonist resembling John F. Kennedy, and “Pueblo” (1973) in which he played the commander of a Navy intelligence boat seized by North Korea in 1968.Mr. Holbrook was a regular on the 1980s television series “Designing Women.” He played Willy Loman in “Death of a Salesman,” Shakespeare’s Hotspur and King Lear, and the Stage Manager in Thornton Wilder’s “Our Town.”But above all he was Mark Twain, standing alone onstage in a rumpled white linen suit, spinning an omnisciently pungent, incisive and humane narration of the human comedy.Mr. Holbrook in 1973, when he played the commander of a Navy intelligence boat seized by North Korea in the TV movie “Pueblo.”Credit…Jerry Mosey/Associated PressMr. Holbrook never claimed to be a Twain scholar; indeed, he said, he had read only a little of Twain’s work as a young man. He said the idea of doing a staged reading of Twain’s work came from Edward A. Wright, his mentor at Denison University in Granville, Ohio. And Mr. Wright would have been the first to acknowledge that the idea had actually originated with Twain himself — or rather Samuel Clemens, who had adopted Mark Twain as something of a stage name and who did readings of his work for years.Mr. Holbrook was finishing his senior year as a drama major in 1947 when Mr. Wright talked him into adding Twain to a production that Mr. Holbrook and his wife, Ruby, were planning called “Great Personalities,” in which they would portray, among others, Robert and Elizabeth Barrett Browning, John Alden and Priscilla Mullins, and Queen Victoria and Prince Albert.Mr. Holbrook had doubts at first. “Ed, I think this Mark Twain thing is pretty corny,” he recalled telling Mr. Wright after the first rehearsals. “I don’t think it’s funny.”But Mr. Wright prevailed upon him to stay with it, and in 1948 the character came along when the Holbrooks took to the road with a “Great Personalities” touring production.They first tried the Twain sketch before an audience of psychiatric patients at the veterans hospital in Chillicothe, Ohio — a circumstance Mr. Holbrook explains only vaguely in his 2011 memoir, “Harold: The Boy Who Became Mark Twain.” In the sketch, Mr. Holbrook’s cantankerous Twain was interviewed by Ruby Holbrook:“How old are you?”“Nineteen in June.”“Whom do you consider the most remarkable man you ever met?”“George Washington.”“But how could you have ever met George Washington if you’re only nineteen years old?”“If you know more about me than I do, what do you ask me for?”The patients stared straight ahead — “No one was looking at us,” Mr. Holbrook wrote — and guffawed at the laugh lines, proving that “the guys in the ward were saner than they looked” and that the material had legs.The Twain piece became their most popular sketch over the next four years, as the couple crisscrossed the country performing for schoolchildren, ladies’ clubs, college students and Rotarians.Meeting President Dwight D. Eisenhower as Mark Twain at the White House Correspondents’ Association dinner in 1959.Credit…Bob Schutz/Associated PressMr. Holbrook began developing his one-man show in 1952, the year Ms. Holbrook gave birth to their first child, Victoria. He soon looked the part, with a wig to match Twain’s unruly mop, a walrus mustache and a rumpled white linen suit, the kind Twain himself wore onstage. From his grandfather, Mr. Holbrook got an old penknife, which he used to cut the ends off the three cigars he smoked during a performance (though he was not sure whether Twain ever smoked onstage). He sought out people who claimed to have seen and heard Twain, who died in 1910, and listened to their recollections.He had more or less perfected the role by 1954, the year he began a one-man show titled “Mark Twain Tonight!” at Lock Haven State Teachers College in Pennsylvania.Two years later he took his Twain to television, performing on “The Ed Sullivan Show” and “The Tonight Show.” In the meantime he had landed a steady job in 1954 on the TV soap opera “The Brighter Day,” on which he played a recovering alcoholic. The stint lasted until 1959, when, tiring of roles he no longer cared about, he opened in “Mark Twain Tonight!” at the Off Broadway 41st Street Theater.By then the metamorphosis was complete. With his shambling gait, Missouri drawl, sly glances and exquisite timing, Hal Holbrook had, for all intents and purposes, become Mark Twain.“After watching and listening to him for five minutes,” Arthur Gelb wrote in The New York Times, “it is impossible to doubt that he is Mark Twain, or that Twain must have been one of the most enchanting men ever to go on a lecture tour.”Mr. Holbrook preparing his makeup. With his shambling gait, Missouri drawl, sly glances and exquisite timing, his metamorphosis became complete.Credit…Michael Stravato for The New York TimesBut for Mr. Holbrook, the Mark Twain guise he put on every night was a mask; behind it, he wrote in his memoir, was a lonesomeness that had plagued his early life, beginning when his parents abandoned him as a small child. As an adult he found his marriage, his fatherhood and even his stage life caught in an existential deadlock, with “survival and suicide impulses working in tandem.” His escape, he said, was punishing amounts of work, not to mention the company of friends like Tom Sawyer and Huck Finn.In his memoir, Mr. Holbrook described an emotional low point in the early 1950s. He was sitting in a hotel room at the end of a long day, still undecided about doing an all-Mark Twain show and feeling lost, when he began rereading “Tom Sawyer” for the first time since high school.“You heard the voices coming right off the page,” he wrote. “This was a surprise, and after a while I began to feel pleasant with myself and that was a surprise, too. Bitterness receded and in its place a boy came crowding in, his friends came in and his family, and it wasn’t very long before I did not feel so lonely anymore. Mark Twain had cheered me up.”Harold Rowe Holbrook Jr. was born on Feb. 17, 1925, in Cleveland. He was 2 years old when his parents left him. His mother, the former Aileen Davenport, ran off to join the chorus of the revue “Earl Carroll’s Vanities.” Harold Sr. went to California after leaving young Hal in the care of grandparents in South Weymouth, Mass.The young Mr. Holbrook spent his high school years at the Culver Military Academy in Indiana and then enrolled at Denison to major in the dramatic arts, but his education was interrupted by service as an Army engineer during World War II. He was stationed for a while in St. John’s, Newfoundland, where he joined an amateur theater group and met Ruby Elaine Johnston, who became his first wife. The couple returned to Denison after the war, and Mr. Holbrook soon became Mr. Wright’s prize student.After he became an established attraction in the United States, Mr. Holbrook took “Mark Twain Tonight!” to Europe, performing in Britain, Germany and elsewhere. German audiences roared when he presented Twain’s view of Wagnerian opera: “I went to Bayreuth and took in ‘Parsifal.’ I shall never forget it. The first act occupied two hours and I enjoyed it, in spite of the singing.”Mr. Holbrook and Emile Hirsch in the 2007 film “Into the Wild.”Credit…ParamountMr. Holbrook toured the country with the show several times a year, racking up well over 2,000 performances. He compiled an estimated 15 hours of Twain’s writings, which he dipped into whenever his routine needed refreshing. He won a Tony Award in 1966 for his first Broadway run in “Mark Twain Tonight!”Mr. Holbrook was 29 when he started playing Twain at 70; as he grew older, he found he needed less and less makeup to look elderly. He continued the act well past his own 70th birthday, returning to Broadway in 2005, when he was 80.After playing Twain for more than six decades, he abruptly retired the role in 2017. “I know it must end, this long effort to do a good job,” he wrote in a letter to the Oklahoma theater where he had been scheduled to perform. “I have served my trade, gave it my all, heart and soul, as a dedicated actor can.”Mr. Holbrook made his Broadway debut in 1961 in the short-lived “Do You Know the Milky Way?” He returned there in the musical “Man of La Mancha,” in Arthur Miller’s “After the Fall” and other plays.His scores of television appearances included “That Certain Summer” (1972), a groundbreaking film in which he starred as a divorced man who must ultimately admit to his son that he has a gay lover (Martin Sheen). In the early 1990s he had a recurring role on the sitcom “Evening Shade.”Mr. Holbrook’s many film roles tended to be small ones, although there were exceptions. One was as the mysterious informant Deep Throat in “All the President’s Men,” the 1976 film adaptation of the book by Bob Woodward and Carl Bernstein about the Watergate cover-up. Another was in “The Firm” (1993), based on John Grisham’s corporate whodunit, in which Mr. Holbrook played the stop-at-nothing head of a Memphis law firm.Mr. Holbrook and his wife, Dixie Carter, at the 2008 Screen Actors Guild Awards, where he was nominated for his role in “Into the Wild.”Credit…Chris Pizzello/Associated PressHis Oscar-nominated performance, in “Into the Wild,” directed by Sean Penn, was as a retired military man who has a desert encounter with a young man on a quest for self-knowledge that would ultimately take him to the Alaskan wilderness. His final screen roles were in 2017, when, at 92, he guest-starred in episodes of the television series “Grey’s Anatomy” and “Hawaii Five-0.”Mr. Holbrook’s first marriage ended in divorce in 1965. In addition to their daughter, Victoria, they had a son, David. His second marriage, to the actress Carol Eve Rossen, ended in divorce in 1979. They had a daughter, Eve. In 1984 he married the actress Dixie Carter, who died in 2010.He is survived by his children as well as two stepdaughters, Ginna Carter and Mary Dixie Carter; two grandchildren; and two step-grandchildren.In adapting Mark Twain’s writing for the stage, Mr. Holbrook said he had the best possible guide: Twain himself.“He had a real understanding of the difference between the word on the page and delivering it on a platform,” he told The San Francisco Chronicle in 2011. “You have to leave out a lot of adjectives. The performer is an adjective.”Richard Severo, Paul Vitello and William McDonald contributed reporting.AdvertisementContinue reading the main story More

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    Robin Wright Gets Candid About Experience in Skinning Animal for 'Land'

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    As she opens up about her biggest challenge on her movie directorial debut, the ‘House of Cards’ star reveals that she was ‘ready to throw in the towel’ when pitching the film at the Cannes Film Festival.

    Feb 2, 2021
    AceShowbiz – Robin Wright Penn’s biggest challenge on her movie directorial debut “Land” was skinning an animal.
    The actress helmed the film and also stars as Edee – a lawyer who takes herself off the grid and travels to the most unpopulated area in the United States – and the actress admitted she was left “shocked” by the animal skinning process.
    Wright – who has directed 10 episodes of Netflix drama “House of Cards” – told USA Today, “It was stomaching the skinning of the animal. And I eat meat.”

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    “But I just – I don’t want to see that. You don’t think it’s going to shock you. And it does. I mean, you couldn’t have a more distant comparison between what it was like shooting House of Cards to shooting and directing Land. (For House of Cards) we were on a stage outside of Baltimore for six years on sets in an airplane hangar. This was a completely different beast because you’re dealing with nature.”
    But the movie – which also stars Demian Bichir and Kim Dickens – nearly didn’t make it to screens, as Wright admitted she was “ready to throw in the towel” when pitching the motion picture at the Cannes Film Festival, but her final meeting of the day, with Focus Features, proved to be successful.
    “No one was biting. I was like, I don’t think this is going to work,” she recalled. “I don’t think anybody wants to see this movie. And I was ready to throw in the towel.”
    Of Bichir, Wright said that he “had a great desire to play this part because he went through a similar situation in his life, the way Edee did, and it was therapy for him. He told me that he needed to do it for that reason.”

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    Berlin Film Festival Composes 2021 Jury Out of Golden Bear Winners

    About the selected jury, artistic director Carlo Chatrian claims they express not only different ways of making uncompromising films and creating bold stories but also represent a part of Berlinale’s history.

    Feb 2, 2021

    The Berlin Film Festival has unveiled a jury of Golden Bear winners – its top accolade – for the 71st edition.
    Due to the ongoing COVID-19 pandemic, the jury, comprised of Iranian director Mohammad Rasoulof, Israeli director Nadav Lapid, Romania director Adina Pintilie, Hungary director Ildiko Enyedi, Italian director Gianfranco Rosi and Bosnian director Jasmila Zbanic, will view the competition films in a movie theatre in Berlin. And this year there will be no jury president.
    Artistic director Carlo Chatrian told Variety, “I’m happy and honored that six filmmakers I admire a great deal have enthusiastically accepted our invitation to take part in this unique edition.”

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    “They express not only different ways of making uncompromising films and creating bold stories but also they represent a part of the history of the Berlinale. In this moment in time, it is meaningful and a great sign of hope that the Golden Bear winners will be in Berlin watching films in a theater and finding a way to support their colleagues.”

    Juries will decide on the prizes from the Competition, Berlinale Shorts, Encounters and Generation sections, and announce the award-winners during the Industry Event. From June 9-20, the festival will hold physical screenings for the public, with the filmmakers attending, in what is billed as a Summer Special.
    Chatrian and the various festival section heads is set to publish their film selections from February 8-11. On February 8, the Retrospective and Generation lineups will be announced as Berlinale Shorts, Forum and Forum Expanded on February 9 while Encounters, Panorama and Perspektive Deutsches Kino on February 10. On February 11, they will announce Competition and Berlinale Special. On the same day, Chatrian and Rissenbeek will hold a video presentation at 11 a.m. CET to present this year’s festival format.

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    The 10 Best Titles Leaving Netflix This Month

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyThe 10 Best Titles Leaving Netflix This MonthAn array of great movies and TV shows are leaving for U.S. subscribers by February’s end. It’s a short month; stream these while you can.From left, Will Ferrell, Steve Coogan and Mark Wahlberg in “The Other Guys,” from 2010, a kind of bridge for the director Adam McKay between films like “Talladega Nights” and “The Big Short.”Credit…Macall Polay/ColumbiaPicturesFeb. 1, 2021, 4:52 p.m. ETThis month’s batch of Netflix exoduses feature some big names — Eastwood, Scorsese, Soderbergh, Verhoeven — and a variety of pleasures, from cop comedy to gangster sprawl to historical documentary, as well as the erotic thriller that launched a thousand imitators (and parodies).Catch these 10 titles before they leave Netflix in the United States by the end of February. (Dates indicate the final day a title is available.)‘The Other Guys’ (Feb. 11)Adam McKay began his film career making broadly funny, crowd-pleasing Will Ferrell comedies like “Anchorman” and “Talladega Nights”; these days, he is known as the Oscar-winning writer and director of the sharp-edged sociopolitical studies “The Big Short” and “Vice.” This 2010 comedy was the unlikely hinge between those worlds. On its surface, “The Other Guys” is a sendup of buddy cop movies, with Ferrell and Mark Wahlberg as second-string New York police detectives. But McKay uses those spoof elements as cover, smuggling in a pointed indictment of the shenanigans that led to financial meltdown, culminating in an informative end credit sequence that now plays like a prologue to “The Big Short.”Stream it here‘Hostiles’ (Feb. 14)Making a Western in the 21st century is a tricky bit of business: It’s a genre knotted up with leftover stereotypes and assumptions, and reckoning with the true legacy of that era, particularly with regard to the genocide of Native Americans, is a bigger job than most filmmakers are willing to accept. This 2017 effort from the writer and director Scott Cooper (“Crazy Heart”), on the other hand, deals with those issues head on, focusing on a cavalry officer (Christian Bale) who must put aside his bigotry when he’s forced to escort a dying Cheyenne chief (Wes Studi) back to his Montana home. Cooper refuses to romanticize the era or soft-pedal its brutality. It’s a blunt, difficult movie, but a rewarding one.Stream it hereFreddie Highmore and Vera Farmiga as Norman and Norma Bates in a scene from “Bates Motel.”Credit…Joe Lederer/A&E‘Bates Motel’: Seasons 1-5 (Feb. 19)When A&E debuted this “Psycho” prequel series back in 2013, it sounded like a beating-a-dead-horse situation (especially since the franchise had already yielded three sequels, a TV movie and a remake). But the series quickly came into its own, supplementing its original exploration of the rich psychological dynamic between a young Norman Bates (Freddie Highmore) and his mother, Norma (Vera Farmiga), with expansive story lines about their family history and the town around them. Ultimately, however, the show works thanks to Highmore and Farmiga, who flesh out two of cinema’s most iconic characters into living, breathing, complicated people.Stream it here‘Basic Instinct’ (Feb. 28)The runaway commercial success of this 1992 mystery would kick-start a yearslong cycle of erotic thrillers — steamy, provocative portraits of murderously attractive women and the reckless men who must have them. But few were put together with the kind of sleek style and sweaty sleaze created by the combustible combination of the director Paul Verhoeven and the writer Joe Eszterhas. Its most controversial elements haven’t aged well, yet it remains a case study in the specific skills required to make truly great trash. It also made Sharon Stone a star, and it’s not hard to see why; her work here is a pulse-quickening combination of noir femme fatale, icy Hitchcock blonde and unapologetic MTV-era sexuality.Stream it here‘Easy A’ (Feb. 28)Another Stone — Emma — also became a star, 18 years later, thanks to her work as a big-screen “bad girl,” although in this case, it’s all an act. The director Will Gluck’s clever riff on “The Scarlet Letter” features Stone as the splendidly named Olive Penderghast, whose entirely fictitious promiscuity turns her into a high school cause célèbre. Bert V. Royal’s screenplay asks properly pointed questions about gender roles and identity while providing juicy roles for a stellar supporting cast (including Lisa Kudrow, Thomas Haden Church, Malcolm McDowell and best of all, Patricia Clarkson and Stanley Tucci as Olive’s parents). But the main attraction remains Stone, who puts across the character’s intelligence, wit, self-awareness and self-doubt with charm and poignancy.Stream it here‘The Gift’ (Feb. 28)The actor Joel Edgerton (“Loving”) made his feature debut as a writer and director with this moody, unnerving 2015 psychological thriller. He also co-stars as Gordo Moseley, who tries a bit too hard to ingratiate himself into the life of a former high school classmate (Jason Bateman) and his wife (Rebecca Hall). Edgerton’s crisp screenplay deftly dramatizes the delicacy with which social norms and “good manners” can hide our deepest secrets, and he coaxes a disturbing turn out of Bateman, giving a pre-“Ozark” hint of the darkness lurking beneath his established persona of cheerful ironic detachment.Stream it hereFrom left, Ray Liotta, Joe Pesci and Robert De Niro in “Goodfellas.”Credit…Warner Bros.‘GoodFellas’ (Feb. 28)This 1990 gangster epic from Martin Scorsese seems to come and go from Netflix every couple of months, but it’s going again, so catch it while you can. Ray Liotta stars as the real-life wiseguy Henry Hill, a low-level grinder for a New York crime family whose high-spirited, backslapping life of crime descends into a paranoid nightmare of drugs and death. Robert De Niro is both affable and terrifying as Hill’s mentor, while Joe Pesci won an Oscar for his unforgettable role as a hot-tempered gunman with an itchy trigger finger. (He’s very funny, but don’t tell him that.)Stream it here‘Gran Torino’ (Feb. 28)Clint Eastwood directs and stars in this 2008 drama about a bitter and bigoted Korean War veteran who spends most of his days sitting on the porch of his Detroit home and growling at his Hmong neighbors — until he strikes up an unlikely friendship with young Thao (Bee Vang), and begins to understand the difficulties of Thao’s life. Much as his 1992 masterpiece “Unforgiven” complicated and re-contextualized Eastwood’s many Western films, “Gran Torino” subtly examines the casual racism of the actor’s police dramas, suggesting one of the most quietly daring ideas of his late filmography: that it’s never too late to change the limited ways we see the world.Stream it here‘Haywire’ (Feb. 28)Steven Soderbergh is known for many types of movies — indie character studies, Oscar-winning dramas, crowd-pleasing heist movies — but few thought of him as an action director until he built this vehicle for the mixed martial artist Gina Carano in 2012. Eschewing many of the more irritating techniques of contemporary action cinema (like cut-to-ribbons editing and overpowering music), “Haywire” is essentially a gender-flipped James Bond adventure, with Carano as a for-hire operative who gets burned by her employer (Ewan McGregor) and has to save her own skin. The results are sleek and action-packed, offering the distinct pleasure of watching Carano pick off an all-star cast (including Michael Douglas, Antonio Banderas, Channing Tatum and Michael Fassbender) one by one.Stream it hereDan Lindsay and T.J. Martin’s documentary “LA 92” looks at the 1992 riots in Los Angeles.Credit…Nick Ut/Associated Press‘LA 92’ (Feb. 28)On the 25th anniversary of the 1992 Los Angeles uprising (following the acquittal of four white police officers who were caught on tape beating a Black motorist, Rodney King), the Oscar-winning documentarians Daniel Lindsay and T.J. Martin (“Undefeated”) assembled this harrowing ticktock of the protests, rioting and unrest of those days. Jettisoning such documentary standbys as contemporary retrospective interviews and “voice of God” narration, the filmmakers instead rely solely on archival footage from the time. The effect is shattering, creating a visceral immediacy that parachutes the viewer into that earthshaking moment, with no clear resolution in sight.Stream it hereAdvertisementContinue reading the main story More

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    Sundance Diary, Part 4: Contending With Snow and Tech Support

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storySundance Diary, Part 4: Contending With Snow and Tech SupportThe New York weather adds a Park City ambience, but watching online from home presents un-festival-like obstacles.A scene from Jonas Poher Rasmussen’s animated “Flee,” about an Afghan refugee in Denmark.Credit…Sundance InstituteFeb. 1, 2021A.O. Scott, our critic at large, is keeping a diary as he “attends” the virtual Sundance Film Festival, which runs through Wednesday. Read previous entries here and here.Sunday, 10 p.m. Eastern time: The arrival of snow in New York definitely adds a taste of authentic Park City-in-January atmosphere, except of course that I don’t have to slog through the blizzard to get to screenings. Which is mostly a relief, even as it removes an essential element of self-congratulation from the festival experience. Critics and journalists like to compete over who can see the most movies in a single day. Four is pretty basic. Five gives you something to feel smug about. Six is impressive, though not everyone will believe you.But at home, watching six movies feels less like a rare and heroic feat of journalistic stamina than an all-too-usual, somewhat pathetic exercise in quarantine self-care, akin to taking in a whole season of “The Great British Baking Show” in one sitting. That isn’t something I’d brag about or even admit to having done. Also not something anyone would pay me to do, I don’t think.Anyway, for the record (and for the money): Today’s viewing included four documentaries and two features. I didn’t make it to the end of each one — walking out of movies is one of the guilty pleasures of festival-going. The highlights were two documentaries about contemporary American adolescence: Peter Nicks’s “Homeroom,” which follows a group of Oakland high school seniors through the tumult of the 2019-20 academic year; and Parker Hill and Isabel Bethencourt’s “Cusp,” which observes a summer in the lives of three Texas teenagers, Aaloni, Brittney and Autumn.Michael Greyeyes in a scene from “Wild Indian,” directed by Lyle Mitchell Corbine Jr.Credit…Eli BornMonday, 11 a.m. Eastern time: This morning I am unable to log onto the Sundance site to catch up on movies I missed over the weekend, a frustration that mirrors the experience of being shut out of a screening, without the trek through ice and snow. While the tech support people process my plea for help, I’m reviewing my notes from the weekend.“Flee,” directed by Jonas Poher Rasmussen, is an animated documentary organized around the memories of an Afghan refugee living in Denmark. It’s reminiscent of “Persepolis” in some ways — a personal, family story of displacement and self-reinvention set against a background of war and political struggle — but with its own tactful, melancholy aesthetic.“Wild Indian” is a strong debut by Lyle Mitchell Corbine Jr., the kind of spare, locally grounded, socially conscious drama that is a Sundance staple. “Passing,” Rebecca Hall’s adaptation of the Harlem Renaissance novel by Nella Larsen, is a subtle, somewhat mannered meditation on race, identity and desire, shot in evocative black and white and anchored by the intriguing lead performances of Tessa Thompson and Ruth Negga as childhood friends who re-encounter each other as grown women living on opposite sides of the color line.The glitch has been corrected. Back to the screening room, to make up for lost time — as soon as I shovel some snow.AdvertisementContinue reading the main story More