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<!–> [–><!–>When we talk about the movies we love, every voice deserves a spotlight. So after publishing our official list of the best movies of the 21st century, compiled from the votes of 500-plus filmmakers, actors and other movie-industry professionals, we turned to New York Times readers, who cast more than 200,000 ballots of their […] More
The teaser for Christopher Nolan’s next film, based on Homer’s epic, is playing ahead of screenings of “Jurassic World Rebirth.” Here’s how much of the film’s story is revealed.Over the years, Christopher Nolan has become one of the leading voices in Hollywood advocating cinemas. That means not just seeing his movies in theaters, but their trailers as well.So if you want to see the first teaser for Nolan’s upcoming epic “The Odyssey,” you have to hit up a screening of “Jurassic World Rebirth,” this weekend’s release from the same studio, Universal. Not only is the latest “Jurassic” movie expected to reap a major box office haul over the holiday, but the promise of news about “The Odyssey” may bring out Nolan’s loyal fans. He’s one of the few contemporary directors who inspires that kind of fervent anticipation for his films.The teaser poster for “The Odyssey.”Universal PicturesAt a Wednesday morning screening of “Jurassic” at a Manhattan AMC, “The Odyssey” teaser played after the theater’s traditional pre-roll featuring Nicole Kidman waxing about the magic of the movies. The trailer itself, which runs a little over a minute long, is coy about revealing too much of Nolan’s take on Homer’s saga, which is set for release on July 17, 2026. It begins with extended shots of the sea and voice-over heralding Odysseus’s triumph in the Trojan War, a conquest that is alluded to by the appearance of a large horse structure and its imposing shadow. The first face we see is that of Tom Holland, who is playing Telemachus, the son of Odysseus.“I have to find out what happened to my father,” he says, speaking to a man portrayed by Jon Bernthal, whose role is unconfirmed. Bernthal, maintaining the unvarnished tough guy demeanor that has made him a fan favorite on “The Bear,” asks Holland if he is interested in gossip, and then calls out to a room, “Who has a story about Odysseus?” A point of note is that all the characters are speaking English with American accents, even Holland, who is British.The last shot finally reveals what appears to be the hero, played by a bearded Matt Damon, frail and marooned in the ocean. This leaves plenty unknown about how Nolan is tackling the massive story of Odysseus’s journey home, including how much of it he is covering and who stars like Zendaya and Robert Pattinson are playing.Nolan has used this kind of roll out for his films’ trailers before. A peek at “Oppenheimer,” which would go on to win him best picture and best director at the 2024 Oscars, appeared before “Nope” in 2022. It’s a throwback to the days when “Star Wars” fans had to venture out to “Meet Joe Black” to get a glimpse of “The Phantom Menace” in 1998. But, of course, it’s not 1998 anymore. So while the “Odyssey” teaser hasn’t officially been released online by Universal, shakily filmed versions of it did leak Tuesday before being swiftly taken down. More
Uma Thurman joins the expanded cast in this sure-footed sequel to the action blockbuster about a team of immortal heroes.Five years ago, “The Old Guard” injected a tired genre of superhumans in capes with existential alienation and grit. The aim of that film, about a crew of immortal vigilantes who go on rescue missions to help mankind, was admirable but also frequently one note.What could another installment offer? The best that a sequel can: buff out those blemishes, expand the universe and subvert the genre again. In “The Old Guard 2,” superheroes saving humanity is out, gods beefing with gods is in. The film, directed by Victoria Mahoney, is a sure-footed romp that tightens the screws, most immediately by flexing a bigger cast and broadening the lore of the original comic book series. All this expansion starts right where the last one ended. Believed to be lost under the sea for centuries, Quynh (Veronica Ngo), a fellow immortal and lover of Andy (Charlize Theron), has returned. She’s discovered by Discord (Uma Thurman), another mysterious immortal who is opposed to Andy’s meddling in human affairs. Aggrieved and feeling abandoned by Andy, who is now mortal, Quynh then becomes a useful tool for Discord.Whereas the first film was focused on the arrival of a new immortal named Nile (KiKi Layne), this one has forgotten immortals popping up (like Tuah, played by Henry Golding). That means a lot of drama, and fertile ground for these supreme beings reckoning with the most human of experiences: love and betrayal, guilt and regret, all complicated by being alive for millenniums.Ngo is the key anchor to these feelings, providing a strong emotional counterpoint to Theron that was just present in flashbacks the first time around. The shared history in their gazes and the pain and recriminations of losing and finding each other again translates the wistful burden of immortality that the first film mostly said, but couldn’t really make you feel.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
An equestrian suffers a brain injury that alters his identity in Luis Ortega’s stylized gangster movie.Like a marionette missing its strings, the equestrian Remo Manfredini spends much of the fickle dark comedy “Kill the Jockey” hanging inertly in center frame. The film opens on Remo (Nahuel Pérez Biscayart), a onetime champion, enduring a midcareer crisis that finds him drinking and drugging before races. He seeks an antidote to his malaise in his romance with Abril (Úrsula Corberó), a fellow jockey, who serves as a plucky buffer for the self-saboteur against his ruffian boss, Sirena (Daniel Giménez Cacho).The director, Luis Ortega, doesn’t give much reason to care about Remo’s conflict — the protagonist’s catatonia inspires the same in the viewer — and instead exhausts his efforts on a mannered blankness of style and mood. The action unfolds in composed tableaux, with lines delivered inexpressively enough to void them of meaning. The exception to the rule is Abril, who claims the movie’s heart by dint of being the sole character with one.The movie’s second half finds Remo suffering a traumatic brain injury that inspires him to don a fur coat, old lady purse and smudged makeup, a decision that seems to have been driven less by narrative — as in a gender-bending Pedro Almodóvar tale — than aesthetic. As “Kill the Jockey” devolves into gangster mayhem, the whole story starts to feel unconsidered, almost perfunctory. Offering respite are scenes with Abril, especially one in which she and her friend Ana (the magnetic Mariana di Girólamo) shimmy and gyrate before a big race; their agility suggests that being a jockey is akin to dancing.Kill the JockeyNot rated. Running time: 1 hour 36 minutes. In theaters. More
Rob Reiner’s 1984 cult film about a British band past its prime returns to theaters in a new 4K restoration.Thank cinéma vérité for the rockumentary. D.A. Pennebaker’s 1967 “Dont Look Back” came first. And thank those for spawning the faux vérité mockumentary that arrived in the form of Rob Reiner’s 1984 “This Is Spinal Tap” — a parody which, legend has it, was taken by a credulous few for a vérité portrait of an actual rock band.First a critical favorite, then a VHS cult film (for rock bands in particular), and finally a Library of Congress certified classic, Reiner’s film returns for the holiday weekend in a new 4K restoration.Introducing himself as the filmmaker Marty DiBergi (and fatuously taking credit for the term “rockumentary,” already in circulation), Reiner expresses his longtime admiration for Spinal Tap, “one of England’s loudest bands,” a group of amiable dimwits touring the United States to promote their new LP, “Smell the Glove.”As documented by DiBergi and punctuated with bombastic, bare-chested performances of casually ludicrous (but catchy) numbers, their Tap Into America tour is rife with quarrels, snafus, canceled bookings, hissy fits and spectacular onstage malfunctions.The fictional band was created by boyhood pals David St. Hubbins (Michael McKean) and Nigel Tufnel (Christopher Guest), and so in a sense was the film: McKean and Guest met at New York University and developed a riff that was picked up on by Reiner and Harry Shearer (who plays Derek Smalls, another band member) for an abortive TV comedy show and thereafter evolved into the movie.As such, “Spinal Tap” is a rich feast of clichés ranging from kinescopes of the band’s early incarnations to backstage shenanigans and ham-handed intrigue. The glibly incompetent manager (Tony Hendra) quits, leaving David’s pushy, astrology-minded girlfriend (June Chadwick) in charge as engagements drastically decline. Nigel departs in the wake of a U.S. Air Force base mixer, leaving the band without a lead guitarist for a gig at an amusement park second billed to a kiddie puppet show.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
Fresh from a year of attending the prestigious Sundance labs and armed with a script that would become her first feature, the director Victoria Mahoney thought her life as a filmmaker was about to begin. It was 2006 and she was attending a party at the Sundance Film Festival for industry professionals to meet the new crop of lab graduates. Agents, producers and others were there to mine new talent for future collaborations.Mahoney and her pal, the documentary filmmaker Kirsten Johnson, stood in that room and waited to be approached. Crickets. Finally, an agent came over and asked about their involvement in the labs. They responded effusively. But instead of inquiring about their work, he asked if they could introduce him to one of their male colleagues. That agent signed that colleague in the room. Mahoney? Nothing. Not on the mountain. Not after the festival ended.It would take Mahoney 11 years to land an agent and 20 more to make her first studio film. That movie, “The Old Guard 2,” debuted this week on Netflix.Charlize Theron in “The Old Guard 2,” directed by Mahoney. (Theron reteams with Chiwetel Ejiofor, KiKi Layne, Matthias Schoenaerts and others for this sequel.)Eli Joshua Ade/Netflix“We all believe the fables of what happens when you’re at Sundance and you’ve come through the labs; we’ve seen it,” Mahoney said in a recent interview. “We weren’t viable. We weren’t anything. It’s indicative of a thousand things.”Mahoney’s story is not unfamiliar. So many toil in the film industry and are not rewarded with sustainable careers even when they receive accolades early on. What makes Victoria Mahoney distinct is that there never was a Plan B. She lived without a safety net for a decade, couch surfing at friends’ homes, even experiencing true moments of homelessness — nights when she didn’t know where she would be resting her head. But her belief in herself that she was destined to be a filmmaker? That never ebbed, regardless of her setbacks.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
A documentary by Alex Ross Perry examines how movies and TV have portrayed video store culture.Borrowing the format of “Los Angeles Plays Itself” (2004), Thom Andersen’s great, sprawling survey of how movies have depicted Los Angeles, Alex Ross Perry’s archival documentary “Videoheaven” takes on a topic that is considerably more niche: how movies have depicted video stores.The subject is more capacious than it might sound. For one thing, it is intriguingly time-bound. Video stores couldn’t have appeared in movies until the late 1970s, says Maya Hawke, who narrates, in a nod to her role as a video store employee on “Stranger Things.” Eventually, such stores will only be portrayed by people who never experienced them firsthand, she says, “like westerns or the World War II film.”Drawing on Daniel Herbert’s book “Videoland,” Perry traces how films and TV went from showing home viewing as exotic or dangerous (“Videodrome,” “Body Double”) to seeing it as routine. Onscreen, video stores became sites for romantic interaction or potential embarrassment. Pondering a television trope in which a person seeking to rent a pornographic movie is, without fail, shamed, “Videoheaven” describes “an extremely 1990s paradox wherein adults are interested in sexuality but unwilling to admit it.”The observations range from the incisive to the grandiose, and at nearly three hours, “Videoheaven” could stand a tighter edit. Early on, a line of voice-over is sloppily repeated verbatim. And Perry only needs so many clips of obnoxious clerks, even if it’s funny to see David Spade repeatedly typecast in that role.But the material will be irresistible to any cinephile who has spent countless hours in these spaces, and a critic would do well to admit susceptibility. I’ve met Perry a few times over the years, and the first time, he thought I looked familiar — I assume because I had frequented the Kim’s Video where he worked.VideoheavenNot rated. Running time: 2 hours 53 minutes. In theaters. More
Uma Thurman joins the expanded cast in this sure-footed sequel to the action blockbuster about a team of immortal heroes.Five years ago, “The Old Guard” injected a tired genre of superhumans in capes with existential alienation and grit. The aim of that film, about a crew of immortal vigilantes who go on rescue missions to help mankind, was admirable but also frequently one note.What could another installment offer? The best that a sequel can: buff out those blemishes, expand the universe and subvert the genre again. In “The Old Guard 2,” superheroes saving humanity is out, gods beefing with gods is in. The film, directed by Victoria Mahoney, is a sure-footed romp that tightens the screws, most immediately by flexing a bigger cast and broadening the lore of the original comic book series. All this expansion starts right where the last one ended. Believed to be lost under the sea for centuries, Quynh (Veronica Ngo), a fellow immortal and lover of Andy (Charlize Theron), has returned. She’s discovered by Discord (Uma Thurman), another mysterious immortal who is opposed to Andy’s meddling in human affairs. Aggrieved and feeling abandoned by Andy, who is now mortal, Quynh then becomes a useful tool for Discord.Whereas the first film was focused on the arrival of a new immortal named Nile (KiKi Layne), this one has forgotten immortals popping up (like Tuah, played by Henry Golding). That means a lot of drama, and fertile ground for these supreme beings reckoning with the most human of experiences: love and betrayal, guilt and regret, all complicated by being alive for millenniums.Ngo is the key anchor to these feelings, providing a strong emotional counterpoint to Theron that was just present in flashbacks the first time around. The shared history in their gazes and the pain and recriminations of losing and finding each other again translates the wistful burden of immortality that the first film mostly said, but couldn’t really make you feel.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
