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      ‘I Saw the TV Glow’ Review: How We Used to Escape

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      An outstanding not-quite-horror film about being a fan just before the internet took over.We’ve forgotten how hard being a fan used to be. You had to labor at it in multiple media: scouring listings and keeping tabs on schedules, reading books of lore and compiling episode recaps. Pop culture was built around presence, real physical presence: To see the latest episode of “The X-Files” or “Buffy the Vampire Slayer,” you had to show up at your TV when it aired. If you missed a key episode, you were out of luck, unless someone remembered to tape it for you, at least until it went into reruns or syndication. And if your taste ran to the niche, discovering that someone else loved the same thing you loved felt revelatory, like you’d stumbled upon a person who spoke a language only you could understand.The social internet, algorithms and streaming blew most of this up, shoving our favorites at us and making them available all the time. Some of the magic disappeared as well, the uncanny immersive quality. You can bury yourself in a binge-watch for a day or a week, but then it’s over, no long in-between stretches to hash out each episode. Sustaining a relationship with the world a show built is still possible; connecting with others over your shared love is preposterously easy. Something, however, has been lost.“I Saw the TV Glow” captures this obsessive, anticipatory submersion in a long-form weekly TV show, to the point where it ignites the same feeling. A lot of movies tell you stories, but the films of the writer and director Jane Schoenbrun evoke them; to borrow a term, they’re a vibe. Like “We’re All Going to the World’s Fair,” Schoenbrun’s previous film, this one isn’t quite horror, but it gives you the same kind of scalp crawl. In this case I think it’s the mark of recognition, of feeling a tug at your subconscious. It’s oddly hard to put into words.“We’re All Going to the World’s Fair” was the tale of a lonely teenager living in the oddness of our internet era, where intimacy is free and plentiful and confusing and could be dangerous, or could be banal. “I Saw the TV Glow” dials that same tone back a generation, centering on a couple of lonely teenagers who find one another through a show called “The Pink Opaque.” It’s a mash-up show, instantly recognizable in its own way: It airs on something called the Young Adult Network (clearly a stand-in for The WB, the teen-focused TV network that turned into The CW) at 10:30 p.m. on Saturday nights, a time reserved for shows barely hanging on by a thread. The opening credits we glimpse suggest the show is “Buffy the Vampire Slayer”-adjacent (it even uses the same typeface), but with elements reminiscent of “The X-Files” and “Twin Peaks” — in all these cases, not exactly horror, but not quite anything else. (There’s also a band in the show, one that apparently performs a song in every episode, which plays expertly tuned mid-90s teen-show music; the musicians are Phoebe Bridgers and Haley Dahl.)“I Saw the TV Glow” is set in 1996, right at the moment when entertainment was about to dive over the cliff and become what media theorists sometimes refer to as convergence culture. Back then, TV was still a few years away from being participatory for most youthful viewers. The internet wasn’t mature enough yet for the majority of teens to really haunt it, and those who did were posting on the kinds of message boards and websites that would eventually come to define both the TV and the fan-driven internet of the early aughts. (“The X-Files,” for instance, which premiered in 1993, was one of the first shows with a developed online fandom; they communicated through a Usenet newsgroup.) If you knew how to find message boards and chat rooms, you might have bonded with other fans. But if you were just a kid at home in the suburbs, you were most likely planning your schedule around episodes.The story of “I Saw the TV Glow” mostly belongs to Owen (played as a seventh grader by Ian Foreman, and then from high school up by Justice Smith). He is nervous and anxious and sheltered, but he catches an ad for an episode of “The Pink Opaque.” He doesn’t know what it is, but he’s obsessed. One day, waiting for his parents to finish voting in the school cafeteria, he wanders into a room and finds Maddy (Brigette Lundy-Paine) reading a book that recaps episodes of the show. Maddy explains the show to Owen: It’s about two girls, Tara (Lindsey Jordan, the musician Snail Mail) and Isabel (Helena Howard), who meet at camp and discover they share a connection that enables them to fight that most stalwart trope of ’90s TV dramas: the Monster of the Week. There’s a Big Bad in their world, too — the mysterious Man in the Moon named Mr. Melancholy. Owen is even more consumed.Owen’s father won’t let him stay up to watch the show, but Maddy and Owen concoct a way to make it happen. This is where “I Saw the TV Glow” starts to leave the realm of straightforward plot and slip-slide into some nether region at the intersection of fantasy, nostalgia, fear and longing. Escapism has always belonged to children’s literature, fantastical other worlds into which we might leave the ordinary behind and discover ourselves special. Owen and Maddy are trapped in their own worlds, but “The Pink Opaque” gives them the sense that a parallel dimension might be where they really belong.There’s a heartbreak at the center of this film that made me gasp to see it, an acknowledgment that sometimes it’s better not to go back to what we once loved because now, in the cold light of adulthood, it all looks very different. There are other layers, too: implications that awakenings around gender dysphoria and sexuality are tied up in the teens’ obsession with the show, though they barely understand. Even more broadly, the immense pain of pushing down your true self, and the brittle breaking of that shell, is woven throughout.But what’s most effective, and staggering, is Schoenbrun’s storytelling, which weaves together half-remembered childhood elements in the way they might turn up in a nightmare, weaving in sounds and lights and colors and the gloriously inexplicable. Teenage malaise, untreated, can sour into an adult psychic prison; the TV is just one way that we escape.I Saw the TV GlowRated PG-13 for some really trippy stuff. Running time: 1 hour 40 minutes. In theaters. More

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      ‘Turtles All the Way Down’ Review: 10 Things I Hate About Germs

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      Hannah Marks’s adaptation of John Green’s blockbuster young-adult novel builds a dynamic depiction of a teenager with obsessive-compulsive disorder.The assured coming-of-age film “Turtles All the Way Down,” based on John Green’s blockbuster young-adult novel of the same name, takes its title from an apocryphal story: An older woman at a science lecture posits that the Earth rests on the shell of a tortoise, which in turn sits on the back of a larger tortoise, and so on, to infinity.A never-ending stack of reptiles is an evocative image and an expressive paradox. It’s especially fitting for “Turtles,” a movie based on a book propped up by an ever-expanding young-adult canon that traffics in the romance of pain and the pain of romance. (Which came first in that sequence of romance and pain? It’s turtles all the way down.)Directed by Hannah Marks (“Don’t Make Me Go”), the movie centers on Aza (Isabela Merced), a teenager with obsessive-compulsive disorder whose contamination anxieties are impeding her ability to build intimacy with others. These struggles grow urgent once Aza reconnects with Davis (Felix Mallard), a childhood friend who wants to be more than that. She likes him back, but panics at the thought of kissing him; brushing lips would mean swapping bacteria.Aza squirms through this dilemma in sessions with her therapist (Poorna Jagannathan) and on hangouts with her gregarious best friend, Daisy (Cree, a scene stealer). But other than Aza’s daily dose of anxiety, which often prompts her to prick at her finger until it bleeds, much of the movie wants for conflict. When the story begins, Davis’s ultrarich father has gone missing, but even that great mystery is less a source of forward momentum than an excuse for our teenage lovebirds to frolic without supervision.The movie’s ambling, novelistic rhythms might have passed muster had the movie filled its empty spaces with strongly delineated characters. As is, only Aza emerges fully formed; the handsome Davis is more statuette than human, and Daisy mostly suffers a bad case of Sidekick syndrome: pluck without complexity. A hasty third act tries to frame the movie as a friendship love story, redirecting attention from the trials of smooching to the value of mutual support. But the efforts feel like too little, too late.What “Turtles” does offer in surplus is texture, thanks to Marks’s springy, stylish direction. Any time Aza confronts a thought spiral about germs, Marks pairs voice-over of Aza’s frantic inner monologue with images of neon-colored microbes writhing in a petri dish. These moments are intrusive and unsettling, and together form one of the more dynamically authentic on-screen depictions of O.C.D. that I’ve seen.Like many adolescent stories of this subgenre, the movie’s central question hangs on identity and its enigmas. Among Aza’s deepest worries — and this brings us back to the turtles — is that her personhood is like a Russian doll: a series of empty casings with nothing at the core. What makes Aza Aza? Is O.C.D. an essential part of who she is, or is it holding her back from her true self? “Turtles,” to its credit, never locates a specious source of Aza’s troubles, nor does it try to unveil a solution to her suffering.Turtles All the Way DownRated PG-13 for debilitating anxiety and other adolescent woes. Running time: 1 hour 51 minutes. Watch on Max. More

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      ‘The Idea of You’ Review: Surviving Celebrity

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      Anne Hathaway headlines a movie that’s got a lot to say about the perils of fame.Women of a certain age (that is, my age) feel like they grew up alongside Anne Hathaway, because, well, we did. We were awkward teens together when she made “The Princess Diaries” in 2001. We felt ourselves to be put-upon entry-level hirelings right when “The Devil Wears Prada” came out in 2006. We understood her broken-down narcissistic addict in “Rachel Getting Married,” because who couldn’t? And we watched the Hathaway backlash, pegged to public perception that she was trying too hard, and worried that people saw us the same way.Now we’re 40-ish. We know for sure that Gen Z considers millennials to be cringe, and, thankfully, we no longer feel the need to care. The greatest gift of reaching middle age is having settled into yourself, and that is apparently what Hathaway, age 41, has done. She has been through the celebrity wringer (and more) and come out the other side looking radiant, with a long list of credits in movies that swing from standard commercial fare to auteurist masterpieces.This is perhaps why it’s so satisfying to see her name come first — alone, before the title credit — in “The Idea of You,” which is on its surface a relatively fluffy little film. Based on the sleeper hit novel by Robinne Lee, “The Idea of You” is plainly fantasy, in the fan fiction mold, that poses the question: What if Harry Styles, the British megastar and former frontman of One Direction, fell madly in love with a hot 40-year-old mom? In this universe, the Styles character is Hayes Campbell (Nicholas Galitzine), the British frontman of a five-member boy band called August Moon.Hathaway plays Solène Marchand, an art gallery owner whose arrogantly useless ex-husband, Daniel (Reid Scott), buys v.i.p. meet-and-greet tickets for their 16-year-old daughter, Izzy (Ella Rubin), and her two best friends, all of whom were huge August Moon fans … in the seventh grade. The event is at Coachella, and Daniel is set to take the teenagers but backs out at the last second, citing a work emergency. Solène reluctantly agrees to take them, and while at the festival, mistakes Hayes’s trailer for the bathroom. They meet, it’s cute, and you can guess what happens next.Or can you? It was clear about 10 minutes into the movie that what was required for enjoyment was to surrender to the daydreaming, and so, with very little internal protest, I did. How could I resist? Solène is smart, competent, kind and secure; she has great hair and a great wardrobe; and most important, she seems like a real person, even if the situation in which she finds herself greatly stretches the bonds of credibility. More than once, I was struck by how authentically 40 Solène seemed to me — a woman capable of making her own decisions, even ones she thinks might be ill-advised — and how weirdly rare it is to see that kind of character in a movie. She has a kid, and friends, and a career. She reads books and looks at art, and she is flattered by this 24-year-old superstar’s attention but takes a long time to come around to the idea that it may not be a joke.Solène also feels real shame and real resolve in the course of the winding fairy tale story, which predictably has to go south. But most of all, she’s in a movie that doesn’t try to shame her, or patronize her, or make her appear ridiculous for having desires and fantasies of her own. She’s just who she is, and it’s simple to understand her appeal to someone whose life has never been his own.Directed by Michael Showalter, who wrote the adapted screenplay with Jennifer Westfeldt, “The Idea of You” succeeds mostly because of Hathaway’s performance, though she and Galitzine spark and banter pleasurably (and he can dance and sing, too). It tweaks the novel in a number of ways — Hayes is older than the book’s character, for one thing — and also seems to implicitly know it’s a movie, and that movies have a strange relationship with age-gap romances.In fact, that’s one of its strengths. Several times, characters remark on the double standard attached to people’s judgment of Solène and Hayes’s relationship, hypothesizing that in a gender-swapped situation, people would be high-fiving the older man who landed the hot younger star. Sixteen years looks like a lot on paper, but in the movies, at least, it is barely a blip.That musing is interesting enough, if a familiar one. More fascinating in “The Idea of You” is its treatment of the cage of celebrity. Hayes seems mature compared with his bandmates and the girls who follow them around, but he’s also clearly stuck in some kind of arrested development. And I do mean stuck: He is self-aware enough to tell Solène, plaintively, that he auditioned for the band when he was 14 and not much has changed beyond his level of fame. He wants a life beyond the spotlight, badly.And that’s just what he can’t get. Neither can Solène, nor, eventually, anyone around her. The idea of living a quiet life might obviously be out of reach, but the added elements of tabloid news and rabid fans unafraid to treat Hayes as if they know him make things far worse. The film starts to feel a little like the tale of a monster, but the monster is parasociality, encouraged by the illusion of intimacy that the modern superstar machine relies on to keep selling tickets and merch and albums and whatever else keeps the star in the spotlight.It’s probably coincidental that “The Idea of You” comes on the heels of Taylor Swift’s latest album, “The Tortured Poets Department,” on which she strongly implies that her carefully cultivated fandom has made her love life a nightmare. But spiritually, at least, they’re of a piece — even if the origins of the film’s plot seem as much borne of parasociality as a critique of it. And that makes Hathaway’s performance extra poignant. She’s been dragged into that buzz saw before. And somehow, she’s figured out how to make a life on the other side of it.The Idea of YouRated R for getting hot and heavy, plus some language. Running time: 1 hour 55 minutes. Watch on Prime Video. More

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      The Best Movies and TV Shows Streaming in May

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      “The Idea of You,” “Scrublands,” “The Big Cigar” and “Hacks” are streaming.Every month, streaming services add movies and TV shows to its library. Here are our picks for some of May’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‘The Idea of You’Starts streaming: May 2Anne Hathaway plays a middle-age woman on a wild, globe-hopping adventure with a new lover in this romantic dramedy, based on Robinne Lee’s best-selling novel. Hathaway stars as Solène, who accompanies her teenage daughter to Coachella, where she meets and discovers an instant rapport with Hayes Campbell (Nicholas Galitzine), a 24-year-old lead singer of a mega-popular boy band. The movie’s director, Michael Showalter — who also co-wrote the screenplay with Jennifer Westfeldt — has shown a facility with blending low-key humor and realistic relationship angst in his films “The Big Sick” and “Spoiler Alert.” So while “The Idea of You” features fabulous-looking people and catchy songs, it’s mostly about how the two leads’ genuine yearning for each other helps them withstand some uncomfortable public scrutiny.Also arriving:May 9“The GOAT” Season 1“Maxton Hall: The World Between Us”May 16“Outer Range” Season 2May 23“The Blue Angels”“The 1% Club”May 24“Dom”May 31“The Outlaws” Season 3Jay Ryan in “Scrublands.”Sundance NowNew to AMC+‘Scrublands’ Season 1Starts streaming: May 2In the opening sequence of this Sundance Now mystery series, a priest (Jay Ryan) in a run-down Australian Outback town pulls out a rifle after Sunday services and kills five of his congregants. One year later, a burned-out investigative journalist (Luke Arnold) is assigned to write a short article about how the community is recovering from the trauma. But thanks to a helpful local (Bella Heathcote), the reporter quickly realizes that the official story about what happened that Sunday may be wrong. Based on a Chris Hammer novel and directed by Greg McLean (best-known for the Aussie horror classic “Wolf Creek”), the moody and twisty “Scrublands” is about a town with dark secrets and a man who risks his life and career to expose them.Also arriving:May 3“Skeletons in the Closet”May 12“Anne Rice’s Interview With the Vampire” Season 2May 13“Harry Wild” Season 3May 15“In the Kitchen With Harry Hamlin” Season 1May 17“Nightwatch: Demons Are Forever”May 27“The Truth”May 31“Stopmotion”André Holland in “The Big Cigar.”Apple TV+New to Apple TV+‘Dark Matter’Starts streaming: May 8Based on a novel by Blake Crouch (who also serves as the series’ showrunner), this trippy science fiction thriller stars Joel Edgerton as Jason, a physics professor who has a happy life with his wife (Jennifer Connelly) and their teenage son (Oakes Fegley). When Jason is attacked one night by a masked stranger, he finds himself transported to an alternate reality where he has no wife and no son — but where he does have the kind of prestigious reputation that his brilliant scientist brother (Jimmi Simpson) has always enjoyed. Once he shakes off the initial disorientation, Jason faces a choice: to accept that this new version of himself is who he was always meant to be, or to use his knowledge of quantum theory and inter-dimensional travel to embark on a quest through infinite worlds, to find his way back to his family.‘The Big Cigar’Starts streaming: May 17The magnificent actor André Holland plays the Black Panther Party founder Huey P. Newton in “The Big Cigar,” which tells the strange but mostly true tale of his friendship with the politically progressive Hollywood producer Bert Schneider (Alessandro Nivola). When Newton was wanted for murder, Schneider reportedly helped him escape to Cuba, using a fake movie production as a cover. The mini-series recreates the headiness of the early 1970s, when various artistic, social and cultural movements were pushing hard against the establishment. This historical drama is based on a magazine article by the reporter Joshuah Bearman, whose work previously inspired the Oscar-winning movie “Argo,” a similar story about the worlds of showbiz and politics colliding.Also arriving:May 1“Acapulco” Season 3May 8“Hollywood Con Queen”May 22“Trying” Season 4Jim Henson, in “Jim Henson Idea Man,” a documentary.Disney+New to Disney+‘Jim Henson Idea Man’Starts streaming: May 31Jim Henson will always be remembered for creating the Muppets, which have been beloved since they debuted on television in 1955. But Henson was also a filmmaker, a visual artist, and a businessman shrewd enough to use the commercial appeal of his creations to bankroll his more ambitious projects, most of which were made to celebrate to the warmer side of the human spirit. For the documentary “Jim Henson Idea Man,” the director Ron Howard and his team were allowed extensive access to the Henson archives. The film combines archival clips of the Muppets with rare home-movie footage and diary entries — along with behind-the-scenes photos and sketches and new interviews with some of Henson’s collaborators — to tell the story of a visionary who built an empire out of feelings and felt.Also arriving:May 4“Star Wars: Tales of the Empire”May 5“Monsters at Work” Season 2May 8“Let It Be”May 10“Doctor Who” Season 14May 22“Chip ’n’ Dale: Park Life” Season 2May 24“The Beach Boys”Tomoaki Hamatsu, or Nasubi, in “The Contestant.”DisneyNew to Hulu‘The Contestant’Starts streaming: May 2In 1998, an aspiring comedian named Tomoaki Hamatsu — nicknamed Nasubi, the Japanese word for eggplant, because of his long face — won the opportunity to compete on an extreme kind of game show. Locked in a spartan apartment and stripped naked, Nasubi was challenged to survive off whatever he could win from mail-in contests advertised in magazines. Unbeknown to him, his ordeal was broadcast to a rapt nation. Clair Titley’s documentary “The Contestant” looks back at Nasubi’s year of deprivation and isolation, which was framed for the TV audience as a hilarious and heartwarming adventure. The truth, of course, was far more complicated, which Titley covers in a film that examines how fans of reality TV can sometimes forget they’re watching — and judging — real people.Also arriving:May 1“Elvis”“Shardlake” Season 1May 2“Welcome to Wrexham” Season 3May 3“Prom Dates”May 7“Billy & Molly: An Otter Love Story”May 8“In Limbo” Season 1May 9“Black Twitter: A People’s History”May 10“Biosphere”“Eileen”“Past Lies” Season 1May 12“Where the Crawdads Sing”May 14“The Killing Kind” Season 1May 15“Uncle Samsik” Season 1May 17“Birth/Rebirth”“The Sweet East”May 22“Chief Detective 1958” Season 1May 24“Ferrari”Jean Smart in Season 3 of “Hacks.”Hilary Bronwyn Gayle/MaxNew to Max‘Hacks’ Season 3Starts streaming: May 2The first two seasons of the dramedy “Hacks” followed the codependent relationship between a complacent stand-up comic, Deborah Vance (Jean Smart), and the cynical, self-sabotaging comedy writer Ava Daniels (Hannah Einbinder), hired to help add edge to Deborah’s Las Vegas act. Season 2 ended with the ladies parting ways after working together on a hit comedy special; but they reunite in Season 3 as Deborah makes plans to right some old wrongs by landing a gig as a late-night talk show host. “Hacks” is about the sometimes wildly varying values of two different generations of comedians. It’s also about two women who have made a lot of messes in their lives — and have come to rely on each other to help with the cleanup.Also arriving:May 2“Turtles All the Way Down”May 3“Stop Making Sense”May 9“Pretty Little Liars: Summer School”May 10“The Iron Claw”May 11“Nikki Glaser: Someday You’ll Die”May 20“Stax: Soulsville U.S.A.”May 23“Thirst with Shay Mitchell”May 29“MoviePass, Moviecrash”From left: Katja Herbers, Aasif Mandvi and Mike Colter in “Evil.”Elizabeth Fisher/Paramount+New to Paramount+‘Evil’ Season 4Starts streaming: May 23One of TV’s most unusual and entertaining dramas comes to an end with its latest season, which finds its demon-hunting heroes dealing with satanic cults and devil babies. Katja Herbers returns as Dr. Kristen Bouchard, a forensic psychologist who works alongside the Catholic priest David Acosta (Mike Colter) and the tech whiz Ben Shakir (Aasif Mandvi) to investigate paranormal phenomena. The job frequently puts them at odds with the mysterious sociopath and impish mischief-maker Dr. Leland Townsend (Michael Emerson). Created by Michelle and Robert King (the team behind “The Good Fight” and “Elsbeth”), “Evil” is a witty and often genuinely creepy horror procedural, which considers whether the modern world’s wickedness is supernatural in nature or just a case of humans being humans.Also arriving:May 1“Behind the Music” Season 2May 7“Kiss the Future”May 10“The Chi” Season 6, Part 2May 14“Pillowcase Murders”May 17“Mourning in Lod”“RuPaul’s Drag Race All Stars” Season 9“RuPaul’s Drag Race All Stars: Untucked” Season 9May 21“LOLLA: The Story of Lollapalooza”May 30“Pyramid Game”Harvey Keitel in “The Tattooist of Auschwitz.”Martin Mlaka/Sky UKNew to Peacock‘The Tattooist of Auschwitz’Starts streaming: May 2In this historical drama based on a true story, an older Jew named Lali Sokolov (Harvey Keitel) meets regularly with the aspiring author Heather Morris (Melanie Lynskey) to tell her a story he had previously kept to himself, for almost his entire life: all about how he survived Auschwitz by making himself useful to his jailers. Based on the book that the real-life Morris produced from interviews with Sokolov — a blend of unflinching Holocaust testimony and page-turning fiction — “The Tattooist of Auschwitz” portrays the moral compromises required to endure an atrocity. But it’s also about an unlikely love affair, which develops between Lali (played by Jonah Hauer-King in flashbacks) and Gita (Anna Prochniak), a woman he befriends while he’s tattooing her arm.‘We Are Lady Parts’Starts streaming: May 30One of Peacock’s best foreign TV acquisitions, this British sitcom is the brainchild of the writer-director Nida Manzoor, whose work draws on her love of pop culture and her experiences growing up in a Pakistani Muslim family. Last year she released her debut feature film “Polite Society,” a martial arts comedy; and now Manzoor returns with a second season of the wonderful “We Are Lady Parts,” which stars Anjana Vasan as Amina, a dorky college student and observant Muslim who joins a radical all-female, all-Muslim punk band. In Season 1, this eclectic group of ladies became a cult success. In Season 2, they have an opportunity to record an album and grow their audience but find themselves unsure if that’s what they really want.Also arriving:May 3“The American Society of Magical Negroes”May 7“Eurovision Song Contest 2024”May 9“Love Undercover” Season 1 More

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      Why Are Movies so Bad at Making Civil War Look Scary?

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      The filmmaker has made it clear that “Civil War” is a warning. Instead, the ugliness of war comes across as comforting thrills. Early in “Civil War,” the writer-director Alex Garland’s dystopian blockbuster, a plucky young journalist named Jessie recalls an event called the Antifa Massacre. You can picture the eeriness that Garland must have assumed that phrase would conjure: familiar words, filtered through his apocalyptic vision, projecting today’s ideological rancor into the future. His film is an invitation to imagine what might emerge from America’s political divisions if we don’t back away from the fractious disaffection that has characterized most of the 21st century. But it is also vague about what the Antifa Massacre, or any of the war, actually is. Who was massacred? Who did the massacring? What were the stakes? All we know is that America has descended into a chaotic conflict: California and Texas have united to battle an authoritarian Loyalist government, while other states have gathered into various alliances. Beyond that, “Civil War” obscures the war’s political and social contours. One senses that, for Garland, the ideological dimensions are beside the point, a distraction from what he hopes is a searing vision of a future nobody wants. To that end, maybe, he has cast “Civil War” as an antiwar movie in the tradition of Elem Klimov’s “Come and See,” a 1985 fever dream about Nazi Germany’s invasion of Soviet Byelorussia. The power of “Come and See” lies in its images, which depict war’s depravity with the unsparing clarity of prophecy. One 10-minute scene forces us to watch a carnival of violence as German soldiers, who have gathered civilians into a church, set it aflame. Garland intends a similar revelation. In interviews, he and his cast have made it clear that they see “Civil War” as a warning. You can practically hear him whisper through every frame: This could happen here.François Truffaut once said that every film about war ends up being pro-war: Whatever a director points his camera at, even violence, becomes appealing, or at least intriguing. To make an effective antiwar film, a director must find a way to unsettle this relationship between image and titillation. I think often about the 1966 Italian thriller “The Battle of Algiers,” which depicts Algerian resistance to French colonial rule. It is, generally, a triumphalist take on the power of liberatory violence, and it has proved popular among armed insurgents. There’s a mournful, cautionary undercurrent, though, that sometimes overwhelms its heroic story. In one scene, two women smuggle bombs out of a ghetto and into French cafes. One leaves hers beneath a bar, and we wait while the camera cuts from one French face to another: a flirting couple, a sullen baby, a laughing barkeep, a waiter who looks directly at us. In that long wait before the bomb goes off, we are tricked into a moral accounting of political violence’s toll on human life. The movie reminds us that our attraction to violence also threatens to destroy the society we depend on, plunging us into a Hobbesian state of nature.This balancing act depends on depicting the social costs of war on the lives of civilians — something contemporary films about war on American soil have struggled to accomplish. “Civil War” follows Kirsten Dunst as Lee, a war photographer traveling from New York to Washington with her gonzo bro colleague Joel, hoping to photograph the president while Joel interviews him. They’re joined by Jessie and Sammy, Lee’s mentor. What unfolds is essentially a road-trip movie that shuttles this quartet from one apocalyptic set piece to another. They are journalists, but they do no reporting on the tragedies they encounter on the way to their big scoop. They don’t meet many people, and when they do, they are rigorously incurious. They arrive at a refugee camp, yet make no attempt to interview any refugees. Why are two soldiers shooting at another amid a Christmas display? Joel makes only a cursory effort to find out. These are war journalists with a strange lack of interest in covering the war’s victims or America’s shredded social fabric. Garland’s vision is almost entirely restricted to destroyed buildings and corpses.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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      Stream These 10 Movies Before They Leave Netflix in May

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      Magic Mike’s finale, M. Night Shyamalan’s patient with 23 personalities, Baz Luhrmann’s “Gatsby” and a copstravaganza with a serious coda after the belly laughs.Two markedly different Adam Sandler vehicles are among the noteworthy titles departing Netflix in May, along with an unsung family treat, a pair of crisp psychological thrillers and the other dark sitcom from the co-star of “It’s Always Sunny in Philadelphia.” (Dates indicate the final day a title is available.)‘Magic Mike’s Last Dance’ (May 1)Stream it here.As anyone who’s seen “Ocean’s Twelve” can tell you, Steven Soderbergh is not a director willing to repeat himself — even when making a sequel to one of his hits. After serving only as cinematographer and editor on the first “Magic Mike” follow-up, 2015’s “Magic Mike XXL,” Soderbergh returned to the director’s chair for the third and final story of “Magic Mike” Lane, a charismatic and likable exotic dancer played by Channing Tatum (and a character loosely inspired by his own early years). This time around, he takes up with “Max” Mendoza (Salma Hayek Pinault), a wealthy socialite who hires him to choreograph a dance extravaganza at her husband’s theater in London. The camaraderie of the first two films is missing (Mike’s fellow dancers are consigned to cameos), but Soderbergh and Tatum clearly relish the opportunity to turn the climactic production into a full-scale movie musical, which is executed with wit, grace and genuine eroticism.‘Uncut Gems’ (May 8)Stream it here.Adam Sandler turns in his finest film performance to date as Howard Ratner, an inveterate gambler, serial adulterer and perpetual hustler who owns a jewelry store in the Diamond District of Manhattan. We meet him in mid-crisis, already way over his head in gambling debts and familial trouble, and watch him sink to rock bottom — but it’s a pleasurable experience, thanks to the relentless energy and controlled chaos of the directors Josh and Benny Safdie (“Good Time”). Their films are visceral, less concerned with intricate plotting than the sheer experiences of their protagonists; the result is a movie that is somehow both wildly entertaining and a cinematic anxiety attack.‘The Boxtrolls’ (May 22)Stream it here.Disney and Pixar may get all the attention and Illumination may make all the money, but Laika is one of the most reliable purveyors of family entertainment, quietly turning out gorgeous, heartfelt and engaging stop-motion animated features from its headquarters in Oregon. This 2014 fantasy comedy is one of their best, telling the charming story of a kid named Eggs (voiced by Isaac Hempstead Wright), who was raised by the title characters, a group of cheerfully grotesque, trash-collecting trolls. The directors Graham Annable and Anthony Stacchi have a blast creating this strange, intricately detailed world (it’s set in the late 19th century, in the fictional land of Norvenia), and the impressive cast of voice talents — including Richard Ayoade, Toni Collette, Elle Fanning, Nick Frost, Jared Harris, Ben Kingsley, Tracy Morgan and Simon Pegg — clearly came to play.‘Boyz N The Hood’ (May 31)Stream it here.John Singleton became the first African American to be nominated for the best director Oscar (and the youngest, beating even Orson Welles by two years) for this, his debut feature. He made it fresh out of USC film school, based on his experiences, and those of his friends, growing up in Los Angeles surrounded by poverty, crime and police brutality. “Boyz” wasn’t just Singleton’s introduction; it was also the breakthrough film for Cuba Gooding Jr., Ice Cube and Morris Chestnut, who starred as the three young friends on very different paths after high school, as well as Angela Bassett, Regina King and Nia Long in supporting roles. But the 1991 film’s most powerful presence is Laurence Fishburne as Furious Styles, the single father desperate to keep his son on the right course.‘The Great Gatsby’ (May 31)Stream it here.The director Baz Luhrmann proved he could modernize and, in doing so, reinvigorate a classic text (assisted by Leonardo DiCaprio) with his 1996 interpretation “Romeo and Juliet”; he took another, even bigger swing with this 2013 interpretation of F. Scott Fitzgerald’s beloved novel. Not all of his notions land — home viewing thankfully removes the original release’s headache-inducing 3-D, though the dubious hip-hop needle drops remain. Yet none are off-putting enough to upset the sturdiness of the faithful screenplay and the marvelous performances, particularly Carey Mulligan’s fragile Daisy, Joel Edgerton’s blowhard Tom and, especially, DiCaprio’s complex work in the title role.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 is Shout! TV? A streaming alternative to Netflix, Hulu and More.

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      Among the free streaming services, few are as enjoyable and reliable as this one.For this month’s spotlight on lesser-known but worthwhile streaming services, we’re showcasing our first advertising-based video-on-demand platform, or A.V.O.D., the model in which services make their money not via subscriptions, but through good old-fashioned advertisements. It’s a trade-off, to be sure; commercials were one of the reasons everyone got rid of cable. But now that Disney+, Netflix and their ilk have shoved ads back into their (paid!) programming, it’s not so hard to tolerate them from a free service.Among those free services, few are as enjoyable and reliable as Shout! TV, the latest incarnation of one of the most beloved labels in all of physical media. Shout! Factory was started in 2002 by three of the minds behind the great music label Rhino Records, and both imprints carved out a niche for catering to those whose tastes are slightly off the beaten path. As a DVD, Blu-ray and now 4K label, Shout! has been dependable and admirable in both curation and presentation, restoring and releasing crackerjack titles from the realms of cult, horror, sci-fi, action, animation, foreign films and throwback TV.Those genres also make up the backbone of the menu on Shout! TV. Their on-demand film selection includes a wide variety of movies, like Godzilla and Jackie Chan, Gene Autry and Elvira, with a frequently rotating library of entertaining titles from the silent era to the present. But their most impressive selections are in the label’s original specialties. The cult section is a delightful menagerie of Mario Bava films, biker movies, skin flicks, grimy indies, Roger Corman cheapies, contemporary cult items like “Donnie Darko” and oddities you’ll click only because of the inexplicable titles (“Dirty Duck”??). And Shout has enough horror movies to run a successful sublabel, Scream Factory, so the channel’s horror section is stacked with variety that includes “Night of the Living Dead,” “Alligator” and “Chopping Mall.”On the TV side — where the ad spots are particularly unobtrusive (credit where due: Shout bothers to insert them in designated commercial spots, rather than at random intervals as some other A.V.O.D. services do) — viewers can find scores of classic television shows and comedy shorts. They also have variety shows, cartoons and adventures, but the crown jewels of their TV offerings are their expansive collections of old episodes of “The Carol Burnett Show” and “The Tonight Show Starring Johnny Carson”; those are not only available as à la carte episodes, based on your preferred guest stars or eras, but also among their 24/7 streaming channels, where you can just tune in and view whatever they’re running. You know, just like watching TV!All of this makes Shout! TV one of the very best streaming values since it doesn’t cost you a single cent — just the time you’ll spend watching ads. Here are a few recommendations:Mystery Science Theater 3000: “The Skydivers”: Shout has been in business for quite some time with the various iterations of “Mystery Science Theater 3000,” the uproariously funny cult TV show where an average Joe, marooned in space, watches bad movies with his robot companions while cracking wise. In addition to the original episodes, Shout also streams their “riffed” short films and episodes from “MST” alumni shows “Cinematic Titanic,” “The Film Crew” and “Rifftrax.” But if you’re looking for an entry point, I’d recommend this sixth season episode, in which our boys first watch the educational short “Why Study Industrial Arts?” (the titular question is not satisfactorily answered, frankly) and the technically incompetent and narratively incoherent 1963 film “The Skydivers,” from the writer-director Coleman Francis, a filmmaker so inept, he makes Ed Wood look like Martin Scorsese.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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      Blue Ivy Carter to Join Beyoncé in ‘Mufasa: The Lion King’

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      Beyoncé’s 12-year-old daughter will make her feature film debut as Kiara, Nala and Simba’s daughter, in a prequel to the 2019 hit.Blue Ivy Carter will be joining her mother, Beyoncé Knowles-Carter, in the movie musical “Mufasa: The Lion King,” which is expected in theaters in December.The movie — a prequel to “The Lion King,” the 2019 hyperrealistic remake of the Disney classic starring Beyoncé as the voice of Nala — will be directed by Barry Jenkins, who won a best adapted screenplay Oscar for “Moonlight.”Blue Ivy, 12, will make her feature film debut by voicing Kiara, the daughter of Nala and Simba, who will again be voiced by Donald Glover. (Billy Eichner, Seth Rogen, Mads Mikkelsen and Thandiwe Newton will also lend their talents.)“A buddy of mine, Matthew Cherry, made the short film called ‘Hair Love’ that Blue Ivy did the audiobook of,” Jenkins told Entertainment Weekly in an article published on Monday. “Starting this project and just having that in the ether, I was like, ‘Is it worth a shot? Would Blue Ivy want to do it? Would Beyoncé want to act opposite her daughter? Is it too close to home?’” he said. “But once we put the question to them, they both responded with enthusiasm.”Representatives for Beyoncé did not immediately respond to a request for comment.Last year, Blue Ivy joined Beyoncé onstage during the Renaissance tour, which wrapped up in October; she already has a Grammy, for best music video for “Brown Skin Girl,” a single by her mother. Beyoncé holds the record for most Grammys in history, with 32 wins.“The Lion King,” which was directed by Jon Favreau, was a box-office smash, earning $192 million at theaters in the United States and Canada in its first weekend. It ultimately made more than $1.5 billion in ticket sales globally. More