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      Stream Shelley Duvall’s Greatest Performances: ‘The Shining,’ ‘Popeye’ and More

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      In “The Shining,” “Popeye” and more, her unusual presence jumps off the screen. That’s true even in small roles in “Annie Hall” and “Time Bandits.”Shelley Duvall, who died on Thursday at 75, had one of the most thrilling and complicated careers in modern cinema history. Discovered by the director Robert Altman, who became her greatest collaborator, Duvall fell into acting almost by accident. But her screen presence was so beguiling and irresistible that she became one of the defining stars of the 1970s and ’80s.Her layered and detailed performances in the likes of “3 Women” and “The Shining” made her a celebrated star. And yet she never fit easily into Hollywood, remaining always decidedly herself. In later life, Duvall retreated from acting and the public eye, but left behind a remarkable and diverse body of work. Here’s where you can stream some of her best.1970‘Brewster McCloud’Buy or rent on most major platforms.Duvall in her first onscreen role, as an optimistic tour guide in “Brewster McCloud.”MGMWhen Duvall was discovered by Robert Altman and the actor and casting director Bert Remsen, in Houston, she had no intention of becoming a performer. “I wanted to be a great scientist, not an actress. Madame Curie was my heroine,” she once told Roger Ebert. But Altman and Remsen had other plans, putting her in their strange delight of a movie about a boy, played by Bud Cort, who lives in the Houston Astrodome and wants to build wings to fly. Once she appears onscreen as the tour guide Suzanne, it’s clear she is one of the most unusual presences ever to grace the screen. With her oversize eyelashes, a staple of her personal style that highlighted her features, she’s intriguingly cheerful as she chirps away about diarrhea. Her optimism seduces Cort’s Brewster, and with him the audience, even if she turns out to be fickle.1971‘McCabe & Mrs. Miller’Stream on Tubi; buy or rent on most major platforms.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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      Shelley Duvall, Star of ‘The Shining’ and ‘Nashville,’ Dies at 75

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      Her lithesome features and quirky screen presence made her a popular figure in 1970s movies, particularly Robert Altman’s.Shelley Duvall, whose lithesome features and quirky screen personality made her one of the biggest film stars of the 1970s and early ’80s, appearing in a string of movies by the director Robert Altman and, perhaps most memorably, opposite Jack Nicholson in “The Shining,” died on Thursday at her home in Blanco, Texas. She was 75.A family spokesman said the cause was complications of diabetes.Ms. Duvall wasn’t planning on a film career when she met Mr. Altman while he was filming “Brewster McCloud” (1970); she had thrown a party to sell her husband’s artwork, and members of his film crew were in attendance. Taken with her, they introduced her to Mr. Altman, a director with his own reputation for oddball movies and offbeat casting. He immediately asked her to join the cast, despite her lack of training.Ms. Duvall with Bud Cort in Mr. Altman’s “Brewster McCloud” (1970), her first film. She wasn’t planning on a film career when she met Mr. Altman, but he cast her despite her lack of training.Metro-Goldwyn-Mayer, via Everett CollectionShe said yes — and went on to appear in an unbroken string of five more Altman movies: “McCabe and Mrs. Miller” (1971), “Thieves Like Us” (1974), “Nashville” (1975), “Buffalo Bill and the Indians, or Sitting Bull’s History Lesson” (1976) and “3 Women” (1977). She also starred as Olive Oyl opposite Robin Williams in Mr. Altman’s “Popeye” (1980).“I thought: boy, if it’s this easy, why doesn’t everybody act?” Ms. Duval told The New York Times in April.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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      Shelley Duvall: A Life in Pictures

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      Shelley Duvall, who died on Thursday at the age of 75, captivated Hollywood with her raw honesty, intuitive acting and winsome Texas drawl. She was nicknamed “Texas Twiggy” for her sharp fashion sense and became a regular presence in 1970s celebrity photos.Though she retired from show business in 2002, a new generation has remade her as a cult figure for the quirky and misunderstood. Here are some snapshots from her life and career.Duvall signing autographs. She wasn’t planning on a film career but she became the go-to actress for roles that called for an out-of-the-ordinary performance.Art Zelin/Getty ImagesDuvall with Robert Altman, the director who helped launch her career, beginning with “Brewster McCloud” (1970). She went on to appear in many more Altman films, including “McCabe and Mrs. Miller” (1971), “Nashville” (1975) and “3 Women” (1977).Gilbert Tourte/Gamma-Rapho, via Getty ImagesDuvall dancing at Studio 54. She lived the life of a celebrity in the 1970s and 1980s, dating Paul Simon and Ringo Starr.Guy Marineau/WWD and Penske Media, via Getty ImagesAltman directed Duvall and Sissy Spacek in “3 Women.” Here they attend a screening of the film at Cannes.Jean-Jacques Levy/Associated PressBeside jury president and Italian director Roberto Rossellini, Duvall displays her award for best actress at Cannes in 1977 for her performance in “3 Women.”Jean-Jacques Levy/Associated PressThree actresses who worked with Robert Altman: Geraldine Chaplin (“Nashville”), Lauren Hutton (“A Wedding”) and Duvall at a party honoring the director in New York.Getty ImagesThe film critic Pauline Kael called her the “female Buster Keaton.” On casting Duvall in “The Shining,” Stanley Kubrick told her, “I like the way you cry.”Reg Innell/Toronto Star, via Getty ImagesDuvall with Ringo Starr en route to his home in Monte Carlo.PA Images, via Getty ImagesSitting between Paul Simon and James Taylor, Duvall greets Arnold Schwarzenegger at a screening in 1977.Sal Traina/WWD and Penske Media, via Getty ImagesWith Simon and Gilda Radner. Duvall hosted “Saturday Night Live” in 1977.Getty ImagesDuvall with Jack Nicholson, her co-star in “The Shining.” Critics at the time picked her performance apart, and she was nominated for a Razzie award for worst actress. But something in the authenticity of her reactions, her otherworldliness, resonated with audiences.Robin Platzer/Getty ImagesTerry Gilliam (far left) directed Duvall in “Time Bandits” (1981).Ron Galella/Ron Galella Collection, via Getty ImagesDuvall at a Hollywood party in 1982.Judy Graeme/WWD and Penske Media, via Getty ImagesRobin Williams with Duvall, who played Olive Oyl to his Popeye in the comedy from 1980.Fairchild Archive/WWD/Penske Media, via Getty ImagesAndy Warhol with Duvall in New York City. He put her on the cover of Interview magazine.Sonia Moskowitz/Getty ImagesDuvall at a cast party for “Faerie Tale Theatre,” one of the many children’s television shows she produced starting in the mid-’80s. Episodes featured Robin Williams, Christopher Reeve, Carol Kane and Mick Jagger, among other stars.Bob Riha, Jr./Getty ImagesDuvall produced the 1990 Disney television musical “Mother Goose Rock ‘n’ Rhyme,” where she met Dan Gilroy, who composed and performed some of the soundtrack and became her longtime partner. Vinnie Zuffante/Getty ImagesDuvall in 2024. She spent many decades away from Hollywood, living in small-town Texas, but had recently started acting again.Katherine Squier for The New York Times More

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      In ‘The Shining,’ Shelley Duvall Was a Perfect Gothic Heroine

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      Her performance was perhaps misunderstood at the time, just as the narrative surrounding her life would be later.If Stanley Kubrick’s “The Shining” was a twist on the centuries-old Gothic horror genre, there was no one better suited to play a modern Gothic heroine than Shelley Duvall. Duvall, who died Thursday at 75, was in her late 20s when she shot the role of Wendy Torrance, put-upon wife of blocked writer Jack (Jack Nicholson). The pair have holed up with their young son in the Overlook Hotel, working as winter caretakers.But something evil is afoot. The Overlook is less hotel than haunted house, saddled with the weight of inexplicable and violent history. Wendy is virtually trapped there, a small woman often alone in a rambling, dangerous building full of secrets. It might be more accurate to call the Overlook a monster, one that pushes its monstrousness onto its inhabitants. And it is Wendy, not Jack, who successfully resists in the end.The Gothic heroine, the woman trapped in the menacing haunted home, must exhibit courage in the face of danger, remaining resolute while also being susceptible to the evil that lurks around every corner. Without that tension, we wouldn’t be kept in suspense. In the film, Duvall is waifish, eyes wide, hair flat and scraggly, and it’s hard not to believe she’s going to die. Her only objective is to save her son, Danny, from his father, who — we learn early on — previously broke Danny’s arm in an alcoholic rage. This evil she is fighting is malevolent and abusive and real, a threat she has seen in action before, only now it carries an ax.The Wendy of Kubrick’s 1980 movie is a different kind of woman than the Wendy of Stephen King’s earlier novel — she’s more vulnerable, more frightened. King complained that the movie’s version was “basically just there to scream and be stupid and that’s not the woman that I wrote about.” Duvall was cited as a weak point in many of the film’s mixed reviews and nominated for a Razzie for worst actress.Yet her work in “The Shining” has grown in critical esteem in recent years; today it can feel as if detractors simply weren’t expecting how unsettling it would be to witness her performance of abject terror. There’s a strangeness to it: Her eyes are both huge and heavy-lidded, her mouth equally able to draw into a rosebud or spread wide for a shriek. Throughout the film, her affect is almost that of a china doll, terrified of being shattered. She appears afraid to breathe, barely able to speak.Duvall’s work in the film has grown in critical esteem in recent years. Warner Bros. Inc, via Associated PressWe 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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      ‘Inside Out 2’ Passes $1.25 Billion Mark and Is Pixar’s Biggest Movie Ever

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      The animated film about a young teenage girl and her complex emotions has passed the $1.25 billion mark globally and is expected to keep growing.Emotions are running wild at the box office this summer. Pixar’s newest animated feature, “Inside Out 2,” passed the $1.25 billion mark globally on Wednesday, making it the studio’s highest-grossing film of all time, not adjusted for inflation. It has raked in $543 million domestically and $708 million internationally.“Incredibles 2,” which earned $1.24 billion worldwide in 2018, was previously in the top spot for Pixar, which is owned by Disney.“Inside Out 2” is also the most successful film of 2024 so far and the fourth highest-grossing animated movie ever — behind “Frozen” (2013), “The Super Mario Bros. Movie” (2023) and “Frozen II” (2019). Its profits are poised to keep climbing as it is released in more countries, including Japan.“Inside Out 2,” Pixar’s 28th movie, continues the story of Riley as she turns 13 years old and grapples with puberty and her bevy of personified emotions, now including anxiety.Directed by Kelsey Mann, the movie has a voice cast that includes Amy Poehler, Maya Hawke, Tony Hale, Lewis Black, Phyllis Smith, Ayo Edebiri and Yvette Nicole Brown.It opened on June 14 to rave reviews from critics and audiences, who bestowed it with an A grade in CinemaScore exit polls, the same score as “Inside Out,” which made about $860 million globally in 2015. The sequel also surpassed opening weekend box office predictions, collecting about $155 million in the United States and Canada, about 70 percent more than anticipated.Since last year’s “Barbenheimer” phenomenon — when “Barbie” and “Oppenheimer” opened simultaneously on July 21 — the box office has been generally sluggish, without a single film achieving phenomenon status like Greta Gerwig’s smash or Christopher Nolan’s Oscar-dominating hit. “Inside Out 2” has filled that gap and is the first movie to clear the billion-dollar hurdle since “Barbie.”It was a crucial win for Pixar, which has had a wobbly run since the coronavirus pandemic started keeping audiences home in March 2020. Its film “Onward” was released in theaters on March 6, 2020, and its next three movies — “Soul,” “Turning Red” and “Luca” — went straight to the Disney+ streaming service.Last year, the original Pixar movie “Elemental” had a weak start but managed to reverse course, eventually collecting about $500 million worldwide. More

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      ‘Fly Me to the Moon’ Is a Throwback Amid Summer Blockbusters

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      Directed by Greg Berlanti, the film amounts to a Hollywood experiment: Is there still room at the multiplexes for original movies aimed at grown-ups.“Fly Me to the Moon” is the kind of movie that isn’t supposed to succeed in theaters anymore, at least if you listen to franchise-obsessed studio executives.The story is a period piece and completely original: In 1968, a government operative (Woody Harrelson) hires a marketing virtuoso (Scarlett Johansson) to convince the public — and Congress — that a troubled NASA can pull off its scheduled Apollo 11 moon landing. Stylish and devious, she clashes with the rigid launch director (Channing Tatum) and secretly — as a backup, to be used only in an emergency — arranges for a fake landing to be filmed on a soundstage. What’s the harm?Hollywood marketers will tell you that ticket buyers eschew movies that mash together genres. And “Fly Me to the Moon” is part drama, part comedic caper, part romance, part fiction and part true story. Particularly in the summer, studios prefer to serve up mindless popcorn movies aimed at teenagers. “Fly Me to the Moon” is entertainment for thinking adults, the kind that Mike Nichols (“Working Girl”) and James L. Brooks (“Broadcast News”) made in the 1980s.So the question must be asked: How on earth did “Fly Me to the Moon” manage to score a wide release in theaters at the height of blockbuster season? The film rolls into 3,300 theaters in the United States and Canada on Friday.Shouldn’t it be going straight to streaming?In many ways, the film’s unexpected journey to multiplexes reflects the degree to which Hollywood runs on the vagaries of chance. “Fly Me to the Moon” started out as a streaming movie — full stop. Apple TV+ paid an estimated $100 million for the project in March 2022, and the contract called for no theatrical release of any kind.But then Greg Berlanti got involved.It was June 2022, and Mr. Berlanti, the wunderkind television producer, had just turned 50. That milestone prompted a degree of uncomfortable self-reflection, compounded by his mother’s recent death. At the same time, the entertainment business was changing — the streaming-driven “peak TV” era was winding down — and Mr. Berlanti wasn’t entirely sure where to focus his professional attention.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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      Summer Horror Movies to Send a Chill Down Your Spine

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      At the drive-in, under the stars or in your living room, there are plenty of frights to be had before fall arrives.Horror movies can be great summertime escapes because, unlike soaring temperatures and global political upheaval, their terrors are temporary and, at least for fans of the genre, a ton of fun.Here’s a look at new movies and beloved classics that will (metaphorically) scare your pants off in theaters, at home and under the stars this summer.Fresh HellsWhether it’s date night or a solo Summer Friday afternoon, movie theaters are chockablock with new scares. They include “MaXXXine,” the final entry in a slasher trilogy starring Mia Goth; “A Quiet Place: Day One,” a prequel to the hit franchise about bloodthirsty creatures with really good hearing; and “The Exorcism,” a supernatural drama starring Russell Crowe as an actor who unravels playing the role of an exorcist.For fans of oddball indie horror, there’s “In a Violent Nature,” an extravagantly gory, genre-smashing slasher film; “I Saw the TV Glow,” a darkly atmospheric meditation on youth and isolation; and “The Devil’s Bath,” a folk-horror psychodrama set in the 18th century.Classic FrightsWe 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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      ‘Twice Colonized’ Review: Untangling the Personal and Political

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      This documentary follows a renowned Inuit activist over seven years, making sense of the ways in which racism and impoverishment can abrade one’s sense of self.The charismatic Inuit lawyer Aaju Peter is no stranger to cinema. Some viewers will know her from films like “Arctic Defenders” (2013), about Inuit activists’ struggle for self-government, and “Angry Inuk” (2016), which follows an Inuit campaign to allow seal hunting. Peter returns to the screen in “Twice Colonized,” but this time, the focus is not on her fight against colonialist policies. It’s on Peter’s fight with herself — with all the wounds that colonization has inflicted on her life and her soul.Peter grew up in Greenland, a Danish territory, in the 1960s and, as was common with high-performing young students, was shipped off to high school in Denmark. Later in life, she moved to the Canadian Arctic. In “Twice Colonized,” which follows Peter closely across seven years, she contends with her life under Danish and then Canadian colonialism, and the corrosive separations from her language, culture and family that assimilation required. Both she and the director, Lin Alluna, take on a difficult task: untangling the personal and the political, making sense of the ways in which racism and impoverishment can abrade one’s sense of self.Much like its heroine, “Twice Colonized” is a storm of emotion and conviction. Peter is tortured and vulnerable as she mourns her son’s death by suicide and struggles to break up with her abusive partner; she is also joyful and strong as she communes with other Indigenous people on her travels and speaks forcefully about Inuit rights on global platforms.The film seems to writhe alongside her, with shaky camerawork, jagged cuts and a haunting soundtrack full of breathy chants. If it can feel haphazard and narratively unsatisfying at times, it’s also thrilling in the way it matches Peter’s rhythms, refusing to sand down her defiant complexity.Twice ColonizedNot rated. In Danish, English, Greenlandic and Inuktitut, with subtitles. Running time: 1 hour 31 minutes. Available to rent or buy on most major platforms. More