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      Gene Hackman: 5 Memorable Performances to Stream

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      He played a complicated hero in “The French Connection” and an arch-villain in “Superman.” Here are some of Hackman’s career highlights.Although Gene Hackman, who died at age 95, was one of Hollywood’s most enduring and recognizable stars, it was nearly impossible to put the actor in a box. In a five-decade career, he portrayed cops, villains and men of the cloth, in thrillers, comedies and superhero blockbusters.His accolades included two Academy Awards and four Golden Globes, including, in 2003, the Cecil B. DeMille Award for outstanding contributions to entertainment.Here are some of his most notable performances.‘The French Connection’Hackman’s breakout role was as Jimmy “Popeye” Doyle, a cop investigating a heroin deal in William Friedkin’s “The French Connection.” Hackman won the best actor Academy Award for this performance, and critics immediately recognized his star quality. Stephen Farber, reviewing the movie for The Times, said that Hackman had brought “a new kind of police hero” to the screen. His character was “brutal, racist, foulmouthed, petty, compulsive, lecherous,” Farber wrote, “but even at his most appalling, he is recognizably human.”Stream, rent or buy it on Prime, YouTube, Apple TV or Fandango.‘The Poseidon Adventure’Hackman followed up “The French Connection” with three movies in 1972, including “The Poseidon Adventure,” directed by Ronald Neame, about an ill-fated ocean liner’s final voyage. Hackman played a minister who leads the other frantic passengers to safety.Stream, rent or buy it on Apple TV, Prime, Fandango or YouTube.“Superman”In the 1970s, Hackman became known as one of Hollywood’s hardest-working actors, completing movies at a frenetic pace, as shown by his appearances in the “Superman” franchise. While filming his role as arch-villain Lex Luthor for the first installment, Hackman simultaneously shot his scenes for that movie’s sequel, “Superman II.”Stream, rent or buy it on Max, YouTube, Fandango, Apple TV or Prime.‘Unforgiven’Hackman won his second Oscar — a best supporting actor award in 1993 — for “Unforgiven,” in which he played a sadistic small-town sheriff who comes up against a string of bounty hunters, including one played by Clint Eastwood. In The Times review of the film, Vincent Canby said that Hackman “delights” in the role, and he noted a shift for the performer: “No more Mr. Good Guy.”Stream, rent or buy it on Prime, Fandango, Apple TV or YouTube.‘The Royal Tenenbaums’James Hamilton/Touchstone Pictures, via The Kobal CollectionHackman also won acclaim playing in comedies. In 2001, he starred in Wes Anderson’s “The Royal Tenenbaums” as a disbarred lawyer who tries to reconcile with his eccentric children. A.O. Scott, reviewing the movie for The Times, said that Hackman had “the amazing ability to register belligerence, tenderness, confusion and guile within the space of a few lines of dialogue. You never know where he’s going, but it always turns out to be exactly the right place.”Stream, rent or buy it on Apple TV, Prime, Fandango or YouTube. More

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      Oscars 2025 Predictions: Who Will Win Best Picture, Actor and Actress?

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      The best picture race has been full of twists and turns. The best actress race is closely contested. Our expert predicts which films and artists will get trophies on Sunday.Best PictureMark Eydelshteyn and Mikey Madison in “Anora.”Neon✓ “Anora”“The Brutalist”“A Complete Unknown”“Conclave”“Dune: Part Two”“Emilia Pérez”“I’m Still Here”“Nickel Boys”“The Substance”“Wicked”After a few years where the best picture winner was practically ordained from the start of the season, at least this race has given us some twists and turns.First, there was the saga of “Emilia Pérez,” which led the field with a near-record 13 nominations but collapsed in controversy after the unearthing of disparaging tweets by its star, Karla Sofía Gascón. Then “Anora,” a front-runner that was utterly shut out at January’s Golden Globes, scored top prizes from the producers, directors and writers guilds.Those wins usually presage a best picture victory, especially because the producers guild uses a preferential ballot similar to the Academy’s. But in the late going, another contender began to surge as “Conclave” took the top prize at the Screen Actors Guild Awards (where “Anora” was once again shut out) as well as best film honors at the BAFTAs, the British equivalent to the Oscars.One thing gives me pause, though: If “Conclave” had the sort of across-the-board Academy support that a best picture winner can usually count on, it shouldn’t have missed out on slam-dunk Oscar nominations for directing and cinematography. “Anora” earned all the nominations it needed to, and its guild spread is hard to argue with, so that’s the film I project will win.Best DirectorJacques Audiard, “Emilia Pérez”✓ Sean Baker, “Anora”Brady Corbet, “The Brutalist”Coralie Fargeat, “The Substance”James Mangold, “A Complete Unknown”Baker picked up the DGA trophy but has strong competition from Corbet, who won best director at the BAFTAs. Still, I suspect the Academy will embrace “Anora” in both of the top categories. It helps that Baker has turned every acceptance speech he’s made this season into an upbeat rallying cry for theatrical independent filmmaking.Best ActorAdrien Brody in “The Brutalist.”Lol Crawley/A24✓ Adrien Brody, “The Brutalist”Timothée Chalamet, “A Complete Unknown”Colman Domingo, “Sing Sing”Ralph Fiennes, “Conclave”Sebastian Stan, “The Apprentice”Brody has been collecting prizes all season, though his reign was halted last weekend when Chalamet scored a last-minute SAG win. But Chalamet faces headwinds from an Academy that remains stubbornly resistant to recognizing young men: No one under 30 has ever won the best actor Oscar except for Brody himself, who notched his win for “The Pianist” at age 29. Come Sunday, he’ll add a second Oscar to the mantel.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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      Ione Skye Was an Enigma in Her 1990s Heyday. Now She’d Like a Word.

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      When Ione Skye was in middle school in the early 1980s, a group of popular, mean girls she calls “the Aprils” brought her — shy, bookish, not yet famous — into their intimidating fold. She was surprised they even knew her name.“Part of me wanted to punch the girls’ smug faces,” she writes in her memoir “Say Everything,” due out from Gallery Books on March 4. Another part of her, though, “burned with excitement.”Those preteen memories, which she wrote down, felt important. Cinematic, even. “My own story captured my imagination,” Skye told me during a video interview from Los Angeles. “I had a big ego, I guess.”For almost 40 years, since Skye made her film debut at 15 alongside Keanu Reeves, Crispin Glover and Dennis Hopper in the teen crime drama “River’s Edge,” her name has been associated with powerful people, mostly men. There’s her father, the Scottish folk singer Donovan, whose early abandonment of Skye, her mother and brother, connects her experiences from “Girlhood,” as the first section of the book is called, to “Womanhood,” the second.Ione Skye with John Cusack in the 1989 movie “Say Anything.”20th Century FoxThere’s her relationship with the Red Hot Chili Peppers frontman Anthony Kiedis, which started when she was 16. There’s her marriage to Adam Horovitz, better known as Ad-Rock from the Beastie Boys, which ended in divorce after Skye (“I was a serial cheater,” she writes) rediscovered her bisexuality and embarked on a series of affairs with women, including Jenny Shimizu, Ingrid Casares and Alice Temple. She’s now a mother of two and has been married to Ben Lee, a musician, since 2008. They live in Los Angeles but just spent the last year in Sydney.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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      How Michelle Trachtenberg Made Mean Girl Georgina Sparks Sparkle on ‘Gossip Girl’

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      The actress embodied an arch flair that made the fabulous antagonist Georgina Sparks a fan favorite.Georgina Sparks was not Gossip Girl, but she might as well have been.The character, a socialite who trafficked in wild manipulation, convoluted scheming and plenty of narcotics, was a main antagonist of the 2000s teen drama series that aired on the CW network, an inveterate plotter in a statement necklace. (“Gossip Girl” is available to stream on Max, Netflix and Tubi.) A former queen bee turned problem child who refused to be banished to boarding school in Switzerland, she had the Upper East Side wrapped around her manicured finger.Georgina was played by the actress Michelle Trachtenberg, who was found dead at 39 in her Manhattan apartment on Wednesday. Her performance as the teenage supervillain brought an arch flair to a character who was only a minor figure in the novels that were the basis for the show, but became a fan favorite onscreen.As an actress, Trachtenberg was not a queen of mean — or at least not only that. She started performing as a child, and audiences watched her grow into the different modes of young womanhood throughout the ’90s and 2000s.In her title role in the 1996 children’s movie “Harriet the Spy,” she was clever, opinionated and driven in a way girls didn’t often get to be onscreen. In “Buffy the Vampire Slayer,” the influential horror-dramedy, she was introduced mid-series as Buffy’s bubbly yet stubborn younger sister, Dawn, balancing supernatural forces with heartfelt teenage emotion.In the 2005 sports comedy-drama “Ice Princess,” she played a geeky teenager who dreamed of becoming a professional figure skater. I remember watching “Ice Princess” on the Disney Channel as a child, drawn in by Trachtenberg’s likability: She was beautiful, brainy and talented, unapologetic about her skills but never arrogant.On “Gossip Girl,” Trachtenberg made Georgina Sparks a charismatic scene-stealer.The CW, via MaxWe 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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      Michelle Trachtenberg, ‘Gossip Girl’ and ‘Buffy’ Actress, Dies at 39

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      Michelle Trachtenberg, who rose to fame as Buffy’s younger sister, Dawn, in the dark, comedic series “Buffy the Vampire Slayer” and as a conniving socialite on the show “Gossip Girl,” has died, according to the New York Police Department. She was 39.The department said in a statement that officers, responding to a 911 call just after 8 a.m. Wednesday, found Ms. Trachtenberg unconscious and unresponsive in a Manhattan apartment. She was pronounced dead by emergency medical workers, who had also responded.The medical examiner will determine the cause of death, the department said, adding that criminality was not suspected.Michelle Trachtenberg in an undated photo. Beginning as a child, she had a long list of film and television credits that endeared her to a generation of fans.Online USA, via Getty ImagesBeginning as a child, Ms. Trachtenberg had a long list of credits in movies and television that endeared her to a generation of fans.In 1996, she portrayed Harriet Welsch, a precocious 11-year-old who meticulously records her observations of neighbors and classmates in “Harriet the Spy,” a movie based on Louise Fitzhugh’s beloved 1964 children’s book of the same title. The movie also starred Rosie O’Donnell as Harriet’s nanny, Ole Golly.Ms. Trachtenberg also portrayed Casey Carlyle, the heroine in the 2005 figure-skating movie “Ice Princess.” Other credits included the 2004 raunchy teen comedy “Eurotrip” and the 2009 comedy “17 Again,” which also starred Zac Efron and Matthew Perry.A full obituary will follow.Chelsia Rose Marcius More

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      Timothée Chalamet’s Very Viral Oscars Season

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      The 29-year-old actor has hit the usual stops, but the defining moments of his awards campaign have been distinctly online.Going viral during awards season is not necessarily a good thing. Look no further than the unearthed social media posts of “Emilia Pérez” star Karla Sofía Gascón for the most extreme example of how an actor’s online behavior can sink a film’s chances.But in other cases social media can be a tool for a contender. Timothée Chalamet, a best actor nominee for his portrayal of Bob Dylan in the biopic “A Complete Unknown,” knows this. Leading up to the Christmas release of his film and through the ensuing months on the awards trail, Chalamet has waged a highly amusing, sometimes odd, campaign eschewing the old, staid ways of Hollywood promotion. In addition to some somber interviews about how much Dylan means to him, Chalamet has posted videos of himself dancing, worn kitschy outfits and turned social media feeds into his own personal art project.While Chalamet has appeared on traditional media, he has utilized it in surprising ways where virality seems to be the end goal rather than reaching typical viewers of those programs.What we’re witnessing is perhaps the first Gen Z Oscar campaign. Technically, Chalamet, who was born in 1995, is a millennial, but he’s a child of the internet who understands its weird contours and knows that sometimes a post doesn’t have to make sense to be appealing. This won’t necessarily translate to Oscar gold, but it has certainly been fun to watch it unfold. Here are Chalamet’s greatest hits from this very unusual Oscar run.“College GameDay”The first sign that Chalamet was doing something different with his promotional campaign for “A Complete Unknown” came when he appeared on ESPN’s “College GameDay” in early December. It’s typical for celebrities to show up on the broadcast and join the analysts in predicting which teams are going to win the day’s matchups, but Chalamet, who broke out in art-house indie films, seemed like an odd choice for the gig.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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      There’s a New Kind of Woman Onscreen, Thanks to Women Behind the Camera

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      Movies contain a multitude of bodies in different sizes, colors and muscle tones, bodies that are trim, bulky, parched, surgically altered. Talking about them, though, especially women’s bodies, can be understandably fraught. For some observers, writing about them is unnecessary and objectifying, even if a lot of other people — politicians, activists, influencers, Supreme Court justices — can’t stop talking about them. “We’re always talking about the feminine condition and the role of women,” the filmmaker Agnès Varda once said. “But I want to talk about the woman’s body, about our bodies.” I want to talk about them, too.That’s because some of the most memorable movies that I’ve seen lately are from female filmmakers who are also clearly thinking about women’s bodies and helping expand what kinds of women we are seeing onscreen. One such movie I keep returning to is Gia Coppola’s “The Last Showgirl,” a recently released drama set on the frayed edges of Las Vegas. In a scene that keeps playing in my head, a cocktail waitress, Annette — played by a soulful Jamie Lee Curtis — climbs atop a small platform in the casino where she works and begins dancing. As slot machines ping around her, she slowly gyrates to the 1980s hit “Total Eclipse of the Heart.” Annette looks like she’s in her own world. She looks glorious.Curtis, who’s 66, has said the scene shows the “degradation of women at the end of their lives,” adding, that “nobody cares.” Scarcely any casino patrons glance at Annette as she dances, true. But I did care, and I suspect I wasn’t alone. I get it, though; older women can feel invisible — I do. Yet here Curtis, who’s bathed in beautifully diffused light during the scene, the camera pointed up in seeming adulation, is mesmerizing as she shimmies and dips into a squat, her thighs tense and strong. I adored watching Curtis play Annette, and I think Coppola wants us to love this character as much as she clearly does. That is also glorious.Playing the cocktail waitress Annette, Jamie Lee Curtis is mesmerizing as she shimmies and dips in a scene from “The Last Showgirl.”Roadside Attractions“The Last Showgirl” touches on mothering, friendships, the commodification of beauty and the role that women play, willingly or not, in their own objectification. It explores how identity is partly created, sustained and jeopardized by the gaze of others, and what it means when women gaze — at others, at themselves — which puts the film in dialogue with recent movies like “Babygirl,” “Nightbitch” and “The Substance,” which received five Oscar nominations. The protagonist of “Showgirl” is Annette’s friend, Shelly (Pamela Anderson) a dancer whose revue is shuttering. Clouded with worry, Shelly — like Anderson, the character is 57 — is anxious about her future and sense of self. Who is she, after all, if no one looks at her?Anderson likes to be makeup free; away from work, so does her character. Shelly loves being a showgirl — “feeling beautiful, that is powerful” — but when she puts on her costume, she’s cosplaying an old-fashioned ideal of femininity. Onstage, she plays a fantasy. When she’s offstage, Shelly is a person with a life, everyday concerns and friends, mostly women, who look at one another with gazes that find common cause. Coppola sees the world of “The Last Showgirl” as a metaphor for the America dream, one in which commodified bodies come with expiration dates. It is also an emblem for women in film, who have long fought against their perceived disposability and continue to find common cause in female-driven work.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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      Timothée Chalamet Should Win an Oscar for His Oscar Campaign

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      Lobbying the public to attract the votes of the academy is an odd practice — but you can’t say Chalamet hasn’t excelled at it.Democracy is broken, they say. The wants of the electorate are contradictory and rooted in base emotions rather than rational thought. Viable alternatives are nonexistent, so we treat the ensuing insanity as a spectator sport, posting impotently as the world burns. I could be talking about electoral politics, but in this instance I am actually talking about Oscar campaigns.We as individuals do not cast the ballots that determine the year’s best actor or finest cinematographer or most evocative sound design. That privilege falls to a shadowy elite, who decide these things based on their personal aesthetic judgments — but also, it turns out, based on larger narratives that all of us get to judge, narratives about who has achieved true stardom or whose moment has come. It’s a strange arrangement: The public has no official say, and yet our collective gut-check vibes appear to influence the result just the same. Hence the Oscar campaign, which aims not just to persuade academy voters that a given contender deserves their support, but also to create a good story around it — and, ideally, a culture-wide consensus that the nominee’s victory is nearly inevitable.The 2025 race has been weirder than most. Three campaigns stand out — one weirdly funny, one weirdly disastrous and one weirdly endearing. The funny one involved the movie adaptation of the Broadway musical “Wicked.” An endless promotional push surrounded the film’s November release, and a clear bid for Oscar recognition followed, but the highlight of the whole thing was its strangest moment: a journalist solemnly informing the two lead actresses, Ariana Grande and Cynthia Erivo, that fans of the film were “holding space” for the lyrics of the breakout song “Defying Gravity.” Erivo was visibly moved by this news; Grande then reached out to hold Erivo’s pointer finger. Both women appeared to be on the verge of tears. The moment was so eerie and absurd that it was rehashed online for weeks. Maybe it helped: Each woman did ultimately secure an Oscar nomination.The disaster involved “Emilia Pérez,” the polarizing Spanish-language French musical crime film about a transgender Mexican cartel leader. For a moment, this looked like the film to beat: It won the Jury Prize at the Cannes Film Festival and garnered 13 Oscar nominations, including best picture, best director and best actress. But it was quickly subsumed by a series of controversies. There was criticism, from L.G.B.T.Q. advocates, that the film was “a step backward for trans representation”; there was negative coverage from the Mexican press about how the country was portrayed. Most devastating, there were unearthed social media posts by the film’s star, Karla Sofía Gascón, disparaging George Floyd and Islam, among other hot-button topics — most likely torpedoing the chances of the first openly transgender actor nominated for an Oscar.Then there was the third offensive, the one credited with “making Oscar campaigning fun again.” Timothée Chalamet claimed a best-actor nomination, his second, for his lead role in the Bob Dylan biopic “A Complete Unknown” — a film he’s quite good in, especially when he evokes Dylan’s unique blend of mumbly insouciance and magnetic star power. His status as a favorite slipped after he lost out on early awards. But his campaign has been something else: not just fun, but a genuine masterpiece of self-promotion.It has scored so many hits, across so many platforms, that it’s helpful to break them into categories. In October, when Chalamet showed up to a Timothée Chalamet look-alike contest (and later posed with the winner at the Golden Globes), it made for the kind of charming general-interest story that would be shared widely on Facebook. When he appeared in a video with the internet personality Nardwuar and talked about how “I rip Milk Duds” at the movies: That one serviced a slightly different segment, the “extremely online.” Elsewhere he would give special attention to the niche demographic of “Bob Dylan nerds,” to which I personally belong. On Instagram, he posted a video of himself listening to the 1980s outtake “Blind Willie McTell.” Even more specific was a reference to Dylan’s bizarre, bewigged appearance at the 2003 Sundance premiere of his own Dylan movie, “Masked and Anonymous” — Chalamet copied that wardrobe at the New York premiere of “A Complete Unknown,” a gesture that only the most committed Dylanologists would fully appreciate.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