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      Martin Scorsese to Headline a Religious Series for Fox Nation

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      The Oscar-winning director is the latest Hollywood name to sign up for the Fox News streaming platform, joining Kevin Costner, Rob Lowe and Dan Aykroyd.Martin Scorsese has agreed to spearhead a documentary series about Christian saints for Fox Nation, the subscription streaming service run by Fox News Media.“Martin Scorsese Presents: The Saints,” which begins airing in November, will be hosted, narrated and executive produced by Scorsese, the decorated director of classic films like “Taxi Driver” and “The Wolf of Wall Street.” Fox Nation is set to formally announce the series on Wednesday.Since its debut in 2018 as a companion service to Fox News, Fox Nation has expanded into entertainment and general-interest programming as it aspires to become a kind of Netflix for conservative audiences. The streaming network already boasts shows with Hollywood stars like Kevin Costner (“Yellowstone: One-Fifty”), Rob Lowe (“Liberty or Death: Boston Tea Party”) and Dan Aykroyd (“History of the World in Six Glasses”).The Scorsese series, created by Matti Leshem, dramatizes the stories of eight saints, including Joan of Arc, John the Baptist, Mary Magdalene, Francis of Assisi and Thomas Becket.“I’ve lived with the stories of the saints for most of my life, thinking about their words and actions, imagining the worlds they inhabited, the choices they faced, the examples they set,” Scorsese said in a statement. “These are stories of eight very different men and women, each of them living through vastly different periods of history and struggling to follow the way of love revealed to them and to us by Jesus’ words in the gospels.”Along with narrating re-enactments of the saints’ stories, Scorsese will also host on-camera discussions with experts. Four episodes will stream on Nov. 16, with the concluding quartet of episodes released in May 2025. The series is directed by Elizabeth Chomko and written by Kent Jones.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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      ‘The Truth vs. Alex Jones’ Review: How Conspiracy Theories Work

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      Directed by Dan Reed (“Leaving Neverland”), the documentary offers a lesson in how conspiracy theories work and shows how parents confronted Jones in court.Even though the legal battle between Sandy Hook families and the conspiracy theorist Alex Jones has been thoroughly covered, it is still hard to watch him in the documentary “The Truth vs. Alex Jones” without experiencing a wave of nausea.Directed by Dan Reed (“Leaving Neverland”), the film methodically lays out the horrors that families in Newton, Conn., faced on Dec. 14, 2012, when a gunman killed 20 first graders and six adults at Sandy Hook Elementary. Parents of the victims share memories from that morning before their children left for school. Daniel Jewiss, the lead investigator, walks viewers through how the slaughter unfolded.Then the documentary shows how, just as the parents were dealing with unfathomable grief, Jones, through his Infowars broadcasts, began promoting the idea that the shooting was a hoax. As he continued to spread falsehoods, people who latched on to such claims harassed the families. Robbie Parker, whose daughter Emilie was killed at Sandy Hook, describes the harassment as coming in waves. “It was almost like I knew when Alex Jones said something,” he says in testimony excerpted in the film.If there is value in seeing these events recapped, it is in the power of seeing the parents confront Jones in court. (Over two trials, in Texas and Connecticut, they won more than $1 billion in damages.) It is also in the horror of seeing just how confidently Jones deflects questions and tries to steer proceedings to his advantage — denying the families what Alissa Parker, Emilie’s mother, calls “a moment of reflection” from him.“The Truth vs. Alex Jones” offers a lesson in just how vicious and pervasive conspiracy theories can become and a chilling portrait of how little they may trouble their purveyors.The Truth vs. Alex JonesNot rated. Running time: 2 hours 1 minute. Watch on Max. More

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      ‘Art Talent Show’: A Documentary Celebration and Sendup

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      “Art Talent Show” follows students applying to a prestigious Czech academy. The film is both a tribute to the contemporary scene and a sendup.Have you ever stood in an art gallery, contemplating a vacuum, wondering if it’s art or if the maintenance staff just forgot to put it away? I love this feeling. To me, art is supposed to leave us re-evaluating everything we think we know about the world. But it does underline how knotty and capricious judging art can be — a matter also taken up by “Art Talent Show.”Directed by Tomas Bojar and Adela Komrzy, “Art Talent Show” (opening this week in theaters) follows hopeful applicants to Prague’s Academy of Fine Arts, the oldest art college in the Czech Republic. When the film was on the festival circuit, it garnered comparisons to the movies of Frederick Wiseman: patient, witty observational portraits of institutions that coax audiences to draw conclusions about their ultimate theses. In this case, the subjects are the young artists in the process of grueling entrance exams. That includes being grilled by faculty who sometimes seem bent on messing with them just a little, whether it’s prodding a student into saying smoking might be good for the environment because it kills humans, or challenging their views of the art market.The teachers are hardly rigid traditionalists, but they are of a different generation from the students. That means conversations about gender and sexuality, as well as commodification and what truly counts as provocative, are all part of the film. But the movie smartly situates the whole process inside the larger institution, with the receptionist in the lobby providing a riotous counterbalance to all the artiness therein.“Art Talent Show” is itself provocative but also hilarious, both a sendup and a tribute to the complexity of contemporary art. It reminded me of another favorite documentary: Claire Simon’s “The Competition” (2016, streaming on Metrograph at Home), which follows would-be filmmakers hoping to be admitted to the prestigious Parisian school La Fémis. They also face panels of faculty grilling them about their views and aspirations, and the results are equally revealing.Admittedly, both of these films made me very happy to have finished school long ago. But what I loved most was how they spotlight complex attitudes about the relationship between identity, craft and art, even in highly progressive contexts — and how fun they are to watch while they do it. More

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      ‘William Shatner: You Can Call Me Bill’ Review: Living Long

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      A documentary on the “Star Trek” actor unboldly goes where other profile movies have gone before.The line between star and character gets thoroughly blurred in “William Shatner: You Can Call Me Bill,” a profile documentary that treats Shatner, the sole interviewee, as if he were as polished as Capt. James T. Kirk — as opposed to merely being the durable, hard-working actor who played him on “Star Trek” and a terrific raconteur.The director, Alexandre O. Philippe, churns out movie-themed documentaries that veer between insightful (“78/52: Hitchcock’s Shower Scene”) and obsequious (“Memory: The Origins of Alien”). The fawning “You Can Call Me Bill” makes you like Shatner. Still, listening to the actor’s wit, wisdom and drippy insights for 96 minutes is enough to tempt any viewer to channel his or her inner Spock. (“Most illogical!”)“You Can Call Me Bill” is tedious when Shatner shares his thoughts on animals and spirituality (“You reach a connection with a horse that can be something mystical”) but sharp when he reflects on acting. It’s interesting to hear that he felt influenced both by the traditionalism of Laurence Olivier and the Stella Adler training of Marlon Brando; he suggests that split was related to his being Canadian, torn between British and American cultures. He probes deeply into his craft when speaking of selecting differentiated traits that an audience could identify in scenes that featured multiple Kirks and of wanting another take of his death scene close-up in “Star Trek: Generations” (1994).It’s hard not to smile during footage of Shatner, then 90, becoming the oldest person ever to travel to space. But “You Can Call Me Bill” is fundamentally a case of an actor presenting himself as he wants to be seen.You Can Call Me BillRated PG-13 for some language that would mostly pass on 1960s television. Running time: 1 hour 36 minutes. In theaters. More

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      ‘Freaknik’ Documentary Invites Viewers to Black College Spring Break

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      A new Hulu documentary delves into the legendary Atlanta event and surfaces relics of 1980s and ’90s culture that were essential to partygoers.It’s an accepted spring break axiom that you can retake a class but you can’t relive a party. Until now, that’s been true of Freaknik, the annual bass-rattling spring break street party that drew hundreds of thousands of Black college students to Atlanta throughout the 1980s and 1990s. Traffic crawled. Music blared. Booties were shaken.“It’s a throwback time of nostalgia when we weren’t all on our phone or always trying to take a selfie,” said P. Frank Williams, the director of “Freaknik: The Wildest Party Never Told,” a documentary that aims to immerse viewers in the celebration when it premieres on Thursday on Hulu. “We were just enjoying the moment. It was about these young Black people finding freedom in a world that really didn’t welcome them, in a city that is one of the Blackest places on the planet.”Over time, Freaknik exploded from its roots as a local event organized by students at the Atlanta University Center into a nexus for Black college students from across the country. “They said it was Freaknik, and I just thought that I wanted to bring the freak into the ’nik and then it went from zero to 100 real fast,” said Luther Campbell, the rapper known as Uncle Luke, who is an executive producer of the film.Police and elected officials ended Freaknik after 1999 amid public safety concerns and reports of sexual assault. Other cities in recent years have sought to restrict Black spring breakers through curfews, bag checks and traffic rerouting. Miami Beach rolled out a social media campaign this year to discourage visitors.To tell the story of a party that became legendary before social media, “Freaknik: The Wildest Party Never Told” highlights several of the era’s artifacts that were essential to partygoers’ experience. We spoke with the makers of the film about five of them.CamcordersCamcorders were a fixture at Freaknik and a source of material for the documentary.Rich Mahan/Atlanta Journal-Constitution 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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      ‘Quiet on Set: The Dark Side of Kids TV’: 5 Takeaways

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      The Investigation Discovery documentary takes a look at accounts of a problematic working environment at Nickelodeon.The Investigation Discovery documentary “Quiet on Set: The Dark Side of Kids TV” is a four-part series about working at Nickelodeon, including the environment under the former producer Dan Schneider, and what some described as harmful situations that child actors and adult employees were put in. It premiered on Sunday and is streaming on Max.Schneider, who parted ways with Nickelodeon in 2018, doesn’t appear in the docuseries, but former writers, child stars, staffers and journalists paint a picture of the environment at the network starting in the 1990s, through his departure.Schneider responded to the series in a video on Tuesday. “Watching over the past two nights was very difficult, me facing my past behaviors, some of which are embarrassing and that I regret, and I definitely owe some people a pretty strong apology,” Schneider said in a nearly 20-minute video posted to his YouTube channel.In response to producers’ questions, the documentary said, Nickelodeon stated that the network “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace” and has “adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”Here are the biggest takeaways from the series.Drake Bell publicly speaks about his abuse for the first time.Drake Bell, in 2018. He has spoken publicly about his sexual abuse for the first time, in “Quiet on Set.”Slaven Vlasic/Getty ImagesBrian Peck, a dialogue coach for Nickelodeon, was convicted of sexually abusing the “Drake & Josh” star Jared Drake Bell. Peck was arrested in 2003 in connection with the sexual abuse of a teenager over a four-month period. In 2004, Peck pleaded no contest to two felonies, according to public records. At the time of the abuse, Bell was 15 and Peck was 41; in court documents, Bell was identified as John Doe.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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      ‘Breaking,’ ‘Thanksgiving’ and More Streaming Gems

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      Crime thrillers, a crackling slasher and a documentary exploration of a rare Beatles failure are among our recommendations for your streaming subscription services this month.‘Breaking’ (2022)Stream it on Paramount+.John Boyega is electrifying — sympathetic, credible, and scary — in Abi Damaris Corbin’s sensitive “Dog Day Afternoon”-style crime drama. Corbin dramatizes the story of Brian Brown-Easley, a desperate ex-Marine on the verge of homelessness who took over a Marietta, Ga., bank and held hostages, demanding the return of disability checks unfairly garnished by the VA. The tropes of such a story are firmly established, and there are few narrative surprises of note. But “Breaking” is firmly anchored by the terrific performances, with Boyega’s harrowing star turn nicely supplemented by Nicole Beharie’s cool-as-a-cucumber bank manager and the great Michael K. Williams as the sensible police hostage negotiator.‘Thanksgiving’ (2023)Stream it on Netflix.Eli Roth’s holiday slasher began as a fake trailer, sandwiched between Robert Rodriguez and Quentin Tarantino’s segments of the 2007 exploitation movie valentine “Grindhouse.” Roth opens this feature-length expansion with an impeccably staged, blood-spurting melee at a Black Friday sale — a sequence that’s gloriously meanspirited and occasionally stomach-turning, and easily the single best set piece of his career to date. The rest of the picture almost lives up to it; Roth knows how to build suspense, and he constructs a fine mixture of gory kills, snarky laughs and outrageous Massachusetts accents. (Its only major flaw is its slavishness to that trailer, which means that, as with trailers made after the movies they’re advertising, some of the best moments have already been given away.) It’s a thoroughly entertaining horror effort, designed and executed in gleefully bad taste.‘The Trust’ (2016)Stream it on Max.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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      ‘Stormy’ Review: Stormy Daniels Traces How Trump Case Upended Her Life

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      A new documentary on Stormy Daniels traces how fame, frenzy and legal battles involving a former president upended her life.The arrival of “Stormy,” a new documentary on Peacock, is timely. In several weeks, former President Donald J. Trump is scheduled to go on trial in a case in which he’s accused of covering up a 2016 payment to the pornographic film star known as Stormy Daniels. (The trial was originally supposed start in late March, but has now been delayed until at least mid-April.)The documentary uses interviews and observational footage to recount the legal saga from Daniels’s perspective. It begins with the requisite accounts of her upbringing, her introduction to the sex industry and the 2006 tryst she says she had with Trump. “Stormy” then pivots to the period after the story of Daniels’s allegation of a sexual encounter with Trump was made public, tracing how the sudden fame and frenzy upended her personal life.After so much media coverage, certain details of the events feel overly familiar. But the director, Sarah Gibson, is often able to put the episodes into fresh contexts. Take the rise and fall of Michael Avenatti, Daniels’s onetime lawyer, who in 2022 was convicted of stealing from her: Rather than merely rehashing Avenatti’s offenses, Gibson positions him amid a wave of supposed male allies.These men go on to betray Daniels in ways that range from vexing to existential. And in a startling twist, some of the film’s footage comes from another documentary — never released — whose director became briefly involved with Daniels while shooting.“I’m not that special. I feel like a hypocrite,” Daniels says in one scene, considering her newfound status as a liberal luminary while preparing for a strip club performance. The sentiment gestures at complex questions about misogyny, female power and sexual agency. “Stormy” wisely lets these issues linger rather than tying a bow over them.StormyNot rated. Running time: 1 hour 49 minutes. Watch on Peacock. More