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      ‘Oscar Peterson: Black + White’ Review: Never Mind the Talking Heads

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      The flashing fingers of this jazz piano icon, and his mesmerizing tracks, are all the perspective we need.At one in point in “Oscar Peterson: Black + White,” Barry Avrich’s documentary about the Canadian jazz pianist, Billy Joel is raving about the speed of Peterson’s hands on the piano. “You’d try to watch what he was doing,” he explained, “but it’s a blur.”True enough, but completely redundant: We’re already watching Peterson’s hands flash across the keys, in the crisp archival concert footage Joel is talking over. The breathless praise adds nothing; in fact, it distracts from the pleasure of seeing a jazz great perform. As a recent viral tweet skewering this music-doc convention sarcastically pointed out, we don’t need a bunch of interviews with experts “to put the band in historical context.” Seeing Peterson play is more than enough.“Black + White” does feature plenty of Peterson’s music, including several cover renditions performed in tribute for the film by a contemporary ensemble. But at almost every opportunity, Avrich undermines these numbers by cutting to one of an endless lineup of talking heads, usually to repeat predictable platitudes about Peterson’s brilliance. The footage of Peterson at work is an infinitely better testament to that brilliance than words of admiration from artists he influenced. What’s more, the relevance of the interviewees varies wildly. Quincy Jones and Herbie Hancock are understandable. But if, like me, you wonder why we’re hearing so much from Randy Lennox, a pretty nondescript corporate media executive, stay through the credits: he’s one of the film’s producers. If you don’t already believe Oscar Peterson was a genius, I doubt he’ll be the one to convince you.Oscar Peterson: Black + WhiteNot rated. Running time: 1 hour 21 minutes. Watch on Hulu. More

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      ‘Somewhere With No Bridges’ Review: Of Men and Memories

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      Charles Frank’s documentary about a Martha’s Vineyard man tries to turn a shadow into a portrait.In the compact documentary “Somewhere With No Bridges,” the director Charles Frank sets out to put a heartbeat to a memory. The movie’s ostensible subject, Richie Madeiras, was 44 in October 1999 when he fell from his boat. Days later, divers pulled his body from the water a few hundred yards off Martha’s Vineyard, where he had deep roots, made lifelong friends and worked as a shellfish constable helping to protect the island’s precious natural resources. A local paper said of Madeiras: “Friends and family say he was born to fish.”The genesis of this documentary was the enduring impact that Madeiras’s death had on friends and family, including on Frank’s father, Dale. Charles Frank was just about to turn 5 in October 1999. “My family likes to joke that before the age of 12, I don’t remember anything,” he says in voice-over soon after the movie begins. That isn’t true, he continues, as the camera holds on a handsomely framed aerial shot of lapping ocean waves. He remembers how his father reacted to the loss of his close friend.“He stepped out of his car and collapsed into my mother’s arms,” Charles says, as the waves keep coming and he methodically draws out the words, as if from the deep. “It was the first time I sensed that something was wrong, and it was the first time I saw him cry.”This childhood memory serves as a kind of creative statement of intent and an emotional through line for “Somewhere With No Bridges,” which seeks to explore Madeiras’s life and legacy through its many traces. This effort emerges piecemeal through a combination of archival imagery, original interviews and supplementary material, including a great many shimmering beauty shots of the island and its residents, though primarily men, on the water. Much like the photograph of Madeiras that Frank develops in an old-fashioned chemical bath, the documentary tries to turn a shadow into a portrait.That never satisfyingly happens, partly because Frank never figures out what story he’s trying to tell: his, his father’s or Madeiras’s. Richie appears to have been a vividly charismatic, memorable figure, one who, decades after his death, his friends and family easily conjure up with tears and sweet and rollicking reminiscences. He was strong, mischievous and could take on a couple of guys at a bar all by himself. He loved, and he was loved in turn. Yet even as Frank keeps questioning and exploring, Madeiras and the full sweep of his life remain as out of focus as this documentary, an essay without a coherent thesis.
      The title “Somewhere With No Bridges” refers to Martha’s Vineyard, which can only be reached via boat or plane. It’s a beguiling, resonant title that starts to seem considerably less romantic or helpful as the documentary evolves, intentionally or not, into a portrait of a cloistered community of men who fish, hunt, talk and talk some more, occasionally play ball and spend a lot of time on the water. There are women here, yes, but mostly what you are left with are men and their sorrow, notably that of Dale Frank, whose heart still breaks for Richie Madeira and whose filmmaker son, Charles, clearly yearns to understand why.Somewhere With No BridgesNot rated. Running time: 1 hour. Rent or buy on Amazon, Apple TV and other streaming platforms and pay TV operators. More

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      The Kanye West Documentary 'Jeen-yuhs' Finally Hits Netflix

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      The new three-part film “Jeen-yuhs: A Kanye Trilogy” has been in the works since the early 2000s. In an interview, the directing duo Coodie & Chike discuss its long journey to Netflix.“Jeen-yuhs: A Kanye Trilogy,” Netflix’s three-part documentary about the rise of Kanye West, does not dwell, or seek to correct the record, on the most well-known of the rapper’s celebrity blowups. George W. Bush, Taylor Swift, Donald Trump and Kim Kardashian hardly factor. There has never been a shortage of West analyzing his own travails, after all.Instead, relying on casual footage chronicling the lead-up to and immediate aftermath of West’s 2004 debut album, “The College Dropout,” the four-hour-plus film lingers on quieter, pre-fame moments: chats with his mother, Donda, about the difference between confidence and arrogance; the desperation of trying to play his demo CD for disinterested peers; a more respected artist being disgusted by West’s orthodontics retainer.Behind the camera throughout was Clarence Simmons, a stand-up comedian-turned-director known as Coodie, who along with his creative partner, Chike Ozah, has been compiling video of West for more than 20 years. But that wasn’t always the plan.Originally conceived as a “Hoop Dreams”-style feature, the documentary was supposed to end in the early 2000s, with West — who is now legally known by his old nickname, Ye — winning his first Grammy Award. But as West developed from a nerdy Chicago beatmaker for Jay-Z to a polarizing, era-defining artist across music, fashion and more, he grew apart from Coodie, an old neighborhood friend, and changed his mind about the project, leaving hundreds of hours of tape in limbo.Following some false starts and brief reconciliations, the directing duo Coodie & Chike, as they are credited, finally found traction — and more time with West — in recent years, amid another uptick in controversy. West’s mental health struggles, disastrous 2020 presidential run and recent album named for his late mother all get some airtime in the third episode.Yet the core of “Jeen-Yuhs” remains the vérité depiction of West’s chrysalis years, with Coodie filling in the gaps in time by telling his own story of personal metamorphosis and creative ambition. “This is not the definitive story of Kanye West, this is the story told through the most unique perspective,” said Ian Orefice, the president of Time Studios, which co-produced the project.Ahead of its first-episode premiere on Wednesday, Coodie and Chike discussed the long-gestating documentary, the ups and downs of living alongside mega-fame and West’s last-minute demands for final cut of the film. These are edited excerpts from the conversation.Chike Ozah, left, and Clarence Simmons, known as Coodie, collected early footage of West’s rise — and then had to wait.Rafael Rios for The New York TimesThe film begins with the premise that you always knew Kanye would make it big. What first convinced you that he was going to be a star?COODIE It started with his production. But then I would just keep running into Kanye, and I remember he was performing with his group, the Go Getters. He just commanded the stage. I was like, “This is the dude! The producer — he’s the one.” Then I saw how he loved the camera. He was loving the camera. He wanted to rap for anybody, and it was just like he was performing for a thousand people, but it’s just one person and he’s rapping to them.What was Kanye’s original reason for not putting a film out back then? In the footage, he’s so excited to tell people you’re making a documentary.COODIE He said, “Man, I don’t want nobody to see my real self.” He said, “I’m acting right now.” It was too intimate. But I feel like the reason why he was loving me filming him at the beginning was just because I was that dude, really. I was popular in Chicago — cool, funny.CHIKE You brought value to his brand in Chicago instantly, just by deciding to have him on Channel Zero [Coodie’s original hip-hop show on public access television].COODIE The greatest ambition was for him to win a Grammy, and I wanted to follow him to see it. But it’s definitely, definitely a blessing that it didn’t come out, because I didn’t know what I was doing at all.What was it like to watch the rest of his rise from more of a distance?COODIE I was so proud ​​to see him accomplishing all the things he was accomplishing. But then I felt left out, too. Like when he went to Oprah, I’m like, “I want to meet Oprah!”CHIKE It’s not all peachy and clean. I think that’s the case with anybody that’s on the rise to stardom like this. Coodie and I definitely felt what it’s like when outsiders come in and start jockeying for position. We had that Bryan Barber and Outkast vibe for a minute — like we’ll rise together and do all these music videos. But as he got bigger, more people started coming into the fold and you just get pushed out. Luckily, Coodie and I had a relationship and a bond together and we were able to find creativity elsewhere.At that point, did you believe the project to be dead or did you always assume you would return to it eventually?COODIE I felt like we would come back to it someday. I used to look at all the mini-DVs, and the bigger he got, I knew how much more valuable my footage would be: One day in God’s time, this is going to happen.He sat us at the table at Kris Jenner’s house, right before “Pablo” [the “Life of Pablo” album in 2016], he was like, “Man, you know, I get misunderstood a lot.” He asked us to be his voice. We thought it was time for the documentary to come out, for people to see the real Kanye. He was working with Scooter Braun at the time and we were at HBO with it. Then all of a sudden, they had other plans for Kanye. We were right there and it just went to nothing.It felt, to me, that Kanye was crying out for help at that moment. Right after, he went on the Saint Pablo tour and that’s when he had the breakdown — he calls it the “breakthrough.” I was really, really worried. I thought we were supposed to help him and we weren’t able to because of the powers around him. Not only did I feel worried, I was extremely mad about it.“I did ask Kanye, ‘Did you watch the film?’” Coodie said. “And he said that’s not his process.”NetflixOn a practical level, how did you keep all those tapes safe?COODIE I really didn’t even. You’d just see it in a duffle bag, shoe boxes.CHIKE But it’s like bricks of gold in there.COODIE It’s in storage now, though!When did you know that you finally had his full buy-in?COODIE When I showed him the sizzle. He called me out of nowhere and said he was working on an album about his mom and he wanted to use some of my footage. He asked for my blessing and I said, “Oh, for sure, but I need your blessing for something. I’ll fly wherever you’re at.” His security called me like, “Can you come to D.R. tomorrow morning?” When I finally showed him the sizzle, he was like, “We’ve got to put this out tomorrow.”There’s a moment in the footage from the Dominican Republic when he goes off on what some might call a classic Kanye rant and you cut the camera. Why?COODIE I felt like I needed to pay attention. I’ve never filmed him like that. When I film him, there’s a certain way that he is with me — he’s himself. At that moment, he was not himself. When you’re taking medication, you’re not supposed to have alcohol. I knew Kanye wasn’t supposed to drink. It just so happened he had a drink in his hand. I wasn’t going to interrupt this business meeting to say something, but I kind of wanted to. It seemed like right after that drink, something happened. I said, “Forget this camera — this is my brother right here.”Once the film was in motion, how involved did he want to be and how involved did you want him to be?COODIE He said, “Let’s me and you do it,” and I told him, “You have to trust me on this.” Meaning no creative control. I said, “It would not be authentic if you have it.” He got all of that. And that was it.Then you get to the 1-yard line, 20-plus years later, and he drops a bomb on Instagram about wanting final cut.COODIE I almost fainted [laughs]. It was on my birthday — Jan. 18. He didn’t post that then, but I’m getting text messages. I’m like, “What? We finished!”On his birthday [in June], I went to L.A. with the rough cuts of the film to show him. I said the only way you can watch this film is with everybody who was there at the beginning who loves you. So we was getting a house, I had everybody ready to go — we’re going to laugh, cry, embrace Ye. But he wound up going to the South of France and it didn’t happen. Then my birthday, I get that text — next thing I know, I look up and here comes everybody with the cake. “Happy birthday to you!”Did he ask again about getting into the editing room?COODIE Nah, his process is to have people look at it, so we showed them the film. I did ask Kanye, “Did you watch the film?” And he said that’s not his process.The movies that we’ve done, nobody had final cut. We did Martin Luther King — the family didn’t have final cut. We did Muhammad Ali — they didn’t. Stephon Marbury didn’t see his documentary until aired it at Tribeca. Our intent is pure and that’s really all that matters.Do you have favorite stuff from the cutting room floor that you just couldn’t squeeze in there, no matter how much you wanted to?CHIKE There’s a scene when Kanye goes back to Chicago to perform at a tribute to people who were lost in the E2 tragedy [a stampede at a Chicago nightclub]. When he gets there, he ends up having to settle up a beef with another rapper. He almost gets a bottle cracked over his head — it gets real ugly. It could’ve gone somewhere worse. And Kanye’s not even that type of artist! But he still can’t escape the street mentality. And it deals with a beat that Jay-Z ended up with that helped propel Kanye’s career.COODIE It was “Never Change” on “The Blueprint.” He sold Jay-Z the track that he sold to [the Chicago rapper] Payroll as well. Payroll wrote the hook — “out hustling, same clothes for days.” Kanye let Payroll know he was about to sell it, but he also did Payroll’s hook. Kanye took care of Payroll after that, but Payroll was like, hold on … He said, “Kanye you’ve got to give me more.” I’m telling them like, nah! But for them to crush the beef was good, too.Kanye is back in the tabloids these days because of his divorce. When you see this celebrity hurricane side of his life, do you worry for him?COODIE I used to worry, but I know that God has his back. He almost died in a car accident a couple of times — he had a car accident in Chicago even before he moved to New York, flipped his truck over. A couple other incidents that I’ve seen — God is really looking out for him, for whatever reason. When I see this now, I’m like, it’s going to pass like everything else did. More

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      ‘Worst to First: The True Story of Z100 New York’ Review: An FM Radio Sensation

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      A look back at a time when “excellence in broadcasting” was taken seriously, including interviews with Joan Jett, Jon Bon Jovi and other stars.It wasn’t long ago that a subset of media enthusiasts took the concept of “excellence in broadcasting” seriously. It was enough of a thing with Rush Limbaugh and his fans that there was a 2010 episode of “Family Guy” sending it up — with Limbaugh’s own participation, even. While the phrase never actually comes up in “Worst to First: The True Story of Z100 New York,” the movie feels inspired by the concept.Directed by Mitchell Stuart, the documentary recounts the tale of one of the last FM radio sensations in New York — which wasn’t even actually in New York. The station’s studio — bought by Milton Maltz of the Cleveland-based Malrite Communications in 1983 — was in scenic Secaucus, N.J. Free-form FM radio was gone, Album Oriented Rock FM radio was on life support and AM radio was embracing talk, so the new Z100 went to a Top 40 format. The D.J. and programming director Scott Shannon, who was known for a semi-gonzo style, came up from Florida to helm the ship.There’s some nice wonky stuff here about how the station’s chief engineer contrived to make Z100 louder than other stations on the dial. A handful of rock stars (Jon Bon Jovi, Joan Jett) rhapsodize about how great it was to hear their songs on the radio. Shannon himself tells a few mildly amusing stories. But the movie’s prefab on-screen graphics are just one reason “Worst to First” has such a limp tone overall.Some Z100 veterans tell a tale of Madonna haunting the station’s lobby in the early ’80s with a quid-pro-quo offer to get airplay for her first single. She may consider her debt paid in full as she doesn’t show up for a new interview here.Worst to First: The True Story of Z100 New YorkNot rated. Running time: 1 hour 4 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘The Unmaking of a College’ Review: School’s Out Forever?

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      This documentary tells the story of a liberal-arts college that faced an existential crisis, and of how students fought back against the way potentially drastic decisions were made.“The Unmaking of a College” presents Hampshire College in Massachusetts as a canary in the coal mine of liberal-arts education. As a young college (its first students entered in 1970), it has a smaller endowment and fewer decades’ worth of alumni donors than its competitors. That leaves it vulnerable to demographic shifts like a declining college-age population, a problem for small colleges nationwide.But “The Unmaking of a College,” directed by a Hampshire alumna, Amy Goldstein, is not simply a story of a college facing an existential crisis, but of how, in the movie’s telling, that crisis was badly handled. On Jan. 15, 2019, Miriam Nelson, then Hampshire’s president, issued a letter with a bombshell in its third paragraph: Hampshire was “carefully considering whether to enroll an incoming class” that fall. Students and faculty members say they were caught off guard. A lack of freshmen could send the college into a death spiral.These issues catalyzed a 75-day student sit-in, which the movie shows as it unfolded. Joshua Berman, who was embroiled in the events and is an interviewee in the movie, filmed some of the footage that is used. We hear from students like Rhys MacArthur, who worked in the admissions office (a fraught place at that moment), and alumni, like the documentarian Ken Burns.The closing titles say Nelson “would not agree to be interviewed.” While others try to explain her perspective, her nonparticipation leaves an unavoidable hole. And the testaments to Hampshire’s distinctive academic culture aren’t especially germane. Hampshire may be experimental and hip, but in its sustainability issues, it’s hardly unique.The Unmaking of a CollegeNot rated. Running time: 1 hour 24 minutes. In theaters. More

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      Irwin Young, Patron of Independent Filmmakers, Is Dead at 94

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      As the head of a prominent film processing laboratory, he helped directors like Spike Lee, Michael Moore and Frederick Wiseman early in their careers.Irwin Young, who through his Manhattan film processing laboratory gave support to the early careers of directors such as Spike Lee, Frederick Wiseman and Michael Moore, died on Jan. 20 in Manhattan. He was 94.His daughter Linda Young confirmed the death, at a rehabilitation facility.Over nearly a century, DuArt Film Laboratories processed and printed studio features, documentaries, newsreels, boxing films from Madison Square Garden, network news footage and commercials. But Mr. Young, who took over the company when his father died in 1960, was best known as an ally of independent filmmakers, some of whom could not always pay for his company’s services on a timely basis early in their careers.“He was the biggest mensch in the business,” the documentarian Aviva Kempner, who produced “Partisans of Vilna” (1986) and directed “The Life and Times of Hank Greenberg” (1998), said in a phone interview. “He really cared for the subject matter you were making a film about. If you needed a favor, he was there for you.”Mr. Young deferred $60,000 in costs incurred by Mr. Moore for three years as he made “Roger & Me,” his documentary about the social damage caused by General Motors’ layoffs of 30,000 workers in Flint, Mich. Warner Bros. later paid $3 million for the rights.When Mr. Lee was a graduate film student at New York University, his films were processed and printed at DuArt. So was his first feature, “She’s Gotta Have It” (1986).“I didn’t have the money, but Irwin let me develop the film, print the dailies, and he gave me some slack; he’d say, ‘When you get the money, pay me,’” Mr. Lee said in an interview. But Howard Funsch, DuArt’s treasurer, threatened to auction the negative if Mr. Lee didn’t pay. Mr. Lee said he found the money.He added: “I don’t think Irwin knew that Howard was putting the squeeze on me. And it doesn’t detract from how Irwin believed in and supported young filmmakers.”Mr. Young had a practical side as well. He made two investments in the 1970s that helped secure DuArt’s long-term future: He acquired the 12-story building in Midtown Manhattan where the laboratory had long been located, freeing it from the whims of a landlord; and he bought a two-thirds interest in a television station in Puerto Rico, which brought in a strong flow of revenue that helped improve DuArt’s bottom line.He also oversaw DuArt’s expansion into a process that benefited independent filmmakers: blowing up 16-millimeter negatives into 35-millimeter prints, which have a better chance at being commercially viable.And he added to DuArt’s photochemical film processing business by branching into film-to-video transfers and online video editing in 1970, and into digital work, including effects, titles and restorations, in 1994.But last August, Ms. Young, DuArt’s president and chief executive since 2017, announced that its business was being shuttered because it was no longer economically viable to stay independent. Its building was recently put up for sale.Mr. Young served with various organizations that dealt with independent filmmakers, including Film at Lincoln Center, where he was president, and Film Forum, where he was chairman.In 2000, he received the Gordon Sawyer Award from the Academy of Motion Picture Arts and Sciences for his technological contributions to the film industry.Irwin Wallace Young was born on May 30, 1927, in the Bronx. His father had been a film editor before he and other partners acquired a film lab that was going out of business. His mother, Ann (Sperber) Young, was a homemaker.“I used to see film processed, amazing to a child,” Mr. Young told The New York Times in 1996.The family name had been changed from Youdavich by his uncle Joe, the lyricist of songs including “I’m Gonna Sit Right Down and Write Myself a Letter.”After serving in the Navy, Irwin entered Lehigh University. He graduated in 1950 with a bachelor’s degree in engineering and then joined DuArt, where his roles included working in black-and-white film quality control and being part of the team that processed Eastman color negatives for the first time at any film lab. After his father died, Mr. Young became DuArt’s president and chief executive.Mr. Young’s interest in independent film was ignited when his older brother, Robert, was a producer and writer and the cinematographer of “Nothing but a Man” (1964), a feature about a Black couple dealing with racism in Alabama. Irwin Young provided all of the film’s laboratory work.“I was attracted to independent filmmakers because of their spirit,” he told The Los Angeles Times in 2003. “I came from a very political family, so I responded to a lot of their messages. We needed each other.”Mr. Wiseman needed Mr. Young’s patience when his first documentary, “Titicut Follies” (1966) — about the way patients were treated at the State Hospital for the Criminally Insane in Bridgewater, Mass. — was banned by a state court on the grounds that it violated the inmates’ privacy.“I didn’t pay him for six years because all my money went into the lawsuit,” Mr. Wiseman said in an interview. “And he was always friendly and helpful about distribution; he knew everybody.”Mr. Young’s support of filmmakers led him to become an accidental preservationist: He stored their negatives, at no charge, some for decades, largely on the top floor of the DuArt building on West 55th Street. He reasoned that if he held on to the negatives, he might generate more business from making prints.But, he told The Times in 2014: “I have trouble throwing away film. We never threw anything away. It’s because we were film people.”Film cans were stacked, floor to ceiling, often without any idea what was inside or who the director was. In 2013, three years after Mr. Young closed down his traditional film processing business, a project was started to create an index of the thousands of negatives there.Mr. Young began a collaboration with the organization IndieCollect, which sends orphaned film negatives to archives such as the Library of Congress and the Motion Picture Academy; restores them; and finds new audiences for the films.“We went through 5,000 films — about 50,000 cans,” said Sandra Schulberg, the president of IndieCollect. “Irwin was happy to come up as we were doing the inventorying. Each can was like opening a locked treasure.”She said that her group found homes for 3,500 of the negatives.Negatives of films by Mr. Lee, Mr. Wiseman, Gordon Parks, Woody Allen, Jonathan Demme, James Ivory, Ang Lee and Susan Seidelman were found, as were forgotten works like “Cane River,” a 1982 love story dealing with race issues made by Horace Jenkins, an Emmy Award-winning Black director, who died shortly after the film’s premiere in New Orleans.In addition to his daughter Linda, Mr. Young is survived by another daughter, Dr. Nancy Young; his brother; and four granddaughters. His wife, Diane (Nalven) Young, died in 2004.Mr. Moore knew little about filmmaking when he began making “Roger & Me” and was told by another director, Kevin Rafferty, that he should bring his undeveloped film to Mr. Young.“He said ‘Let me develop this for you,’ and he watched the first reels and said, ‘Listen, this is incredible, I’m going to help you, and you can pay me what you can,’” Mr. Moore said, recalling his first conversation with Mr. Young in 1987. “That was almost three years: from early 1987 to 1989, up until the last print was needed to go to the Telluride Film Festival.”He added, “Without his patronage, I’m convinced there wouldn’t have been a ‘Roger & Me.’” More

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      2022 Oscars Nominations: Snubs and Surprises for Lady Gaga and Jared Leto

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      “The Power of the Dog” led the Oscar nominations on Tuesday, but plenty of other high-profile contenders fell short. Here, the Projectionist muses on the morning’s most startling surprises and omissions.Kristen Stewart gets the royal treatment.Kristen Stewart’s role as Princess Diana in “Spencer” is the sort of thing Oscar voters usually rush to crown: It’s a juicy, transformative lead in a biopic, performed by a famous actress who has successfully leapt from blockbusters to prestige films. Then came a shocking snub from the Screen Actors Guild, followed by another shutout from BAFTA, and pundits worried whether she’d get nominated at all. Still, Stewart was game, continuing to do press and awards-season round tables, and the 31-year-old actress was rewarded Tuesday morning with her very first Oscar nomination.Lady Gaga and Jared Leto are shut out.“House of Gucci” was stripped to its studs Tuesday, as former winners Lady Gaga and Jared Leto were both snubbed by the academy. Few performances this year were talked about more — both by audiences and by the two actors themselves — and the red carpet will be a little lesser for their absence. (Hey, nobody said the Oscars were particularly ethical … but they are fair.)‘Drive My Car’ overperforms.Coming out of last summer’s Cannes Film Festival, no one had tagged Ryusuke Hamaguchi’s “Drive My Car” as a major Oscar spoiler: Instead, films like Asghar Farhadi’s “A Hero” and Julia Ducournau’s “Titane” had all the buzz. But a funny thing happened on the way to the Dolby Theater: A year-end surge from critics’ groups put Hamaguchi’s contemplative three-hour drama in the thick of the awards conversation, thanks to high-profile best-film wins from the critics in New York and Los Angeles. Off that momentum, “Drive My Car” managed an astounding four Oscar nominations, with citations in picture, director, adapted screenplay and international film.‘Spider-Man: No Way Home’ is snubbed.There was no bigger film last year than “Spider-Man: No Way Home” — in fact, with a domestic gross of more than $748 million so far, there are only three other films that have ever been bigger. As the superhero movie kept raking in cash, the drumbeat grew louder that if the Oscars really wanted to reflect the year in film, they should honor one of the few movies that kept theaters open at all. And the academy did … but only with a nomination in visual effects. A best-picture nomination proved well outside the web-slinger’s reach.The director of ‘Dune’ goes missing.The academy’s directing branch is often dazzled by technical achievement, and a filmmaker who can wield blockbuster scale in the service of a soulful story usually has a leg up over more intimate fare. That’s why it’s startling that this year’s best-director race didn’t make room for Denis Villeneuve, especially since his sci-fi film “Dune” did score 10 nominations in a host of categories. But history was made elsewhere in that category, as Jane Campion became the first woman to earn two directing nominations (for “The Power of the Dog” and 1993’s “The Piano”) and the “West Side Story” filmmaker Steven Spielberg became the first person to be nominated in that category in six different decades.Two couples were nominated.Not only did the real-life partners Kirsten Dunst and Jesse Plemons score their first Oscar nominations this year for “The Power of the Dog,” so did Penélope Cruz (“Parallel Mothers”) and Javier Bardem (“Being the Ricardos”), the rare married couple to have already won before. Even better: It’s a four-category split, as Cruz and Bardem were nominated in the lead races while Dunst and Plemons continued the spread in the supporting categories. Talk about a double date!Kenneth Branagh makes history.Even before “Belfast,” Branagh was an Oscar favorite, collecting five nominations over the course for his career in categories as varied as director, actor, supporting actor, adapted screenplay and live-action short film. But Tuesday morning’s collection of nods for the black-and-white film “Belfast” vaulted Branagh to a surprising Oscar record: He is now the first person to be nominated in seven different categories, having added citations for best picture and original screenplay to his haul. (Hopefully that makes up for a few surprising “Belfast” snubs in editing and cinematography.)‘Flee’ scores the hat trick.Look, it’s hard enough to earn just one Oscar nomination, as so many of the morning’s snubbed artists can attest. That makes what “Flee” just accomplished all the more remarkable: This animated documentary about an Afghan refugee is now the first film ever to receive Oscar nominations for documentary, animated film and international film all in the same year. A win in any of those categories seems unlikely, but at least when the makers of “Flee” claim it’s an honor just to be nominated, you’ll know that they mean it. More

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      A Hallowed London Jazz Club Comes to Life Onscreen

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      The new documentary “Ronnie’s” tells the story of a venue that reshaped the city’s jazz scene, and the mysterious musician who lent it his name.Ronnie Scott’s Jazz Club has been an enduring beacon of musical genius in London. Any self-respecting jazzhead had to make the pilgrimage to the venue during its 1960s heyday. Musicians, too: Miles Davis and Ella Fitzgerald played it, along with Buddy Rich and Dizzy Gillespie.Scott, one of its benevolent owners, was as hallowed as the establishment itself, but remained a somewhat mysterious figure throughout his life. A charming tenor saxophonist with a warm demeanor and great comedic timing, he also had a gambling addiction and endured bouts of depression. Even those closest to him didn’t feel like they connected with him.“He was a very hard person to know,” Paul Pace, the club’s current music bookings coordinator, said in an interview. “He was a very quiet, private man.”Scott died in 1996 at the age of 69. The venue he opened with a fellow saxophonist, Pete King, is still holy ground among jazz supper clubs in the United Kingdom, and “Ronnie’s,” a new documentary getting a wider release in the United States this week, offers a multidimensional view of Scott and the nightclub through the perspective of journalists, friends and musicians who knew him — and a host of live performance footage. The film celebrates how the spot with narrow hallways and a tiny stage housed all sorts of grand performances, including Jimi Hendrix’s last gig before his 1970 death. And it reveals that the secret of the venue’s success largely was Scott, himself, who drew in patrons like he was an old friend who just happened to know the best players of his era.The tenor saxophonist Sonny Rollins first went to Ronnie Scott’s in the 1960s as part of a deal that allowed American musicians to play British venues and vice versa. That partnership was brokered by King, who served as the club’s manager and saw the need to book established jazz artists to draw bigger crowds. His work paved the way for other notable artists, like the tenor saxophonist Ben Webster and the multi-instrumentalist Roland Kirk, to play there.The club is still active today, drawing a range of artists from different scenes.Greenwich Entertainment“A lot of people hadn’t seen me in Europe,” Rollins said in a phone interview. “It was my first time in London, so I had a good time just looking at the scene. Every club has its own demeanor, and playing there was a wonderful experience. That was the place to go — Ronnie Scott’s club.”Scott, whose jazz career started in his teens, helped open the club in 1959 after a trip to New York City, where he heard Charlie Parker and Davis play at the Three Deuces along East 52nd Street. He was so taken by the jazz emanating from the New York scene that he wanted to replicate the feeling at home. “To walk in this little place and hear this band with this American sound we’d never really heard in person before — amazing,” Scott says in the film.With assistance from a £1,000 loan from Scott’s stepfather, he and King opened the club as a basement venue on Gerrard Street in Soho, a neighborhood with coffee shops and after-hour venues that catered to British counterculture. Before then, the space had been used as a tea bar and restroom for taxi drivers. Scott and King saw it as a place where British jazz musicians could work out material in a safe space — all strains of jazz were welcome — and get paid fairly, not a small thing in that era. The club, which moved to a bigger space on Firth Street in 1968, is known as the birthplace of British jazz.Yet the narrative wasn’t all sunny: Ronnie Scott’s had good and bad times financially, and sometimes teetered on the verge of closing until some last-minute lifeline kept the lights on. Then there was the issue of Scott’s gambling. “When things were really desperate,” King says in the film, “I used to come to work and there were guys in suits with notebooks there in the afternoon, making notes of how much the piano was worth, and how much the tables and chairs were worth. We were very close to just having to forget it all.”The film’s director, Oliver Murray, heard many similar stories about Scott while making his documentary. “Multiple people said to me that if he was able to gamble the club on certain occasions, he would’ve gambled away the club and then been absolutely devastated,” he said in an interview. “But that’s the complexity of the guy, just a true jazz man in that sense. He does live up to the stereotype of the musician with demons.”Ella Fitzgerald onstage at the club in a scene from “Ronnie’s.”Greenwich EntertainmentMurray was brought into the project by one of its producers, Eric Woollard-White, who frequented the club. One of Murray’s goals was to humanize Scott for a younger audience less familiar with the club’s golden era. “I wanted to make something that was like a passing of the torch from one generation to the next,” Murray said. The story felt especially ripe for this moment, when venues are in jeopardy because of ongoing pandemic challenges.Ronnie Scott’s remains vital, and “cultivates so much talent,” he explained. “It’s not necessarily even just the people that play, but it’s giving people in London a platform to see the very, very best, and that in itself raises the caliber of what’s going on in the city.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More