More stories

  • in

    Know What’s Funny About Getting Old? These Movies Do.

    Star-studded with leading ladies, who are all a bit older, recent comedies like “The Fabulous Four” and “80 for Brady” are establishing a popular new genre.There are two new films this year in which Academy Award-nominated actresses in their 70s whip out tiny sex toys. In “Summer Camp,” Kathy Bates offers up wee vibrators to Alfre Woodard and Diane Keaton. In “The Fabulous Four,” it’s Bette Midler giving Susan Sarandon a kegel ball that she later flings at a bike thief.You might confuse these comedies with “Book Club” (2018), where Keaton, again, finds herself in the company of fellow older luminaries (Jane Fonda, Mary Steenburgen and Candice Bergen). Or with “Poms” (2019), which places Keaton on a retirement community cheer squad with Jacki Weaver, Rhea Perlman and Pam Grier. Then, again, there’s also “80 for Brady” (2023), where Fonda, Lily Tomlin, Sally Field and Rita Moreno go to the Super Bowl.From left: Kathy Bates, Diane Keaton and Alfre Woodard in “Summer Camp,” directed by Castille Landon. “It’s important that we see people having fun,” Landon said.Roadside AttractionsThough the circumstances are different, the similarities in plot, casting and themes make the films easy to classify but tough to label. “Legendary ladies of cinema do a light romp,” is a little long; “Old lady comedies” might seem demeaning, but that is, essentially, how the films identify themselves. In the “80 for Brady” trailer, Moreno sums it up by saying: “The Super Bowl is no place for four old women.”Regardless of the label, this growing genre of star-studded comedies has become popular in recent years, with “Four,” which hit theaters on Friday, becoming the latest installment in the canon.You can usually see the same types of characters in each film. At least one of the women is a stick in the mud. In “The Fabulous Four” that’s Sarandon’s job. As Lou, she’s a serious doctor who loves cats and is holding a grudge against Midler’s character over a long-ago offense. Often Keaton, with her turtlenecks, is the most uptight of her group. And Fonda, when she appears, plays sexually adventurous characters, prone to making off-color jokes. Megan Mullally has that gig in “Four,” with an assist from the famously bawdy Midler. There are usually high jinks involving behavior that one might not expect from seniors. They get high. They go on adventurous excursions like parasailing or ziplining. They experiment with technology and social media. (“The Fabulous Four” has a whole bit about Midler on TikTok.)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

  • in

    ‘The Fabulous Four’ Review: Beaches (and Lots of Mojitos)

    This raunchy comedy features Bette Midler, Susan Sarandon, Sheryl Lee Ralph and Megan Mullally on a bachelorette weekend.“The Fabulous Four” stars Bette Midler, Susan Sarandon, Sheryl Lee Ralph and Megan Mullally as old pals who cut loose during a bachelorette weekend in Key West.Marilyn (Midler), a recent widow, is marrying a guy she just met at the D.M.V. But first, she’s itching to grind on an exotic male dancer. In the last year and a half, this kind of all-star girls trip flick has become its own genre (see also: “80 for Brady,” “Summer Camp” and “Book Club: The Next Chapter”). This one, directed by Jocelyn Moorhouse and written by Ann Marie Allison and Jenna Milly, is the raunchiest and loopiest so far. Slapdash but executed with gusto, “Fabulous Four” feels like it was made after guzzling three bottles of champagne — and honestly, that’s an apropos way to watch.The central conflict is that Marilyn is a self-absorbed TikTok influencer and Lou (Sarandon), a self-righteous stick in the mud who considers her estranged best friend’s wedding a personal affront. Lou blames Marilyn for turning her into a lonely cat lady — and, fittingly, gets tricked into the vacation by a phony claim that she’s won one of Ernest Hemingway’s polydactyl felines, descendants of his six-toed pet Snowball that continue to roam the grounds of the author’s former Florida home. (Sarandon’s saucer eyes light up endearingly as she clutches a pet carrier to her chest.)Rounding out the foursome are Kitty (Ralph), a cannabis farmer with a born-again daughter (Brandee Evans) who wants to stick her in a religious retirement home (“Heaven’s Gate?” Kitty groans, “More like hell on earth”) and Alice (Mullally), a lusty singer who roams the margins of the plot blurting as many gasp-inducing one-liners as she can.The jokes dance right on the edge of what you’re willing to giggle at in a matinee with your mother-in-law. Somehow when Lou meets a love interest (Bruce Greenwood) who happens to be clutching one of Key West’s famous wild chickens, the script restrains itself from a wisecrack about his rooster. There’s a little too much reliance on half-baked physical comedy. Midler kicks up her heels with such pizazz that her shoes literally go flying offscreen; later, she twerks, and she’s pretty good. More impressively, she and her fellow professionals do their utmost to add at least one layer to their caricatures. Midler allows her narcissist’s vulnerability to poke through, while Sarandon, tasked to look severe, wins us over every time she loosens up. (One scene has her blitzed on edibles and hallucinating a cat performing heart surgery.)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

  • in

    ‘Hocus Pocus 2’ Review: Still Spelling Trouble

    The Sanderson sisters return, bringing the same spooky humor with some modern twists.Disney’s “Hocus Pocus” is one of the company’s few true cult classics; after an initial negative reception when it was released in 1993, the Halloween-themed comedy starring Bette Midler, Kathy Najimy and Sarah Jessica Parker as a trio of campy witch sisters gained a fan base through seasonal VHS rentals and repeated airings on ABC and the Disney Channel. And while its new sequel, “Hocus Pocus 2,” may be a blatant attempt by Disney to continue propping up its streaming platform Disney+ (where the movie has its debut), it manages to capture the same hokey magic of the original while creatively updating its humor.In a slight retread of the first film’s plot, “Hocus Pocus 2” follows two present-day Salem teenagers, Becca and Izzy (Whitney Peak and Belissa Escobedo), who accidentally bring the witchy Sanderson sisters back to life while performing their yearly Halloween night ritual. (The teens’ interest in witchcraft and the occult is benign, a very 2022 detail that might not have come across the same way 30 years ago.) High jinks ensue as the girls race to stop the witches from kidnapping the town’s genial mayor (Tony Hale) and casting an immortality spell that would make them all-powerful, while also making amends with their former friend, the mayor’s daughter, Cassie (Lilia Buckingham).Anne Fletcher (“Step Up,” “The Proposal”) directs this sequel, but follows the same goofy comedic approach of the Kenny Ortega-directed first film — namely, how the sisters react to modern inventions like robot vacuums, Amazon’s Alexa and Walgreens. Even a few meta-jokes nod to the Sanderson sisters’ popularity in the world of drag. Thankfully, with a cast rounded out by Doug Jones, Hannah Waddingham and Sam Richardson, the brew-haha’s aren’t solely concentrated in the three leads.Hocus Pocus 2Rated PG. Running time: 1 hour 43 minutes. Watch on Disney+. More

  • in

    Beanie Feldstein Warms Up for ‘Funny Girl’

    5:00a.m. 6:00 7:00 8:00 9:00 10:00 11:00 12:00 1:00 2:00 3:00 4:00 5:00 6:00 7:00p.m. 8:00 9:00 10:00 11:00 12:00 1:00 2:00 3:00 4:00 5:00a.m. 6:00 7:00 8:00 9:00 10:00 11:00 12:00 1:00 2:00 3:00 4:00 5:00 6:00 7:00p.m. 8:00 9:00 10:00 11:00 12:00 1:00 2:00 3:00 4:00 Samuel R. Delany Jonathan Bailey Piet Oudolf […] More

  • in

    A Kennedy Center Honors With the Presidential Box Used as Intended

    Former President Donald J. Trump did not attend the tribute, but President Biden was on hand as Bette Midler, Joni Mitchell, Berry Gordy, Justino Díaz and Lorne Michaels were honored.WASHINGTON — The orchestra cycled through an early homage to the latest class of honorees: an excerpt from the opera “Carmen,” a tribute to the sounds of Motown, the chorus of “Wind Beneath My Wings.”But the 44th Kennedy Center Honors did not begin in earnest on Sunday night until President Biden and Dr. Jill Biden, the first lady, arrived to their seats in the presidential box in the opera house, and were introduced to a standing ovation from a crowd of thousands wearing masks and black tie.Mr. Biden’s presence — the first time a president has attended the event since 2016 — heralded the restoration of tradition for the Honors, a star-studded event that recognizes lifetime achievements in the arts, including music, dance, theater, film and comedy, and helps raise money for the arts complex. The event had been rattled in recent years by former President Donald Trump’s decision to skip the festivities altogether after some recipients had announced in 2017 that they would not attend a gala event at the White House. Then in 2020 it was derailed, or at least delayed, by the coronavirus pandemic.“It is quite nice — very nice — to see the presidential box once again being occupied,” David Letterman, the comedian, declared in opening remarks, prompting a standing ovation from the crowd as Mr. Biden and Dr. Jill Biden waved. They were joined by Vice President Kamala Harris and Douglas Emhoff, the Second Gentleman.Just six months after an abbreviated celebration of the 2020 nominees, there were glimmers of both political and artistic normalcy. The show returned to its annual December slot, providing nearly four hours of tribute performances and speeches to more than 2,000 guests, who packed the opera house in shimmering gowns and tuxedos.President Biden spoke at a reception for the honorees at the White House. This year’s honorees were Justino Díaz, Lorne Michaels, Bette Midler, Berry Gordy and Joni Mitchell.Stefani Reynolds for The New York TimesAnd in addition to attending the event, Mr. Biden revived the practice of hosting a White House reception for the five honorees: Bette Midler, the screen and stage actress; Joni Mitchell, the singer-songwriter; Berry Gordy, the founder of Motown; the opera singer Justino Díaz; and Lorne Michaels, the creator of “Saturday Night Live.”“For this pandemic of profound loss and pain, as we move forward toward repair and renewal, the artist vision is important as it ever has been — I would argue more important,” Mr. Biden told the honorees in the East Room. “We’ve seen the power of art in every form to heal, to comfort, and recover.”He lavished praise on the honorees, calling Ms. Midler “a performer without peer,” and praising Mr. Díaz for bestowing “the sound of soul” on audiences. He thanked Mr. Gordy for helping to create “music that lifted us higher” and told Ms. Mitchell, “You sing poetry, it seems to me.”And he called Mr. Michaels “Mr. Wise Guy,” joking about the number of actors tapped to play the president on “S.N.L.” over the years, and noting, “If you can’t laugh at yourself, we’re in real trouble —- and you make me laugh at myself a lot.”Echoes of the pandemic still reverberated. Attendees had to repeatedly show proof of vaccination, an existing policy for all performances at the Kennedy Center. Masks — an array of medical, satin and sequined — were required, but removed for photos, performances and food.The medallion ceremony on Saturday evening, a traditionally more intimate dinner where the honorees receive the rainbow-ribboned awards, was held at the Library of Congress in order to host just over 200 people and accommodate coronavirus protocols.Seated at library desks with the lamps on, the honorees were feted under the gaze of statues of Shakespeare and Plato, after guests perused exhibits dedicated to their work. As he received his medallion, Mr. Díaz, allured by the acoustics, burst into an excerpt from “Otello,” his deep voice reverberating throughout the room.Ms. Mitchell, who spoke briefly with reporters after receiving her medallion, said that “there was a lot of heart to the whole thing.”The Honors event is a key fund-raiser for the Kennedy Center, which is celebrating the 50th anniversary of its opening in 1971. The event raised nearly $6.5 million, a spokeswoman said, with the cost of tickets to the Sunday gala ranging between $600 and $10,000.But for the honorees and the menagerie of lawmakers, donors, artists, colleagues and family members arriving to pay tribute, it was a celebration of not just their legacy, but of the return of their communities and live performances after the pandemic devastated arts industries around the world.“It’s very special and it’s a different perspective — I get to enjoy, not suffer with nerves,” said Mr. Díaz, who performed during the Kennedy Center’s inaugural year in Ginastera’s “Beatrix Cenci” (and who sang in the first performance at the new Metropolitan Opera House in Lincoln Center in 1966).“It’s like coming home again, except a different part of the house.”Members of the cast of “Ain’t Too Proud: The Life and Times of The Temptations,” the Broadway musical, sang a cappella on the red carpet in between interviews, before performing in character onstage as part of a tribute to Mr. Gordy. For Pete Buttigieg, the Transportation secretary, and his husband, Chasten, the evening was their first date night since their twins were born. And Speaker Nancy Pelosi of California and a host of bipartisan lawmakers could be seen applauding and dancing in their seats before the end of the night.“I think I’m in a dream,” Mr. Gordy proclaimed. “And it’s a wonderful dream.”To honor Ms. Mitchell, the ceremony included Brandi Carlile, a friend and collaborator, performing “River,” Ellie Goulding singing “Big Yellow Taxi,” and Norah Jones performing both “The Circle Game” and “A Case of You.”Mr. Díaz grew emotional as his daughters, Natascia Díaz and Katya Díaz, sang “En Mi Viejo San Juan,” before excerpts from “Carmen” and “Faust” were performed. Ms. Midler cheered as a trio of her “Hello, Dolly!” castmates performed “Friends,” before Billy Porter, the actor and singer, emerged from a clam shell to lead a medley of her songs.A parade of comedic veterans from S.N.L. alternated between gently ribbing Mr. Michaels, their former — or current —  boss, and thanking him for his influence on their careers. It was punctuated by a trio of mock “Weekend Update” segments hosted by Kevin Nealon, Seth Meyers and Amy Poehler, and Colin Jost and Michael Che. Paul Simon concluded the tribute to Mr. Michaels with a performance of “America.”During the tribute to Mr. Gordy, the show paused to restart after an apparent technical mishap. But when the set parted to reveal Stevie Wonder at the piano, breaking into a medley that included “My Cherie Amour,” “You Are the Sunshine of My Life,” and “Superstition,” the crowd erupted into raucous applause.By the finale, “Higher Ground,” the audience was on its feet.“To be part of this sort of lineage and this long line of people who have contributed so much to the culture, it’s just staggering to me,” Ms. Midler said. “I am so thrilled.”The Kennedy Center Honors will be broadcast on CBS on Dec. 22. More

  • in

    Kennedy Center Taps Joni Mitchell and Berry Gordy for Awards

    Bette Midler, Lorne Michaels and Justino Díaz will also receive tributes at a ceremony that is expected to look much more like it did before the pandemic.The last Kennedy Center Honors aired on television less than two months ago, but on Wednesday, the institution announced a new batch of honorees, taking a step toward getting the program back on schedule after the upheaval of the pandemic.The recipients include the folk singer-songwriter Joni Mitchell; the stage and screen performer Bette Midler; Berry Gordy, the founder of Motown; Lorne Michaels, the creator of “Saturday Night Live”; and the opera singer Justino Díaz.Because of the pandemic, the 2020 honors were delayed until this year and the celebration did not at all resemble the event from prior years, when artists, politicians and other prominent figures packed into the opera house. Instead, the ceremony was split over several days, and television producers stitched together a combination of recorded at-home tributes and in-person performances that aired in June.This time, the ceremony, scheduled for Dec. 5, promises to look more like the Kennedy Center Honors of old, with the house at capacity and, if all goes well, President Biden in attendance. (President Trump was a no-show at the three ceremonies held during his time in office.)Throughout her career, Bette Midler released more than a dozen studio albums. Her starring role in the Broadway revival of “Hello, Dolly!” earned her a Tony Award for best lead actress in a musical in 2017.Sara Krulwich/The New York Times“It’s going to be the party to end all parties because we haven’t had one in so long,” said Deborah Rutter, president of the John F. Kennedy Center for the Performing Arts.The ceremony will air on CBS, but the date has not been set.The honorees, selected on the recommendation of an advisory committee that includes Kennedy Center officials and past award recipients, include two singer-songwriters, Mitchell and Midler, whose careers started to soar in the early 1970s, when they were in their 20s.Fifty years ago, Mitchell, 77, released “Blue,” her fourth album, which went on to have an enduring influence on singer-songwriters for decades to come. Mitchell, who helped shape an era of protest music with songs like “Big Yellow Taxi” and “Woodstock,” said of the honor, “I wish my mother and father were alive to see this.”Midler’s debut album, “The Divine Miss M,” came out a year after “Blue,” and helped propel her into a career that spread to Broadway, television and film. Midler, 75, put out more than a dozen studio albums, and her run as Dolly Levi in the Broadway revival of “Hello, Dolly!” earned her a Tony Award for best lead actress in a musical in 2017.Berry Gordy, right, onstage in 1981 with Smokey Robinson, one of the many singers discovered by Gordy.Joan Adlen/Getty ImagesIn Gordy, the founder of Motown Records, the Kennedy Center is honoring the figure behind an entire generation of musical talent. Gordy, now 91, once borrowed $800 from his family to start the record company and then went on to discover and help ignite the careers of Diana Ross and the Supremes, Stevie Wonder, Smokey Robinson, Michael Jackson, Marvin Gaye and more.After announcing his retirement two years ago, Gordy said in an interview, he spends much of his time playing golf, tennis and chess.“Here we are 60 years later and Diana Ross and the Temptations are both coming out with new albums,” he said. “Motown’s legacy continues without me having to do anything.”This year is the 50th anniversary of the Kennedy Center’s opening in 1971, more than a decade after President Dwight D. Eisenhower signed legislation creating a National Cultural Center. Shortly after the grand opening of the center, Díaz, then a 31-year-old opera singer, performed there as the male lead in Ginastera’s “Beatrix Cenci.” He played a villainous count and recalled handling two huge Mastiffs onstage during his first entrance.Now, at 81, Díaz, a bass-baritone who has performed for opera companies across the globe, will return to the opera house to see artists pay tribute to his career.Fifty years ago, Justino Díaz sang at one of the opening performances at the Kennedy Center. Now, he will return for a celebration of his career.Presley Ann/Patrick McMullan, via Getty Image“Little old me?” he said in an interview. He noted that despite his fame in the opera world, he is not a household name.“I say I’m an opera singer,” he said, “and immediately I have to follow with, ‘No, I’m not Plácido Domingo and I’m not Luciano Pavarotti.’”Rutter said that although the last ceremony was limited by social distancing requirements, there are aspects of it that she wishes to maintain. In particular, she said, there was a sense of intimacy in that celebration that had not been there before. At one point, she noted, as the artists mingled outside on a terrace, Rhiannon Giddens picked up her banjo, began playing, and Joan Baez started to dance.“It was spontaneous,” Rutter said. “The artists broke open their instruments and people started singing and dancing together.”(It is unclear whether the attendees this year will be required to wear masks, as they will be required to do for the Kennedy Center’s fall programming.)Michaels, 76, who created “S.N.L.” in 1975, was also forced by the pandemic to drastically rethink his show. In the spring of 2020, “S.N.L.” filmed sketches at its actors’ homes, allowing the audience to connect with the cast members in a new way. Now that they have returned to a live audience, they are thinking of ways to apply what they learned in quarantine.“Those shows had a strong homemade quality, which was part of their charm,” he said. “Once we went back to the audience, we kept pushing the limit of what we could do.” More