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      ‘Venom: The Last Dance’ Review: A Long and Winding Tongue

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      Playing both Eddie Brock and the alien parasite who possesses him, Tom Hardy gives another roiling one-man-band of a performance in this third installment of the franchise.With the 2018 film “Venom,” Tom Hardy locked himself into a three-picture deal, giving his time, talents and torso to this saga about a man named Eddie Brock possessed by a fanged, body-snatching alien parasite named Venom who pops in and out of his skin like a hyper-violent prairie dog. The overly plotted “Venom: The Last Dance,” written and directed by Kelly Marcel, concludes the trilogy by hammering home all that Eddie has sacrificed to merge with this impulsive, smack-talking goo blob. In the first movie, Eddie was an ambitious San Francisco investigative journalist with a fiancée played by Michelle Williams; here, he’s a filthy drifter on a Mexican bender who’s lost his career, his woman and his reputation. Forced to go on the lam to flee a murder accusation, Eddie makes a running joke out of the fact that he can’t even hang on to a pair of shoes.In glimpses, this is a drama about a drunk who finds himself unbearably lonely despite being conjoined with a garrulous monster. Hardy voices both reedy Eddie and gravelly Venom and his roiling one-man-band of a performance continues to be the only reason to keep up with the films. Highlights here include the herky-jerky chaos Eddie/Venom causes as he mixes a Michelada while grooving to “Tequila,” and the moment when he’s suctioned to the fuselage of an airplane like a Garfield plushie and sighs, “It is so unpleasantly cold.” Eddie and Venom even detour to Las Vegas, the capital city of self-destruction, and dub themselves Thelma and Louise.But these mild pleasures are overwhelmed by a barrage of underdeveloped supporting characters — Chiwetel Ejiofor as a general, Juno Temple and Clark Backo as Area 51 scientists, a hippy family headed by Rhys Ifans — plus a nifty spidery nasty who gobbles its victims like a scuttling wood chipper and, when sliced up, stitches its long limbs back together. There’s also a barely introduced major villain named Knull (Andy Serkis, the director of 2021’s “Venom: Let There Be Carnage”) who seems to exist only so that the studio can bridge this finale to some other future comic book flick.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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      ‘Memoir of a Snail’ Review: Escaping the Spiral

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      An animated tragicomedy for adults tells the story of a woman breaking out of her shell.First things first: “Memoir of a Snail” is not, in fact, the memoir of a snail. It is the memoir of an Australian woman named Grace Pudel (pronounced “Puddle”), who loves snails very much. Grace is voiced by Sarah Snook and rendered in slightly lumpy clay by Adam Elliot, who wrote, directed and produced this stop-motion animation film. It is a weirdly affecting tragicomedy, full of Dickensian turns and eccentric figures. (It is also, lest you be confused by the whimsy, definitely not for children.)We meet Grace, who wears a knit cap sporting two little eyeballs on the ends of stalks, by the bedside of a wiry-headed woman who’s moaning and groaning toward death. The woman is named Pinky (Jacki Weaver), and within moments, she has actually given up the ghost. Soon after, Grace brings Pinky’s ashes outside to the garden, after which she sits on a bench and sets a jar full of snails free. One of them, Sylvia, has always been Grace’s favorite.But snails move slowly, and so Grace has the time to tell Sylvia her life story as the skeptical snail inches away at the appropriately named pace. This life story, too, is full of death: Grace’s mother, a malacologist and lover of snails, dies giving birth to Grace and her twin brother, Gilbert (Kodi Smit-McPhee). Their father, a French juggler, becomes an alcoholic, and eventually he dies too. Grace and Gilbert are split up and sent to equally bizarre foster families — her to a negligent but nice-enough couple in Canberra who spend their weekends at key parties, and him to a cruel family of cultlike religious apple farmers in Western Australia.Tremendous numbers of bad things happen to Grace as she moves into puberty, then adulthood. She shrinks slowly into herself over her lifetime, which includes becoming a hoarder, marrying a horrible man and, blessedly, meeting Pinky, a strange older woman who becomes her friend and mentor. With every blow, Grace recedes into her home a little more, which she fills with small snails on every shelf, because they make her feel safe. But in recounting the stories of woe to Sylvia the snail, Grace always seems upbeat.Elliot’s style of animation feels a bit like what Tim Burton would have gone for in his own animated films, if his style were far more deranged and grimy and possessed by the spirit of Edward Gorey. It’s also, at times, sexual and violent and somewhat explicit (and, at one point, vaguely weird about weight). His animated figures are people with desires and terrors, some quite twisted. They are haunted. They can be gross.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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      ‘Black Box Diaries’ Review: A Public Face for #MeToo in Japan

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      In a new documentary, Shiori Ito recounts her yearslong crusade for justice in Japan after accusing a powerful journalist of rape.Not everyone gets to be the heroine of her own story, much less a champion for others. On May 29, 2017, a 28-year-old Japanese journalist, Shiori Ito, did just that when she announced at a news conference that she had been raped in a Tokyo hotel two years earlier by a powerfully connected journalist, Noriyuki Yamaguchi. (He has denied the allegation.) Ito had decided to speak her truth despite intense pressure to remain silent. “People need to know about the horrors of rape,” she told a room of reporters, “and how deeply it affects one’s life.”Undaunted, Ito talks openly throughout “Black Box Diaries,” her moving if sometimes frustrating documentary about how she became a public face of the #MeToo movement in Japan, all while she grappled with police obstructionism, misogynist laws, sexist vitriol and fears about her safety. Going public was gutsy, and unusual. “One of the first things many Japanese women do while still shivering and bleeding at home is to read online about the experience of others — and deciding it’s just not worth pursuing,” David McNeill, an editor at Asia Pacific Journal, wrote in an interview he did with Ito after her first news conference.At the time, to protect her privacy, Ito wasn’t using her surname; not everyone in her family wanted her to speak out. Yet she soon went fully public, and her name became headline news. It remained so as she continued to seek justice in a fight that — as one year turned into another — grew into a cause, eventually becoming part of a national reckoning on sexual violence and harassment. With friends and lawyers, and buoyed by allies and sympathetic strangers, Ito fought to transform Japan’s laws and ideas relating to sexual violence. (In 2023, Japan criminalized nonconsenual sexual acts; in 2019, the United Nations had issued a statement saying the “absence of consent” should be the global definition of rape.)The documentary, based on her 2017 memoir, “Black Box,” is a chronicle of Ito’s ordeal and her fight. As the title suggests — a prosecutor, Ito has explained, called her case a “black box” because it happened behind closed doors — there’s a confessional aspect to her project. The documentary, for one, opens with some first-person statements styled as handwriting, the words running over an image of flowing water. “Please be mindful of the triggers in this film,” it reads, as cherry blossoms drift across the screen. “Close your eyes and take a deep breath if you need to.” As water and petals flow, so do her words: “That has helped me many times.”What follows is effectively a tense and tangled crime story, one in which Ito is at once the victim, lead investigator, dogged prosecutor and crusading reporter. In 2015, following the assault and after she filed a criminal complaint with the police department, Ito realized that she had to become her own advocate. She began chronicling the investigation in secret audio recordings, detailed written records and videos. After prosecutors dropped the case, despite DNA evidence and testimony from a taxi driver who dropped her at the hotel — she decided to take her personal investigation to the world.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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      ‘Family Pack’ Review: Trapped in a Game

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      The beauty of a game of Werewolf lies in the treachery. In this film adaptation, the director focuses on mild comedy and tedious action instead.François Uzan’s comic fantasy “Family Pack” is based on the French board game The Werewolves of Miller’s Hollow, a sly contest of social deduction in which players are secretly assigned to one of two groups, the evil Werewolves and the benign Townsfolk, and must decide among themselves who’s the enemy.If the premise sounds familiar, that’s because it was modeled on Mafia, a popular Russian party game, which you might also know as Werewolf, a variation created by Andrew Plotkin — itself the inspiration for the video game Among Us, the horror film “Bodies Bodies Bodies” and the reality TV show “The Traitors.” It’s a great game, but considering the breadth of the original influence, “Family Pack” can’t help but feel stale.“Family Pack” approaches the material in the Jumanji way: An ordinary family finds itself transported into the world of a game. Trapped in a medieval village, the “Family Pack” players have to contend with both time-travel problems (not having the right clothes, culture clashes about feminism) and the nightly attacks by werewolves (rendered with cheap visual effects).The beauty of a game of Werewolf lies in the treachery: Friends lie, betray, blindside and backstab one another, and it’s glorious. “Family Pack” expresses little interest in these mechanics. Uzan focuses instead on mild comedy and tedious action. The actors, including Franck Dubosc and Jean Reno, spend a lot of time bantering, until an overactive plot gives them superpowers. The game itself is so good. I’m not sure the movie understands why.Family PackNot rated. In French, with subtitles. Running time: 1 hour 34 minutes. Watch on Netflix. More

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      Dana Carvey’s Biden Stands Out in a Season of Political Impressions on ‘S.N.L.’

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      The answer has to do with going beyond a likeness, something Sebastian Stan and Jeremy Strong understand for their movie about Donald Trump and Roy Cohn.Everyone expected Maya Rudolph to appear as Vice President Kamala Harris in the season premiere of “Saturday Night Live.” It was less obvious who would play Harris’s running mate, Tim Walz. But when Jim Gaffigan walked onstage, face split in an open-mouthed grin like some kind of genial jack-o’-lantern, it was clear no one else should have bothered. Gaffigan’s entire comic persona is based in Walzian Big Dad Energy, even if he portrays himself as more likely to sit in his underwear eating Hot Pockets than climbing on the roof to clean out the gutters. There’s a harmony there, a vibe match.There were other interesting matchups — Andy Samberg as Doug Emhoff, James Austin Johnson and Bowen Yang as Donald J. Trump and JD Vance — but those weren’t the performers who stole that night’s show. The shocker, somehow, was an impersonation of President Biden, a performance so spot-on that for a split second I thought Lorne Michaels had just called the president and asked him to appear.This Biden was Dana Carvey, the former cast member whose work on “S.N.L.” includes perhaps the show’s greatest presidential impression, a strange and brilliant take on George H.W. Bush. Carvey’s Biden squints and chuckles, says “folks” a lot and is given to insisting that he’s “being serious right now,” even when what he’s just said — “I’ve passed more bills than any president in history, but we’ve still got a lot of work to do” — would never be mistaken for a joke. This Biden felt less like an attempt to replicate the president and more like a guess at what he’s feeling these days.Judging from social media discourse — and from this parade of imitations in the season premiere, each cued up for maximum applause and surprise — political impressions have never been more interesting even to those who don’t care about “S.N.L.” There’s no obvious reason for this intrigue, other than the novelty of watching one kind of celebrity play a different kind of celebrity, the same interest that powers a lot of awards-season movies in which great stars try to win awards by playing other famous people. See “The Apprentice,” in which Jeremy Strong and Sebastian Stan portray Roy Cohn and Trump.In fact, the earliest stars of “S.N.L.” are now the subject of their own impersonations, in Jason Reitman’s new “Saturday Night.” Some are more successful than others. But what’s obvious from the better performances (Cory Michael Smith’s version of Chevy Chase, Dylan O’Brien’s Dan Aykroyd) is what’s also clear from Carvey’s impression of Biden: playing real people can’t just consist of perfectly imitating their exterior. And the goal can’t just be to make the audience marvel at a remarkable likeness.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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      ‘Snack Shack,’ ‘Red Rocket’ and More Streaming Gems

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      A handful of the year’s best comedy-dramas are among your out-of-the-box recommendations from this month’s streaming services.‘Snack Shack’ (2024)Stream it on Amazon Prime Video.Adam Rehmeier’s coming-of-age story is set in the summer of 1991, and initially seems not only about that era, but of it, replicating the look and sound of ’90s teen sex comedies. (You can’t get more ’90s than a montage set to EMF’s “Unbelievable.”) But that’s a bit of a head fake; this is a movie with more on its mind. A.J. (Conor Sherry) and Moose (Gabriel LaBelle, currently seen as Lorne Michaels in “Saturday Night”) are a pair of enterprising young entrepreneurs who see a moneymaking opportunity in the concession stand at the local public pool. As often happens in these tales, a girl threatens to come between them, but that’s where we diverge from the formula; as written by Rehmeier and played by Mika Abdalla, the “cool girl” Brooke has the complexity and agency of a contemporary heroine, allowing Rehmeier to navigate a third-act flip into serious waters with grace and dexterity.‘I Used to Be Funny’ (2024)Stream it on Netflix.LaBelle’s “Saturday Night” co-star Rachel Sennott fronts this narratively and tonally tricky examination of a young woman in a free-fall. Sam (Sennott) is an occasional stand-up comic whose last day job, nannying a young firecracker named Brooke (Olga Petsa), ended badly. The writer and director Ally Pankiw takes her time (perhaps a bit too much) revealing exactly what happened there, but it took a toll on Sam, who has become a withdrawn recluse, barely able to crack the jokes that used to come so freely. Pankiw’s script perceptively captures how funny people use deflection and gallows humor to minimize the pains of their past, and Sennott, quickly becoming one of our most captivating young actors (thanks to electrifying turns in “Shiva Baby,” “Bodies Bodies Bodies,” and “Bottoms”), is terrific.‘The Feeling That the Time for Doing Something Has Passed’ (2024)Stream it on Hulu.Joanna Arnow plays a dour 30-something New Yorker who meets men for various sexual encounters.Magnolia PicturesWe 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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      Pilot Killed in New Mexico Air Show Crash Instructed ‘Top Gun’ Actors

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      Charles Thomas “Chuck” Coleman was a flight instructor who prepared actors for the 2022 action movie “Top Gun: Maverick,” which starred Tom Cruise and Miles Teller.An accomplished test pilot who was a flight instructor for the cast of the 2022 movie “Top Gun: Maverick” died in a crash of a small plane during an air show in New Mexico on Sunday, the authorities said.The pilot, Charles Thomas “Chuck” Coleman, 61, was the only person onboard the single-engine Extra Flugzeugbau 300/L plane when it crashed during a performance at the Las Cruces Air and Space Expo around 2:30 p.m. local time on Sunday, according to Las Cruces city officials and the Federal Aviation Administration.The show, a display of aerobatic performances, helicopters, airplanes and spacecraft, was held at Las Cruces International Airport and ended after the crash. The airport was also temporarily closed on Sunday, according to the city.“Unfortunately, we had a tragic ending to our Air and Space Expo this weekend,” Mayor Eric Enriquez of Las Cruces said in a statement posted to social media on Monday. Las Cruces is a city of about 111,000 residents in southern New Mexico.“We would like to extend our deepest condolences to the loved ones and fans of Chuck Coleman,” he added.The cause of the crash is being investigated by New Mexico State Police, the F.A.A. and the National Transportation Safety Board, the city said.Las Cruces officials said that Mr. Coleman, who was based in California, was “a well known and respected engineer, aerobatic and test pilot” with more than 10,000 hours of flight time. He had also performed at hundreds of air shows and had provided more than 3,000 rides in aerobatic aircraft, according to his official website.Mr. Coleman was an aerobatic flight instructor for the actors in the 2022 action movie “Top Gun: Maverick,” which starred Tom Cruise as Capt. Pete “Maverick” Mitchell, who trains a group of eager young combat pilots for a dangerous mission. The movie also starred Miles Teller, Jennifer Connelly and Val Kilmer.“He flew 140 flights in order to prepare the actors to fly in Navy F-18 Hornets,” Mr. Coleman’s website stated. On his Instagram page, Mr. Coleman posted a photo of Mr. Teller in a flight suit and said that the actor had flown with him for 12 training flights or about 14 hours to prepare for the Navy jets.The movie was the sequel to the 1986 blockbuster “Top Gun,” which followed a group of young pilots at the Navy’s elite fighter weapons school, also known as Top Gun.Mr. Coleman also worked on the film productions of “The Round and Round” (2002) and “First in Flight” (2012), and appeared in the 2009 documentary “Air Racer: Chasing the Dream,” according to IMDb.com.Kirsten Noyes contributed research. More