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      ‘Monkey Man’ Review: Dev Patel Is Kid, a Human Punching Bag

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      Dev Patel stars as Kid, a human punching bag who comes up with a plan to avenge a past wrong. The hits keep coming and the hero keeps taking them in this rapid-fire film.The thriller “Monkey Man” opens on a tender scene and a nod to the power of storytelling, only to quickly get down to down-and-dirty, action-movie business with a flurry of hard blows and faster edits. For the next two frenetic hours, it repeatedly cuts back to the past — where a mother and child happily lived once upon a bucolic time — before returning to the grubby, raw-knuckle present. There, the hits keep coming and the hero keeps taking them, again and again, in a movie that tries so hard to keep you entertained, it ends up exhausting you.Set largely in a fictional city in India, “Monkey Man” stars Dev Patel as a character simply called Kid who, in classic film-adventure fashion, is out to avenge a past wrong. To do that, Kid, who works as a human punching bag in shadowy ring fights (Sharlto Copley plays the M.C.), must take repeat beatings so that he can, like all saviors, triumphantly rise. Before he does, he has to execute a complicated plan that pits him against power brokers working both sides of the law. As with most genre movies, you can guess how it all turns out for our hero. More

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      ‘Coup de Chance’ Review: Woody Allen’s Usual With a French Twist

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      Despite its Parisian setting, the setup is familiar from any of Allen’s New York movies: An act of infidelity presents a dilemma. Some of the jokes are funny.“Coup de Chance,” the latest from Woody Allen, looks and plays like many of his recent movies, only better; it sounds like them, too, except that it’s in French. Set entirely in France, it features well-heeled, loquacious narcissists who circle one another in a comic-dramatic story that touches on existential worries and folds in lightly jaundiced observations about life. There are pretty people and handsome homes, repressed lives and unleashed desires, the usual. As is often the case in Allen’s movies, there’s also an act of infidelity, which presents a dilemma, if not an especially torturous one. The jokes are fairly muted; some are funny.In a pleasant surprise, it centers on a woman, Fanny Fournier (Lou de Laâge), who didn’t make me cringe once. She’s intelligent as well as attractive, for starters, somewhere in her 30s and on her second husband, Jean (Melvil Poupaud). She lives in Paris, works at an auction gallery and seems interested in the world. Her life has texture and perhaps meaning, even if it’s a haut bourgeois bubble. There’s a Birkin bag on her arm when you meet her, as well as a maid to fetch drinks and a driver to deliver her and Jean to their country house, one of those quietly expensive retreats that most of us read about while waiting to get our hair cut. More

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      Watch an Elaborate One-Shot Montage in ‘Música’

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      Rudy Mancuso, the film’s director, composer, co-writer and star, narrates this sequence, which plays out in real time with movable sets.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.What’s the best way to narratively portray a life that has become nearly impossible to manage? How about with a one-take montage sequence that seems nearly impossible to pull off?That’s what Rudy Mancuso goes for in his debut feature, “Música” (streaming on Amazon Prime Video), which he directed, composed, co-wrote (with Dan Lagana) and stars in.The character he plays, Rudy, has been dividing his attention between the three closest women in his life: his girlfriend, Haley (Francesca Reale), with whom he’s hit difficult times; his mother, Maria (Maria Mancuso), and a new woman he is getting to know, Isabella (Camila Mendes). He’s lying to all three. “On the page, it was actually called the ‘Rhythm of Lies,’” Mancuso said in his narration.The scene is shot on a warehouse stage, with sets flying in and out to represent the different encounters Rudy has with these women. He moves from setup to setup, changing his clothes along the way, with lighting cues syncopated to the music. (Watch for that moment where Rudy starts a kiss with one woman, freezes in place and finishes the kiss with another woman.)Mancuso said that he and his crew needed half a day of rehearsal and a half a day of shooting 14 takes to pull it all off along.“This would not have been possible without the hard work of my production designer, Patrick Sullivan, and my amazing DP, Shane Hurlbut,” he said.Read the “Música” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      ‘Scoop’ and Prince Andrew’s Newsnight Interview: What to Know

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      A new Netflix film dramatizes the 2019 BBC conversation that led to the royal stepping back from public life.When Prince Andrew, Queen Elizabeth II’s second son, agreed to be interviewed on the BBC in November 2019, he likely didn’t expect it would one day inspire a feature film. But “Scoop,” which comes to Netflix on Friday, follows a TV musical and a documentary in depicting the 58-minute interview and its fallout. (Amazon is also producing an upcoming limited series.)In the explosive conversation, Prince Andrew discussed his friendship with the financier and convicted sex offender Jeffrey Epstein, and denied allegations that he had sex with a 17-year-old girl. Viewers were appalled by his comments, and British and international news media characterized the appearance as a PR disaster. In the following days, Prince Andrew announced he would step back from public life.Though the interview was conducted by the journalist Emily Maitlis, “Scoop” emphasizes the work of Sam McAlister, the producer who secured it. The Netflix film is based on McAlister’s memoir, “Scoops: Behind the Scenes of the BBC’s Most Shocking Interviews,” which was published in 2022.Here’s what else to know about the interview and its fallout.Why did the interview take place?When Maitlis asked Prince Andrew on-camera why it was the right time to “speak out” and give a rare public interview, he replied: “Because there is no good time to talk about Mr. Epstein and all things associated.”By November 2019, Prince Andrew was widely acknowledged as one of Epstein’s friends, with whom he was known to have vacationed and partied. In a 2015 civil case, Virginia Roberts Giuffre accused Epstein of forcing her to have sexual relations with Prince Andrew when she was 17. Buckingham Palace denied the accusation.Sewell, and Gillian Anderson as Emily Maitlis, in “Scoop.”Peter Mountain/NetflixWe 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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      ‘Scoop’ Review: The Story Behind That Prince Andrew Interview

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      In 2019, the prince went on air to respond to accusations involving Jeffery Epstein. The drama here is in how the BBC convinced him to do it.The exposés that brought public attention to Watergate, the predations of Harvey Weinstein and the abuse tolerated by the Roman Catholic Archdiocese of Boston have all been the subjects of movies. The drama revolved, in part, around the difficulty of getting people to talk.Now comes the story of how the BBC program “Newsnight” landed its bombshell interview with Prince Andrew in 2019. Over a bizarre 49-minute segment, he unconvincingly addressed his friendship with Jeffrey Epstein, the financier and convicted sex offender, and repeatedly denied accusations by Virginia Roberts Giuffre that, at 17, she had sex with the prince after being trafficked to him by Epstein. The interview was less world historic than David Frost’s conversations with an out-of-office Richard Nixon (themselves the basis for a play-turned-movie), but the fallout was real. Faced with widespread criticism, Prince Andrew resigned from public duties just days later.How do you score an interview with a scandal-plagued royal? “Scoop,” directed by Philip Martin, chronicles the determined efforts of the producer Sam McAlister (Billie Piper), on whose book, “Scoops,” the film is based. Attending meetings at Buckingham Palace may lack the grit of shoe-leather reporting, but there is genuine psychology involved in convincing a famous figure that countering disapproval requires acknowledging it, and that the questions asked will be fair. Sam makes her case over multiple discussions with the prince’s personal secretary, Amanda Thirsk (Keeley Hawes), and eventually in a pitch to the prince himself (Rufus Sewell in significant makeup) alongside Emily Maitlis (Gillian Anderson), the journalist who hopes to interrogate him.The film finds sufficient suspense in these negotiations and in Maitlis’s preparations for the encounter, a grilling that, in real life, she skillfully pulled off without ever registering as discourteous. Why Prince Andrew’s answers were so tone-deaf — he was panned for not expressing sympathy for Epstein’s victims — is a mystery that “Scoop” sidesteps. (McAlister and Thirsk exchange ambiguous glances as the taping concludes.)What “Scoop” offers is the modest pleasure — to which any journalist is susceptible — of rooting for a reporting team to get a story. That, and mimicry: exceptional on Anderson’s part, less on that of Sewell, who has a raspier voice and a more passably serious manner than the prince displayed on TV.ScoopNot Rated. Running time: 1 hour 42 minutes. Watch on Netflix. More

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      ‘Yannick’ Review: First Act Problems

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      Audience members revolting against bad art isn’t a new thing, but Quentin Dupieux puts a fresh twist on that theme in his surreal new comedy.At first glance, you might think that with around a dozen movies to his credit, Quentin Dupieux is finally settling down. The French director’s latest takes place entirely inside a Parisian theater, during a play — we are far from superheroes with a giant rat for a boss (“Smoking Causes Coughing”), time-travel passages (“Incredible But True”) and serial-killing tires (“Rubber”).Dupieux’s fans will be happy to know that his surreal humor is gloriously intact, while newcomers might find in this movie a gateway into one of contemporary cinema’s most idiosyncratic universes.“Yannick” starts by bringing to life a fantasy many theatergoers might have had at some point. Frustrated by a dreary, unfunny farce made even worse by a terrible cast (which is expertly played by Pio Marmaï, Sébastien Chassagne and the comedian Blanche Gardin), Yannick (Raphaël Quenard) stands up from his orchestra seat and loudly complains. After overhearing the actors mock him, he pulls out a gun and holds both the cast and the sparse audience hostage.Shot in only six days, this compact comedy (it barely clears the hour mark) doesn’t go easy on either side. Because he bought a ticket then endured a long journey to the theater, Yannick feels entitled to be entertained, and has a certain smugness about it. The play’s snotty actors, meanwhile, clearly consider their foe a proletarian rube and airily patronize him. A funnier skirmish from the culture-war front would be hard to find — and then Dupieux provides a final twist dabbed with unexpected emotion.YannickNot Rated. In French, with subtitles. Running time: 1 hour 7 minutes. Watch on Mubi. More

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      ‘The People’s Joker’ Review: A Wild Card

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      Pure chaos is at play in a scrappy and unauthorized new parody about a character who looks a lot like the Joker. It’s a daring slice of queer cinema.The director Vera Drew got in hot water making this DC Comics-inspired origin story about a transgender simulacrum of the Joker, Batman’s frozen-smile nemesis. A disclaimer that now starts the film calls it an unauthorized parody, and any trademark infringement “was not done intentionally.”Drew’s fearless but illicit approach to filmmaking tracks the film itself: It’s aggressively self-indulgent, cinematically topsy-turvy and exhausting. It’s also singular, daring and an uncompromisingly cannonball into the queer cinema pool.Co-written by Drew and Bri LeRose, the story is standard queer movie stuff: A young, closeted transgender girl gets the hell out of small-town America and comes to terms with her identity in big bad Gotham City. But as she’s stymied in her quest for romance and stardom, our heroine morphs into a droll, nasty-minded comedian named Joker the Harlequin.Visually, the film is a manic but charged assemblage of live action, low-watt digital effects, crude animation and even puppetry. It’s as if Drew storyboarded using the angry diary entries and superhero doodles of the 100-some artists she collaborated with on the film. Too bad her relentless, insider jabs at New York’s comedy scene — she’s no fan of “Saturday Night Live” or Lorne Michaels — come across as sour grapes, offering few universal stakes for people who don’t know U.C.B. from a USB.Within the film’s confessional chaos lives the spirit of Vaginal Davis, Ryan Trecartin and other maverick queer filmmakers who toyed with genre to torpedo gender. It’s reviving to see an artist take up the cause.The People’s JokerNot Rated. Running time: 1 hour 32 minutes. In theaters. More