Movies

Subterms

    More stories

    • 125 Shares189 Views

      in Movies

      In ‘The Phoenician Scheme,’ Real Masterpieces Get a Starring Role

      by

      Paintings by Magritte and others were borrowed for “The Phoenician Scheme.” Safeguarding them amid the hot lights and chaos of a film set was challenging.At the end of Wes Anderson’s new caper, “The Phoenician Scheme,” there are some unusual credits. In addition to the cast and crew, the artworks featured in the film are listed, complete with ownership details. That’s because the pieces onscreen are not reproductions. They are in fact the actual masterpieces from Pierre-Auguste Renoir, René Magritte and other well-known artists.In the past, Anderson has faked a Kandinsky and a Klimt. Here he went for the real thing.“We have a character who’s a collector, who’s a possessor; he wants to own things, and we thought because it’s sort of art and commerce mixed together this time we should try to have the real thing,” Anderson said via a voice note.What he ended up with was impressive. The fictional collection of the businessman Zsa-zsa Korda, played by Benicio Del Toro, includes Renoir’s “Enfant Assis en Robe Bleue,” which was once owned by Greta Garbo, and Magritte’s “The Equator.” There is also a selection of works from the Hamburger Kunsthalle in Germany that includes pieces from the 17th century.“The Equator” by René Magritte sits on the mantle behind the film’s cast and director, Wes Anderson, third from right.TPS Productions/Focus FeaturesGetting a collector or an art institution to hand over a painting worth millions of dollars to a film production isn’t an easy task, and the negotiations fell mostly to Jasper Sharp, a curator who had worked with Anderson and his wife, Juman Malouf, on their 2018 exhibition at the Kunsthistorisches Museum in Vienna, where Sharp is based.“A film set has vast amounts of light, heat, no climate control, very lax security, people running everywhere with booms and lights and props,” Sharp said in a video interview. “The walls that it will be hung on are made of plywood sometimes. There are less desirable places to hang art, but this was certainly a challenging environment in terms of me trying to persuade someone that they maybe want to lend an object.”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

    • 100 Shares189 Views

      in Movies

      ‘Tyler Perry’s Straw’ Review: The Accidental Bank Robber

      by

      A single mom in Atlanta (Taraji P. Henson) is having a very, very, very bad day.In “Tyler Perry’s Straw,” Janiyah (Taraji P. Henson), a single mom in Atlanta, is having a very, very, very bad day. Her morning was already ragged when the writer-director piles onto her woes a demeaning landlord, a bullying boss, a distant school administrator, a line of disgruntled grocery customers and a road-raging, off-duty police officer. Did we mention that Janiyah winds up in the wrong office at the wrong time in the wrong state of mind?As detectives arrive to a bloody crime scene at the grocery store where she clerks, Janiyah is across the parking lot at her bank, trying to cash her paycheck. Only she doesn’t have identification, and the teller is being a stickler. Soon, Janiyah is waving a gun, something is flashing red in her daughter’s see-through backpack and she has made hostages of the bank employees and a handful of aging customers. Sherri Shepherd portrays Nicole, the branch manager who tries to diffuse the situation, having amped it by telling the police that Janiyah has a bomb.Teyana Taylor (“A Thousand and One”) brings fierce focus to a deteriorating situation as Detective Kay Raymond. The security footage at the grocery store didn’t lie, but Detective Raymond intuits something more has sent Janiyah to the desperate standoff. She steps in as a negotiator.Perry, an unapologetic purveyor of melodrama, mercilessly teases the tension. Will Janiyah hurt the hostages? Will the authorities make a sad situation worse? The ending is perhaps too twisting for its own good. But Henson — so deeply committed to her character’s emotional cratering — still makes us care.StrawNot rated. Running time: 1 hour 45 minutes. Watch on Netflix. More

    • 138 Shares99 Views

      in Movies

      Philippe Labro Dies at 88; Restless Chronicler of the French Condition

      by

      As an author (often blurring the boundaries between fiction and nonfiction), a film director, a lyricist and a host of TV and radio shows, he sought to capture his epoch.Philippe Labro, a prolific journalist, author, movie director and songwriter whose lyrical prose, boundless curiosity and oft-repeated determination to “forage in deep waters” offered France a sweeping image of itself over several decades, died on Monday in Paris. He was 88.His death, in the Pitié Salpêtrière hospital, was caused by lymphoma of the brain, which was diagnosed in April, said Anne Boy, his longtime assistant. Mr. Labro lived in Paris.A restless spirit, notebook always at his side, convinced that journalism was an exercise in unrelenting observation, Mr. Labro pursued a lifelong quest to capture his epoch by any means. “He wrote our popular, French, and universal history,” President Emmanuel Macron said in a tribute on X, “from Algeria to America” and from Herman Melville to Johnny Hallyday, the French rock ’n’ roll superstar.In 24 books, including novels and essays; seven movies; lyrics to popular songs; and several television and radio shows, Mr. Labro probed the enigma of existence. No one medium sufficed. Truth, he believed, lurked between fact and fiction, and so he refused to be confined by one or the other. Quoting Einstein, he called life a “dance to a mysterious tune, intoned in the distance by an invisible piper.” That piper was his muse.Mr. Labro arrived as a guest for an official state dinner with President Joseph R. Biden Jr. and the first lady, Jill Biden, at the Élysée Palace in Paris in June 2024.Christophe Petit Tesson/EPA, via ShutterstockMr. Labro also liked Victor Hugo’s observation that “nothing is more imminent than the impossible.” He had good reason. It was in the United States, on Nov. 22, 1963, that Mr. Labro, then 27, achieved fame as the first French newspaper correspondent on the scene in the immediate aftermath of President John F. Kennedy’s assassination in Dallas.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

    • 75 Shares169 Views

      in Movies

      Chefs Pick Their Favorite Food Films

      by

      Nancy Silverton, Daniela Soto-Innes and more talk about the movies that have inspired and continue to reignite their love of cooking.The rigor and schedule of professional cooking don’t allow for many movie nights, but that’s not to say chefs don’t find inspiration on the big screen. When we asked a handful of food-world figures about the films that make them want to cook or eat or both, they spoke about narratives that remind them of the joy of a leisurely meal, food’s ability to comfort and what drove them to cook in the first place. Here, 11 chefs discuss the food films, old and new, that still excite them.From left: Philippe Noiret, Ugo Tognazzi and Andréa Ferréo in the 1973 film “La Grande Bouffe,” directed by Marco Ferreri.Collection Christophel/Alamy Ruth Rogers, 76, chef and owner of the River Café, London: “La Grande Bouffe” (1973)I saw this film when I was living in Paris, in 1973. We were there because Richard [the architect Richard Rogers, Ruth’s late husband] was building the Pompidou Center. The movie was quite controversial when it came out. It’s about a group of friends who decide they’re going to eat themselves to death. They get together and start to binge. These four men just absolutely love to eat; it’s their great thing in life. My husband and I loved this movie, so we decided to judge people on whether or not the film made them hungry or disgusted. We, of course, were hungry. Years later, I was having lunch with Francis Ford Coppola, and he told me it was his favorite food movie too.Kel Mitchell, left, and Kenan Thompson in the 1997 film “Good Burger,” directed by Brian Robbins.© Paramount/Everett CollectionCharlie Mitchell, 32, chef of Saga, New York City: “Good Burger” (1997)I watched “Good Burger” again this year. I’m from Detroit but I live in New York City, and when I’m homesick I usually get nostalgic for food, music or films. I must’ve been in elementary school the first time I saw it, probably on VHS. I always connected with the character [Ed (played by Kel Mitchell), a cashier at the burger restaurant where the film is set]. He’s in his own world, and he creates this sauce that everyone loves. I felt like I was the only person in my friend group and community who was interested in food at a young age: Everyone was loving Dragon Ball Z and I enjoyed cooking dinner for my mom or cooking with my grandmother on the weekend. So “Good Burger” was about connecting with that character who was in his own world having so much fun cooking.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

    • 163 Shares99 Views

      in Movies

      ‘Sunlight’ Review: A Man Wakes Up in a Camper, Monkey at the Wheel

      by

      In Nina Conti’s absurdist love story, a radio host and a new friend have nowhere to go but up.When it comes to monkey costumes, you can keep your “Better Man” biopic C.G.I. Nina Conti’s “Sunlight” brings its own bizarro, handmade appeal: A gnarly love story that starts with a guy waking up in an RV driven by a simian-suited stranger. It’s a movie within the indie subgenre of comic encounters between lost outsiders, but powered by its own fringe logic of attraction and rebellion.The stranger in the toylike disguise turns out to be a woman (Conti) fleeing her manipulative stepfather, who took over her mother’s motel. That’s where she found Roy (Shenoah Allen) after a failed suicide attempt in his room. Her name, we eventually learn, is Jane. The RV actually belongs to Roy, a mild-mannered radio host burdened by a hectoring mom and tough memories of his deceased father.Not exactly a meet-cute, but their cracked road trip never loses its warmth under the New Mexico sun. The big question looms: Just who is Jane, and why the blank-eyed monkey suit? But we also wonder how Roy got to his wit’s end. “Sunlight” essentially follows two people helping each other extract and preserve what’s left of their sanity and will to live.Conti bases Jane’s furry alter-ego on her monkey ventriloquist act, part of her career in British TV and theater. A little of “Sunlight,” which she directs and co-wrote with Allen, goes a long way. But there’s still something to seeing a performer go for broke, purging a character’s shame and despair through a screwy, confessional sense of humor.SunlightNot rated. Running time: 1 hour 36 minutes. In theaters. More

    • 88 Shares179 Views

      in Movies

      ‘The Ritual’ Review: An Exorcism to Forget

      by

      Al Pacino speaks in an exaggerated accent and Dan Stevens looks overly concerned in this movie directed by David Midell.When a movie begins by announcing that “The following is based on true events,” the intent, one presumes, is to get the viewer to sit up and get ready.It doesn’t help when the true events contain well-worn genre elements, as is the case with “The Ritual,” an exorcism story directed by David Midell. The trailer for this movie says that it tells “the true story that inspired ‘The Exorcist.’” And indeed, we have several elements remembered from that picture: a young woman possessed; a young priest who is having trouble with his faith; and an imposing older priest whose conviction carries the day.Did I say imposing? In William Friedkin’s 1973 movie, Father Merrin (Max von Sydow), casting a long shadow and speaking in stentorian tones, was immediately formidable. Here, two priests in a small town in Iowa in 1928 are enlisted to perform the exorcism. As Father Theophilus, a hunched Al Pacino speaks in an exaggerated accent that wavers between Crazy Guggenheim and “It’s-a me, Mario.” As the younger priest, Father Joseph, Dan Stevens doesn’t have much to do besides look extremely concerned.The movie doesn’t serve its actresses particularly well either. During her possession scenes, Emma (Abigail Cowen) is obliged to contort herself and froth at the mouth, while Mother Superior (Patricia Heaton) is called upon to furrow her brow a lot. Topping it all off is a deliberately shaky and agitated shooting and cutting style that heightens nothing. Just watch “The Exorcist” again.The RitualNot rated. Running time: 1 hour 38 minutes. In theaters. More

    • 150 Shares169 Views

      in Movies

      George Romero’s Daughter, Ex-Wife and Widow Take On His Zombie Movie Legacy

      by

      When George Romero died from lung cancer in 2017, he left behind several ideas and screenplays for zombie movies.One was a treatment, “Twilight of the Dead,” and his widow, Suzanne Desrocher-Romero, described it as a “summing up” of the franchise, an ending to what began with “Night of the Living Dead” in 1968 and continued for five decades and six flesh-gnawing movies.George Romero was the rare artist who invented a major modern monster, one whose popularity rivals that of vampires and ghosts. The popularity of the TV series “The Last of Us” or the highly anticipated arrival of a new entry in the “28 Days Later” series this month tells us that the zombie is not going to end anytime soon. Its whole thing, after all, is to keep coming back.But what about the Romero zombie? The original strain. What will happen to this fabled creature now that its creator is gone?Three women in the Romero family are grappling with their memories of him at the same time as they’re trying to answer this question. His director daughter, his producer ex-wife and his producer widow are each developing movies with a distinct vision of the future of the undead. They don’t exactly share the same vision even as they’re pressing forward. The Romero zombie is very much alive — and very messy.Clockwise from top left, the original “Night of the Living Dead,” “Martin,” “Land of the Dead” and “Dawn of the Dead.”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