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      ‘The Order,’ ‘The Outrun’ and More Streaming Gems

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      A handful of last year’s best (yet overlooked) indies are among this month’s hidden treasures on your subscription streamers.‘The Order’ (2024)Stream it on Hulu.This tightly-wound mixture of political thriller and police procedural from the director Justin Kurzel was sadly lost in the shuffle of the year-end prestige pictures. It dramatizes the true story of the title organization, a more-extreme splinter group of the Aryan Nation that was linked to multiple crimes, motivated both by money and by hate, in the early 1980s, including the killing of the Denver talk radio host Alan Berg. Jude Law, working in the gruff, lived-in manner of a middle-aged Gene Hackman, stars as an F.B.I. agent who is tracking the Order’s activities, while Tye Sheridan as a local deputy, and Jurnee Smollett as an F.B.I. colleague, lend ample support. (Marc Maron also impresses in a brief but powerful turn as Berg.) And as Robert Jay Mathews, the leader of the Order, Nicholas Hoult deftly conveys the surface appeal of such a horrific figure — and the emptiness at his center.‘The Outrun’ (2024)Stream it on Netflix.You may think you’ve seen this story of a young woman, recently out of rehabilitation for drugs and alcohol, more than once before, and for good reason; the recovery narrative is certainly a durable one in contemporary memoir and fiction. But you haven’t seen this story brought to life by Saoirse Ronan. The staggeringly gifted Irish actress occupies every frame of the director Nora Fingscheidt’s adaptation of Amy Liptrot’s 2016 memoir (Fingscheidt and Liptrot wrote the script), and she never fails to hold your attention. Even when the beats of her character’s journey are familiar, individual moments are so honestly inhabited, so vivid and electric, that they feel fresh. And the filmmakers impose a bracingly unconventional structure on the story, intercutting various phases of their protagonist’s fall and rise via stream-of-consciousness triggers and unexpected connections. Fingscheidt deploys vivid audio and visual depictions of how it looks and sounds (and therefore feels) to be inebriated, but ultimately, “The Outrun” isn’t about filmmaking flash. It’s the story of a woman’s journey to sanity and self-preservation, and it’s a richly rewarding one.‘Lost River’ (2015)Stream it on Max.Ryan Gosling narrates a sequence from his film “Lost River.”Warner Brothers 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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      Greg Cannom, Who Made Brad Pitt Old and Marlon Wayans White, Dies at 73

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      He won five Oscars as a makeup artist on movies in which characters transformed, like “Mrs. Doubtfire,” “White Chicks” and many more.Greg Cannom, an Oscar-winning movie makeup artist responsible for some of the most striking acts of movie magic in recent decades — including the transformation of Christian Bale into Dick Cheney in “Vice,” the creation of a giant expressive green head for Jim Carrey in “The Mask,” and the reverse aging of Brad Pitt in “The Curious Case of Benjamin Button” — died on May 3. He was 73.His death was announced by Rick Baker, a frequent collaborator and another of Hollywood’s most admired movie makeup artists, as well as by the IATSE Local 706 Make-Up Artists & Hair Stylists Guild. Neither source provided further details.An online fund-raising drive for Mr. Cannom posted two years ago listed a series of health challenges, including severe shingles, a staph infection, sepsis and heart failure.Mr. Cannom won Oscars for best makeup for his work on “Bram Stoker’s Dracula” (1992), “Mrs. Doubtfire” (1993), “The Curious Case of Benjamin Button” (2008) and “Vice” (2018).In 2005, he won a “technical achievement” Oscar for the development of a modified silicone that could be used to apply fantastical changes to an actor’s face while retaining the appearance of skin and flesh.Robin Williams in “Mrs. Doubtfire.” Mr. Cannom won an Oscar for his work on the film.Getty ImagesWe 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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      Kristen Stewart’s ‘The Chronology of Water’ Wins Praise, But She’s Ready for Battle

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      Her directorial debut, “The Chronology of Water,” has earned good notices, but after fighting to get it made, the filmmaker wouldn’t mind a battle with reviewers.On Saturday afternoon, when I met up with Kristen Stewart on a balcony at the Cannes Film Festival, she had a confession to make: She was midway through the happiest day of her life.The night before, her directorial debut, “The Chronology of Water,” had made its premiere here, the culmination of a very long effort to make her first feature. “I’ve had this movie in my head for years,” she said. And after so many false starts, financing issues and radical creative re-imaginings, she could barely believe that she had pulled it off.“I just thought it was potentially dying every day,” she said. “It was like a shipwreck, we had to put that boat back together. It was shocking.”Adapted from Lidia Yuknavitch’s memoir of the same name, “The Chronology of Water” stars Imogen Poots as a competitive swimmer struggling to outrace a traumatic childhood marked by sexual abuse. Stewart tells the story elliptically, skipping through time as her lead struggles to make sense of a difficult life and channel her pain into an affinity for writing.The film has been well reviewed, which Stewart was pleasantly surprised by. “I’m totally willing for people to come for it,” she said. “I’m almost wanting it.” Maybe Stewart, with her avid gaze and punky ombre hair, craves that conflict because she’s used to it: “The Chronology of Water” took eight years of fighting to make. Now, she’s curious about what her career as an actress and director will look like.“I don’t think it’ll ever be this hard, and when I say ‘hard’ I put it in air quotes because I’ve never been happier in my entire life,” she said. “But when you really care about something, the weight of dropping it every day is like you’re dropping it on your toes and screaming.”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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      Jennifer Lawrence Gets Her First Cannes Premiere. (It’s a Risky One.)

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      In “Die My Love” with Robert Pattinson, she plays a mother with postpartum depression. She was four months pregnant then and the hormones helped a lot.Years ago, at the peak of the “Hunger Games” phenomenon, Lionsgate spent heavily on lavish parties to promote the franchise at the Cannes Film Festival. Private villas were rented and transformed into extravagant replicas of the movies’ opulent Capitol, complete with servers in eccentric wigs, chocolate fountains that flowed for hours and enough colorful macarons to feed a small city.Though the organizers had clearly missed the film’s critique of capitalist excess, the “Hunger Games” villa parties were still a decadent good time. But what’s surprising is that for years, those soirees were the only thing that ever lured the series’ star, Jennifer Lawrence, to Cannes. Despite being the kind of glamorous, Oscar-winning actress the festival loves to showcase, Lawrence has never starred in a film premiering at Cannes until now.At a Sunday news conference for the movie “Die My Love,” she seemed just as surprised. Turning to her director, Lynne Ramsay, Lawrence said, “I really cannot believe that I’m here with you and this happened.” But the film, which is already the subject of awards chatter for Lawrence’s no-holds-barred performance, is another indication that the 34-year-old actress is itching to push further into darker, riskier material.Adapted from a novel by Ariana Harwicz, the drama stars Lawrence and Robert Pattinson as Grace and Jackson, a young couple struggling with Grace’s postpartum depression. At first, she just appears a bit listless, muttering to herself and snapping at chatty cashiers who try to draw her into conversation. “Everybody gets a little loopy the first year,” advises her mother-in-law, played by Sissy Spacek. “You’ll come back.”But Grace doesn’t. As tension continues to build with Jackson, she begins acting out in increasingly upsetting ways — hurling herself through a glass door, stripping down to her underwear at a child’s party — just to feel anything that might snap her out of her stupor. Though the film is not an easy watch, Lawrence dives into her character’s descent with full commitment.At the news conference, the actress said she was four months pregnant with her second child when she began shooting the film. “I had great hormones,” she said, “which is really the only kind of way I would be able to dip into this sort of visceral emotion.” Still, she had to draw a strong line between herself and the character.“As a mother, it was really hard to separate what I would do as opposed to what she would do,” Lawrence said.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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      Eiza González Says Legend of Zelda Changed How She Looks at Life

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      “At first glance you’d be like, ‘Oh, it’s a simple game,’” said the star of the new movie “Fountain of Youth.” “But it’s so much more deep than anyone could imagine.”Eiza González isn’t quite sure where she lives at the moment.“I’m a bit of a nomad,” she said in a video call from California, where she has a house in Los Angeles and a ranch in Ojai. “I’m here, there, everywhere.”That included Cairo, Bangkok, Vienna and various parts of Britain for the film “Fountain of Youth,” about an art thief and his entourage who go on a global quest for the source of the mythological waters.González plays Esme, a “protector,” though of what and whom isn’t always crystal clear. She describes the character as “Machiavellian fun, a huge enigma and kind of a poker face, but a sassy and witty girl.” The movie will stream on Apple TV+ starting May 23.It was her third project with the director Guy Ritchie — “The Ministry of Ungentlemanly Warfare” landed in 2024 and “In the Grey” will come out this summer — and her first time in an action movie at an Indiana Jones-like level.“I think he really enjoys someone that is willing to take risks and play and push themselves, and he saw a lot of desire in me,” González said of Ritchie before explaining why psychology books, the Criterion Channel and LED light therapy are on her list of must-haves. These are edited excerpts from the conversation.Psychology BooksI’m currently reading “Rewire” by Nicole Vignola. I’ve also been reading “Please Unsubscribe, Thanks!” by Julio Vincent Gambuto. Anything that is a deep dive into psyche and understanding the human behavior. I would’ve most definitely become a psychologist if I wasn’t an actress.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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      What to Expect in a ‘Final Destination’ Movie

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      We have a premonition of the (mostly terrible, often funny) things you’re likely to see in any of the films from the long-running horror franchise. Follow along below, and beware.If every terrible feeling you ever had — every lurch in your stomach during a bit of plane turbulence, every sinking feeling on a subway train that’s going just a little too fast, every tightening of your chest when driving behind a huge semi truck — always came spectacularly, horrifyingly true, you might be in a “Final Destination” movie.The first film in the franchise, directed by James Wong, was expanded from an unproduced spec script for an episode of “The X-Files” written by Jeffrey Reddick. It follows a group of teenagers who, after avoiding a fatal plane crash on a school trip because one of their classmates has a premonition of the disaster, discover that Death won’t let its plans be foiled so easily. That film has since spurred five others, all known for the Rube Goldberg-esque kill sequences that occur when Death returns to claim its victims in increasingly bizarre accidents.With the latest film, “Final Destination: Bloodlines” (directed by Adam Stein and Zach Lipovsky), now in theaters, we have a premonition of what you can expect to see in any given “Final Destination” movie. You might even say we’ve seen it all before.Opening DisasterA very unhappy roller coaster ride in “Final Destination 3.”Warner Bros.These films come out of the gate with massacres of biblical proportions: a plane exploding to smithereens in midair, a roller coaster careening into crowded fairgrounds, or a bridge packed with cars crumbling into the water. They can speak to cultural paranoias, like the safety of air travel and amusement parks, or create cultural paranoias in and of themselves. The accident in the second film that involves a logging truck and a busy road traumatized a generation of drivers. Since these disasters are visions, the movies get away with starting off the action by killing the characters we are just getting to know, paving the way for the breakneck speed (and broken necks) to come.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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      Ari Aster’s ‘Eddington’ Polarizes Critics at Cannes Film Festival

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      Set in the pandemic’s early days, the noted horror director’s Covid comedy satirizes the national mood during lockdown. Reactions have been polarizing.Ari Aster, the director behind the horror films “Hereditary” and “Midsommar,” is no stranger to upsetting an audience. But with his new movie “Eddington,” which premiered Friday at the Cannes Film Festival, Aster may have devised his most harrowing cinematic experience yet: forcing us to relive 2020.Set in May of that year, the film chronicles a clash in the fictional New Mexico town of Eddington between the conservative sheriff, Joe Cross (Joaquin Phoenix), and the liberal mayor, Ted Garcia (Pedro Pascal), after the latter insists on mask mandates and lockdowns during the pandemic. “There is no Covid in Eddington,” insists Cross as he refuses to wear a mask, though his mounting frustration with Garcia may also have something to do with the mayor’s complicated romantic past with Cross’s wife (Emma Stone).To bring his enemy down a peg, Cross decides to mount his own mayoral campaign, plastering his cop car with misspelled banners (“Your Being Manipulated”) and spouting conspiracy theories about his opponent that he posts online. But as Eddington erupts in Black Lives Matter protests and teenage activists begin training their phone camera on Cross, hoping to catch him in an act of police brutality, the escalating tensions in this small town threaten to claim lives right and left.Aster is keen to zero in on the moment when our fraying social fabric was torn apart, and the movie has already inspired battle lines as strongly drawn as the political sides “Eddington” means to satirize. Early reviews have been wildly mixed, and at a cocktail party that followed the Cannes press screening, I watched several critics square off: Though fans of the film found it bold and daring, detractors called it unfunny, too on the nose, and more eager to lampoon annoying liberals than the conservative main characters.Will audiences be anxious to revisit the fraught early months of the pandemic when “Eddington” hits theaters on July 18? The cast is stocked with A-listers — in addition to Phoenix, Pascal, and Stone, Austin Butler also appears as an online cult leader — but for all of Aster’s evident craft, “Eddington” is hardly a crowd-pleaser. He initially keeps the proceedings relatively grounded, but the second half of the film spirals into a sort of absurd surrealism that will feel familiar to anyone who saw Aster’s last movie, “Beau is Afraid” (2023).Then again, that might not be many people: “Beau,” which also starred Phoenix, was a costly box-office bust that reportedly lost A24 around $35 million. To release Aster’s next movie during the superhero-laden summer season is a risky bit of counterprogramming: Amid all those capes, could audiences be enticed to choose masks instead? More

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      At the Cannes Film Festival, the Mood Is Uncertain and Unsettled

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      The threat of tariffs and the struggles of Hollywood have dampened what is usually an international party. Even the early standouts are somber.For days leading up to the opening of the Cannes Film Festival, it seemed that rain would dampen the 78th edition. The film gods spared the worst. The red carpet remained dry Tuesday and so did the beautiful people parading into the Lumière, the grand auditorium where each year cheek-kissing, glad-handing stars and deal makers get this generally fizzy party going. At the 2024 edition, a barefoot chanteuse had sung Bowie’s “Modern Love” to Greta Gerwig, the president of the jury, delighting her and everyone else in attendance. This year, by contrast, the atmosphere inside the room was moody and felt more uncertain than the weather.There were the usual smiles, couture gowns and starry entrances. Yet overall it was a fairly sober affair, and only partly because the evening featured a poignant tribute to David Lynch, who died in January. When Juliette Binoche, the president of the main competition jury, took the stage, she spoke about the obligation of artists to testify on behalf of others, mentioning the hostages taken by Hamas on Oct. 7 and quoting the Palestinian photojournalist Fatima Hassouna, who in April was killed with 10 family members in an Israeli airstrike. Hassouna is featured in a documentary here, “Put Your Soul on Your Hand and Walk.”Later during the ceremony, Robert De Niro received an honorary Palme d’Or (handed to him by Leonardo DiCaprio), and spoke of democracy and the arts. “America’s philistine president has had himself appointed the head of one of our premiere cultural institutions,” he said, an apparent reference to President Trump’s naming himself chairman of the Kennedy Center in February. De Niro then referenced the topic that started phones pinging throughout the entertainment industry on May 4, and led to stark headlines and head-scratching.Leonardo DiCaprio giving Robert De Niro an honorary Palme d’Or.Sameer Al-Doumy/Agence France-Presse — Getty ImagesTo wit, President Trump’s May 4 announcement on social media that he was imposing a 100 percent tariff on movies “produced in foreign lands,” an issue he called a national security threat. The next day, a White House spokesman, Kush Desai, said that no final decisions had been made on such tariffs, but that the administration was “exploring all options to deliver on President Trump’s directive to safeguard our country’s national and economic security while Making Hollywood Great Again.”Like other film lovers, I responded to this tariff threat with a mixture of concern and confusion. Among other things, how such tariffs would work is baffling given the movie world’s complexity and internationalism, or how it’s possible to even define which films are “produced in foreign lands.” Marvel’s “Thunderbolts*” was partly shot outside the United States; when Florence Pugh steps off a skyscraper in the movie, she topples from a building in Kuala Lumpur, Malaysia. The specter of retaliatory tariffs from other countries is another concern, given how reliant American companies are on the global market. In 2024, “Inside Out 2” was the top-grossing movie both domestically and overseas, with 61.6 percent of its overall box office coming from abroad.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