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    ‘Red, White & Royal Blue’ Review: Keep Calm and Pine On

    This film, about an American president’s son who falls for a British prince, starts with a giddy premise and has the derring-do to succeed.Like a corgi back-flipping over a bathtub of champagne, “Red, White & Royal Blue” starts with a giddy premise and has the derring-do to succeed. The setup is thus: Alex (Taylor Zakhar Perez), the wild child of the White House, is commanded to clean up an international PR disaster by befriending Prince Henry (Nicholas Galitzine), the cloistered British spare. In the film’s first half, the scions secretly fall in love; in the second, they fret that going public might cause another global kerfuffle just as Alex’s mother (a Southern-drawling Uma Thurman) campaigns for re-election.It sounds like fan fiction and looks like it, too, particularly when Galitzine dips his chin bashfully — a tic that Princess Diana passed on to her boys. Yet, as in any screwball romance worth its trans-Atlantic sea-salt, the first-time director Matthew López gets us rooting for the cheeky couple’s transition from rivals to romantic bedfellows, boosted by the cinematographer Stephen Goldblatt, who photographs the leads so adoringly that you half-expect them to turn to the camera and hawk a bottle of cologne. Thanks to their playful chemistry, we’re sold.The film is a heavily trimmed adaptation of Casey McQuiston’s zesty 2019 novel, a TikTok smash whose hashtag boasts more than 500 million views. López (best-known as the Tony-winning playwright of “The Inheritance”) wrote the script with Ted Malawer, and the two add theatrical flourishes that feel over-florid: a late-night phone chat visualized by having Galitzine magically appear in a whirl of digital leaves; a museum stroll voice-over that’s so odd, you wonder if it was a postproduction fix for something gone awry; and, most goofily, an across-the-dance-floor stare-down where Alex and Henry lock eyes as the other revelers, grooving to Lil Jon, get so low that they appear to be playing Duck, Duck, Goose.But the story smartly zeros in on the couple’s cultural gap — or, as Alex expresses it, “He grabbed my hair in a way that made me understand the difference between rugby and football.” Henry has borne a heavy crown since birth and wears his privilege matter-of-factly, though he dreams of anonymity. The Yank is, true to stereotype, brash and idealistic. He remembers being an invisible suburban kid who vowed to accomplish goals that were out of reach for his father (Clifton Collins Jr.), a Mexican immigrant. (Perez also seems aware that his angular cheekbones and roguish swagger make him resemble a young Al Pacino.) Their centerpiece sex scene is intimately staged with Galitzine tracing Perez with his fingertips as though his character wants to remember the moment forever.The D.C. sequences are snappy, freshened-up versions of the banter we’ve long seen on TV. (Sarah Shahi as the president’s no-nonsense aide and Aneesh Sheth as a gruff Secret Service officer are standouts.) Though the credits list a royal etiquette adviser, it’s hard to gauge if this depiction of the monarchy is accurate (paisley loungewear, tiny topiaries, gilt-framed everything) or just a gaga fantasy that allows a prince to coo, “I went to an English boarding school. Trust me, you’re in good hands.”Red, White & Royal BlueRated R for swearing and some royal hanky-panky. Running time: 1 hour 58 minutes. Watch on Amazon Prime Video. More

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    ‘Jules’ Review: Close Encounters of the Lonely Kind

    Ben Kingsley plays an elderly man struggling with a fading memory when an extraterrestrial crashes into his life.Generally speaking, alien movies tend to go one of either two ways: horror or tenderness. Marc Turtletaub’s “Jules” falls squarely in the latter category — the titular alien who crash-lands in small-town Pennsylvania is a vegetarian, and eats apple slices given to him by his genial human host.But while the film’s premise will be familiar to anyone whose parents sat them down in front of “E.T. the Extra-Terrestrial,” “Jules” replaces the usual child protagonists with a trio of baffled senior citizens, all of whom find kinship with the alien’s outsider status and know too well what will happen if word gets out on his arrival to Earth.Milton (Ben Kingsley) is struggling with a fading memory and a strained relationship with his adult daughter (Zoë Winters), whose insistence that he see a psychiatrist escalates when he tells her an alien spaceship destroyed his bird bath. When his pleas for help with the small gray alien are ignored by the other townsfolk, Milton invites the injured extraterrestrial, played by Jade Quon, into his home, and the two quickly form a bond. (Despite Jules — Milton’s nickname for the alien — being nonverbal, he appears to perfectly understand English.) Before long, Milton’s neighbors Sandy (Harriet Sansom Harris) and Joyce (Jane Curtin) learn of the visitor and, noticing all the suited government officials that have mysteriously arrived in town, decide to help Milton keep their new friend a secret.Underneath its ridiculous framing and outer-space high jinks, “Jules” is full to the brim with empathy for its elderly characters and their desire for personal agency. Kingsley’s performance as Milton injects dignity into a character that could have easily (and cruelly) been played just for laughs, and Harris and Curtin provide similar complexities to their respective roles. In Jules, all three of them are reminded of the importance of companionship in their lives, and how isolation in their old age has made each of them desperately cling to what little they have left. It’s a realization that leads Joyce, with Jules’s help, to finally say goodbye to her aging cat, in a funeral scene that’s as heartwarming as it is absurd.Turtletaub keeps the film’s campier elements to a minimum, preferring to highlight the quaint suburban setting and a lighthearted, understated sense of humor. “Close Encounters of the Third Kind” this is not, and despite Jules being a threat to national security, it often feels as though Turtletaub would rather you be curled up in your seat with a mug of cocoa than on the edge of it. But the sweetness isn’t entirely unwelcome — not every alien movie can be “Alien.”JulesRated PG-13 for language and some cartoon sci-fi violence. Running time: 1 hour 30 minutes. In theaters. More

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    ‘Love in Taipei’ Review: Finding Home

    In this romantic comedy set in Taiwan, a young American finds herself torn between a parent-approved boy wonder and a rebellious slacker.Big on high jinks and light on story, “Love in Taipei” is a breezy film about a woman exploring her roots, making friends and falling in love. The romantic comedy, based on the best-selling young adult novel “Loveboat, Taipei” by Abigail Hing Wen and directed by Arvin Chen, is a charming but ultimately formulaic exploration of cultural identity.Ashley Liao stars as Ever Wong, a young Taiwanese American woman bound for medical school. Raised in Ohio in a primarily white community, Ever feels disconnected from her culture, never having visited her ancestral homeland. Sensing this disconnect, her parents, both born in Taiwan, send her to a cultural summer immersion program in the country’s capital.Chen portrays Taipei as a playful and colorful place, rich with history and possibility. In the program, Ever — who is somewhat shy — meets the popular Rick (Ross Butler) and the mysterious loner Xavier (Nico Hiraga). Rick is the clean-cut, parent-approved boy wonder and Xavier is the rebellious slacker with rakish charm. Both represent a side of Ever’s internal struggle between pleasing her parents by becoming a doctor or taking a different path as a dancer.Despite her pressing career struggle, the screenwriters, Mackenzie Dohr and Charlie Oh, tell Ever’s story at a leisurely pace, more interested in the nuances of the relationships than providing any resolutions. The story functions much like a pilot, leaving Ever’s fate and romantic possibilities open-ended. Like many streaming Y.A. adaptations, “Love in Taipei” seems poised for a sequel.Love in TaipeiNot rated. Running time: 1 hour 35 minutes. Watch on Paramount+.This review is supported by Critical Minded, an initiative to invest in the work of cultural critics from historically underrepresented backgrounds. More

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    ‘Medusa Deluxe’ Review: Curl Up and Die

    A gruesome attack on a stylist upends a hairdressing contest in this invigoratingly bold debut.Suffused with the sting of hair spray and the scent of Herbal Essences, “Medusa Deluxe” swaggers onto our screens, all cigarette smoke and mirrors. From its playfully inventive opening to its flash-forward finale, Thomas Hardiman’s wild — and wildly impressive — first feature, set during a British regional hairdressing competition, is a proudly indelicate, painstakingly structured pleasure.Playing out in real time and shot to suggest a single, continuous take, the plot circles the sudden death of the show’s star stylist, who has been found backstage, minus his scalp. As his competitive rivals and their models await questioning by unseen detectives, everyone is under suspicion, not just the creepy security guard with the urgent requests for wet wipes. There’s the mouthy Cleve (Clare Perkins, whose opening monologue is a doozy), a stylist with barely controlled anger issues; the devout Divine (Kayla Meikle), who works part-time for an undertaker and is hence no stranger to dead heads; and the scheming Kendra (Harriet Webb), who may have fixed the contest in cahoots with its silver-pompadoured organizer (Darrell D’Silva).Displaying a flamboyant finesse and a cheeky, can’t-sit-still sensibility, Hardiman hides nuggets of foreshadowing in seemingly throwaway remarks. The whodunit mystery droops well before the end, but the women are fantastic and their dialogue, sharp as a hairpin, has a gossipy tempo that’s fun and energizing. A jumpy, percussive score (by the British electronic artist Koreless) pulses unobtrusively beneath the action, punctuating the characters’ tightly choreographed movements and forming a sonic bond with the crumbling brick of the show’s cavernous venue.Filmed in and around a derelict building in a postindustrial town in the north of England, “Medusa Deluxe” unfolds mainly backstage and below stairs. Clinging as close as dandruff flakes, Robbie Ryan’s snakelike camera follows characters down dimly-lit corridors and echoing stairwells, idling in the fluorescent glare of unlovely bathrooms and dressing rooms before gliding onward.At a time when too many movies feel cautious and constrained, “Medusa Deluxe” is gloriously uninhibited and gaudily diverting. A disco blast of George McCrae will beckon you through the end credits, though the movie is not without poignancy as Cleve remarks that the medium she has spent her life teasing and weaving is dead as soon as it exits the scalp. She knows that her art is temporary, its rewards fleeting, and that her time in the spotlight may never come.Medusa DeluxeRated R for weaponized words and tortured follicles. Running time: 1 hour 41 minutes. In theaters and available to rent or buy on most major platforms. More

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    ‘The Pod Generation’ Review: Birthing 2.0

    This satire on our techno-capitalist future is best enjoyed the way it’s made — without taking itself too seriously.Here’s a new start-up idea: an advanced technology that allows fetuses to listen to podcasts lest they get bored in utero. That’s what the Womb Center offers in Sophie Barthes’s “The Pod Generation,” a wickedly funny and fun, if disconcerting, film that arrives right on time for our age of ChatGPT and artificial intelligence doomerism.In a sci-fi future where everything is ruthlessly, comically optimized by advanced tech, the Womb Center offers digitally monitored, egg-shaped pods that will carry one’s baby to term. It’s an enticing option that puts Rachel (Emilia Clarke), who works for an A.I. company, and her husband Alvy (Chiwetel Ejiofor), a botanist frustrated by society’s disconnect from nature, at odds with each other.As the couple, played with a terrific chemistry by Clarke and Ejiofor, hesitantly opt into the process, the film satirizes our fetishization of a digital utopia, one in which techno-capitalism is the solution to all things, from education and health care to patriarchy and, apparently, all the unsightly, inconveniencing aspects of womanhood (i.e., pregnancy and motherhood). While its heady themes yield commentary that is ultimately just a tad thin, Barthes’s satire is best enjoyed the way it’s made — without taking itself too seriously.Much of the fun comes simply in existing within the comedic dissonance between this absurdist reality and the dubiously soothing, richly observed utopia. The most telling and damning revelation can be found in considering the film’s immersive sci-fi world alongside its distant cousin that exists in Spike Jonze’s 2013 film “Her”: the differences in their sensibilities offer a portrait of the downward progression between the tech optimism of the early 2010s, when start-up culture was still considered cool, and the terrifyingly rapid, consuming forces that our digital future has become since.The Pod GenerationRated PG-13 for suggestive material, partial nudity and brief strong language. Running time: 1 hour 41 minutes. In theaters. More

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    ‘Between Two Worlds’ Review: Juliette Binoche Goes Undercover

    In this social-justice drama, the French actress plays an investigative journalist who poses as a cleaner to expose worker exploitation.In “Between Two Worlds,” Juliette Binoche plays Marianne Winckler, a woman struggling to make ends meet in the Normandy region of France. When she arrives at an unemployment center at the start of the film, she’s sheepish and bewildered, selling herself as a “team player” to secure a minimum wage gig.In a voice-over, the details of her quest for steady work are articulated in a matter-of-fact tone. Subtly, the director Emmanuel Carrère reveals this social-justice drama’s real stakes: Marianne, an investigative journalist, has gone undercover. Her mission? To reveal the ways in which low-income workers are exploited — specifically women working graveyard shifts while under contract to private sanitation companies.The film is a loose adaptation of “The Night Cleaner” (2010), the nonfiction best seller by Florence Aubenas, a French journalist who went underground and lived a double life as a cleaner for an English Channel ferry.“Between Two Worlds,” written by Carrère and Hélène Devynck, departs from its source material with a fictional arc: Marianne, a savior figure driven to expose the system’s injustices, is also guilt-ridden about keeping her true identity a secret from her co-workers like Christèle (Hélène Lambert), an edgy single mother. This rift is echoed in the casting, with the usually glamorous Binoche acting alongside nonprofessional actors.Carrère — known primarily in Europe as a writer of nonfiction books with a literary twist — applies a mood of cool journalistic sobriety to Marianne’s scandalous discoveries. At her worst job, for instance, she’s forced to prepare over 100 beds in less than two hours. Less compelling is the sentimental crisis that plays out because of Marianne’s deception. It does little else beyond remind us that advocacy work is too often in a tango with a bad case of main-character syndrome.Between Two WorldsNot rated. In French, with subtitles. Running time: 1 hour 46 minutes. In theaters. More

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    ‘Aporia’ Review: Killing Time

    Strong acting helps stabilize this dopey sci-fi/family drama.Even the most casual consumer of science fiction can tell you that tinkering with the past, however commendable the reason, is a fool’s game. This may be news to the three adults at the center of Jared Moshé’s film “Aporia,” a deeply silly time-travel weepie buoyed solely by the soapy warmth of its performances.Ever since Sophie (Judy Greer) lost her husband, Mal (Edi Gathegi), to a drunken driver eight months earlier, she and her preteen daughter (Faithe Herman) have been struggling. Enter Mal’s best friend, Jabir (Payman Maadi), a physicist and refugee from a dictatorship that killed his entire family. Obsessed with past wrongs, Jabir has been quietly building a time machine, a contraption that looks like a janky iron lung. The machine doesn’t actually go anywhere, but (and don’t quote me on this) can send particles back in time to murder your chosen victim. Someone like, say, the driver who killed Mal.But softhearted Sophie, unable to enjoy a successful assassination, can’t resist befriending the erstwhile driver’s widow and daughter, only to unearth a second villain. Every erasure, of course, demands several minutes of soul-searching and causes unexpected, increasingly troubling repercussions; maybe just one more murder will set everything right?Filled with idiotic behavior and logical ellipses (and a beyond-infuriating ending), “Aporia,” which means an expression of doubt or uncertainty, more than justifies its title. The film’s most beguiling idea, though, is its insistence on the significance of shared memories: When time resets, only Sophie and Jabir remember the original timeline, leaving them excluded from an alternate past — even their own.AporiaRated R for forgivable language and unforgivable behavior. Running time: 1 hour 44 minutes. In theaters. More

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    Justin H. Min, Travel Writer? The Path Not Taken for a Rising Star

    Success came relatively easy — until he tried acting. For a moment, journalism seemed more viable. But now he’s the lead in “Shortcomings.”Five years after Justin H. Min began pursuing acting by Googling “how to pursue acting,” he thought he was getting the hang of it. He had made a viral commercial, and he was in contention for three major roles.He landed none of them.“I was not nervous and I did everything I wanted to,” Min recalled of the auditions. “And that’s the most devastating because you’re like, ‘I guess I just don’t have it.’”It was in this less-than-healthy head space that Min decided to pivot to a different unstable profession: travel writing. He had caught on with a British magazine and it seemed he might cobble together full-time work as a freelance writer if he got on a plane to London.So Min told his manager he was moving. But rather than beg him to stay (as Min had secretly hoped), the manager gave his full blessing. Before Min could head for the airport, though, a fellow actor urged him to reconsider — timely encouragement that set Min, now 34, on the path to “a star-making performance,” as a critic for The Times put it, in the new comedy “Shortcomings,” as well as fan-favorite turns in the Netflix series “Beef” and “The Umbrella Academy.”“This sounds absurd, but I don’t think I’ve really ever struggled with failure until I started to pursue acting,” Min said in a prestrike interview. “So I will absolutely savor this.”INDEED, EVERYTHING IN the first 20-ish years of Min’s life had come to him with relative ease. He concedes this only very sheepishly and with many disclaimers about how fortunate he feels.In Cerritos, Calif., the predominantly Asian suburb where he grew up, Min felt little sense of difference. He found that most success was attainable through application. Min was class president all four years of high school and elected king of the winter formal. He was so good in speech and debate competitions that he won thousands of dollars in prize money that helped pay for a Cornell education. Given his gifts, he thought he might become a lawyer — or maybe a politician.But on the day Min was to graduate from college, he woke up to nine missed calls. His grandfather, who had flown in for the occasion, had died that morning. And so Min’s commencement walk ended in a teary embrace with his family.The death of Min’s grandfather pushed him to reflect during a solo, cross-country road trip back home to Cerritos.“What do I really want to do?” Min recalled asking himself. Life was fleeting, he now understood. Becoming a lawyer or a politician just didn’t feel right anymore. He liked public speaking, writing and storytelling. And back under his parents’ roof, he was near Los Angeles anyway. He decided to give acting a shot.“I think everybody saw something in Justin and I did, too,” said his fellow actor Amy Okuda.Tracy Nguyen for The New York TimesHe soon discovered, however, how hard the business of acting really was and that applying himself would not be enough.When he ran into college friends and they asked about his acting career, “I remember feeling so shattered and so lost in terms of what to say or how to present myself because I no longer could stand on accomplishments,” he said. “I didn’t have that anymore.”IT WAS SLOW going at first. Min dove into Reddit threads, took classes, searched for agents and discovered Wong Fu Productions, a content company run by young Asian Americans that would become a popular part of Asian American media as YouTube blossomed in the 2010s. The guys running it asked Min to audition for what he said they called a “narrative thing, but like branded content.”The “narrative thing” was essentially an eight-minute advertisement for a Simplehuman trash can. But it was built around an exploration of adulting, and the video received tens of millions of views.That work didn’t pay much, and Min began to dabble in journalism as a side hustle. He was a good writer and his photography, like most things in his life, had drawn praise.He traveled to Mexico City to interview the chef Enrique Olvera at Pujol; and to Chicago to pick the brain of Grant Achatz at Alinea. What was not to like about work trips to two of the world’s most acclaimed restaurants?Which helps explain why Min was willing to give writing a full go when he got those back-to-back-to-back acting rejections. But as he pondered his next move, Min had dinner with a friend, the actress Amy Okuda. She tapped the brakes on his travel plans.“I think everybody saw something in Justin and I did, too,” Okuda said in a prestrike interview. So she sent a note about Min to her own manager, Joshua Pasch, who got in touch with him almost immediately; Pasch even had Min submit an audition tape for “The Umbrella Academy” before the pair met.“The rest is history,” Pasch said. “He was on the show a month later.”MIN HAD LANDED THE ROLE of Ben Hargreeves on what would become a hit for Netflix. His part was modest at first — a dead brother in a superhuman sibling squad who occasionally shows up as a ghostlike figure that only the drug-addled sibling, Klaus, can see. The character had very little screen time, and Min was not a series regular initially.Min, left, on “The Umbrella Academy.” He landed the role after a friend urged him to stick with acting.NetflixBut Ben became surprisingly popular in Min’s hands. Steve Blackman, the showrunner, came up with a way to expand the role and even bring Ben back to life as a different, meaner version of himself in later seasons.“The character of Ben doesn’t really exist that much in the graphic novel” on which “Umbrella Academy” is based, Blackman said. “I wrote Ben in to be someone that Klaus could talk to and only Klaus could see.”But, he added, “the minute Justin embodied the character, I’m like, ‘Oh, we’ve got to do so much more.’”“The Umbrella Academy,” which premiered in 2019, was an “I made it” moment for Min. But he would also earn acclaim two years later for his thoughtful, sincere portrayal of the titular robot in “After Yang,” a quiet sci-fi drama starring Colin Farrell.“He had such a rich life before he became an actor,” Kogonada, who directed “After Yang,” said of Min. “Like all the great actors, he is consumed with his craft. But I feel like I’m getting to know him better through the different roles that he plays.”Then came “Beef,” and the part of Edwin, an irritatingly perfect leader of a Korean church.Lee Sung Jin, the director of “Beef,” was best friends with Min’s brother, Jason, in college. Lee said in an interview that he had called Jason Min, an admired praise leader, into the writers’ room to help craft the character of Edwin. It was a role Lee said he had always intended for Justin to fill.Both Min and Lee recalled being in Las Vegas years earlier for Jason’s bachelor party and promising each other that they were going to make it in Hollywood, and that they would work together when they did.“Drunk confidence,” Lee said.NOW MIN IS PLAYING another Ben. This one, the main character in “Shortcomings,” is not a ghost but a very flawed would-be filmmaker who, in the words of a girlfriend, is brimming with “anger, depression, your weird self-hatred issues and just the relentless negativity.”Min “is probably the only person who could have played him in the way that he did, with such nuance,” Ally Maki, who plays the girlfriend, Miko, said in a prestrike interview.Min recalled reading the script and saying to himself: “I understand this guy because I was this guy” and “parts of me are still this guy.”When he initially read the first scene — in which Ben complains about a “Crazy Rich Asians”-style movie that everyone else liked — Min said the words felt natural tumbling out of his mouth.Ben is dealing with the gap between his elevated tastes and his lack of career success, he said, “and that disparity is crippling. I remember when I started off in this business, I felt the same disparity. I felt such a chasm between the projects I was doing and the projects that I wanted to do.”“It results in a lot of dissatisfaction. It results in a lot of cynicism,” he continued, recalling how, at one point, “I sort of prided myself in being sort of this funny, cynical, dry kind of guy the way that Ben is. And then through many years of therapy, I realized that that was simply a defense mechanism for me to hide and shield myself from the actual pain of feeling like I had failed at this industry that I so wanted to succeed in.”Min holds onto one particular memory from the movie. Ben is sprinting through the West Village — that classic movie moment when the hero tries to salvage the relationship before it’s gone forever. In the midst of the scene, he thought, “This is crazy that I am in New York in the middle of this busy West Village street, running as the lead of this movie,” he said. And he remembered how some of his favorite movies had iconic running shots. “I never thought that I was going to be the guy who was running.” More