Movies

Subterms

    More stories

    • 163 Shares119 Views

      in Movies

      ‘Air Bud: World Pup’ Keeps Winning Fans for the 1999 World Cup Stars

      by

      The 2000 movie used the franchise’s furry hero along with members of the actual U.S. women’s team to reimagine the penalty shootout that led to the win.In 1999, the United States women’s national team won its second World Cup title and ushered in a new era of women’s soccer, currently on display in the Women’s World Cup in Australia and New Zealand.What made the 1999 final a cultural hit came down to a confluence of factors: The tournament was played on home soil in the United States, the team was talented and the games were staged at major arenas and widely broadcast. When the United States beat China in a penalty shootout at the Rose Bowl, 40 million people tuned in to watch.Brandi Chastain celebrating the World Cup win in 1999. She helped recreate the moment for “Air Bud: World Pup.”Mark J. Terrill/Associated PressThe images of that triumphant World Cup run are now synonymous with women’s soccer: Brandi Chastain celebrating in a sports bra, Briana Scurry in her all-navy goalkeeper’s uniform, a baby-faced Mia Hamm and … a golden retriever?In 2000, the year after the women’s historic win, the Air Bud film franchise — in which an athletically gifted dog saves various sports teams — turned its focus to soccer. Air Bud did as Air Bud does, saving a children’s soccer team and scoring the winning goal.But the final six minutes or so of “Air Bud: World Pup,” a straight-to-video effort now available on most major platforms, feature something different: a re-creation, or reimagining, of that 1999 World Cup win, complete with its famous players. Except this time, they face Norway. And this time, they have Air Bud, who comes to Scurry’s rescue and takes over in goal after Scurry injures her shoulder saving a penalty. Naturally, heroism ensues.“When the women won the World Cup, they were such a force,” said Robert Vince, an executive producer of the Air Bud franchise. “They didn’t just win it, they dominated it. They became an obvious choice for us. We also felt that there was a real opportunity to elevate the game for girls as well. It was just such a moment.”That moment thrust the stars of the 1999 team onto the national and even international stage. Chastain earned the nickname “Hollywood” because of her comfort in front of the camera and her willingness to promote the sport. She said in a recent interview that she and her teammates were flooded with requests for commercials and other collaborations. But then she, Scurry and fellow “99er” Tisha Venturini were invited to Vancouver to film a movie about a dog saving soccer.“I’m a sucker for dogs anyway,” Chastain said, noting that she was a fan of Air Bud before the offer came in. “But I thought that women’s soccer being a part of something like that is reaching out to more of the population that maybe wouldn’t have access or wouldn’t particularly come to women’s soccer.”Chastain said that recreating a World Cup-like environment was no small feat. She and her teammates weren’t actors, but had to tap into their feelings at the Rose Bowl in 1999 and “re-enact something that was so genuine and so in the moment.”They filmed their six-minute sequence over three eight-hour days, Scurry said, and most of the crowd was C.G.I. Buddy, the star, of course wasn’t, but, Scurry revealed, “there are like six dogs.”Scurry explained that each Buddy had different skills: some were calmer; some were better at jumping in the air and heading the ball; and some just wouldn’t be in the mood. But Scurry emphasized that she had long treated Air Bud like Santa Claus: “I never tell kids about the six Buddies,” she said solemnly.As a male, how did Buddy compete for the women’s national team? “Good question,” Chastain said. “Gosh, I don’t know.”For years, befuddled fans have raised this question on social media. After being told about it, Scurry burst out laughing. “I was not aware of this conspiracy. That never crossed my mind.”Vince, however, has a diplomatic answer: “I don’t think it was a gender-specific thing, I think it was just that he was a dog,” Vince said. “Little kids don’t really think of their pet or their dog as a gender.”There have been five Air Bud movies followed by nine Air Buddies films. (Air Bud is a proud father.) But Vince said that his company’s research showed that women remember “Air Bud: World Pup” more than any other installment.“Millennials, who are themselves having children, are the generation of Air Bud,” Vince said. “What movies do is they reflect the time that they were made, but also what is old becomes new again, because it gets rediscovered by new generations.”For Scurry, “Air Bud: World Pup” is a way for her to introduce herself to an entire generation of fans who didn’t see the 1999 World Cup. She said children still ask for her autograph — as the goalkeeper from “Air Bud.”“These kids would know the players that have now taken the reins from us, that were in the crowd watching us play in 1999, but they wouldn’t have known the history of the 99ers or where that came from,” Scurry said. “That movie did a lot for the legacy of the 99ers for the younger generation.” More

    • 63 Shares179 Views

      in Movies

      ‘Passages’ Review: A Toxic Triangle

      by

      In Ira Sachs’ latest wince-inducing romance, Tomas (Franz Rogowski) has wedged himself into a love triangle with Ben Whishaw and Adèle Exarchopoulos.“Passages” takes its name from a film-within-a-film that we get one glimpse of at the start of Ira Sachs’ latest wince-inducing romance. It doesn’t look very good — an airless, stylized period piece, the kind of movie Sachs would never make himself. Worse, its fictional director, Tomas (Franz Rogowski), is so fixated on imperceptible details, and so unable to articulate his desires, that he eventually explodes on set. “It’s not that you have to come down the staircase, you want to come down the staircase!” he rages, aggrieved that no one is able to read his mind.Tomas is whiny, needy, petulant and selfish. (TikTok users could slap him with a dozen diagnoses or just settle on “toxic.”) He’d make a great reality show contestant, but here he’s wedged himself into a love triangle with his husband, Martin (Ben Whishaw), and his girlfriend, Agathe (Adèle Exarchopoulos). Viewers naïve enough to expect that an Ira Sachs movie might resolve happily will be disappointed.Sachs has formed his own unconventional family. He and his husband, Boris Torres (an artist, as Martin sort-of is), share twins with the filmmaker Kirsten Johnson. “Passages” feels like Sachs and his longtime writing partner, Mauricio Zacharias, are questioning what his life would be if he’d gone about it all wrong: if he hadn’t been sensitive to others’ emotions, if he’d been slippery and noncommittal, if he’d made phonier films. Perhaps Tomas, performed by Rogowski with swivel-hipped, sulky charisma, is Sachs’ shadow self. But he’s like a lot of other people’s bad exes, too, which means that the bleakest moments often trigger a snort-laugh of schadenfreude at the fix his characters find themselves in.The misery unfurls in a straight timeline of dramatic scenes that leap over the lived-in moments that make up a relationship. We only get fleeting seconds of Martin and Agathe without Tomas dominating the conversation, or lack of one, as he tends to mutely prod them into an extended sex scene. (The film initially received an NC-17 rating, but is now unrated.) As a result, we barely know his partners at all. Agathe, in particular, might look powerful in Khadija Zeggaï’s striking costumes, but she’s so vaguely written that she barely seems to exist when Tomas isn’t in the room. She reminded me of a moment in Caity Weaver’s 2016 GQ profile of Justin Bieber where she and the music superstar walk in on his future wife, Hailey, “doing nothing — no TV, no book, no phone, no computer, no music, no oil paints, nothing.”Some of this indifference is deliberate. Sachs frames one talk between the spouses with Tomas’s body eclipsing Martin’s until he’s invisible; the camera reflects how little Tomas sees his partners, too. But capturing these truths leaves a void in the film. Exhausted (as we also become) by their fruitless, repetitive attempts to set boundaries, the wounded lovers reclaim their independence by receding so deeply into themselves that even Tomas can’t reach them anymore — and by that time, we’ve already given up.PassagesNot rated. In English and French, with subtitles. Running time: 1 hour 31 minutes. In theaters. More

    • 125 Shares169 Views

      in Movies

      Dreamin’ Wild’ Review: Casey Affleck’s Overlooked Musician Gets His Due

      by

      A new film dramatizes the true story of two brothers thrust into the spotlight 30 years after the album they recorded as teenagers is discovered.The story of Donnie and Joe Emerson is the kind of miracle that starry-eyed musicians dream of: In the late 1970s, the teenage brothers record an album on their father’s Washington farm. It goes nowhere, until a collector stumbles across the LP in a Spokane antiques shop some 30-odd years later. Soon, word gets around about the brilliance of their passion project and, with the help of a vinyl reissue and a New York Times profile, the Emersons are suddenly thrown into the spotlight they were chasing all those years ago.Bill Pohlad’s “Dreamin’ Wild,” in theaters on Friday, is named after Donnie and Joe’s album and dramatizes its rediscovery by the general public and its impact on the greater Emerson family. “Dreamin’ Wild” doesn’t shrink from the fact that Donnie (portrayed as an adult by Casey Affleck, who’s also a co-producer of the film) was the album’s true brainchild — the chief songwriter, singer, instrumentalist and producer, complemented by Joe’s inexperienced drumming. That much was clear after the initial album release, when Donnie was offered a solo record deal. But he struggled to make it in Hollywood, draining his family’s finances in the process. Renewed interest in the LP reignites his guilt, even as his desire for recognition fuels an unhealthy perfectionism that extends to those around him, particularly Joe.Affleck’s performance is the emotional crux of the film, but the supporting cast, including Zooey Deschanel (as Donnie’s wife, Nancy) and Beau Bridges (as the brothers’ self-sacrificing father, Don Sr.), rounds out Pohlad’s pensive vision of familial drama. It’s Walton Goggins, however, who shines, delivering a quiet, melancholic portrayal of the ever-supportive Joe, who stayed behind in Fruitland, Wash. Adding to the mood is the soundtrack, which features not only Donnie’s otherworldly, genre-fluid “Dreamin’ Wild” compositions, but also a selection of deep cuts from folk-rock greats like The Band and Linda Ronstadt.While it can occasionally seem as though Pohlad is eking out conflict to support a narrative, the film’s restraint ultimately works in its favor, offering a thoughtful meditation on music, creativity and what it really means for talent to be “overlooked.”Dreamin’ WildRated PG. Running time: 1 hour 50 minutes. In theaters. More

    • 63 Shares149 Views

      in Movies

      ‘Brother’ Review: Growing Up Grieving

      by

      This drama about two brothers coming of age in Toronto is imbued with big emotions, but has trouble sustaining its story.Michael (Lamar Johnson), the protagonist of “Brother,” is a quiet teen often unsure of himself, a trait that is particularly pronounced as he moves through the world next to Francis (Aaron Pierre), his self-possessed and physically imposing older brother. Michael’s coming-of-age story takes place in the shadow of Francis, who wants Michael to learn how to better carry himself. The two teenagers, both Black, are growing up in a poor, largely immigrant neighborhood of Toronto’s Scarborough district.Written and directed by the Canadian filmmaker Clement Virgo and based on a novel of the same name by David Chariandy, the film flits across time, mostly between Michael as a high schooler, when he follows Francis around Scarborough, and 10 years later, long after tragedy has struck, when Michael has been left to care for their grieving mother, Ruth (Marsha Stephanie Blake).Shot with a moody, stylized palette and backed by a stirring score, Virgo’s work has the pieces of what it so desperately strives to be: a poignant coming-of-age drama about masculinity, the traps and the fragility of it; about grief; and about the social realities of a certain Black immigrant experience. At times it can be. But it becomes fixated on imbuing itself with solemnity, rather than organically earning it. The ultimately sparse dramatic elements here feel more suited to a short film; in a feature-length production, they become too thin to support the big feelings and weighty themes the movie wants to leave us with.BrotherNot rated. Running time: 1 hour 59 minutes. In theaters and available to rent or buy on most major platforms. More

    • 150 Shares169 Views

      in Movies

      ‘Barbenheimer’ Isn’t a Contest. But if It Were, Which Film Would Win?

      by

      It’s been an epic matchup, but it’s time to declare a victor. We devised nine super-scientific tests to determine whether “Barbie” or “Oppenheimer” rules.The simultaneous release of “Barbie” and “Oppenheimer” captured the pop-cultural imagination because before we had seen either film, it was hard to imagine two features that occupied such distinctly different lanes. But now that audiences have sampled Greta Gerwig’s colorful Mattel comedy and Christopher Nolan’s weighty drama about J. Robert Oppenheimer, the so-called father of the atomic bomb, it’s become clear that for all their tonal differences, each film is a one-of-a-kind auteurist blockbuster pondering some pretty meaty existential questions.All this is a heady way of saying: Let’s pit ’em against each other!Who would win if there were an actual battle of Barbenheimer? To arrive at an answer, I’ve put each film through its paces in nine categories, with tests devised to measure them that are every bit as scientifically rigorous as the experiments conducted during Oppenheimer’s Manhattan Project. (Note: This claim has not been fact-checked.)Culpability of protagonistTwo experts in the laser death stare: Emily Blunt and Cillian Murphy as the Oppenheimers.Melinda Sue Gordon/Universal PicturesDo Oppenheimer and Barbie both have blood on their hands? After racing to create an atomic bomb that will end World War II, Oppenheimer (Cillian Murphy) spends the final hour of his movie haunted by visions of the dead and wondering whether he has unleashed a nuclear arms race that will imperil the future of humanity. Barbie (Margot Robbie) is also forced to face her own complicated legacy: Upon entering the real world, where she expects to be greeted as a benevolent superstar, she is instead dressed down by teenage girls who deride her as a fascist has-been whose unrealistic beauty standards have harmed generations of women. At least Barbie can assuage her guilty conscience with a journey of self-discovery and you-go-girl support from America Ferrera; Oppenheimer has to endure a humiliating government hearing and a series of withering looks from Emily Blunt. Then again, it’s a level of flagellation he feels he deserves, which packs even more of a punch. Advantage: “Oppenheimer”Depiction of governanceMen rule the world in “Oppenheimer,” and their government is filled with vipers: After the war ends, battles are waged on the home front as ambitious apparatchiks scheme to discredit their rivals and formerly jovial colleagues are moved to stab one another in the back. The female-led government in “Barbie” rules over a comparative utopia that subs slumber parties for strife and posits that a dangerous coup perpetrated by angry, addled men can be undone simply by tricking them into a musical number. Who wouldn’t rather live in that world? Advantage: “Barbie”Depth of ensembleThe seeds of Barbenheimer were sown early in production as both films raced to cast half of Hollywood in their ever-swelling ensembles, and each cast came with some notable similarities. Leads Murphy and Robbie have both played Batman villains. (He was Scarecrow in Nolan’s Bat-features, while she was Harley Quinn for DC.) Each film features a hot young auteur in the cast — the “Uncut Gems” co-director Benny Safdie pops up throughout “Oppenheimer,” while “Barbie” has a cameo from the writer-director of “Promising Young Woman,” Emerald Fennell — as well as a next-generation Marvel star (Florence Pugh in “Oppenheimer,” Simu Liu in “Barbie”). “Oppenheimer” flexes a bit harder by filling even its smallest roles with Oscar winners like Rami Malek, Kenneth Branagh and Casey Affleck, but “Barbie” had the good sense to wonder what Rhea Perlman has been up to lately, which ought to count for nearly as much. Ultimately, this category is just too close to call. TieFashionTa-da! Margot Robbie’s Barbie pulls off a western look with aplomb.Warner Bros. PicturesBarbie is a famous clotheshorse, and Gerwig’s movie more than delivers on the fashion front: Whether Robbie’s doll is wearing gingham dresses or disco jumpsuits, she takes costumes that could read as cosplay and makes them chic. You might not expect the same attention to sartorial detail from “Oppenheimer,” but 12 films into his career, one of Nolan’s cinematic trademarks has become impeccable suiting: After Oppenheimer is advised by a colleague to level up his look, we watch him don a hat and select a pipe in a sequence that Nolan shoots as portentously as Batman putting on body armor. Still, even though Murphy is striking in period garments, there can be only one victor in this category. We have no doubt that Barbie would look fashionable even in Oppenheimer’s tailored menswear, but could the theoretical physicist pull off her rollerblading look in eye-searing fluorescents? Advantage: “Barbie”CatchphrasesOppenheimer said that after the explosive test of the atomic bomb, a quote from Hindu scripture came to mind: “Now I am become Death, the destroyer of worlds.” In Nolan’s film, we hear those words said by Oppenheimer, but the first time he speaks them is in an unusual sex scene with his recurring flame, Jean Tatlock (Pugh), in which she pauses coitus to fetch a copy of the Bhagavad Gita, then asks Oppenheimer to translate the famous quote from Sanskrit, sans clothes. (Kinky, yes, but Tatlock clearly knows that the way to this man’s heart is to first admire his bookshelf.) “Barbie” has its fair share of quotable lines — two Ken catchphrases, “I’m just Ken” and “I am Kenough,” have already set social media ablaze — but were any of them translated from the original Mattel? Advantage: “Oppenheimer”Usage of the color pinkIf anything pink has ever appeared on the set of one of Nolan’s films, it was only because Harry Styles hadn’t changed out of his concert wear before shooting “Dunkirk.” Meanwhile, “Barbie” features more pink than a clone army of Jigglypuffs downing rosé on the set of “RuPaul’s Drag Race.” You knew who would win this category going in. Advantage: “Barbie”Usage of the color blueThink of the hat as a shield … to protect the audience from those baby blues.Melinda Sue Gordon/Universal Pictures, via Associated Press“Oppenheimer” is about the moral cost of unleashing upon mankind the most terrifying and powerful weapon it has ever known: Murphy’s gigantic blue eyes. (Can you get radiation poisoning from a pair of peepers? If you watch “Oppenheimer” in IMAX, you may want to take precautions by gazing upon the screen through a pane of dark glass.) The beautiful cerulean sky of Barbie Land simply can’t compare to what Murphy is serving up: Even in the black-and-white portions of “Oppenheimer,” the actor’s eyes still feel bright blue. Advantage: “Oppenheimer”Sound designIn recent films, Nolan has employed a “wall of sound” approach that hits its apex in “Oppenheimer”: Every single minute is soundtracked by Ludwig Goransson’s propulsive score, while set pieces like the Trinity test and Oppenheimer’s foot-stomping gymnasium rally employ so much thunderous bass that they threaten to shake the entire multiplex. Though the film is a three-hour drama about men in lecture halls, classes and courtrooms, its soundscape blares with the blockbuster momentum of an action film, and for all its sonic sophistication, “Oppenheimer” is surely the front-runner for this year’s best-sound Oscar. Still, “Barbie” has a Dua Lipa song. Advantage: “Barbie”Box officeThe rising tide of Barbenheimer has lifted both films to smash-hit status. “Barbie” scored the biggest opening weekend of the year with $162 million, barely faltered in its second week, and is now on track to pass more than $1 billion worldwide and potentially dethrone “The Super Mario Bros. Movie” as the year’s top grosser. And though other prestige dramas have struggled to connect at the box office since the pandemic, “Oppenheimer” has been thriving: Its $82 million opening weekend far surpassed any of Nolan’s non-superhero features, and the film’s final worldwide total could top $800 million, a stunning finish for a super-long biopic. Though “Barbie” is the clear winner here, this is a race with no loser. Advantage: “Barbie”Final resultThink pink! In the battle of Barbenheimer, Gerwig’s comedy ekes out a victory over “Oppenheimer,” proving that some fights can be finished with no nuclear escalation whatsoever. (But how would Gerwig’s “Little Women” fare against Nolan’s previous film, “Tenet”? Watch this space: If the strikes continue, I may have to write that.) More

    • 138 Shares169 Views

      in Movies

      A Times Reporter on the SAG-AFTRA Actors’ Strike and Hollywood’s Future

      by

      Lights. Camera. Action? Brooks Barnes, who covers the entertainment business, discussed the state of film and television amid an industrywide shutdown.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.It was around 1 a.m. one Thursday last month when Brooks Barnes received the email he’d been waiting up for.“SAG-AFTRA TELEVISION, THEATRICAL AND STREAMING CONTRACTS EXPIRE WITHOUT A DEAL,” read the subject line on the email, sent by a union representative.Movie studios and unionized actors failed to reach a deal after weeks of negotiations. Hours later, members of SAG-AFTRA’s national board voted to strike, and tens of thousands of actors joined the screenwriters already on the picket lines over issues including pay. The decision brought film and television productions to a standstill and left the fate of Hollywood hanging in the balance.“When something big like this happens, you just have to put down everything else you’re working on,” said Mr. Barnes, a reporter who covers Hollywood for The New York Times. In an interview, he shared his thoughts on Hollywood’s first industrywide shutdown in more than 60 years and on how the repercussions may be coming to a theater near you. This interview has been edited.What do unionized actors want?There’s a long list of things; their proposals are detailed and specific, down to what a background dancer gets paid for rehearsal time, for example. But the main sticking point is that actors want residual payments from streaming services.In the traditional model, actors would get paid for the work that they do on a TV show or movie; they would get paid residuals once that show or movie was resold as a rerun on TV. Sometimes the residual money could be huge, depending on a show’s popularity.In the streaming era, that model has changed. Actors still get paid a residual for streaming work. But it’s essentially a flat fee. Actors want those payments to be based on a show’s popularity — more for a hit like “Stranger Things,” for example, and less for something that flops.The other big sticking point is artificial intelligence. Actors want guardrails so their likenesses will not be reused digitally without their approval and a payment.Using an actor’s likeness without their consent makes me think of a recent “Black Mirror” episode, in which characters’ likenesses were used in bizarre ways without their permission.That’s exactly what this is about, but it’s also to protect background actors. In a crowd scene, they might scan a background actor’s likeness and reuse it in another movie just to populate the scene. It doesn’t have to be Salma Hayek or Tom Cruise.How does the writers’ strike fit into all this?The writers are on strike for similar issues, including residual payments. Writers are also looking for a type of quota system; they want studios to staff a writers’ room with a minimum number of writers. Streaming services often use minirooms, a type of writers’ room used early in the show-development process that involves half as many writers. Basically, they’re doing much of the same work with fewer people. The union wants protections against those job cuts. How soon will we see the repercussions of the actors’ strike?Viewers won’t see too many repercussions for a while because the assembly pipelines work so far in advance; a lot of upcoming TV series and films are already finished. But some big movies planned for Christmas have been pushed to next year, and the fall TV schedule will be heavy on reality shows and reruns. Actors are also not allowed to promote any of the work that they have already finished. And that’s crucial to studios; they want actors on talk shows and podcasts to promote their projects.You recently wrote about a factor that’s contributing to the strikes: the absence of a power broker to help mediate.Yes, the last Hollywood strike took place in 2007-8. In those days, it was a simpler business; Netflix was mostly an indie company and had just begun streaming. Back then, there were studio elders and senior statesmen who could come in and say, OK, let’s iron this out and get back to work. That kind of person doesn’t exist so much anymore.Why not?Companies just have different cultures and priorities — a Netflix versus a Disney versus an Apple. The other reason is some of the studio executives who could mediate have had problems. Bob Iger, Disney’s chief executive, has become a bit of a villain for comments he made about the strike on CNBC, so he’s not really the greatest person to generate trust. You need someone whom both sides trust, respect and will listen to.I wonder about your thoughts on the success of “Barbenheimer” at the box office. It feels bittersweet.It’s exciting to know that Hollywood can still deliver these kinds of cultural thunderclaps, but the reality is the reality: The hits are few and far between. And it’s hard to feel very good about the business when hundreds of thousands of people are on strike or impacted by the strikes. More

    • 125 Shares99 Views

      in Movies

      Watch Tom Cruise Roll a Fiat 500 in ‘Mission: Impossible’

      by

      The director Christopher McQuarrie discusses a chase scene involving the star and Hayley Atwell in ‘Mission: Impossible — Dead Reckoning Part One’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.Ethan Hunt has found himself in many elaborate car chases throughout the “Mission: Impossible” franchise. But while the stunts have gotten bigger, this time, the car has gotten smaller.In “Dead Reckoning Part One,” a Fiat 500 becomes the star of a sequence set in Rome involving Ethan (Tom Cruise) and Grace (Hayley Atwell). The two find themselves handcuffed to each other as Ethan gets behind the wheel of their tiny getaway vehicle.Narrating the scene, the director Christopher McQuarrie said the inspiration for it occurred to him when he was scouting locations in Paris for a chase sequence in “Mission: Impossible — Fallout” and came across a Fiat 500 parked along the Seine.“I thought it would be great, the idea of watching Ethan Hunt and Tom Cruise driving in a car like that,” he said.This scene includes more humorous moments than the series’ previous car chases. And it involves Cruise having to navigate the Fiat around cobblestone streets, which the actor did himself.A climactic moment in the scene involves the Spanish Steps, when the Fiat bumbles its way right down the monument.The production was not allowed to let cars actually touch the steps, so they built a replica of the landmark on a backlot and tumbled the vehicle down there.Read the “Mission: Impossible — Dead Reckoning Part One” review.Read an interview with the franchise co-star Henry Czerny.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More