Movies

Subterms

    More stories

    • 88 Shares179 Views

      in Television

      ‘Oppenheimer’ Fans Are Rediscovering a 40-Year-Old Documentary

      by

      “The Day After Trinity,” made available without a subscription until August, shot to the top of the Criterion Channel’s most-watched films.One morning in the 1950s, Jon H. Else’s father pointed toward Nevada from their home in Sacramento. “There was this orange glow that suddenly rose up in the sky, and then shrank back down,” Else recalled.It was, hundreds of miles away, an atomic weapon test: a symbol of the world that was created when a team of Americans led by the physicist J. Robert Oppenheimer exploded the first nuclear bomb a decade earlier on July 16, 1945.Growing up in the nuclear age left an impression on Else, now 78.He was later a series producer of the award-winning “Eyes on the Prize,” a program on the civil rights movement, and directed documentaries about the Great Depression and Wagner’s “Ring” cycle. But before all that, in 1981, he made a documentary about Oppenheimer, the scientist whose bony visage graced the covers of midcentury magazines, and the bomb. It was called “The Day After Trinity,” a reference to that inaugural detonation.Decades later, viewers are flocking to Else’s film, a nominee for the Academy Award for best documentary feature, as a companion to Christopher Nolan’s biopic “Oppenheimer,” which grossed more than $100 million domestically in its opening week this month.After the Criterion Channel made “The Day After Trinity” available without a subscription until August, it shot to the top of the streaming service’s most-watched films this month, alongside movies directed by Martin Scorsese, Paul Verhoeven, Michael Mann and other typically Letterboxdcore filmmakers.“We have seen a huge increase in views,” Criterion said in a statement, “and we’re very happy with the success of the strategy as a way to make sure this film found its rightful place in the conversation around ‘Oppenheimer.’”In a phone interview from California last week, Else, a professor emeritus at the University of California, Berkeley, praised Nolan’s film, which he saw last weekend in San Francisco. (A spokeswoman for Nolan said he was not available to comment.)“These stories have to be retold every generation,” Else said, “and they have to be told by new storytellers.”Nolan’s three-hour opus, a Universal release shot on IMAX film with a lavish cast of brand-name Hollywood actors, shares much with “The Day After Trinity,” an 88-minute documentary financed by the public television station in San Jose, Calif., and various grants.The Oppenheimer of “Oppenheimer” (based on Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning biography “American Prometheus”), and the Oppenheimer of “The Day After Trinity” are the same brilliant, sensitive, haunted soul. “This man who was apparently a completely nonviolent fellow was the architect of the most savage weapon in history,” Else said.The movies feature some of the same characters from the life of Oppenheimer, who died in 1967, including his brother, Frank (played in “Oppenheimer” by Dylan Arnold), his friend Haakon Chevalier (Jefferson Hall) and the physicist Isidor Isaac Rabi (David Krumholtz). Both films build to Trinity and then document the conflict between some of its inventors’ hope that the bomb would never be used in war and its deployment in Japan, the invention of the more devastating hydrogen bomb and the nuclear arms race of the Cold War.A central plot point in each movie is a closed hearing in 1954 at which Oppenheimer was stripped of his government security clearance, partly because of past left-wing associations. David Webb Peoples, a co-editor and co-writer of “The Day After Trinity” — whose later screenwriting credits include “Blade Runner,” “Unforgiven” and “12 Monkeys” — even proposed structuring the film around the hearing, as Nolan did with “Oppenheimer.”“The closest he ever came to an autobiography is his personal statement at the beginning of the hearing,” said Else, who focused on interviews with firsthand witnesses, old footage and still photographs rather than trying to recreate the hearing.“It’s also a courtroom drama,” Else added, “and who is not going to pay attention to a courtroom drama?”One place “The Day After Trinity” goes that “Oppenheimer” does not is Hiroshima. In the documentary, Manhattan Project physicists recount wandering the wrecked Japanese city. The narrator explains that the Allies had not bombed it beforehand to preserve a place to demonstrate the new weapon.Else returned to the topic in his 2007 documentary, “Wonders Are Many: The Making of ‘Doctor Atomic,’” which chronicles the composer John Adams’s opera about Oppenheimer. Else is currently working on a book about nuclear testing. And in 1982, he made a one-hour episode of the public-television series “Nova” about the Exploratorium, the San Francisco science museum that was founded in 1969 by none other than Frank Oppenheimer.“Making ‘The Day After Trinity’ was a pretty rugged ride — it’s pretty rugged subject matter,” Else said. “After I finished it, it was such a joy to spend a year with Robert Oppenheimer’s younger brother, Frank, and celebrate the joy of science.” More

    • 138 Shares199 Views

      in Theater

      Julian Barry, Who Made Lenny Bruce Into ‘Lenny,’ Dies at 92

      by

      Mr. Barry’s scripts for a hit Broadway play and later a Hollywood movie about that rule-breaking comic helped give Mr. Bruce a lasting place in pop culture lore.Julian Barry, whose scripts for a Broadway play and a Hollywood movie about Lenny Bruce, both titled “Lenny,” became definitive portraits of the comedian as a truth teller who drove himself mad in a righteous struggle against American hypocrisy, was found dead on Tuesday morning at his home in Beverly Hills, Calif. He was 92.His daughter Julia Barry said he had died overnight in his sleep. He had been receiving medical treatment for congestive heart failure and, in recent weeks, for late-stage kidney disease.Like Marilyn Monroe and John Lennon, Mr. Bruce died young (he was 40) and became a figure of continually renewed pop-culture lore. His comedy career and his criminal prosecutions on drug and obscenity charges inspired museum exhibitions, one-man theatrical performances and biographies. From 2017 until this year, a fictionalized version of Mr. Bruce was a recurring character on the Amazon Prime television show “The Marvelous Mrs. Maisel.”Mr. Barry’s play, which opened on Broadway in 1971, five years after Mr. Bruce’s death, proved that Mr. Bruce could draw an audience posthumously. The 1974 movie version, which starred Dustin Hoffman in the title role, has endured as a classic of the Lenny Bruce mini-genre. It earned six Academy Award nominations, including for best picture, best actor and best adapted screenplay. (Mr. Barry lost to Francis Ford Coppola and Mario Puzo for “The Godfather Part II.”)Cliff Gorman in the title role and Jane House as his wife in the original Broadway production of “Lenny” in 1971.Martha Swope/The New York Public Library for the Performing ArtsIn both scripts, Mr. Barry paid homage to Mr. Bruce by including lengthy passages of his stand-up comedic material. His Lenny Bruce is crude but winningly so — more forgiving human frailty than mocking it, and skillful in using earthy common sense to attack the prejudices of his day.Clive Barnes of The New York Times called the play a “dynamite shtick” of theater, and reflected on the irony that Mr. Bruce had been arrested after using language in nightclubs that by 1971 seemed unexceptional when declaimed from a Broadway stage. “The last laugh,” he concluded, “is with Mr. Bruce.”The Broadway star of “Lenny,” Cliff Gorman, won the 1972 Tony Award for lead actor in a play. As Mr. Gorman told The Times in an interview after the play opened, his performance roused Mr. Bruce’s mother, Sally Marr, to visit his dressing room and address him as a “genius.”Mr. Barry’s script compared Mr. Bruce to Aristophanes and Jonathan Swift. Some people rolled their eyes.“The story Julian Barry has extracted from Bruce’s life tends to sanctify and, in the end, even to solemnize Bruce rather than to explore his obsessions,” another Times theater critic, Mel Gussow, wrote in a 1972 review, when Sandy Baron replaced Mr. Gorman.But Mr. Barry found a powerful fan in Bob Fosse. After directing the movie version of the Broadway musical “Cabaret” (1972), for which he won the Academy Award for best director, Mr. Fosse decided that he wanted “Lenny” to be his next film project. He hired Mr. Barry to write the script.“In the play, I mythologized Lenny Bruce,” Mr. Barry told Rolling Stone in 1974. In contrast, he said, the movie offered “a cold, objective approach.”Dustin Hoffman as Lenny Bruce and Valerie Perrine as his wife, Honey, in the 1974 film “Lenny,” directed by Bob Fosse and written by Mr. Barry.United ArtistsMr. Barry was perhaps referring to the film’s depiction of Mr. Bruce’s decline — ranting onstage about his arrests, shooting heroin, speechifying pathetically in court and finally dying of a morphine overdose naked on his bathroom floor in Los Angeles.Yet in “Lenny,” filmed in arty black and white, Mr. Bruce’s flaws are redeemed. He cheats on his wife, but he shows himself to be faithful to her when she needs him most. His idealism about racial slurs — that by using them people can sap them of their malign power — goes unquestioned. His enemies in the legal system do not explain their defense of conservative social mores.Mr. Barry saw Mr. Bruce as a tragic hero.“The whole beauty of Lenny,” he told Rolling Stone, “is his message: We’re all the same schmuck.”Julian Barry Mendelsohn Jr. was born on Dec. 24, 1930, in the Bronx and grew up in the Riverdale neighborhood. His father struggled as a salesman during the Depression but eventually rose to become an executive at the Hudson Pulp and Paper Company. His mother, Grace (Fein) Mendelsohn, donated time and money to Jewish causes and the theater.Julian began acting as a teenager while attending Horace Mann, a day school in Riverdale, where, he wrote in his memoir, “My Night With Orson” (2011), he was a “townie” — not as privileged as wealthier fellow students who lived in uptown Manhattan. Believing it would aid a future career in show business — and following the advice of Philip Burton, a British director who taught at a summer acting camp that Julian attended — he modified his name to sound less Jewish while still just a teenager.He was briefly an undergraduate at Syracuse University and Emerson College in Massachusetts. After serving in the Army and fighting in Korea in his early 20s, he established a career as a Broadway stage manager. He then took a risk at the age of 35, turning down steady work to focus on writing.Mr. Barry’s first screenplay to be filmed was “Rhinoceros” (1974), an adaptation of Eugène Ionesco’s play starring Gene Wilder, left, and Zero Mostel.Kino InternationalMr. Barry found success in television writing scripts in the 1960s for popular shows like “Mission: Impossible.” His first screenplay to be filmed was “Rhinoceros” (1974), an adaptation of Eugène Ionesco’s play, starring Zero Mostel and Gene Wilder.Mr. Barry’s four marriages ended in divorce. In addition to his daughter Julia, from his third marriage, to the film producer Laura Ziskin, he is survived by his longtime partner, Samantha Harper Macy; two daughters, Sally and Jennifer Barry, from his second marriage, to Patricia Foley; a son, Michael, also from that marriage; five grandchildren; and one great-grandson.In his autobiography, Mr. Barry described years of meeting stars and starlets. He and Frank Sinatra spent hours telling old stories and imagining a movie they might make together.Summing up his life in the mid-1980s, he wrote, “I was still bumming a ride on my Academy nomination.”Yet project after project of his did not get made, lost in the Hollywood purgatory known as “development.”To some extent, Mr. Barry wrote, it was his own fault for becoming too hip for his own good. He grew his hair long, and he name-dropped in the offhand style of a “Hollywood Phony,” he wrote. Discussing a script of his with Robert Redford and the director Sydney Pollack in Mr. Redford’s hotel room, he suddenly lit up a joint. He was later told that the two men did not like him.“I had to live up to my reputation,” Mr. Barry recalled, “as the man who wrote about Lenny Bruce.” More

    • 100 Shares199 Views

      in Movies

      ‘The Unknown Country’ Review: A Granddaughter’s Road Trip

      by

      Lily Gladstone’s achingly measured performance braided with the actual stories from nonprofessional actors makes Morrisa Maltz’s film a memorable road trip.Snow-bordered highways, a cat winking its jade eye, the tentative yet always observant expressions of the main character Tana (Lily Gladstone) are among the low-key pleasures of “The Unknown Country,” the director-writer Morrisa Maltz’s luminously photographed, delicately paced road movie.After the death of her grandmother, whom she cared for, Tana accepts an invitation to attend her cousin’s wedding in South Dakota. She hasn’t been with her Oglala Lakota family since she was eight.Tana’s wintry drive from Minneapolis to her cousin Lainey Bearkiller Shangreaux’s in Spearfish, S.D., is just the first leg in a journey that will take her to the Pine Ridge Reservation and southward to Texas, as she traces an itinerary taken from her grandmother’s photo album. One picture shows Tana’s grandmother as a young woman, a craggy vista in the distance, and finding where the photo was taken starts to shape Tana’s sojourn.Shangreaux, her husband, Devin, and their daughter, Jasmine, are among the performers here portraying themselves. In the film’s most inventive, gently disruptive gesture, the nonprofessional cast members’ actual stories are recounted in their voice-overs. Think of these mini-documentary profiles — of a waitress (Pam Richter), a gas station attendant (Dale Leander Toller), a motor lodge owner (Scott Stampe), and the nonagenarian Florence R. Perrin, a two-stepping mainstay at the Western Kountry Klub in Midlothian, Texas, as rest stops in Tana’s trip.Gladstone, who stars in Martin Scorsese’s upcoming “Killers of the Flower Moon,” delivers a performance that is hushed and anchoring. But the film’s gentle detours into the real-life stories remind us that it is the people met on the road that so often make the trip memorable.The Unknown CountryNot rated. Running time: 1 hour 25 minutes. In theaters. More

    • 88 Shares109 Views

      in Movies

      ‘Happiness for Beginners’ Review: Live, Laugh, Hike

      by

      Ellie Kemper and Luke Grimes star in “Happiness for Beginners,” an outdoorsy rom-com that’s inoffensive to a fault.In Happiness for Beginners,” directed by Vicky Wight, the “Unbreakable Kimmy Schmidt” star Ellie Kemper portrays a divorced 30-something, Helen, on a journey of self-discovery and romance. Wight’s second adaptation of a novel by Katherine Center (after the 2020 drama “The Lost Husband”), the movie trades in warm-and-fuzzy predictability, where the most uprooting event imaginable for Kemper’s character is falling in love with her brother’s best friend, Jake (Luke Grimes), on a group hiking excursion along the Appalachian Trail.“Happiness for Beginners” is inoffensive to a fault. Its gestures toward comedy largely stem from the ragtag, Patagonia-vested team of hikers surrounding the two lovers. Guided by a zealous leader, Beckett (Ben Cook), the group falls into stock stereotypes — an overconfident hunk, a self-deprecating gay man — who act as a ho-hum Greek chorus to Helen and Jake’s budding relationship. The movie is earnest when it wants to be, like when Jake recites poetry to Helen, but consistently backpedals to jokes about the hikers’ ineptitude and getting freaky in the woods. It’s as if the film is apologizing for its own tenderness.Kemper and Grimes have enough chemistry to keep the plot afloat, when it doesn’t feel like it’s gingerly treading water. Rather than shooting for the fences in grand gestures or raunchy humor, as so many rom-coms do, “Happiness for Beginners” stays polite. It’s destined to be thrown on in the background of a well-kept Airbnb after a long day of hiking in the Northeast.Happiness for BeginnersNot rated. Running time: 1 hour 43 minutes. Watch on Netflix. More

    • 100 Shares129 Views

      in Movies

      ‘El Agua’ Review: After the Flood, the Legends

      by

      This film from Elena López Riera follows what happens when floods drench a village in southeastern Spain.In the southeastern Spanish village where the director Elena López Riera grew up — and where her debut feature, “El Agua,” is set — water is both a boon and a curse. This dry region doesn’t get enough rain for its lemon and orange crops, but when it does pour, there are frequently devastating floods. And as is often the case with forces we cannot control or understand, it’s the village’s women who are blamed for nature’s caprices.In “El Agua,” aquatic myths ensnare the teenage dreams of 17-year-old Ana (Luna Pamies). In a series of documentary interviews interspersed throughout the film, locals relate the myth of the women who have water “inside them,” who disappear whenever a flood arrives. Then there is the curse that supposedly afflicts Ana, her mother (Nieve de Medina) and her grandmother (Bárbara Lennie), three fiercely independent women who live together. Ana yearns to leave the stifling village and finds hope in the mysterious José (Alberto Olmo), who claims to have returned to the village after a trip abroad.The movie weaves together several threads, of which Ana’s coming-of-age is the weakest: Her adolescent rebellions and her fling with José play out rather predictably, never quite evoking the lust or portent that the film’s folklore suggests. But “El Agua” succeeds as a portrait of the village’s traditions, both manual and cultural, brought to life by a largely nonprofessional cast (including Pamies, a striking discovery). Scenes involving pigeon races, farmers working the land with their hands, and women caring for and grooming each other all glow with a tactile sense of naturalism, which makes the documentary footage of floods that closes the film all the more gutting.El AguaNot rated. In Spanish, with subtitles. Running time: 1 hour 44 minutes. In theaters. More

    • 88 Shares159 Views

      in Movies

      ‘Zoey 102’ Review: Grown Up, Washed Up

      by

      15 Years after her Nickelodeon show, “Zoey 101,” ended, Jamie Lynn Spears returns in a serviceable movie sequel.When the Nickelodeon show “Zoey 101” ended its four-season run, in 2008, Zoey (Jamie Lynn Spears) finally got together with Chase (Sean Flynn), putting a fairy tale ending on a will-they-or-won’t-they relationship that fascinated a large slice of early-2000s tweens. A decade and a half later, in “Zoey 102,” a movie-length sequel to (and update of) the show, the two have become estranged. Years before, Zoey ghosted Chase during a trip to Hawaii.Yet the biggest surprise of this serviceable revival, directed by Nancy Hower (the show was created by Dan Schneider), is that Zoey has become a bit of a washed-up has-been. She used to be the pretty, popular center of attention at Pacific Coast Academy, where the original show was set; now, she’s an overworked television producer flailing in her love life. Zoey is forced to see many of her old friends again at the wedding of Quinn (Erin Sanders) and Logan (Matthew Underwood), the subjects of a B-plot romance in the original show. To impress Chase, Zoey hires a man (Dean Geyer) to pose as her boyfriend.It’s not an easy task to make a movie out of a kids’ show from a bygone era, but the film does a relatively smooth job of dipping into — but not overdoing — the nostalgia and retaining the lighthearted, wacky tone that was the show’s signature. It helps that the cast members, now older, are better performers. Even if there’s a ceiling to how much can be achieved here, returning fans wanting a reminder of their youths will get just enough of what they came for.Zoey 102Not rated. Running time: 1 hour 41 minutes. Watch on Paramount+. More

    • 113 Shares109 Views

      in Movies

      ‘The Beanie Bubble’ Review: Caught in a Fad Romance

      by

      This dramatic comedy about Beanie Babies, starring Zach Galifianakis, Elizabeth Banks and Sarah Snook, arrives at the tail end of a summer of corporate biopics.John Updike once described writing as a matter of “taking a deep breath, leaning out over the typewriter and trying to drive a little deeper than the first words that come to mind.” Unfortunately, the writing in “The Beanie Bubble,” a dramatic comedy based loosely on the true story of the short-lived Beanie Baby toy craze, sits on the surface.This is a movie that uses stock footage of the Bill Clinton inauguration and the O.J. Simpson trial to demonstrate that it’s the 1990s, and which, to show a flashback to the ’80s, has a character ask, “Did you pick up any Tab?” It deploys every storytelling cliché in the book, from “you’re probably wondering how I ended up in this situation”-style voice-overs to pat last-act monologues that reiterate the themes.The story of Beanie Babies is not especially interesting: In 1993, Ty Warner (Zach Galifianakis), the creator of Beanie Babies, introduced the plush animal dolls for $5, and then, owing to a confluence of opportune internet savvy and a nascent secondary market on the web, they became coveted for their scarcity.“The Beanie Bubble” contrives to add intrigue by embellishing various personal dramas behind the scenes at the company, including infidelities, a fraught love triangle and the ethical quandaries of three women who worked with Warner and in some cases were involved with him romantically: Robbie (Elizabeth Banks), Sheila (Sarah Snook) and Maya (Geraldine Viswanathan).Each of these women has exactly one defining feature — they’re eager to get rich; they love their children; they know a lot about computers — and they mention this feature every single time they’re onscreen. The directors, Kristin Gore and Damian Kulash, Jr., make several embarrassing efforts to cast them as feminist superheroes at odds with the cluelessly patriarchal Warner, which might have been more effective had they been fleshed out as anything more than paper-thin Girl Boss caricatures. As it stands, the celebratory montages that herald these women’s professional triumphs are about as rousing as a Sheryl Sandberg TED Talk.Much of the film’s running time is dedicated to graphics detailing Beanie Baby sales figures, archival news footage showing mall shoppers going crazy and oversimplified explanations of Beanie-related milestones and achievements, such as how the company became an early pioneer of e-commerce.These elements are, of course, reminiscent of “Air,” “Tetris,” “Flamin’ Hot” and “Blackberry,” among other recent making-of marketing pictures. It’s not the fault of “The Beanie Bubble” that it arrives at the tail end of a summer of similar corporate biopics, but seen after so many other marketing making-of dramas, the familiar beats of novel invention to overnight phenomenon can’t help but feel all the more hackneyed.Like those films, “The Beanie Bubble” attempts to extrapolate some more substantive social meaning from what is otherwise an amusing but ultimately insignificant moment in time. The best it can do is to conclude, feebly, that there will “always be another fad,” with references to cryptocurrency and NFTs. This conclusion is hard to square with the movie’s earlier claim that the Beanie Baby craze ushered in “a new era of capitalism,” but that paradox is typical of its shaky approach. In any given moment, the movie is either overstating the importance of its subject or trivializing it.Can we learn anything from this? “The Beanie Bubble” proves that there will always be movie fads, but some of them will be worse than others.The Beanie BubbleRated R for strong language and some mild sexual content. Running time: 1 hour 50 minutes. Watch on Apple TV+. More

    • 63 Shares99 Views

      in Movies

      ‘The Beasts’ Review: Bad Neighbors

      by

      Class tensions and masculine power games abound in this engrossing rural thriller from Spain.“The Beasts,” an engrossing rural thriller by the Spanish director Rodrigo Sorogoyen, has a deeper take on the class tensions of most hill-people horror movies. Antoine (Denis Mé nochet) and Olga (Marina Foïs), a middle-class French couple, have recently settled in the Galician village of Ourense, where they run a modest farm and spend their surplus of free time rebuilding dilapidated homes. Their neighbors, Xan (Luis Zahera) and Lorenzo (Diego Anido), a tetchy pair of middle-aged brothers, despise them. A Swedish wind-turbine company has offered to pay out the village’s residents should they approve the installment of an energy farm on the land — by voting “no,” Antoine and Olga deny the impoverished brothers what for them would be a considerable sum.From here unfolds a slow-burn saga of murder and vengeance that draws inspiration from “Deliverance” and its crisis of masculinity — though “The Beasts,” a piece of art-house social-realism as well as a nail-biter, isn’t big on explicit violence. Tensions build as Antoine butts heads with the brothers at the local watering hole, the divide between outsiders and locals accentuated by their language barrier (Antoine’s Spanish is shaky). The brothers are definitely crooks, yet the script by Isabel Peña and Sorogoyen captures an unexpectedly complex balance of power. Xan and Lorenzo may be two, but they’re like scrawny hyenas next to Antoine’s mammoth frame.A second-act twist shifts the story to Olga’s perspective. The sharp social commentary peters out in place of hackneyed parent-child friction when the couple’s daughter, Marie (Marie Colomb), pays an extended visit. The stately Foïs carries the film as it devolves into a restrained drama about familial loyalty and womanly fortitude, its change of gears not entirely clicking into place.The BeastsNot rated. In Spanish, Galician and French, with subtitles. Running time: 2 hours 17 minutes. In theaters. More