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      ‘It’s What’s Inside’ Review: I Gotta Be You

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      A limp body-swapping comedy doesn’t really know what makes its subgenre so funny.There’s only one really good reason to make a body-swap movie. Yes, OK, thematically they’re meant to teach us to be more empathetic and think about living in someone else’s shoes, blah, blah, blah. But a body-swap movie has one true purpose, and that’s to make us laugh at someone acting like someone else. “Freaky Friday”: a mom and her daughter switch places, and it’s funny. “13 Going on 30”: a teen girl ends up in the body of a mean, gorgeous magazine editor, and it’s funny. “Big”: a boy is in a man’s body, and it makes us laugh. “Jumanji”: four teens end up in the bodies of a beefcake, his sidekick, a dork and a hot lady, and it’s hilarious.“It’s What’s Inside” is trying to be hysterical, too, but with less amusing results. The premise of Greg Jardin’s comedy is relatively promising: Seven 20-something friends from college converge on a beautiful estate that belongs to one of them, who is getting married the next day. They’re going to have one last night of partying before the wedding. Two are a couple who’ve been fighting; one of the guys is carrying a torch for one of the girls; another of the girls, the blonde, has become an influencer; the others also have their own lives now.Then an eighth friend shows up, a guy nobody’s heard from in a long time — not since a terrible and unfortunate event years earlier at a college party. He’s bearing a weird box containing a strange device that, it turns out, can cause them to trade bodies. He proposes a Mafia-style party game, using the box, and things go off the rails really fast.“It’s What’s Inside” feels a little reminiscent of the much better “Bodies Bodies Bodies” (2022), a horror-comedy about a bunch of intoxicated, very online youths in a rambling house playing a crazy party game. But where that one zigged and zagged, “It’s What’s Inside” plods straightforwardly. Even the twists feel obvious and not all that interesting, more the fulfillment of plot points seeded early on rather than startling turns of fortune.The lumpiness is baffling, to be honest. This concept has promise. Some of the fault is in the casting; while half of the actors give performances that are fun and quirky, the others feel as though they’re reading lines, and not particularly well. A little of it is also in a self-consciously showy filmmaking style (weird lighting, fast cutting, freeze-framing) that doesn’t add anything to the film. At times, it distracts, or maybe subtracts.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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      ‘The Outrun’ Review: From Rock Bottom to Recovery

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      Saoirse Ronan gives another stunning performance in a story about an alcoholic in search of healing.Saoirse Ronan has made it apparent that she is one of the greatest actresses of her generation. Nominated for four Oscars before she was out of her mid-20s, the Irish actress is the sort of performer whose presence in a movie is sufficient reason to see it. She chooses her projects carefully, often movies about complex women, and throws her whole self into them, with unforgettable results.But how she does what she does is harder to pin down. Ronan does not rely on showy exaggeration or wild swings for her craft. Her most acclaimed roles — in “Atonement,” “Brooklyn,” “Lady Bird” and “Little Women” — all feel, at least from the outside, as if they tap into some part of her real self. All four are intelligent and perceptive and plucky and just a little innocent, in need of some hard-knock wisdom. Yet they’re all indelible, and all very different from one another: girls and women for whom life is a good, hard mystery to be lived and then understood.I think Ronan’s great ability lies in giving us the sense that her characters’ minds are always working, something that can only really be communicated through the eyes and nearly imperceptible facial expressions, flashes of anger and happiness and passion and pain. (And a lot of impishness; cheeky Ronan is always a delight.)One might reasonably have expected “The Outrun,” in which Ronan plays a recovering addict desperately hanging onto sobriety, to be a more conventionally brash or hyperbolic role than usual, the kind designed for awards attention. Woman out of control, woman on the road to healing — you know the type. But Ronan is no ordinary actress, and she makes “The Outrun,” which occasionally veers near overdone territory, into a thing of beauty and hard-won joy.The director Nora Fingscheidt wrote the screenplay for “The Outrun” with Amy Liptrot, based on Liptrot’s 2016 memoir. In the film, Liptrot has been transformed into Rona, a 29-year-old woman who, when we first meet her, has a black eye, having been nearly defeated by life. She’s from a tiny village in the Orkney Islands, which lie off the northern coast of Scotland. Rona went to London to earn a graduate degree in biology, where she met friends and a man (Paapa Essiedu) she loved. But a latent propensity for addiction turned into a full-blown alcoholic spiral, and she wrecked her life completely.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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      ‘Intercepted’ Review: The Awful Intimacy of the War in Ukraine

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      In leaked phone calls home, Russian soldiers grapple with the war they’re waging. This new documentary sets the calls’ swagger and anguish against images of the invasion’s devastation.The voices of the offscreen Russian soldiers and their acquaintances in the powerful Ukraine-set documentary “Intercepted” are matter-of-fact, swaggering and anguished. “I tell you, they live better than us here,” a soldier tells a woman back home. “Right, look how the West supports them,” she says.Sometime later, another soldier explains to a different woman, “We were given the order to kill everyone we see” to protect Russia’s miliary positions. “I’m telling you, I’ve already seen a forest full of corpses, more than a cemetery.” He adds, “I said that I won’t kill anyone.”Not long after Russia invaded Ukraine on Feb. 24, 2022, and Russian troops started flooding into the country, their communications began leaking out, at times with dire consequences. Ham-radio operators and open-source groups began capturing unencrypted battlefield radio transmissions among Russian forces on the ground. Ukraine also intercepted more prosaic phone calls that Russian soldiers made to their families and friends, to their wives and mothers and children. The soldiers talked about how they were doing, what they’d seen, what their orders were and even disclosed their locations; some spoke about whom they had killed.You hear a number of these phone calls in “Intercepted,” which was directed by the Ukrainian-Canadian filmmaker Oksana Karpovych. In a director’s statement for the movie, Karpovych explains that she was working in Ukraine as a producer for the news network Al Jazeera when the invasion began. After the intercepted calls were publicly released, she and a crew of four — including her cinematographer, the British photographer Christopher Nunn — traveled across Ukraine gathering images of devastation, which she has juxtaposed with calls intercepted between March and November 2022. The result is a haunting, often jolting depiction of the profound toll that the war has exerted on soldiers and civilians alike.“Intercepted” is at once subtle and blunt. It opens on three children — one on a swing — next to an otherwise empty country road that stretches down the middle of the shot. It’s an outwardly ordinary, pacific tableaux. There are chalk marks scrawled on the road, a couple of bikes resting on the grass and a woman lingering off to the side. The trees are lush and green, and there are no obvious signs of war. At one point, a car in the distance slowly crosses the road. Karpovych then cuts to a closer shot of the kids, which allows you to see their faces more fully; I think that she wants you to remember them as you watch.That first country street leads to many more. The movie starts in the north and moves south and then west, a route that Karpovych has explained in interviews is meant to suggest the trajectory of the invasion. Using a mixture of vivid, precisely framed moving and still images, she takes you across the war-ravaged country. You travel down dirt and paved roads, some flanked by incinerated military vehicles, and into heavily bombed villages and cities. She also recurrently brings you into people’s homes, including some that look like they were hastily abandoned. In one, a carton of eggs still rests on a kitchen table amid a jumble of crockery, suggestive of an unfinished breakfast. In another house, a woman sweeps up shattered glass.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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      in Theater

      Ken Page, Who Starred in ‘Cats’ and Voiced Oogie Boogie, Dies at 70

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      His career on Broadway spanned decades. But he has probably best known for providing the voice of the boogeyman in “The Nightmare Before Christmas.”Ken Page, whose extensive Broadway career included standout roles in “The Wiz” and “Cats,” but whose rich baritone voice reached its widest audience as Oogie Boogie in the perennial hit animated movie “The Nightmare Before Christmas,” died on Monday at his home in St. Louis. He was 70.His death was confirmed by Dorian Hannaway, a longtime friend. She did not cite a cause.Mr. Page, a St. Louis native, arrived on the New York theater scene in 1975 as the understudy, and later the replacement, in the role of the Lion in “The Wiz.” The next year, his showstopping rendition of “Sit Down, You’re Rockin’ the Boat” as Nicely-Nicely Johnson in a revival of “Guys and Dolls” brought him his first acclaim.Mr. Page revisited the role of Old Deuteronomy, which he had originated on Broadway. in the St. Louis Municipal Opera Theater’s 2010 production of “Cats.”The Muny“Sometimes it really does happen. Sometimes the fairy tale comes true,” Clive Barnes of The New York Times wrote in 1976. “It happened on Wednesday night at the Broadway Theater to a young unknown, Ken Page.”His many other Broadway credits included the original Broadway productions of “Cats,” in which he played the dignified Old Deuteronomy, and “Ain’t Misbehavin’,” the musical revue built around songs written or recorded by Fats Waller. Offstage, he was probably best known for voicing Oogie Boogie, the infamous boogeyman in Henry Selick and Tim Burton’s 1993 stop-motion classic, “The Nightmare Before Christmas.” It was a role that Mr. Page would revisit often, in video games and at Halloween celebrations.According to a statement released by his agent, Mr. Page was preparing for upcoming appearances as Oogie Boogie when he died.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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      A 400-Acre Movie Ranch Outside Los Angeles Is Listed for $35 Million

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      Sable Ranch, about 30 miles north of Hollywood, includes an Old West movie set. It has been used for productions like “American Horror Story” and “Oppenheimer.”When Frank Vacek arrived at Sable Ranch in the 1970s, with its chaparral-covered hills bounded by the mountains of the Angeles National Forest, he instantly saw a California dream.Mr. Vacek, who with his wife had fled the Nazis in Czechoslovakia three decades earlier, rewrote his fortunes by opening a successful camera shop in downtown Los Angeles in the 1950s. But 30 miles north at Sable Ranch, where cattle grazed amid oak trees, he pictured an even grander second act for his life. He bought the ranch and the property next to it and built an Old West movie set on its land, bringing Hollywood — with its gun shows, cowboys and insatiable appetite for entertainment — to his doorstep.The Sand Fire ripped through the ranch in 2016, but its Old West film set has been rebuilt.Cristian CruzioHalf a century later, Sable Ranch, in Santa Clarita, has served as movie set for productions including “Robin Hood: Men in Tights,” “American Horror Story” and “Oppenheimer.” Its 400 acres have stood in for so many cinematic backdrops that they have morphed into Hollywood iconography. And now, for $35 million, the ranch is hitting the market.“The amount of history that is here, and the amount of movies and TV shows and commercials that have been made here, really is phenomenal,” said Derek Hunt, the owner of Sable Ranch. Mr. Hunt is Mr. Vacek’s grandson; he grew up on the property and formally inherited it in 2020. In 2008, Mr. Hunt began rallying the City of Santa Clarita to create the Movie Ranch Overlay Zone, a special designation for feature-film and television production that streamlines permitting and lowers costs.The Movie Ranch Overlay Zone was set up in 2011. Sable Ranch sits within it as well as within the Thirty Mile Zone, also known as the TMZ, a sector within 30 miles of downtown Los Angeles where the labor costs for film crews are lower.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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      Best Movies and TV Shows Streaming in October: ‘Shrinking,’ ‘Disclaimer’ and More

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      “Citadel: Diana,” “Disclaimer,” “The Franchise,” “Star Trek: Lower Decks,” a Springsteen documentary and others arrive.Every month, streaming services add movies and TV shows to their libraries. Here are our picks for some of October’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘Citadel: Diana’Starts streaming: Oct. 10Last year, Amazon released the first season of “Citadel,” a big-budget action series about a pair of retired spies forced back into service to thwart a dangerous international agency known as Manticore. The idea all along was for the show to anchor a sprawling franchise, which collectively would tell the story of the covert Citadel organization across multiple countries and eras. Now the first of those spinoffs is here: “Diana,” set in Italy in the year 2030, starring Matilda De Angelis as a Citadel agent who has spent so long undercover within Manticore that she has lost touch with her handlers and mission. “Diana” jumps back and forth in time, to show how and why the heroine was recruited into espionage in the first place, along with what happened to Citadel that has left her all alone, deep behind enemy lines.Also arriving:Oct. 3“House of Spoils”“The Legend of Vox Machina” Season 3Oct. 8“Killer Cakes”Oct. 15“Beyond Black Beauty”Oct. 16“Are You Smarter Than a Celebrity?” Season 1Oct. 24“Like a Dragon: Yakuza”Oct. 30“Buy It Now” Season 1New to AMC+A scene from “Stork,” an episode of “V/H/S/Beyond.”Shudder‘V/H/S/Beyond’Starts streaming: Oct. 4The “V/H/S” series of horror anthologies have survived the fluctuating popularity of the “found footage” subgenre, in part because the collections have such uncomplicated yet clever organizing concepts. Each film is presented as a set of disturbing home videos, newly discovered and sharing a common theme. The latest edition is framed as an episode of a TV show about cryptids and aliens, which gives the chapters a science-fiction angle. As always with this franchise, the participating filmmakers take creative approaches to their segments, which in “Beyond” includes one about a Bollywood dance number gone awry, one set during a skydiving misadventure, and one moody U.F.O. encounter story written by the ace horror filmmaker Mike Flanagan and directed by his wife, Kate Siegel.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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      5 Halloween Film Festivals Worth Traveling For

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      It’s October, and horror movie festivals scratch both the weekend getaway and scare-the-bejesus-out-of-you itch. A guide to some worth checking out.Watching weird indie horror movies at home on Tubi can be a bunch of fun. So can going to the local multiplex to see the latest scary Hollywood blockbuster with other shrieking fans.Horror film festivals offer the best of both worlds, with twists. The programming is heavy on premieres and small-budget indies, and the more ambitious festivals host events like costume contests and offer themed food and drinks to keep the party going. Some of the festivals are very kid-friendly, and others are better suited for blood-and-guts lovers.With Halloween around the corner and fall getaways calling, here’s a look at some of the noteworthy scary (and not-that-scary) film festivals happening this October.The Eerie Horror Fest is held at the Warner Theater, in Erie, Pa., an ornate movie palace that opened in 1931 and seats 2,250.Paul GibbensEerie Horror FestErie, Pa., Oct. 4 and 5Presented by the Film Society of Northwestern Pennsylvania, this festival is known for showing classic and new films along with a hearty roster of panel discussions and events. A highlight takes place on Oct. 5, when the festival presents a screening of the 1995 horror film “Tales From the Hood,” an influential horror anthology and a seminal work in both horror and Black cinema, followed by a Q. and A. with the director, Rusty Cundieff.The frosting on the cake at this festival is its home: The Warner Theater, an ornate Art Deco and French Renaissance space first opened in 1931, with 2,250 seats, a grand proscenium stage and crushed velour and gold leaf accents — the kind of elegance more associated with the likes of Cannes than “Carrie.” This year, the festival has teamed up with two local coffee purveyors — Purrista Cat Café and North Edge Craft Coffee, a roaster — for a special drink menu featuring themed concoctions like the Frankenstein’s Matcha and Killer Klownz, a blueberry cheesecake latte. There will also be displays of adoptable cats — black ones, perhaps — at the theater.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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      Stream These 11 Titles Before They Leave Netflix in October

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      A slew of TV shows and movies are leaving for U.S. subscribers this month. Here’s a roundup of the ones worth catching, including a few great horror picks for the season.October’s departing titles from Netflix in the United States include bubbly rom-coms, action thrillers, killer comedies and plenty of thrills and chills — it is the spooky season, after all. (Dates indicate the final day a title is available.)‘The Super Mario Bros. Movie’ (Oct. 2)Stream it here.Like most of the output of Illumination Entertainment (the folks behind the Minions), this animated adaptation of the durable Nintendo video game is not exactly Pixar quality, in terms of family entertainment excellence. But kids will love it, especially the little gamers, and adults will find amusements here and there — primarily the rip-roaring gonzo vocal performance of Jack Black, clearly having a ball as the lovelorn supervillain Bowser.‘Crazy Rich Asians’ (Oct. 5)Stream it here.Jon M. Chu’s adaptation of the best-selling novel by Kevin Kwan is a sleek, shimmering, fast-paced examination of the haves and have-nots (but mostly the haves). It follows the charming Queens-born N.Y.U. professor Rachel (Constance Wu) and her boyfriend Nick (Henry Golding) to a wedding in Singapore, where the conspicuous wealth of his family threatens to upend their seemingly bulletproof relationship. Chu juggles quotable dialogue, gorgeous cinematography and a sprawling cast — most notably Michelle Yeoh as Nick’s stern and judgmental mother, a woman who Rachel quickly finds is not to be trifled with.‘It Follows’ (Oct. 10)Stream it here.Maika Monroe, so haunted and compelling in the recent movie “Longlegs,” made her big-screen breakthrough in this 2015 horror hit from the writer and director David Robert Mitchell. She stars as Jay, a 19-year-old girl who is stalked by a mysterious force after she sleeps with her boyfriend — who informs her, after the fact, that the only way to rid oneself of this particular evil is to pass it on, via sex, to its next victim. Such a setup lends itself to the crassest of genre exploitation devices, but Mitchell is too much of a stylist for that; he lingers on dread and mood rather than skin or blood, and he creates one of the more unshakable indie thrillers in recent memory.‘Bride of Chucky’ (Oct. 31)Stream it here.The “Child’s Play” franchise, in which the talking Chucky doll is possessed by the spirit of a serial killer, had lain dormant for seven years (an eternity in the world of slasher movies) after the series low of “Child’s Play 3” when the screenwriter Don Mancini revitalized his series in 1998. He did so by infusing the mostly serious thrillers with a heavy dose of campy comedy, and with the invaluable addition of the Oscar nominee Jennifer Tilly as Chucky’s love interest, Tiffany Valentine. The Hong Kong genre master Ronny Yu directs with visual flair and good humor. (Netflix is also streaming several other films in the series, which will also depart after Halloween night.)‘Dark Waters’ (Oct. 31)Stream it here.On first glance, this 2019 corporate thriller seemed to signal that the indie legend Todd Haynes was trying to go mainstream. But a closer examination reveals a film very much consistent with his preoccupations, pairing his formal ingenuity with a story of environmental illness and creeping paranoia that pairs nicely with his 1995 breakout film, “Safe.” Based on a 2016 article by Nathaniel Rich (published in The New York Times Magazine), it stars Mark Ruffalo as Rob Bilott, a corporate lawyer who typically defends corporate clients. Here, though, he takes on the giant DuPont corporation with a yearslong investigation that tested his sanity, resolve and personal safety. Haynes orchestrates the events with a masterly hand while Ruffalo reminds us of the exceptional actor lurking under the Hulk persona.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