Movies

Subterms

    More stories

    • 75 Shares99 Views

      in Movies

      ‘Sleep’ Review: Bumps in the Night

      by

      A taut and thrilling thriller about sleep issues is also a clever drama about early marriage.Apnea, insomnia, sleep hygiene, sleep aids, sleep tricks: It’s all science but feels like sorcery. Even the most rational person can begin to suspect, three weeks into sleepwalking spells or 3 a.m. wakefulness, that some curse has been placed upon them, and the only cure is some mystical spell. It’s the stuff of horror, and the director Jason Yu harnesses it deftly for his debut feature, “Sleep,” a neatly constructed thriller about the sort of insanity that slumber issues can visit on even the most harmonious household.The household here is made up of the newlyweds Hyun-su (Lee Sun-kyun) and Soo-jin (Jung Yu-mi), who is heavily pregnant. They live in a modest apartment with Pepper, their fluffy and beady-eyed white Pomeranian. On their living room wall hangs a plaque proclaiming a cheerfully optimistic notion: “Together we can overcome anything.” This sentiment, we understand, is about to face a great challenge.First it’s Hyun-su’s sleep disturbances. He scratches his face bloody in the night — a problem, since he’s an actor who is in the middle of shooting a minor part in a TV show. He sleepwalks, and sleep-eats. When Soo-jin observes him in the night, she realizes he is gorging himself on weird and gross food — raw meat and eggs — and she starts to worry, with mounting fright, for Pepper’s safety. Hyun-su seems to not be himself at night. What is he capable of?The couple consult a doctor and take precautionary measures, but Hyun-su’s sleep activities are taking their toll on Soo-jin, who sleeps less and less, especially once the baby arrives. He offers to stay in a hotel for a while; she is convinced they need to be together: As the plaque says, they can only overcome anything together. At the same time, Soo-jin’s superstitious mother tries to talk them into less orthodox cures, and Soo-jin, red-eyed and nearly delirious from constant, wakeful vigilance starts to wonder if her mother has a point.Yu’s direction is confident, and he manages to convey how a little apartment can transform from domestic comfort by day to claustrophobic agony by night. His restraint throughout keeps us guessing. We really don’t know what’s plaguing Hyun-su. Is it nerves, or a neurological disorder, or some dark and shadowy force? Soo-jin doesn’t know either, and it scares her on several levels. But when Soo-jin’s state of mind deteriorates, Hyun-su becomes just as worried about his wife, who, after all, just gave birth, and wouldn’t be sleeping well no matter what.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

    • 100 Shares149 Views

      in Movies

      ‘Saturday Night’ Review: Live TV at Its Mildest

      by

      When it debuted 50 years ago, “S.N.L.” was chaotic, rangy, even offensive. But nothing’s wild or crazy in Jason Reitman’s fictional reimagining of its first episode.Movies about tectonic cultural shifts tend to be too neat and tidy, too frictionless. “Saturday Night,” the director Jason Reitman’s fictional reimagining of the debut of “Saturday Night Live,” is a nice, safe movie about a revolution. Busily plotted and sporadically funny, it is a backstage look at the night a gang of comics whom most of the world had never heard of began taking over TVs across the country. It was a comedy home invasion on a national scale, and it was glorious (when it didn’t suck).The movie, written by Reitman and Gil Kenan, has a straightforward conceit. It opens at on Oct. 11, 1975, the night that the show, then called “NBC’s Saturday Night,” is scheduled to debut. (The name was changed in 1977.) In just 90 minutes — ticktock — the show will go live if the performers, writers, crew, network suits and some guy named Lorne can get it together in time. A lot of money, reputations and possibly bright futures are riding on the show, but with its deadline looming, it still seems underbaked and, from some vantage points, overly abstract.To convey that premiere and what it portended, Reitman both sticks to the historical record and embellishes it, building momentum by zeroing in on some mini-crisis amid rapid edits, swish pans and rushing bodies. Everything and everyone at 30 Rockefeller Plaza runs too fast or seems immobilized, with characters either in frenetic motion or huddling in pools of flop sweat. As the minutes pass, Reitman periodically cuts to a clock onscreen or someone calls out the time; at one point, a set designer, Leo Yoshimura (Abraham Hsu), slowly begins installing bricks on the stage of Studio 8H, each brick an emblem of the show’s parts sliding into place.In a (real) 1975 news release, NBC called the show “a new concept in late-night programming.” The network wanted a replacement for weekend reruns of “The Tonight Show Starring Johnny Carson,” and this venture was going to be a comedy show with sketches, musical guests, short films and the Muppets. But it was unclear what it was, maybe even to those behind the scenes. That much seems obvious when an NBC executive, Dick Ebersol (Cooper Hoffman), asks the show’s creator-producer, Lorne Michaels (Gabriel LaBelle), if he knows what it is. The straight-faced Lorne responds with an amusing, self-aggrandizing analogy involving Edison, the lightbulb and electricity. Who are you in this metaphor, the baffled exec asks.Lorne doesn’t answer, but the movie does by making him its focus. The character is less interesting than his surroundings — he’s more a blurry place holder than a fully realized personality — but whether here or there, Lorne is the center of this storm. He’s the hub, the visionary, the guy who can see past the chaos. Sure, there’s his wife, the writer Rosie Shuster (a tart Rachel Sennott); the host, George Carlin (Matthew Rhys); and a creepy suit, Dave Tebet (Willem Dafoe, in by far the funniest turn). But the star is Lorne because even genius apparently needs a boss.So, hi Chevy Chase (Cory Michael Smith), Gilda Radner (Ella Hunt), Jane Curtin (Kim Matula), Laraine Newman (Emily Fairn), Dan Aykroyd (Dylan O’Brien), Garrett Morris (Lamorne Morris, no relation) and John Belushi (Matt Wood). It’s nice to see them, so it’s too bad that only a few of the actors playing the main cast — and only the men — manage to register. That’s the case even when Reitman gestures at the show’s gender problems, as in a peek at a still-funny sketch about female construction workers learning how to harass a guy in short shorts. It’s Dan’s squirmy embarrassment, and how he then wags his rump, that makes it work.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

    • 88 Shares159 Views

      in Movies

      ‘Apartment 7A’ Review: All Devil, Few Details

      by

      A lackluster prequel to the 1968 horror classic “Rosemary’s Baby” doesn’t have much to add.“Apartment 7A” is a prequel, of sorts, to “Rosemary’s Baby,” still one of the most chilling films ever made about losing agency over your own body. The 1968 horror classic takes place in the fictional Bramford, a rambling apartment building on Manhattan’s Upper West Side that seems to have been colonized by a coven of devil worshipers. Early in that film, Guy and Rosemary Woodhouse (John Cassavetes and Mia Farrow), a young couple new to the building, meet a troubled woman in the laundry room. Her name is Terry Gionoffrio. “Apartment 7A” is her story.In the prequel, Terry (played by the reliably good Julia Garner) is a mousy Nebraskan who moved to New York with stars in her eyes. She’s a dancer who’s dying to see her name in lights above a Broadway marquee, just like millions of young people before her. When we meet her, she’s getting her first big break, which unfortunately for her translates to an actual break — of her ankle, that is, onstage. The accident both sidelines her dancing for a while and earns her a reputation around town as “the girl who fell.”A few months later, desperate to be cast in something, she’s back on the circuit. She flubs her audition for the flashy new show from the Broadway producer Alan Marchand (Jim Sturgess). In a last-ditch shooting of her shot, she heads to the Bramford, where Marchand lives. Things don’t go as expected with him. But she happens to meet Roman and Minnie Castevet (Kevin McNally and Dianne Wiest), a weird but generous older couple who just so happen to have an empty spare apartment that she can stay in if she wants. Just till she gets back on her feet.At this point, you can sketch the rough outlines of what will happen next. That’s particularly true if you’ve seen “Rosemary’s Baby,” because the two films are strangely similar, a fact that makes this one feel self-defeating. Most of the audience for “Apartment 7A” will, presumably, be familiar with the older film’s plot. As characters from that film are introduced, we already know how their stories will end, and the screenplay (written by Natalie Erika James, Christian White and Skylar James) holds few additional surprises.That’s the main problem with “Apartment 7A,” though Natalie Erika James directs competently enough. It’s passably spooky, sure. But all interesting prequels have something in common: They shed new light on their predecessors that expands, illuminates or complicates them in some way. “Apartment 7A” feels like a predictable retread.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

    • 163 Shares119 Views

      in Movies

      Want to Turn Your House into the Art House? Try Metrograph at Home.

      by

      The Metrograph theater in New York has expanded to include a streaming platform that spotlights foreign, art house, independent, classic and documentary selections.When the Metrograph theater opened on New York’s Lower East Side in spring of 2016, it wasn’t just a cinema; it was an experience, offering up two screens of new independent films, archival screenings and special events, as well as an on-site bar, restaurant and bookshop. In the years that followed, Metrograph’s reach continued to grow, as did the opportunities for film lovers to patronize the theater beyond its walls, thanks to the establishment of Metrograph Pictures (a distribution company restoring and championing archival releases) and the Metrograph Journal (featuring thoughtful film writing from a variety of contributors).But like so many other theaters, particularly independent ones, Metrograph faced a crisis in the spring of 2020, as Covid forced the doors to close at 7 Ludlow St. But that July, the company launched what was initially known as Metrograph Digital, with an ambitious calendar of live screening events developed and curated by the theater’s programming team, featuring new releases and repertory titles supplemented by guest introductions and interviews. Those events were initially limited to Metrograph members, but that October, the program expanded to include screenings that were available to nonmembers à la carte.In the years that followed, the service — rechristened Metrograph at Home — expanded from the theater’s website into the streaming platform space, transforming a pandemic stopgap into a specialty streamer spotlighting foreign, art house, independent, classic and documentary selections and monthly verticals. Like similar services we’ve spotlighted here, the library may not be gigantic (it currently boasts 158 feature films, 10 short films, and 55 original videos), but the curation is excellent, the interface is easy to use and the audio and video quality are top-notch. Best of all, it’s affordable; access is bundled with a Metrograph Membership, which is only $5 per month or $50 annually (and which also includes discounted tickets, special events and other perks for in-person members).Here are a few recommendations from their current library:‘The French’: One of Metrograph Pictures’s proudest discoveries is this 1982 documentary from the expatriate American photographer and filmmaker William Klein, who was the first director ever granted permission to shoot at the French Open. He captures the 1981 tournament, in which Bjorn Borg defeated Ivan Lendl, in cinéma vérité style; we see plenty of action on the courts, including Borg’s dramatic victory, but Klein seems less interested in the spotlight than the margins, and the most fascinating footage finds sports gods hanging out and talking shop in the locker room, or trading strategy and gossip in the stands. (There are also plenty of opportunities to observe John McEnroe being a brat.) It’s a panoramic view, keenly observed, and serves as a valuable time capsule of the sport in an earthier and less corporatized era.Isabelle Adjani and Michael Hogben in “Possession.”Gaumont‘Possession’: When Andrzej Zulawski’s psychological horror drama was first released in the United States in 1983, it was in a badly butchered cut, excising much of the film’s weightier material to appeal to a straightforward horror audience that dismissed it. It was all but impossible to see in its original form for years, but Metrograph Pictures oversaw a new 4K restoration, which was the first film screened at the theater when it reopened in the fall of 2021. It’s a deeply unsettling picture, which begins with the marriage of its focal couple (played to the hilt by Isabelle Adjani and Sam Neill) in total disrepair, and things go steeply downhill from there; suffice it to say that Adjani’s subway miscarriage is one of the most stunning pieces of acting ever committed to film, a scene that remains indescribable in spite of its notoriety and meme-ability.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

    • 138 Shares99 Views

      in Television

      What’s on TV This Week: Lots of Medical and Police Dramas

      by

      ABC, NBC and Fox are all premiering new shows about doctors, cops or firefighters. The Voice is also returning, with Snoop Dogg joining the judges’ panel.For those who still enjoy a cable subscription, here is a selection of cable and network TV shows, movies and specials that broadcast this week, Sept. 23-29. Details and times are subject to change.Monday9-1-1: LONE STAR 8 p.m. on Fox. As we reminisce about “The West Wing” premiering 25 years ago and daydream about Rob Lowe’s Sam Seaborn (oh, just me?), it’s the perfect time to turn our attention to his current show about a fire station, which is returning for its fifth season.THE VOICE 8 p.m. on NBC. Gwen Stefani and Reba McEntire are back in their red swiveling judges’ chairs, this year joined by Snoop Dogg and Michael Bublé. While in Paris covering the Olympics, Snoop called the judges “a fearless foursome.”Zachary Quinto in “Brilliant Minds.”Rafy/NBCBRILLIANT MINDS 10 p.m. on NBC. If there’s something that we collectively can’t get enough of, it’s doctor shows. This one is inspired by the work of the famed neurologist and author Oliver Sacks, whose research and widely read writings illuminated disorders and cases he had studied or treated. The show stars Zachary Quinto as Dr. Oliver Wolf, a neurologist who works with his team not only to help solve their patients’ difficult cases, but also to deal with their own mental health.TuesdayMURDER IN A SMALL TOWN 8 p.m. on Fox. Based on the Karl Alberg books by L.R. Wright, this show follows Alberg (Rossif Sutherland), as he moves to a small town to become its police chief. And there is, of course, much more drama than expected in this seemingly idyllic community.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

    • 138 Shares169 Views

      in Movies

      How Optimus Prime and Megatron Learned to Transform in ‘Transformers One’

      by

      The director Josh Cooley narrates an action scene from the film.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.Transforming can be tough, especially if you’ve never done it before and you’re being shot at while tumbling down a hill.That’s where the characters find themselves in “Transformers One,” the animated origin story of Optimus Prime and Megatron. Up to this point in the movie, the film’s leads have not been in the possession of the cogs needed to transform. Having just acquired them, the characters must quickly figure out how to use their new powers while under attack. It initially doesn’t go well.“I had all the toys growing up,” the director Josh Cooley said in an interview. “Most of the time, they were just sitting around on the ground half-transformed because they were actually pretty hard to do.” Cooley said he thought it would be enjoyable to watch the characters struggle the same way he struggled with his toys.Regarding that tumble, Cooley said that he wanted to use the hill to make transforming even more difficult. He said that one of his references was a cheese rolling competition that takes place each year in England.Read the “Transformers One” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

    • 125 Shares149 Views

      in Movies

      11 New Movies Our Critics Are Talking About This Week

      by

      Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about.Critic’s PickA double dose of dark comedy.Sebastian Stan in “A Different Man.”A24‘A Different Man’Edward (Sebastian Stan), a man with a condition that warps his facial features, discovers his problems are internal after he gets cosmetic surgery and meets another man, Oswald (Adam Pearson), who has the same condition in this dark comedy written and directed by Aaron Schimberg.From our review:Like many literary and cinematic fables before it — think of “Dr. Jekyll and Mr. Hyde,” or “The Elephant Man” — “A Different Man” is really a morality play, of a kind. It’s just that the moral isn’t all that straightforward. It’s about a societal obsession with particular standards of beauty. The fact that conventionally attractive people, or people with certain features and skin colors, tend to encounter more success in life simply by dint of genetic luck is explicit throughout. But that fact is so obvious, and stated so blatantly outright, that it feels like a joke.In theaters. Read the full review.Like two cool cats who just swallowed the canary.Brad Pitt and George Clooney enter their Redford-Newman era in “Wolfs,” written and directed by Jon Watts.Apple TV‘Wolfs’George Clooney and Brad Pitt play underworld fixers — the people you call to make criminal evidence disappear — who begrudgingly team up for a job.From our review:It isn’t remotely tense or mysterious, and its modest thrills derive wholly from the spectacle of two beautifully aged, primped, pampered and expensive film stars going through the motions with winks and a degree of brittle charm. The movie is a trifle, and it knows it. Mostly, though, “Wolfs,” written and directed by Jon Watts, is an excuse for its two leads to riff on their own personas, which can be faintly amusing and certainly watchable but also insufferably smug. It’s insufferable a lot.In theaters. Read the full review.Critic’s PickGirls gone gory.Demi Moore in “The Substance.”Mubi‘The Substance’In this body horror stunner directed by Coralie Fargeat, Elisabeth (Demi Moore) is an aging starlet who tries a new drug that promises to create a younger, better version of herself (Sue, played by Margaret Qualley). It performs as advertised, but with disastrous and disgusting consequences.From our review:Be warned: This is a very gory and often bombastic movie. The logic is also not airtight, especially when it comes to whether, and how, Sue and Elisabeth share a consciousness. … It’s all metaphor, though, not in the least bit meant for a literal analysis. That’s an awkward thing to mix into a movie that turns every subtext into text, which means its constant hammering of its points starts to feel patronizing, as if we might not get it. But it’s also quite funny, and the worse things become for Elisabeth, the harder it is not to giggle with glee. By the end, things have become monstrous and mad.In theaters. Read the full review.Critic’s PickSisters, under the skin.Carrie Coon, Elizabeth Olsen and Natasha Lyonne in “His Three Daughters,” directed by Azazel Jacobs.NetflixWe 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