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      ‘God Is a Bullet’ Review: Cult, but Not Classic

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      A kidnapping cult regrets making off with a detective’s daughter in this wearyingly unsavory movie.I didn’t count the number of times a woman’s face is smashed — by a fist, a boot, a brick wall — in “God Is a Bullet,” Nick Cassavetes’s first feature in almost a decade. But the misogyny of the movie’s risibly sadistic villains is only one distasteful thread in this sleazy saga of rescue and revenge.Adapted by Cassavetes from Boston Teran’s 1999 novel of the same name, the plot centers on Bob Hightower (Nikolaj Coster-Waldau), a mild-mannered detective, as he searches for the child-trafficking cult that has murdered his ex-wife and abducted his daughter. Impassive behind a despairing mustache, Bob welcomes the foulmouthed assistance of Case (Maika Monroe), a battle-hardened cult escapee. Case possesses intimate knowledge of the gang’s degenerate leader, Cyrus (a crazy-eyed Karl Glusman), for whom she has sacrificed several teeth and most of her self-respect.The searchers don’t have much of a plan, drifting through the dim rooms and dusty outposts where Cyrus and his acolytes might be found. Jamie Foxx, inexplicably named The Ferryman, is around to provide Bob with tattoos and ammunition, and an almost unrecognizable January Jones appears briefly as a sneering drunk whose pertinence remains vague — at least to anyone as numbed by the film’s viciousness as I was.Coming in at an interminable 155 minutes, “God Is a Bullet” has a punishing implacability. The acting is workmanlike, the settings are often ugly and the special effects — especially a grisly stomach-stapling — can only be described as strenuously specific. For Cassavetes, this may be as far from “The Notebook” as he is ever likely to get.God Is a BulletNot rated. Running time: 2 hours 35 minutes. In theaters. More

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      ‘Revoir Paris’ Review: Recovering Fragments of Memory

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      In Alice Winocour’s taut film, a woman survives a terrorist and tries to piece together what happened that day and how it changed her.When Mia, the heroine of the tense French drama “Revoir Paris,” thinks about the night her life changed, her face seems to drain of all feeling, almost as if she were emptying it out. Months earlier, she survived a terrorist attack, but now she can’t remember much of what happened that evening. All she retains are vivid fragments — an image of a birthday cake ablaze with candles, the steady pounding of torrential rain — that she can’t piece together. The past may be a foreign country, but for Mia it’s one that also now lies partly in ruin.“Revoir Paris” is about grief and pain and pushing through to the next day. More centrally, it is about how trauma changes memory, sometimes shattering and distorting it. That makes it about storytelling and the stories that we tell to, and about, ourselves, which means that it’s about identity. The assault shapes Mia’s life and has come to define her: She’s now a survivor. Yet the catastrophe remains out of reach. “Maybe you’re not ready to talk,” a well-meaning friend says, not understanding that without her memories, Mia can’t yet fully tell her story.The movie opens on a day seemingly like any other, although there’s a pronounced elegiac cast to the instrumental music and the piercing violin notes. For Mia — an emotionally vivid Virginie Efira — it begins with morning coffee for her and a bowl of food for her cat. Then she’s off to her day job as a translator, winding through the streets on her Triumph motorcycle. (Yes, she is independent; yes, the make is too on point.) Later, she has dinner with her lover, Vincent (Grégoire Colin), a surgeon who’s soon called back to work. She heads home alone, but when it starts pouring, she stops in another bistro to get out of the rain.What happened next is the question — an empirical fact that the writer-director Alice Winocour skillfully turns into a taut existential mystery, one in which Mia is both the victim and the lead investigator. Part of what gives the mystery its power and feeling is that there’s a good chance you know exactly what took place: On Nov. 13, 2015, Islamic State extremists initiated a series of coordinated terrorist attacks in Paris using guns and explosives. During the assault, 130 people were killed and hundreds more were wounded in locations across the city, including at the Bataclan concert hall. In interviews, Winocour has said that her brother was among the Bataclan concertgoers; he survived.“Revoir Paris” opens the morning of the attack, but soon after the assault ends, the story jumps forward several months. It resumes with Mia in a medical office, a doctor closely examining a jagged scar on her abdomen. She has been away from Paris and staying with her mother, an interlude that Winocour skips entirely. Instead, you follow Mia as she goes about her everyday life while beginning to reconstruct the night. As the past returns — in elliptical bursts and then in lengthier passages — Mia’s splintered memories gradually form a coherent whole, making her the author of a harrowing story within a story.Winocour’s approach is by turns discreet and direct. While Mia putters in her kitchen on the morning of the attack, for instance, she drops a wine glass on her floor, breaking it, an eerie foreshadowing of the shattered glass that will carpet the bistro floor hours later. Winocour largely avoids showing that night’s visceral horrors, abstaining from gruesome spectacle in favor of shocking pinpricks: the sound of a gasping scream, an image of a shoeless foot. Using all the tools at her disposal — narrative compression, sinewy camerawork, sharp editing, an ethereal score, stricken faces — Winocour powerfully conveys the unspeakable.As it develops, “Revoir Paris” becomes perilously overplotted. Mia connects with a group of survivors, including a teenager (Nastya Golubeva), whose parents died in the attack, as well as another unlucky restaurant patron (Benoît Magimel). The three share memories and sometimes more, forming an ad hoc support group as Mia sets out to find another survivor, Assane (Amadou Mbow), a search that takes her down unpersuasive byways. Yet even as Winocour piles on too many complications, she retains an appreciable astringency — call it a sense of emotional realism about what it means to actually survive — that keeps bathos at bay. Together with the superb Efira, she earns your tears honestly.Revoir ParisNot rated. In French, with subtitles. Running time: 1 hour 45 minutes. In theaters. More

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      Oscars’ Best Picture Hopefuls Must Spend More Time in Theaters

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      To be eligible for the academy’s top prize, films will need to have an initial theatrical run of a week in one of six U.S. cities, and then expand to other cities across the country.In a move designed to signal Hollywood’s commitment to the moviegoing experience, the Academy of Motion Picture Arts and Sciences said on Wednesday that it would require an expanded theatrical release for films seeking to be eligible for a best picture nomination.The new eligibility rule is sure to affect how Netflix and other streaming services release films they consider to be Oscar worthy. And it could be an impediment to smaller distributors that lack the means to release films in cities across the United States.Oscar-oriented films have struggled mightily at the box office in recent years, making some people wonder if the importance of big screens has been forever altered by the streaming era. In 2022, “CODA” from Apple TV+ was the first film from a streaming service to win the best picture Oscar.To be eligible for a best picture nomination, films are already required to have an initial qualifying run in theaters, defined as a one-week release in one of six U.S. cities (New York, Los Angeles, Chicago, Atlanta, San Francisco or Miami). Beginning in 2024, those films will also need a theatrical presence for another seven days (either consecutive or nonconsecutive) in 10 of the top 50 U.S. markets, no later than 45 days after its initial release. Two of the 10 markets in the expanded release can be outside the United States if they are among the top 15 international theatrical markets.The move, voted on by the academy’s board of governors at its most recent meeting, is a clear attempt to prevent streaming companies like Netflix, which prefer to release films on their services with as little theatrical presence as possible, from eroding the moviegoing experience.“It is our hope that this expanded theatrical footprint will increase the visibility of films worldwide and encourage audiences to experience our art form in a theatrical setting,” the academy’s chief executive, Bill Kramer, and president, Janet Yang, said in a statement. “Based on many conversations with industry partners, we feel that this evolution benefits film artists and movie lovers alike.”For films released late in the year, the distributors must submit their plans for the expanded release. Those plans must be completed no later than Jan. 24, 2025, for the 2024 films.Netflix said the eligibility requirements would not have a significant effect on its release strategy. It noted that “All Quiet on the Western Front,” which was nominated for best picture this year, was released in 35 theaters in 20 cities, including New York, Los Angeles, San Francisco and Toronto. More

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      Wes Anderson’s Secret Weapon: The Camera Moves of Sanjay Sami

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      Sami brings ingenious design, a D.I.Y. spirit and pure athletic ability to the job of key grip — pushing and pulling heavy camera rigs with exacting precision.Wes Anderson’s intricate films are known for their jewel box sets, vibrant costumes and starry ensemble casts. But there’s another element that gives his movies their distinctive look and feel, and it comes in the form of a 52-year-old grip.Sanjay Sami, a native of Mumbai, India, got his start on Bollywood movies and has been working with Anderson since 2006, mostly as a dolly grip. It’s a rough job, pushing and pulling a camera mounted on a dolly — a setup weighing up to 900 pounds — along hundreds of feet of track built for a scene, and Sami has engineered, invented and refined it into an art form.On a typical movie, a dolly might move the camera left to right or back and forth. In the Wesiverse, it goes in all those directions — and sometimes up and down, too — in a single tracking shot, allowing, Anderson said, for unbroken expression. “It means the actors can stay in real time, and you can create something that really exists, in front of the camera.”Equal parts ingenious designer, D.I.Y. repair guru, rail engineer, cineaste and athlete, Sami is, according to many cast and crew members, Anderson’s secret weapon.“He can masterfully execute the most intricate camera moves I’ve ever seen,” said Adrien Brody, a frequent Anderson star, who called Sami “exacting and relentless and extremely devoted.”Last year, on “The French Dispatch,” Sami executed the most complicated shot of his career, a 70-second walk-and-talk through an unusually active police station, performed as a monologue by Jeffrey Wright, with the dolly speeding up and slowing down to keep pace with his clipped delivery.Sami moving the camera so it follows, from left, Jason Schwartzman, Jake Ryan and Tom Hanks for an “Asteroid City” shot.via Focus FeaturesThis year, Sami topped that with a scene in “Asteroid City,” Anderson’s latest, in which Brody moves through a long theater space in an exquisitely detailed choreography of sets, props, walls, actors, dialogue and camera, which “has to come off of a set of tracks and then be loaded seamlessly onto another set of tracks and hit numerous precise marks at very specific timings,” Brody noted.Another complex moment came early on in “Asteroid City,” filmed in Spain and set in an eerie, midcentury Southwestern landscape. Wright, playing a general, gives a speech to a young group of astronomers and junior scientists, as the camera moves back and forth and side to side (almost a star pattern) on a triple-layered track, setting the scene and building a sense of Wright’s character.The director Wes Anderson narrates a sequence from his film, featuring Jeffrey Wright.Focus Features“There’s a lot of responsibility, because we are the viewer’s eyes,” Sami said, in a video interview from his home in Mumbai. “We’re moving the emotion and the story, more than just moving the camera.”Anderson sends Sami scripts early on in his projects, and then the animatics — rough animations that convey the long tracking shots the filmmaker likes. “He’s the one who points out, ‘This is tricky,’” Anderson said. “He’ll express the physics of it to me.”And then Sami bends the usual laws of cinema, inventing a new rig or ordering an unheard-of amount of track, where other filmmakers might resort to green screens or other visual effects. “The thing I love is, with Sanjay, we essentially are using the same equipment that we might have used on a movie 75 years ago,” Anderson said, “but we’re arranging it in a way that it hasn’t been arranged before.”In a scene in “The French Dispatch,” for example, Owen Wilson’s character arrives riding a bicycle, and the camera tracking him has to quickly start and stop at the same rate that he does — one of Anderson’s visual signatures. “But we’re accelerating a huge amount of weight from a standstill on one grip’s power, as opposed to a light bicycle that he’s already at speed with,” Sami said. So he concocted a system involving a bungee cord anchored to a truck that could spring the camera up to the right velocity instantly.“I think what he likes about working with me is that I hate saying no to anything,” said Sami, who has also worked with Christopher Nolan. “No matter how crazy the demand is, I always want to find a solution. Maybe a crazy solution. That’s part of what makes my job really interesting.”“Sometimes the crazier the method, the happier he is,” he added of Anderson.Sami has worked on Anderson’s commercial projects and every live action film since “The Darjeeling Limited” (2007), when he impressed the filmmaker by devising a way to fit a dolly into the narrow old rail cars they used as a set: he mounted a hidden track on the train’s ceiling.To achieve Anderson’s vision, Sami must often run at full speed, weighted down with gear — a Steadicam, which he also operates, is over 60 pounds — spin around and come to an abrupt, dizzying halt. “It’s 10 or 12 hours of very, very physical work,” he said. “It’s not just endurance — you need a huge amount of strength to be able to stop and start those moves, or you’re going to hurt yourself.”So he has an exercise regimen of daily resistance training specifically for an Anderson flick. “I used to play rugby, and a lot of the rugby training crosses over,” he said.Before he got into movies, Sami was an industrial diver and underwater welder, working on oil rigs. He got his start in the film industry during a marine contractor strike, when a friend invited him onto a set. “I saw this traveling circus full of crazy people who come together briefly, make a movie. And then it’s another movie — same circus, different clowns,” he said. “I loved it.” (He also has a degree in political science — a fanciful enough background that he himself could be a Wes Anderson character: the Life Aquatic, and on the Rails, with Sanjay Sami.)Collaborating with Adam Stockhausen, Anderson’s production designer, and Robert Yeoman, the cinematographer, Sami — whose official title is key grip, the head of his department — has an unusual amount of input. “He’s sort of a producer for us,” Anderson said. “He helps us figure out how we’re going to get things done. And he’s a good manager of people. So his voice comes into the discussion in ways that have nothing to do with pushing a dolly.”Sometimes the simplest-seeming shots are also the most difficult to create. For a carousel scene in “The Grand Budapest Hotel,” using a real ride wouldn’t match Anderson’s slightly surreal concept. Instead, they built a circular track with a pie-shaped platform atop it, and more track atop that. It was capped by a skateboard-style dolly, for the carousel horse. Once it rolled into the frame and the actress Saoirse Ronan hopped on, two off-camera grips clamped it down. “And then we start pushing the whole pie-shaped wooden piece on the circular track,” Sami said. The moment lasts barely 40 seconds, but it “always stands out to me, because it was the beginning of some of the more complex things that we started doing.”Beyond the dense, staccato paragraphs and action Anderson’s scripts require of the big stars, a battalion of extras — not always trained actors; he likes to hire locals on location — must nail every tiny detail, like smoothing a mustache or blowing a smoke ring, at the exact right moment, in the right sequence, to cue each other and the camera. There are verbal, visual and motion cues, all marks to hit with strict precision. “Two inches is a mile to Wes,” Sami said. “He’ll notice if you’re off by three millimeters.” (Sami uses lasers to guide his positioning.)And they don’t just run these scenes a handful of times. “Sometimes, by the time everyone’s got their part of the choreography together, we’re on Take 25 or 27,” he said. “And when you start getting into those numbers, if the actors all get it right and you get it wrong, no one’s going to remember anything except the fact that you blew that good take.”Sami, Yeoman and Anderson on the set. “There’s a lot of responsibility, because we are the viewer’s eyes,” Sami said. “We’re moving the emotion and the story, more than just moving the camera.”via Focus FeaturesAnderson swore he didn’t intentionally challenge his grip to new heights with every project; it just happens. “But I do like to feel free to do whatever we might picture, and to know that Sanjay will find a way,” he said. On a forthcoming Netflix short, “The Wonderful Story of Henry Sugar,” based on a Roald Dahl tale, Sami literally sent the camera soaring. “He built a track going up into the sky at an angle,” Anderson said. It leans like a ladder in midair, “and the camera is on another track with a jib arm and a dolly attached to the top of the jib.”For Sami, all the sweat, effort and dizzy spells are worth it when he sees the finished product onscreen. “I’ve done more than 80 feature films, and the ones I’m most proud of are the ones that we do with Wes,” he said, “because it’s just work that, for me, from a grip point of view, doesn’t exist outside of this world.” More

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      Pink Floyd, ‘The Wizard of Oz’ and Me

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      Last October, when Roger Waters brought his “This Is Not a Drill” tour through Austin, Texas, he also took the time to record a nearly three-hour appearance on “The Joe Rogan Experience” podcast. These are typically rambling affairs, guided by the host’s idiosyncratic curiosities, and about halfway through, following a riff by Waters about nuclear […] More

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      Producer Ryan Murphy Is Expected to Move to Disney

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      Mr. Murphy, the force behind hits like “American Horror Story” and “The Watcher,” is coming to the end of his $300 million Netflix deal.Ryan Murphy, the television megaproducer behind hits like “American Horror Story” and “Monster: The Jeffrey Dahmer Story,” is poised to move his operation to the Walt Disney Company, five years after he stunned Hollywood by decamping to Netflix for a $300 million deal.The contract talks with Disney are not finished, according to three people briefed on the matter, who spoke on the condition of anonymity to discuss private negotiations. No deal is expected to be completed until after the screenwriters’ strike in Hollywood is resolved, one of the people said. (Unionized film and television writers have been on strike since May 1.)But the talks between Mr. Murphy and Disney are advanced, the people said. Mr. Murphy’s contract with Netflix expires at the end of the month. Renewal talks with Netflix never got off the ground.Representatives for Mr. Murphy, Disney and Netflix either declined to comment or did not return calls. Bloomberg reported Mr. Murphy’s likely move to Disney earlier on Tuesday.A deal with Disney would formally reunite Mr. Murphy with executives he worked closely with for more than a decade. Disney owns the FX cable channel, which is home to his “American Horror Story” franchise, which started in 2011. (The series also runs on Hulu, which Disney controls.) ABC, the Disney-owned broadcast network, recently bought the rights to “9-1-1,” a drama that Mr. Murphy created for Fox in 2018.When Mr. Murphy signed his Netflix deal, in February 2018, it was just six months after another star producer, Shonda Rhimes, had signed her own nine-figure contract with the streaming company. The back-to-back signings were an emphatic statement by Netflix that it was in the business of paying any price for big-name writers. In the process, it set off a Hollywood arms race (which, amid broader concerns about the streaming business and the writers’ strike, has mostly cooled off).Mr. Murphy’s tenure at Netflix got off to a bumpy start. Misfires included “The Politician” and “Hollywood.” It was not until last September that Mr. Murphy served up bona fide hits in “Monster: The Jeffrey Dahmer Story” and “The Watcher.” Both series are among the 10 most-watched Netflix originals ever, according to the streaming service.Mr. Murphy, who continued making shows for Disney even though he was under contract with Netflix — new seasons of “9-1-1” and “American Crime Story” continued apace — would likewise continue to make shows for Netflix after a move to Disney. The next edition of “Monster” will focus on Erik and Lyle Menéndez, the brothers serving life sentences for killing their wealthy parents in 1989, and “The Watcher” has been renewed for another season. More

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      ‘Sublime’ Review: Two Boys, One in Love

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      A teenager dreams of pop songs, and his best friend, in Mariano Biasin’s tender gay coming-of-age drama.In high school I had a crush on my best friend. I sat with him when he played piano in church. I was furious inside when he told me he liked a girl. When I came out to him in college he said “so what?” and I cried. Tweak some details and switch the setting from suburban America to a coastal town in Argentina and it’s also the entire plot of Mariano Biasin’s familiar but muted coming-out drama “Sublime.”Manuel (Martín Miller) is a reserved teenager with messy hair and braces who awkwardly interacts with his bickering parents, sneaks beers and plays bass in a garage band with his childhood friend Felipe (Teo Inama Chiabrando). Manuel also has recurring daydreams about waking up next to Felipe and gently touching his bare shoulder, the same way the girl who sits behind Felipe does to him in class. When Felipe asks Manuel to help him outfit their hideaway van for a (hetero) sexual tryst, Manuel’s repressed feelings finally, and tenderly, surface.An innocent gay-indie sweetness courses through this film, especially in the too-short glimpses into Manuel’s romantic cravings and in the final blissful minute, and the young cast’s naturalistic performances make it all feel lived-in and truthful. But Biasin’s script plods as it relies on repetitive band rehearsals and inert conversations to pad a story that only mildly explores young gay desire — like “Heartstopper” but with less charm and fewer stakes. I’d put the band’s power-pop songs on my Walkman, though.SublimeNot rated. In Spanish, with subtitles. Running time: 1 hour 40 minutes. Rent or buy on most major platforms. More

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      What’s on TV This Week: ‘Below the Belt’ and a Juneteenth celebration

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      A new documentary from Hillary Clinton about living with endometriosis is on PBS, and a commemoration of Black survival and culture streams live on CNN and OWN.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, June 19-25. Details and times are subject to change.MondayBLACK POP: CELEBRATING THE POWER OF BLACK CULTURE 8 p.m. on E! The N.B.A. star Stephen Curry is an executive producer and the actress La La Anthony the narrator of this four-part docu-series exploring the influence of Black celebrities and entertainers on pop culture. With a spotlight on Black icons including Muhammad Ali, Serena Williams and Spike Lee, the series demonstrates how figures like these have shaped music, film and sports — and American culture at large.JUNETEENTH: A GLOBAL CELEBRATION FOR FREEDOM 8 p.m. on CNN and OWN. The second iteration of this commemorative celebration of Black culture and survival aims to educate and uplift viewers. The presentation includes preshow coverage of Black trailblazers and creators (beginning at 7 p.m.), and performances from artists like Miguel, Kirk Franklin, SWV, Davido, Coi Leray and Jodeci. The three-hour special will be streamed live from the Greek Theater in Los Angeles.TuesdayChristopher Lloyd, left, and Michael J. Fox in “Back to the Future.”PhotofestBACK TO THE FUTURE (1985) 6 p.m. on AMC. Set in 1985, this Oscar-nominated film turned cult classic follows the teenage Marty McFly (Michael J. Fox) after he is accidentally sent back in time, to the year 1955, and encounters his parents as high schoolers who haven’t fallen in love yet. After inadvertently causing his mother to fall for him instead, Marty must find a way to secure his future existence by bringing his parents together — while also figuring out how to get back to the year 1985. “In less resourceful hands, the idea might quickly have worn thin,” Janet Maslin wrote in her review of the film for The New York Times. But the film’s director, Robert Zemeckis (“Forrest Gump,” “The Polar Express”), she writes, “is able both to keep the story moving and to keep it from going too far,” concluding that “one of the most appealing things about ‘Back to the Future’ is its way of putting nostalgia gently in perspective.”WednesdayMike Ricker, left, and Eric Tumbarello in “LA Fire and Rescue.”Chris Haston/NBCLA FIRE & RESCUE 8 p.m. on NBC. This new docu-series from the producers of the fire and rescue squad drama “Chicago Fire” tells the real-life stories of members of the Los Angeles County Fire Department. Through footage of rescues and interviews with firefighters, the series documents the lived experiences of those working on the front lines of California’s (and the nation’s) most populous county.CHINA’S CORPORATE SPY WAR 10 p.m. on CNBC. Featuring interviews with government officials and lawmakers, including the F.B.I. director, Christopher Wray, and the U.S. Senators Mark Warner and Marco Rubio, as well as a number of intelligence experts, this hourlong documentary explores the world of economic espionage, focusing on China’s campaign to steal trade secrets from some of the biggest businesses in the United States. Reported by Eamon Javers, a veteran Washington correspondent and author of a book on corporate spying, the documentary argues that the campaign is more malicious than a desire for information in order to compete with American companies — maintaining that it’s rooted in China’s wish to destroy key businesses in its pursuit of global economic domination.BELOW THE BELT: THE LAST HEALTH TABOO 10 p.m. on PBS. Four women ranging in age and background share their stories in this feature-length documentary about the struggles of patients with endometriosis, a chronic condition that the World Health Organization has said affects 10 percent of women and girls. Hillary Clinton is one of the executive producers of the film, which explores how patients often fight to have their symptoms believed, diagnosed and treated in a broken healthcare system.ThursdayAnthony Anderson, left, and his mother, Doris Hancox, in “Trippin’ With Anthony Anderson and Mama Doris.”Simone Padovani/E! EntertainmentTRIPPIN’ WITH ANTHONY ANDERSON AND MAMA DORIS 10 p.m. on E! In this eight-episode mini-series, the Emmy Award-nominated actor Anthony Anderson (“Black-ish,” “Law & Order”) takes his mother, Doris Hancox, on a six-week vacation through England, France and Italy. The mother-son duo navigate new cultures, and their clashing personalities, in a series of adventures — like walking in African Fashion Week and hunting for truffle — as their relationship deepens.FridayTauba Auerbach in “Art in the Twenty-First Century: Bodies of Knowledge.” Art21ART IN THE TWENTY-FIRST CENTURY: BODIES OF KNOWLEDGE 10 p.m. on PBS. This Peabody Award-winning series about contemporary visual art follows a group of 12 artists who share their thoughts and creative processes while painting, designing and sculpting pieces of artwork inspired by the current moment. The second episode of Season 11 — which premiered in April — focuses on the artists Anicka Yi, Tauba Auerbach, Hank Willis Thomas, and the Guerrilla Girls as they explore the concepts of truth and historical record through art.SaturdayMarlon Brando in “On the Waterfront.”Turner NetworksON THE WATERFRONT (1954) 8 p.m. on TCM. Inspired by a series of Pulitzer Prize-winning articles by Malcolm Johnson on terrorism and racketeering on New York’s waterfront, written for The New York Sun in 1948, this Academy Award-winning crime drama focuses on union violence and corruption among a group of longshoremen in Hoboken, N.J. The film stars Marlon Brando (who won Best Actor for his role) as Terry Malloy, a boxer turned dock worker who becomes embroiled in the murder of his colleague Joey (Ben Wagner). With the rest of the longshoreman afraid to speak out after rumors spread that Joey was killed because he planned to testify against their corrupt boss and the union, the film follows Brando’s Malloy as he wrestles with how to move forward. A review in The Times described the drama as “an uncommonly powerful, exciting and imaginative use of the screen by gifted professionals.”Sunday2023 BET AWARDS 8 p.m. on BET. Streaming live from Los Angeles, the BET Awards — an annual ceremony that celebrates the work of Black artists and athletes — will commemorate hip-hop’s 50th anniversary with a lineup of hip-hop performances spanning decades and styles. Featured artists include Fat Joe, Soulja Boy, DJ Unk, E-40, and Lil Uzi Vert, among many others. More