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How Jack Black and Jason Momoa Share a Mine Cart in ‘A Minecraft Movie’
The director Jared Hess narrates an adventure sequence from his film, involving a cozy ride.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.Redstone and piglins and creepers, oh my!Fans of Minecraft will recognize a few of the game’s elements in this scene from “A Minecraft Movie.” But the sequence is also a good comic excuse to stuff Jack Black and Jason Momoa into a mine cart together.The scene takes place in the redstone mines, where Steve (Black) has brought Garrett (Jason Momoa) and Henry (Sebastian Hansen) to access his diamond stash. But trouble is afoot in the form of a piglin biological superweapon, who has an arm cannon ready to blast the protagonists. They plan an escape via mine cart, using redstone to power their way out.The film’s director, Jared Hess, said that he worked with his production designer Grant Major (the “Lord of the Rings” trilogy) to build many of the sets practically, including this mine set, and then extended those sets with visual effects.“We had a ton of fun coming up with the size of the mine cart design,” Hess said, “because we wanted to fit Jack and Jason in the same cart. And they are two of some of the juiciest hunks in motion pictures.”He said the actors felt the circulation in their thighs was being cut off, so they had to take a lot of breaks, but they ultimately made it through.“This was such a fun sequence to shoot,” Hess told me. “Lots of laughs on set, it was great.”Read the “Minecraft Movie” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More
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‘When Fall Is Coming’ Review: Cooking Up a Mystery
With her kind eyes and guileless smile, Hélène Vincent plays a sweet old French lady. But looks can be deceiving in this François Ozon film.For “When Fall Is Coming,” the French filmmaker François Ozon has cooked up a little mystery and an enigmatic heroine. A sleek, modestly scaled entertainment about families, secrets and obligations, it features fine performances and some picture-postcard Burgundian locations. It’s there in the heart of France, in a picturesque village in a large, pretty house, that Michelle (Hélène Vincent) makes her home. With her kind eyes, guileless smile and upswept hair, she looks the very picture of a sweet old lady. Looks can be deceiving, though, as we’re reminded, and as Ozon’s movie goes along, that picture grows amusingly slyer.Ozon’s efficiency and polished style are among his appeals — his films include “Under the Sand” and “Swimming Pool” — and he lays out this movie with silky ease. In precise, illustrative scenes he takes you on the rounds with Michelle, mapping her pleasant environs, charting her routines and introducing her small circle of intimates, including another local, Marie-Claude (Josiane Balasko), a longtime, charmingly earthy friend. For the most part, the pieces fit together, though a few things seem off. For one, Marie-Claude’s son, Vincent (Pierre Lottin), is in jail when the movie opens (though soon out); for another, Michelle’s daughter, Valérie (Ludivine Sagnier), is viscerally, inexplicably, hostile to her mother.Michelle’s life and the setup seem so pacific that the movie initially teeters on the soporific; which works as a sneaky bit of misdirection. Because just when everything seems a little too frictionless, someone prepares poisonous mushrooms for lunch, and someone else eats them, a turn that puts you on alert (where you stay). Ozon, who also wrote the script, continues to lightly thicken the plot but also withholds information, and before you know it, this obvious story has become an intrigue. One bad thing leads to another (and another), and the air crackles with menace. Michelle and Valérie argue, Marie-Claude falls seriously ill, Vincent takes a suspicious trip. Yet the more that things happen, the less you know.Ozon sprinkles the story with hints, summons up the ghost of Claude Chabrol (bonjour!) and, during one vividly hued autumn walk, evokes Grimm’s fairy-tale “Snow-White and Rose-Red,” about two sisters. He also foregrounds doubles: The sisterly Michelle and Marie-Claude don’t have partners, and each has a difficult adult kid. Despite their nominal similarities, Valérie and Vincent are notably different; he and his mom are openly loving, for one. By contrast, the minute that Valérie and her son, Lucas (Garlan Erlos), drive in from Paris to visit Michelle, the mood turns ugly. Valérie is petulant and nakedly greedy, and she soon asks for Michelle’s house. “I’ll owe less in taxes when you die,” she says before taking a swig of wine.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 Luckiest Man in America’ Review: Taking a Game Show for a Spin
Paul Walter Hauser stars as a real-life contestant on “Press Your Luck” who pulled off an improbable trick.The ideal way to watch “The Luckiest Man in America,” a dramatization of a real-life game show incident, is to go in cold — to see these events unfold as TV viewers did. If you’ve never heard of Michael Larson, a contestant who appeared on CBS’s “Press Your Luck” in 1984, then it is best to save YouTube for later.In the movie’s version of events, Michael (Paul Walter Hauser) earns his spot on the program by crashing an audition, claiming to be someone he’s not. Bill Carruthers (David Strathairn), one of the show’s creators, nevertheless sees star potential in his Everyman persona.Is Michael a loose cannon? The screenplay, by Maggie Briggs and the film’s director, Samir Oliveros, paints him as, at minimum, maladroit. He wears shorts with his tie and jacket. A woolly hairdo and beard look more freakish on Hauser than the real Michael’s did on him. The character also seems fine with bending the show’s rules, like the one that forbids phone calls during breaks.Then Michael starts winning tens of thousands of dollars. And he keeps taking turns, even though each time he stands to lose it all. From here, the movie shifts into procedural mode, as the team in the control booth tries to sort out whether Michael is crazy or crafty. Shamier Anderson plays an employee who sleuths out Michael’s background during the taping. Oliveros is more selective in providing access to the protagonist’s thoughts.The events, and the mind games, appear to have been goosed for dramatic interest. (One preposterous, surely invented interlude finds Michael wandering onto a talk show set and baring his soul to the host, played by Johnny Knoxville.) But it is still fun to watch Michael and CBS compete for the upper hand.The Luckiest Man in AmericaRated R. Language unfit for daytime TV. Running time: 1 hour 30 minutes. In theaters. More
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‘Hell of a Summer’ Review: Shallow Cuts
Summer camp counselors run afoul of a masked killer in this limp, uninspired slasher throwback from Finn Wolfhard and Billy Bryk.Setting a slasher at a summer camp is sort of like wearing sandals with socks: There’s no law against it, but you’d better know what you’re doing. A wry throwback horror movie like “Hell of a Summer,” blatantly indebted to cabin-strewn ‘80s classics like “Sleepaway Camp” and “Friday the 13th,” screams for the confident guidance of a filmmaker enamored with the genre — someone like Eli Roth, say, whose grindhouse tribute “Thanksgiving” exuded affection for old-school slashers in its every gout of blood.Finn Wolfhard and Billy Bryk, the writers, directors and stars of “Hell of a Summer,” take a more conservative, and therefore more boring, approach to their horror homage. A largely forgettable cast of teens and 20-somethings hang around Camp Pineway cracking irreverent, Marvel-style quips as they wait to be butchered by a knife-wielding maniac, whose kills lack both the cruelty and inventiveness of even the most run-of-the-mill slashers of the genre’s heyday. There’s a coming-of-age angle involving Jason (Fred Hechinger), a 24-year-old counselor struggling to grow up, but it’s vague and noncommittal, straining for something to say.Wolfhard and Bryk don’t relish violence or gore: “Hell of a Summer” is surprisingly tame, with most of its kills kept tastefully offscreen. In the second act, an annoying teen with a peanut allergy comes face to face with the killer, who brandishes a jar of peanut butter menacingly — a perfect opportunity for a bit of gnarly comeuppance, except that the filmmakers cut away. It shows a fatal lack of conviction at a moment that requires slasher-loving brass. Where’s the fun in that?Hell of a SummerRated R for violence, strong language and mild sexual references. Running time: 1 hour 28 minutes. In theaters. More
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‘Freaky Tales’ Review: Totally Oakland
Misogyny and racism get their butts spanked in this bold, messy celebration of the Bay Area in the 1980s.Crammed to the margins with peaceable punks, vicious skinheads, ambitious rappers, racist police — oh, and a green supernatural whatsit — Ryan Fleck and Anna Boden’s “Freaky Tales” is a nostalgic homage to the music, movies and personalities of the 1980s.Set in 1987 in Oakland, where Fleck grew up, this revenge-of-the-underdogs picture unfolds through a lens of pop-culture goofiness. Blending multiple genres — action, comedy, horror, martial arts — Fleck and Boden’s screenplay is blunt and broad, a flurry of flyby references only loosely tethered to narrative logic. Bursts of animation and graphic-novel gore lend familiar gimmickry to the film’s four, vaguely connected stories, none of which feel fully cooked.In the first, two teenagers (Ji-young Yoo and Jack Champion) and their fellow punks are forced to defend a beloved music venue from a tribe of marauding neo-Nazis. This segues into a sparking rap battle between a young female duo (Dominique Thorne and Normani, both standouts) and Too $hort (played by the hip-hop artist Symba). The third segment feels more robust, thanks to Pedro Pascal’s performance as a burned-out enforcer trying vainly to escape his violent past. And a bloodily operatic finale sees a loathsome detective (Ben Mendelsohn) pay when a scheme to rob the home of the basketball star Sleepy Floyd (Jay Ellis) goes spectacularly awry.High on revolutionary spirit, “Freaky Tales” is a frisky, frantic pastiche that doesn’t always make sense. (In the third chapter, an unexpected cameo by a major celebrity is such a non sequitur even Pascal seems momentarily flummoxed.) Yet the visuals are meaty, and the filmmakers (whose last feature collaboration was on “Captain Marvel” in 2019) show considerable affection for their movie’s setting. I wish, though, they had focused less on the era’s greatest hits and more on the details of their script. Maybe then we would have learned the provenance of that supernatural whatsit.Freaky TalesRated R for lewd lyrics, slow-motion bloodletting and an exploding racist. Running time: 1 hour 46 minutes. In theaters. More
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‘A Nice Indian Boy’ Review: Meet-Cute at a Hindu Temple
Thanks to the instant chemistry between Karan Soni and Jonathan Groff, the film pulls off their whirlwind romance.Jay (Jonathan Groff) and Naveen (Karan Soni) experience their first meet-cute while worshiping at the same Hindu temple, united by their shared culture: Naveen is Indian, and Jay is white with adoptive Indian parents.Early on, the film “A Nice Indian Boy” hints at this swift romantic pace when Naveen’s mother, Megha (Zarna Garg, a standout), pokes at the familiar tropes of gay romance films while on a phone call with Naveen. “They just give each other a look, and like, boom, they’re kissing,” she says.Thanks to the instant chemistry between Groff and Soni, whose wit and vulnerability make him a natural rom-com lead, the film pulls off their whirlwind romance. Glances between them convey Naveen’s internal struggle to be open to his family about Jay, and Jay’s corresponding frustration with Naveen’s hesitation. True to the genre, there are heartbreaking fallouts, followed by tender reconciliations.Throughout the movie, the director Roshan Sethi’s sly and thoughtful touches respect conventions — the ultimate fairy-tale ending, for instance — while deepening the story with cultural nuances, like how Naveen’s same-sex relationship affects his sister, Arundhathi (Sunita Mani), who is in an arranged marriage. What happens when one sibling can break the rules but the other cannot? Within a family rooted in tradition, Naveen emerges as a quiet but powerful authority on true love — a rare, significant role for a gay character.In this vibrant addition to cinema’s romantic landscape, love isn’t the only winner: cultural understanding and the freedom to choose your own path triumph as well.A Nice Indian BoyNot rated. Running time: 1 hour 36 minutes. In theaters. More
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‘The Martial Artist’ Review: Tap Out
In this overwrought action film by Shaz Khan, a mixed martial artist’s career is upended when his brother is killed.In the self-absorbed action movie “The Martial Artist,” the director Shaz Khan stars as rising Pakistani American mixed martial arts fighter Ibby “The Prince” Bakran, an unconventional pugilist whose bouts are live streamed from remote locales like Death Valley in eastern California.Impressed by Ibby, the head of a mixed martial arts league (Gregory Sporleder) promises him stardom. But alcohol, women and the killing of Ibby’s brother and trainer, Ali (Babar Peerzada), by friends of a former opponent, derail his career.After four years of boozing and working as a waiter, a frustrated Ibby tries to revitalize his moribund career by venturing home to the lush green mountains of Pakistan to be trained and spiritually healed by his grandfather (Faran Tahir).It’s disappointing that “The Martial Artist,” an adaptation of Khan’s 2016 short film “Say It Ain’t So,” is a shallow film. Characters like Ibby’s long-suffering mother (Thesa Loving), his estranged girlfriend (Sanam Saeed) and his deceased brother are nothing more than maudlin plot devices. Though Pakistan is filmed with a sense of grandeur, Ibby’s return to his cultural roots is rushed and superficial. Khan’s lack of screen presence, toothless mixed martial arts sequences and unintelligible editing further knock the film down.By the end, when Ibby faces the undefeated Decan Johnson (Philippe Prosper) at the foot of some Mayan pyramids in Belize, we’re unsure what or who he is fighting for, or why we should care.The Martial ArtistRated PG-13 for violence and bloody images. Running time: 1 hour 57 minutes. In theaters. More
