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      ‘Funny Boy’ Review: Coming Out During Civil War

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Funny Boy’ Review: Coming Out During Civil WarDeepa Mehta’s sprawling coming-of-age drama follows a boy who realizes he is gay in a country that criminalizes homosexuality.Arush Nand in “Funny Boy.”Credit…Netflix/ArrayDec. 10, 2020, 7:00 a.m. ETFunny BoyDirected by Deepa MehtaDrama1h 49mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Set against the backdrop of the Sri Lankan civil war, “Funny Boy” centers on a protagonist who is effectively fighting on two fronts.Arjie — played by Arush Nand as a boy when the movie begins in 1974 and by Brandon Ingram around the start of the war in 1983 — is regarded as “funny” because he likes to wear makeup and doesn’t like sports. As he soon realizes, he is gay in a country that criminalizes homosexuality. He’s also Tamil, which means he belongs to Sri Lanka’s ethnic minority, although his family’s wealth insulates it to a degree from the toll of the violence roiling between the Tamils and the majority Sinhalese.When Arjie is a boy, his father (Ali Kazmi) pushes him to avoid “girly things” and instead work on his cricket. But Arjie is encouraged by a cool aunt, Radha (Agam Darshi), who helps cultivate his interest in theater and teaches him to put nail polish on his toes where no one can see. In what becomes a motif, the director, Deepa Mehta, cuts to shots of older Arjie sitting in his younger’s self’s place at crucial moments like this one.[embedded content]Radha wants to marry a Sinhalese man — he’s an admirer of Gloria Steinem, he says by way of flirtation. There’s a brief, tense scene of the families sitting down with one another and waffling between hostility and comity. (“If you come near my daughter I will kill you.” “Would you like a biscuit?”)But the movie’s brightness dims — for Arjie and for viewers — when Radha moves to Toronto and mostly out of the film. After that, the sprawling, intermittently engaging narrative (based on a novel by Shyam Selvadurai, who wrote the screenplay with Mehta) toggles awkwardly between the general and the specific.The film springs to life whenever it sticks close to Arjie’s story. He falls for a Sinhalese schoolmate, Shehan (Rehan Mudannayake), who shows him his collection of David Bowie posters and tells him that “people like us exist” — abroad, he adds, “where it’s not illegal.” There are also some lovely pop music interludes, as when Arjie and Shehan, alone in a large hall, dance to “Every Breath You Take.”Mehta’s elaborate long takes contribute to the general sense of tumult, but the film never fully shakes the sense of stating the obvious. Ethnic conflicts tear relationships apart. Being gay is normal. Cricket doesn’t have to be all that.Funny BoyNot rated. In Tamil, English and Sinhalese, with subtitles. Running time: 1 hour 49 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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      ‘The Weasels’ Tale’ Review: House Hunting

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘The Weasels’ Tale’ Review: House HuntingArgentine showbiz stars in a remote mansion battle with two real estate hustlers in Juan José Campanella’s crowd-pleasing comedy.Graciela Borges in “The Weasels’ Tale.”Credit…Outsider PicturesDec. 10, 2020, 7:00 a.m. ETThe Weasel’s TaleDirected by Juan José CampanellaComedy, Drama2h 9mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Schemers meet their match in “The Weasels’ Tale,” Juan José Campanella’s crowd-pleasing Argentine comedy. A former diva, Mara (grande dame Graciela Borges), shares a rambling remote mansion with her milquetoast husband, Pedro (Luis Brandoni), and two suave parasites she used to make movies with: a director, Norberto (Oscar Martínez), and a screenwriter, Martín (Marcos Mundstock). They pass the time trading reminiscences and barbs, until a slick city couple, Bárbara (Clara Lago) and Francisco (Nicolás Francella), show up and angle to buy the property.[embedded content]The housemate dysfunction might be sad if it wasn’t played for laughs. Mara is frozen in her starry past, and Norberto and Martín treat her and Pedro with self-aggrandizing nostalgia or contempt. But Campanella, who directed the Oscar-winning 2010 thriller “The Secret in Their Eyes,” sets up a routine of look-at-them-go one-upmanship. Would-be villains Bárbara and Francisco look plain by comparison. (The older actors are fixtures of Argentine cinema, and the movie remakes a 1976 premise; Mundstock, who died in April, was a well-liked humorist.)Norberto and Martín, professional cynics, spin their own plots to stymie the young swindlers, and the movie leans on our delectation in this. The Grand Guignol conclusion does fulfill the flair promised by the film’s tuned-up colors and by Mara’s vintage posters for her movies, which have glorious titles like “The Other Woman Forever.” There’s an attempt to reinvigorate the romance between Mara and Pedro, but that pales next to the bad behavior of their less savory companions. You can’t keep a good weasel down.The Weasels’ TaleNot rated. In Spanish, with subtitles. Running time: 2 hours 9 minutes. In theaters and on virtual cinemas. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      ‘Wild Mountain Thyme’ Review: Finding Love Down on the Farm

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Wild Mountain Thyme’ Review: Finding Love Down on the FarmJohn Patrick Shanley adapts his play “Outside Mullingar” into a movie. (Don’t worry about the accents.)Emily Blunt and Jamie Dornan in “Wild Mountain Thyme.”Credit…Kerry Brown/Bleecker StreetDec. 10, 2020, 7:00 a.m. ETWild Mountain ThymeDirected by John Patrick ShanleyDrama, RomancePG-13Find TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Whenever a movie has its performers speak in a regional dialect, the world entire suddenly teems with accent experts. “Wild Mountain Thyme,” written and directed by John Patrick Shanley (adapted from his play “Outside Mullingar”) is set in Ireland. And it started getting pushback in that country when its trailer dropped in November. Film people on social media made sport with the speaking styles of its American, English and Irish cast too.But come now. Each film is its own circumscribed world. Hearing is an even more subjective sense than seeing. And playing accent police officer without qualification while watching a movie is ultimately doing it wrong. That said, motley accents are the least of this movie’s problems.[embedded content]This is a “who is going to inherit the farm” story in which that question is abruptly resolved pretty much halfway through. It is also a romantic comedy/drama whose tone ping-pongs from grave to lyrical to absurdist willy-nilly, and hits all those registers at fortissimo volume.Its premise is simple: Anthony (Jamie Dornan) loves girl-on-the-farm-next-door Rosemary (Emily Blunt) but can’t let her know. He’s got some glitch that renders him, he believes, bad boyfriend material — at least. As their respective parents (one is played by Christopher Walken, who’s funny and has a lovely final scene) shuffle off this mortal coil, the two find themselves facing only each other. Oh, and also a rich American potential interloper, played by Jon Hamm.At the film’s end, in a stormy scene with distant echoes of both “The Quiet Man” and “I Know Where I’m Going,” Blunt and Dornan face off in passionate screwball mode, and sparks fly. But the viewer’s patience may have been too harshly tested en route to this point to make much difference.Wild Mountain ThymeRated PG-13, for a little accented barnyard language. Running time: 1 hour 42 minutes. In theaters and available to rent or buy on Google Play, FandangoNow and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      ‘Farewell Amor’ Review: Alone Together

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Farewell Amor’ Review: Alone TogetherEkwa Msangi’s tender drama shows us that goodbyes haunt immigrants wherever they go.Ntare Guma Mbaho Mwine and Jayme Lawson in “Farewell Amor.”Credit…IFC FilmsDec. 10, 2020, 5:00 a.m. ETFarewell AmorDirected by Ekwa MsangiDrama, Music, Romance1h 35mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Contrary to its title, “Farewell Amor” begins with a reunion. In a delicate opening set in an airport, Walter (Ntare Guma Mbaho Mwine), an Angolan refugee in New York, embraces his wife and teenage daughter, who’ve just arrived in America after a 17-year wait for visas.But Ekwa Msangi’s tender drama shows us that goodbyes haunt immigrants wherever they go. Walter, we learn, has just broken up with a lover who kept him company all these years. His wife, Esther (Zainab Jah), and daughter, Sylvia (Jayme Lawson), are quietly mourning the lives they’ve abandoned to live in a strange country with a now-strange man.[embedded content]Msangi employs a neat trick to capture the family’s coming-together in all its complexity. Split into three chapters, the film depicts their reunion from each character’s perspective, switching from the wide shot of the opening to a more intimate, point-of-view style. Each version deepens our understanding of the characters by highlighting new details: a strained smile; the hesitation before a hug.Even as “Farewell Amor” treads familiar paths, its tripartite structure allows for uncommon nuance. Another film might have painted Esther’s religious orthodoxy as quaint or even caricaturish. Here, in hushed montages, Jah powerfully conveys Esther’s loneliness in America, while the character’s long-distance calls reveal how she found community in church after losing her home to war.Sylvia’s strand is the most conventional (though Lawson sparkles onscreen). A vivacious dancer prohibited from pursuing her passion by her mother, she defies her way into a step contest. It’s a contrived plotline, but it infuses the film with an ebullient rhythm, the music giving Sylvia a taste of home — and a reason for hope.Farewell AmorNot rated. Running time: 1 hour 35 minutes. In theaters and available to rent or buy on Google Play, Vudu and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      Disney to Reveal Plans to Turbocharge Streaming Offerings

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyDisney to Reveal Plans to Turbocharge Streaming OfferingsSome big-budget movies will first go to theaters. Other offerings will debut online. All will ultimately strengthen Disney+.“The Mandalorian” has been a hit for Disney+ and the company is planning more “Star Wars” content for the streaming service.Credit…Disney Plus, via Associated PressDec. 9, 2020Updated 6:39 p.m. ETLOS ANGELES — A significant expansion of the “Star Wars” universe. Tom Hanks as Geppetto in a live-action “Pinocchio,” and Yara Shahidi as Tinker Bell in a live-action “Peter Pan & Wendy.” Footage from new Marvel projects. A star-studded prequel to “The Lion King.”On Thursday, as part of a four-hour investor presentation focused on streaming, the Walt Disney Company will discuss a Death Star-size trove of coming content — all of the above and more, said three people with knowledge of the matter, who spoke on the condition of anonymity to discuss private planning.Some big-budget Disney movies will continue to have exclusive runs in theaters. (The “Lion King” project, directed by Barry Jenkins and focused on Mufasa’s back story, is a good bet.) Others will debut online. (That is where “Pinocchio” is headed.) All will ultimately serve one goal, which is strengthening Disney+, the company’s flagship streaming service.At a time when streaming is becoming cuttingly competitive — and some of Disney’s traditional businesses are struggling — Disney hopes to use the virtual event to dazzle Wall Street: Here is a 97-year-old company making a jump to direct-to-consumer hyperspace.Last month, Bob Chapek, Disney’s chief executive, announced that Disney+ had reached 74 million subscribers worldwide after only 11 months in operation. (Netflix took seven years to reach that threshold, and now has 195 million customers worldwide.) Disney+ has since rolled out in Latin America and grown rapidly in India, analysts say, leading some to estimate that Disney may reveal that the service is within reach of 100 million subscribers.Disney is also expected to give growth updates on its other streaming platforms, including ESPN+, Hulu and a new general entertainment offering, Star, which will debut overseas in the coming months.“The question everyone has now is where to from here?” Michael Nathanson, a founder of the MoffettNathanson media research firm, said in a phone interview. “We expect to see a lot more spending on content to turn Disney+ into more of an always-on service, which will increase pricing power.”Subscriptions to Disney+ cost $7 a month. The least expensive Netflix plan is $9 a month, and HBO Max, a fledgling WarnerMedia service, costs $15.Disney declined to comment for this article.Investors have been licking their lips in anticipation of what Disney will unveil, including forecasts of subscriber growth. Disney shares have climbed 32 percent since the investor day was announced in August, compared with an 11 percent rise in the Standard & Poor’s 500-stock index.Disney was trading at about $155 on Wednesday, near an all-time high, even though several of its theme park resorts (which are enormous cash generators) remain closed because of the pandemic. The company laid off 30,000 workers.Hollywood is keenly interested in the investor presentation because Disney executives have said they will discuss an evolving approach to movie distribution. The coronavirus has forced Disney and other studios to push back the releases of more than a dozen major films and reroute others to streaming services. In September, Disney debuted “Mulan” on Disney+ as part of a “premium access” experiment, charging subscribers $30 for indefinite access. “Soul,” the latest Pixar film, will arrive on Disney+ on Christmas Day for no additional cost.Pixar’s “Soul” will arrive exclusively on Disney+ on Christmas Day.Credit…Disney/PixarCiting the pandemic, WarnerMedia last week shifted 17 coming Warner Bros. movies to a hybrid release model — simultaneous arrival on HBO Max and in theaters — even though some of the films (“Dune,” “The Matrix 4”) are not scheduled to come out until the fourth quarter, long after vaccines are expected to be deployed. The surprise move prompted swift and severe blowback from WarnerMedia talent, who felt betrayed by the sudden switch. They also stand to receive considerably lower paydays.John Stankey, the chief executive of AT&T, which owns Warner Media, referred to the furor as “a lot of noise” while speaking at a conference on Tuesday and predicted that WarnerMedia’s strategy would prove to be a “win-win-win.”In contrast, Mr. Chapek and Robert A. Iger, Disney’s executive chairman, will not go with a one-size-fits-all approach for movie releases in 2021, the people with knowledge of the company’s plan said.Some titles on Disney’s theatrical slate will move to Disney+ at no extra cost. Expect “Peter Pan & Wendy,” like “Soul” and “Pinocchio,” to debut in this manner.Other movies will take the “Mulan” route and arrive on Disney+ as premium offerings. “We’ve got something here in terms of the premier access strategy,” Mr. Chapek told analysts on a recent conference call. “There’s going to be a role for it strategically with our portfolio of offerings.”And some of Disney’s biggest movies will continue to receive exclusive runs in theaters before arriving on the company’s streaming services. For instance, contrary to widespread speculation, “Black Widow,” a much-anticipated Marvel spectacle, will remain on Disney’s theatrical release calendar for May 7, the people with knowledge of the presentation said.Scarlett Johansson in “Black Widow,” which will remain on Disney’s theatrical release calendar for May.Credit…Marvel Studios/Disney, via Associated PressMovies are helpful in attracting subscribers, but television shows keep streaming customers paying month after month. To that end, Disney has an abundance of series on the way for its services. They include “Turner and Hooch,” an adaptation of the 1989 film about a detective and his oversize mutt; “Willow,” an adaptation of the 1988 big-screen fantasy; and eight Marvel shows based on characters like Loki and She-Hulk.Streaming is not yet profitable for Disney — far from it. Losses in the direct-to-consumer division totaled $2.8 billion in the company’s 2020 fiscal year. Streaming-related losses are expected to peak in 2022, as rollout costs decline and content expenses normalize, with analysts expecting Disney+ profitability by 2024.Disney has indicated that some of the money for its new content blitz will come from programming budgets at its traditional television networks. The company owns the Disney Channel, National Geographic, FX, Freeform and ABC, among others.“We will be heavily tilting the scale from linear networks over to our direct-to-consumer business,” Mr. Chapek said on the recent conference call.Analysts pushed for additional details. “Just hold on until Dec. 10,” Christine McCarthy, Disney’s chief financial officer, said on the call. “Hopefully we can answer all your questions then.”AdvertisementContinue reading the main story More

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      A ‘Godfather’ Guide: How Francis Ford Coppola’s Trilogy Has Evolved

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyA ‘Godfather’ Guide: How Francis Ford Coppola’s Trilogy Has EvolvedThe newly re-edited version of “Part III” is the latest in a string of editions of the sprawling Corleone tale. Here’s a primer.Michael (Al Pacino), right, and Fredo (John Cazale) in “The Godfather Part II.”Credit…CBS, via Getty ImagesDec. 9, 2020, 4:41 p.m. ETThe director Francis Ford Coppola is releasing his reimagined version of “Part III” of the “Godfather” saga this month, now called “Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone.” It’s hardly the first time he’s returned to the iconic series. From the 1972 drama that started it all to sequels and restorations, Coppola and audiences alike couldn’t help but revisit the trials and tribulations of the Corleones as the years unfolded. Here’s a guide to the films and their different cuts:1972‘The Godfather’Based on the runaway best seller written by Mario Puzo (it was the first paperback to ever sell six million copies), the movie that changed both filmmaking and perceptions of gangster culture was an instant hit. “Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment,” Vincent Canby, the New York Times chief film critic, raved when the film was released in 1972. The drama became the highest-grossing film of the year and, at that point, ever. Largely considered among the best movies of all time (the American Film Institute ranked it No. 2 behind “Citizen Kane”), it garnered 11 Academy Award nominations, taking home three: adapted screenplay, picture, and actor for Marlon Brando’s performance as Don Vito Corleone.1974‘The Godfather Part II’No movie ever had “Part II” in the title before, a renegade concept added at the behest of Coppola. And its sprawling story, ranging across the 20th century from Italy to New York, California and elsewhere, transcended the mere gangster film and lives as a uniquely American epic, complete with a re-creation of an immigrant’s journey through Ellis Island. A box-office hit that successfully turned Robert De Niro into a Hollywood star, the sequel collected 11 Academy Award nominations and won six, including supporting actor for De Niro, along with director and picture. It was the first film follow-up to win the top prize, effectively cementing the allure of the movie sequel.1977‘The Godfather: The Complete Novel for Television’As the first two films reverberated throughout popular culture, their impact was bolstered by the power of television. NBC originally shelled out a reported $10 million in 1974 just for “Part I,” resulting in the biggest TV audience for a theatrical release at the time. Coppola, in need of money to help bankroll what would become his next masterpiece, “Apocalypse Now,” brainstormed an entirely new “Godfather” experience in 1977, recutting the first two films with the editor Barry Malkin. They toned down the violence, added scenes originally left on the cutting-room floor, and presented the story in sequential order in lieu of the epic’s time-shifting narrative. Later released on VHS, licensed by HBO, AMC and Amazon Prime throughout the years and marketed under numerous titles (“The Godfather Epic,” “The Godfather Saga”), this version, too, was acclaimed. “The chronological rejiggering works extremely well,” The Times’s television critic, John J. Connor, wrote in his 1977 review, adding that the reimagining, “in some ways, constitutes a pronounced improvement.”1990‘The Godfather Part III’Coppola has readily admitted that he was strapped for cash when Paramount Pictures coerced him into orchestrating another installment of the Corleone chronicles. While its story is just as grand as the others, including an art-imitating-life subplot about a Vatican in debt, the production was rushed, its over-the-top action scenes were reminiscent of the recent hit “Die Hard,” and when Winona Ryder dropped out at the 11th hour, the infamously inexperienced Sofia Coppola (Francis Ford Coppola’s 18-year-old daughter) stepped in to play the ill-fated Mary. The movie received mixed reviews from critics and posted lackluster box-office results. And while the film was nominated for seven Academy Awards, it walked away empty-handed.2008‘The Godfather: The Coppola Restoration’With Coppola’s gold signature on the box, Paramount released this strictly technical restoration of the theatrical versions of the series for home video. Spearheaded by the film historian and preservationist Robert A. Harris, this refresh further showcased the work of the cinematographer Gordon Willis and his distinctive, stunning visuals, whether in dim interiors or the shimmering Miami sun. It’s this version that Paramount subsequently released in various special home-video box sets, like a 2017 limited “Omérta” edition and a 2019 “Corleone Legacy” edition for Blu-ray.2020‘Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone’Coppola took the occasion of the 30th anniversary of the third installment to vent his frustration in the editing suite. He shuffled and snipped the derided original cut and even retitled the picture, which became available Tuesday in digital and Blu-ray formats. “It was really our intention to make it a summing-up and an interpretation of the first two movies, rather than a third movie,” he explained in a recent Times interview with Dave Itzkoff. The result? A less-convoluted film tweaked to pack a bigger emotional punch. Then again, fans of “The Godfather” don’t need much prodding to spend more time with the Corleones.AdvertisementContinue reading the main story More

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      TikTok ‘Ratatouille’ Musical to Be Presented as Benefit Performance

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyTikTok ‘Ratatouille’ Musical to Be Presented as Benefit PerformanceCobbled together from songs and scenes inspired by the Disney-Pixar movie, the online performance will benefit the Actors Fund.The story of Remy, a rat with culinary ambitions in the capital of haute cuisine, has proved to have staying power far beyond the 2007 release of “Ratatouille.”Credit…Walt Disney Pictures and Pixar Animation StudiosDec. 9, 2020, 4:31 p.m. ETWith Broadway houses and performance venues across the country closed because of the pandemic, musical theater lovers burned off pent-up creative energy on TikTok this year, creating songs, dances and even set designs for a hypothetical musical version of the 2007 Disney-Pixar movie “Ratatouille.”Now, the crowdsourced hodgepodge of a show is coming to virtual life in a one-time-only benefit performance.Seaview, a theatrical production company, announced on Wednesday that it would present an online performance of the show on Jan. 1 to raise money for the Actors Fund. The performance will be available for streaming for three days, the company said.“The love for the performing arts shines through in the ‘Ratatouille’-inspired TikToks from theater lovers around the world,” Joseph P. Benincasa, the Actors Fund chief executive, said in a statement.In thousands of TikTok videos, creators have paid homage to the movie, an animated film about a rat who dreams of becoming a French chef. Creators, some of whom can boast of honest-to-goodness Broadway credits, created their own songs, dances, makeup looks, set designs, puppets and Playbill programs.Without a director, choreographer or stage crew, the performance will be unlike any show on Broadway. It came together organically on TikTok, where users have only a minute to catch people’s attention.“In a year where we saw Broadway close, the TikTok community brought musical fans together virtually with one of the most unique trends we have ever seen on platform,” said Lizzy Hale, senior manager for content at TikTok.Lawyers for Disney have a history of zealously guarding the conglomerate’s intellectual property. As social media has become a global force over the last decade, Disney has become more tolerant of fan appropriation, weighing the public relations risk of shutting down endeavors like this against a loss of control over its characters.“Although we do not have development plans for the title, we love when our fans engage with Disney stories,” Disney said in a statement. “We applaud and thank all of the online theater makers for helping to benefit the Actors Fund in this unprecedented time of need.”Daniel Mertzlufft, 27, a composer, orchestrator and arranger in New York, used a computer program to create his own song for a Disney-style finale scene he imagined.Mr. Mertzlufft, who is involved with the performance, said there was coordination with Disney for the one-night-only benefit concert.“I’m really excited about it and how the TikTok community manifested this,” he said.Brooks Barnes contributed reporting.AdvertisementContinue reading the main story More

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      The Best Actors of 2020

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      In a year of tragedy and isolation, the best screen actors gave us more than just diversion. Here are Great Performers 2020: “High Fidelity” is on Hulu ● Photograph by Christopher Anderson To love Zoë Kravitz is to fear two minutes of screen time a pop. The longer she’s got, the smokier and more incandescent […] More