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      What Directors Love About Nicole Kidman

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      As the actress receives a life achievement award from the American Film Institute this week, five filmmakers discuss what makes her work so singular.“We come to this place for magic,” Nicole Kidman says in the well-known AMC Theaters preshow advertisement. And who could better welcome back audiences to experience movies on the big screen than an acclaimed artist who’s illuminated stories across all genres?Kidman has starred in daring art house projects (“Dogville,” “Birth”), awards-friendly dramas (“Cold Mountain,” “Rabbit Hole”), big-budget crowd-pleasers (“Aquaman,” “Paddington”) and everything in between.On Saturday, the Australian American Oscar-winning actress will receive the life achievement award from the American Film Institute in Los Angeles. At 56, Kidman is among the youngest honorees.But what qualities have kept Kidman consistently in demand for the past three decades?The Australian director Jane Campion said via email that “her fierce curiosity has helped her take an audience inside some gnarly women.” The American filmmaker Karyn Kusama described her as a “channeler of inchoate energy,” and explained that when this “coalesces into something visceral for her character, you almost feel the molecules in the air shift around her.”Five directors who have worked with Kidman, including Campion and Kusama, discussed what makes the performer an irreplaceable, shape-shifting talent.Baz Luhrmann‘Moulin Rouge!’ (2001), ‘Australia’ (2008)As Satine in “Moulin Rouge!”20th Century FoxWe 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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      Sydney Sweeney and Glen Powell on How ‘Anyone but You’ Beat the Rom-Com Odds

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      Here are their takeaways after the film, debuting on Netflix, went from box office miss to runaway hit.As Sydney Sweeney and Glen Powell promoted their romantic comedy, “Anyone but You,” last year, life appeared to be imitating art: The co-stars posed cheek to cheek while sightseeing in Australia. Powell dipped a gleeful Sweeney in his arms. Sweeney cast longing gazes up at Powell on red carpets. The pair flirted and giggled in interviews.When Powell and his long-term girlfriend broke up, and Sweeney remained engaged to her fiancé, Jonathan Davino (an executive producer of “Anyone but You”), rumors of an illicit offscreen relationship between the two actors took hold.The speculation played out, the stars said, exactly as they intended.“The two things that you have to sell a rom-com are fun and chemistry. Sydney and I have a ton of fun together, and we have a ton of effortless chemistry,” Powell said in an interview. “That’s people wanting what’s on the screen off the screen, and sometimes you just have to lean into it a bit — and it worked wonderfully. Sydney is very smart.”Sweeney, who is also an executive producer through her Fifty-Fifty Films company, said she was intimately involved with the marketing strategy on the Columbia Pictures film, including, perhaps, fanning those headline-generating flames.“I was on every call. I was in text group chats. I was probably keeping everybody over at Sony marketing and distribution awake at night because I couldn’t stop with ideas,” she said. “I wanted to make sure that we were actively having a conversation with the audience as we were promoting this film, because at the end of the day, they’re the ones who created the entire narrative.”The R-rated romance follows Bea (Sweeney) and Ben (Powell), who share a night that ends badly and are then thrust together at a destination wedding in Australia, where Ben’s friend and Bea’s sister are getting married. The film is based loosely on Shakespeare’s “Much Ado About Nothing” and is full of bawdy zingers, grand gestures and sun-dappled scenery.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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      How Many Biographies on the Page and Screen Do You Know?

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      Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about literature that has gone on to find new life in the form of movies, television shows, theatrical productions and other formats. This week’s quiz highlights films that were adapted from the biographies or autobiographies of their notable subjects.Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the books and their screen adaptations. More

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      in Television

      What’s on TV This Week: N.F.L. Draft and ‘Bridget Jones’ Marathon

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      Football players get their chance to play in the national league. HBO airs all three movies staring Renée Zellweger.For TV viewers who still haven’t cut the cord, here is a selection of cable and network shows, movies and specials broadcasting Monday through Sunday, April 22-28. Details and times are subject to change.MondayTHE SYNANON FIX 9 p.m. on HBO. In 1958, Synanon opened their doors in California as drug rehabilitation center. But the center started using a kind of attack therapy, in which patients are verbally abused and degraded in front of a group, and several members were later charged with child abuse, assault and attempted murder. This documentary series, which had its premiere at Sundance this year, is airing its fourth and final episode this week.TuesdayTHE EXPRESS WAY WITH DULÉ HILL 9 p.m. on PBS (check local listings). In each of the four episodes of this documentary series, the actor Dulé Hill speaks to people across the country who are making art in nontraditional ways. In the first episode, Hill heads to California to meet a deaf dancer, a gay Mariachi and a cabaret group of senior citizens. The other episodes take place in Appalachia, Texas and Chicago.Anna Sawai in “Shogun.”Katie Yu/FXSHOGUN 10 p.m. on FX. This mini series, based on the 1980s NBC show and book of the same name, is wrapping up. In an interview with The New York Times, Anna Sawai, who plays Lady Mariko on the show, said that the “the last two episodes are very special” and that “the men have been physically fighting. The women are fighting their own battles.”WednesdayAMERICAN HORROR STORY: DELICATE 10 p.m. on FX. The last few episodes of the 12th season of this Ryan Murphy anthology has followed the fallout of Anna (Emma Roberts) losing a Golden Globe and Siobhan (Kim Kardashian) perhaps killing off her competition. Will Anna get all she has dreamed about? Will Siobhan face any consequences to her actions? This season finale will bring answers.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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      Lourdes Portillo, Oscar-Nominated Documentary Filmmaker, Dies at 80

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      Her films centered on Latin American experiences and received wide acclaim.Lourdes Portillo, an Oscar-nominated Mexican-born documentary filmmaker whose work explored Latin American social issues, died on Saturday at her home in San Francisco. She was 80.Her death was confirmed by her friend Soco Aguilar. No cause was given.One of Ms. Portillo’s best-known works is her 1994 documentary “The Devil Never Sleeps,” a murder-mystery in which she investigates the strange death of her multimillionaire uncle, whose widow claimed he had died of a self-inflicted gunshot wound. In 2020, the Library of Congress selected the film for the National Film Registry.“Using vintage snapshots, old home movies and interviews, the film builds a biographical portrait of Oscar Ruiz Almeida, a Mexican rancher who amassed a fortune exporting vegetables to the United States and went on to become a powerful politician and businessman,” Stephen Holden, a Times movie critic, wrote in a 1995 review of the film.The documentary had the tenor of a telenovela and presented open questions about Mr. Ruiz Almeida’s mysterious life and death and the people who could have had a motive for the murder.“The more Oscar is discussed, the more enigmatic he seems,” Mr. Holden wrote.Ms. Portillo crafted the film’s story line from the information her mother relayed over the phone while Ms. Portillo was living in New York, she said in a talk at the Academy Museum of Motion Pictures in Los Angeles last year.The museum screened the movie last year as part of a series honoring Ms. Portillo and other filmmakers who have made significant contributions to cinema.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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      With ‘The Amityville Horror,’ One House. Many Haunts.

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      The famed “Amityville Horror” film has spawned at least 45 sequels. A look at why the Amityville name has endured in the horror genre.When it comes to large film franchises, a few titans emerge: Godzilla, James Bond, Spider-Man.But there’s one movie with so many offspring, it’s giving those big boys a run for their money: “The Amityville Horror.”There are at least 45 sequels to Stuart Rosenberg’s 1979 horror drama about a family under siege by supernatural forces inside their home in suburban Amityville, Long Island. That’s more than the “Star Wars,” “Fast and Furious” and “X-Men” franchises combined.So many Amityville movies are being cranked out — at least four this year — that the horror magazine Fangoria added Best Amityville Film as a category in its annual awards last year.“There’s a built-in marketplace for the Amityville franchise,” said the director Shawn C. Phillips, whose films include “Amityville Karen” and the new “Amityville Bigfoot” with Eric Roberts. “There are people out there that will literally watch every single Amityville film they make. It’s kind of gotten to the point where filmmakers are trying to top one another.”From left, Craig Sapenoff, Tuesday Knight and Trent Haaga in “Amityville Bigfoot.”Shawn C. PhillipsTo be fair, “sequel” and “franchise” are being used generously. Fewer than 10 films make up the legit “Amityville Horror” canon, and even that number is up for debate. Like the word “Paranormal,” “Amityville” has become more of a low-effort synecdoche for generic possessions of things (“Amityville Vibrator”), holidays (“Amityville Christmas Vacation”) or locations (“Amityville in Space”). The films are mostly comedic, have micro budgets and have little continuity with the original.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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      8 New Movies Our Critics Are Talking About This Week

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      Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about even if you’re not planning to see them.A vampire flick with a familiar bite.Alisha Weir stars in “Abigail” as a 12-year-old who’s snatched one night by a half-dozen genre types.Bernard Walsh/Universal Pictures‘Abigail’A group of bumbling criminals kidnap a young girl and hold her for ransom, but the titular 12-year-old ballerina turns out to have more than just tulle up her sleeve.From our review:A cheerfully obvious splatterthon, the new horror movie “Abigail” follows a simple, time-tested recipe that calls for a minimal amount of ingredients. Total time: 109 minutes. Take a mysterious child, one suave fixer and six logic-challenged criminals. Place them in an extra-large pot with a few rats, creaking floorboards and ominous shadows. Stir. Simmer and continue stirring, letting the stew come to a near-boil. After an hour, crank the heat until some of the meat falls off the bone and the whole mix turns deep red. Enjoy!In theaters. Read the full review.Less-than-glorious “basterds.”Henry Cavill in “The Ministry of Ungentlemanly Warfare.”Daniel Smith/Lionsgate‘The Ministry of Ungentlemanly Warfare’Based on a true story of an (until recently) unknown World War II operation, this film features some ungentlemanly types who are tasked with cutting off Germany’s resources by sinking their supply ships.From our review:“The Ministry of Ungentlemanly Warfare,” the latest offering from the director Guy Ritchie, is a perfect airplane movie. That is not a compliment, but it’s not exactly a dis. Some movies shouldn’t be watched on planes — slow artful dramas, or movies that demand concentration and good sound (please do not watch “The Zone of Interest” on your next flight). But you’ve got to watch something, and for that, we have movies like this one.In theaters. Read the full review.Like if Dorothy Gale was your Uber driver.Maika Monroe plays a ride-hail driver who is fleeing a murderous passenger in “The Stranger,” written and directed by Veena Sud.Hulu‘The Stranger’In this thriller, originally released as 13 short-form episodes on the streaming service Quibi, the indie-film scream queen Maika Monroe plays a Los Angeles transplant fresh from Kansas who works as a ride-hail driver who must face off against a murderous passenger.From our review:The recut version (on Hulu) bears little trace of its earlier form, although its life span across algorithm-driven streaming companies does cast the villain’s tech preoccupations — “whoever figures out the mathematical formula determining the losers and the winners in life will rule” the world, he declares — in a new, meta light.Watch on Hulu. Read the full review.A queer period piece — but the period is summer 2020.John Early in “Stress Positions,” directed by Theda Hammel.NeonWe 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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      Ken Loach: Championing the Strugglers and Stragglers

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      A retrospective of the director’s work at Film Forum shows how his movies have kept a focus on working-class solidarity.From the start, the British filmmaker Ken Loach came out swinging in support of the underdog. Long before his films opened in theaters, his 1960s television plays introduced uncomfortable topics like back-street abortion (“Up the Junction”) and homelessness (“Cathy Come Home”) to audiences who were not always appreciative of their documentarylike realness and divisive politics.Since then, his dogged championing of society’s strugglers and stragglers has sometimes resulted in his films’ being misread or underappreciated by American audiences. (Even the British film critic David Thomson once judged Loach easier to respect than enjoy.) Inseparable from his time and place, Loach responded to the economic depression of postwar Britain — and what would become decades of Conservative rule — with an unrelenting focus on working-class solidarity. In a Loach movie, survival hinges not on individualism, but on community.Film Forum’s wide-ranging retrospective (running through May 2), which generously samples Loach’s prolific output from 1967 to the present, offers an opportunity to marvel at the breadth and emotional heft of an audacious career. In the 1990s alone (invigorated, one guesses, by 11 years of Thatcherism), he tackled topics as diverse and contentious as Northern Ireland (“Hidden Agenda”), labor rights (“Riff-Raff”), unemployment (“Raining Stones”), domestic abuse (“Ladybird, Ladybird”) and addiction (“My Name is Joe”) with an uncompromising belief in the essential drama of ordinary lives.Over time, his films have become less raw and more artful, more fluidly cinematic but with no less social relevance or political edge. (It’s notable, and shameful, that his 2019 indictment of worker exploitation, “Sorry We Missed You,” feels as justified today as it did more than three decades ago in “Riff-Raff.”) Injections of tough-minded humor have inoculated even his most tragic pictures from charges of miserabilism and opened them up to a wider audience. In “Raining Stones” (1993), for instance — about an unemployed father who takes dangerous steps to purchase his daughter’s first communion dress — a gently comic undertow eases the violence. You’ll be distressed, but you won’t be destroyed.Kris Hitchen, left, with Katie Proctor in “Sorry We Missed You.”Zeitgeist FilmsNowhere, though, is humor more essential than in two of Loach’s most wrenching dramas. In “I, Daniel Blake” (2016) — whose release in Britain sparked a parliamentary discussion — an ailing widower (Dave Johns) is repeatedly rebuffed by an impenetrable welfare system. Despite the welcome distraction of Paul Laverty’s salty, spiky dialogue, some scenes (as when Daniel accompanies an impoverished single mother to a food bank) remain so gutting I like to think even Thatcher would have crumpled.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