Netflix Inc

Subterms

    More stories

    • 75 Shares99 Views

      in Movies

      ‘Uglies’ Review: Beauty Is a Beast

      by

      Joey King plays a teenager in a dystopian world where cosmetic surgery seems to be the cure for inequality.“Uglies,” based on the young adult book series by Scott Westerfeld, presents a cheekily vapid solution to world peace: At age 16, everyone is surgically enhanced to be pretty, thus eradicating inequality and conflict.Here, pretty has a template — imagine the uncanny valley of Instagram face with shiny eyes and full cheeks. Pre-operation, the teenager Tally Youngblood (Joey King) initially can’t wait to be made over. As she chirps, “Becoming moldy and crinkly? That goes against everything we’ve been taught!”The original book in the series was first optioned in 2006, at the dawn of the dystopian young adult craze, but the genre has mildewed in the years since — and the book’s early fans are now old enough to bemoan their own wrinkles.Still, one might counter that in the years in between, cosmetic transformations became an openly acknowledged right of passage for a class of celebutante influencers — a reality that may have occurred to the screenwriters Jacob Forman, Vanessa Taylor and Whit Anderson and the director Joseph McGinty Nichol, known as McG. (One could easily imagine Kris Jenner as an adviser to Laverne Cox’s imperious Dr. Cable, the leader of the lovelies.) To help woo the current generation of 11-year-olds, McG has concocted a fantastical, glossily repellent digital landscape that glows with neon and constant fireworks, causing the film to feel at once too sincere and too artificial.King plays Tally with more conviction than the movie deserves, alongside Keith Powers and Chase Stokes as her crushes and Brianne Tju as a punkish hoverboarder who yearns to join an anti-surgery agrarian conclave whose members reach self-actualization by reading Thoreau’s “Walden.” Though viewers can’t help but notice that the rebels are also naturally telegenic.UgliesRated PG-13 for some violence and action, and brief strong language. Running time: 1 hour 40 minutes. Watch on Netflix. More

    • 150 Shares199 Views

      in Movies

      Why You May Never See the Documentary on Prince by Ezra Edelman

      by

      Dig, if you will, a small slice of Ezra Edelman’s nine-hour documentary about Prince — a cursed masterpiece that the public may never be allowed to see.Listen to this article, read by Janina EdwardsIt’s 1984, and Prince is about to release “Purple Rain,” the album that will make him a superstar and push pop music into distant realms we had no idea we were ready for. The sound engineer Peggy McCreary, one of many female engineers he worked with, describes witnessing a flash of genius during the creation of his song “When Doves Cry.” Over a two-day marathon recording session, she and Prince filled the studio with sound — wailing guitars, thrumming keyboards, an overdubbed choir of harmonizing Princes. It was the sort of maximalist stew possible only when someone is (as Prince was) a master of just about every musical instrument ever invented. But something wasn’t right. So at 5 or 6 in the morning, Prince found the solution: He started subtracting. He took out the guitar solo; he took out the keyboard. And then his boldest, most heterodox move: He took out the bass. McCreary remembers him saying, with satisfaction, “Ain’t nobody gonna believe I did that.” He knew what he had. The song became an anthem, a platinum megahit.The next sequence starts to probe the origins of Prince’s genius, how it grew alongside a gnawing desire for recognition. His sister, Tyka Nelson, a woman with owlish eyes and pink and purple streaks in her hair, appears onscreen. She describes the violence in their household growing up. How their musician father’s face changed when he hit their mother. The ire he directed at his son, on whom he bestowed his former stage name, Prince — a gift, but also a burden, a reminder that the demands of supporting his children had caused him to abandon his own musical career. Prince would risk lashings by sneaking over to the piano and plinking away at it — the son already embarked on his life’s work of besting his father, the father giving and withdrawing love, the son doing the same.Cut to Jill Jones, one in a long line of girlfriend-muses whom Prince anointed, styled, encouraged and criticized. Hers is one of the most anguished testimonies in the film, revealing a side of Prince many of his fans would rather not see. Late one night in 1984, she and a friend visited Prince at a hotel. He started kissing the friend, and in a fit of jealousy, Jones slapped him. She says he then looked at her and said, “Bitch, this ain’t no [expletive] movie.” They tussled, and he began to punch her in the face over and over. She wanted to press charges, but his manager told her it would ruin his career. So she backed off. Yet for a time, she still loved him and wanted to be with him, and stayed in his orbit for many more years. Recounting the incident three decades later, she is still furious, still processing the stress of being involved with him.In the next sequence, it’s the evening of the premiere of “Purple Rain,” the movie, which will go on to win the Academy Award for best original song score in 1985. Prince’s tour manager, Alan Leeds, was with him in the back of a limo on the way to the ceremony. He remembers one of Prince’s bodyguards turning to Prince and saying: “This is going to be the biggest day of your life! They say every star in town is there!” And Prince clutched Leeds’s hand, trembling in fear. But then, as Leeds tells it, some switch flipped, and “he caught himself.” Prince’s eyes turned hard. He was back in control. “That was it,” Leeds says. “But for maybe 10 seconds, he completely lost it. And I loved it. Because it showed he was human!” In the next shot, we see Prince emerging from the limo and walking down the red carpet in an iridescent purple trench coat over a creamy ruffled collar, his black curls piled high. He swaggers, twirling a flower, unbothered: a creature of regal remove.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 163 Shares159 Views

      in Movies

      ‘The Interview’: Change Can Be Beautiful. Just Ask Will Ferrell and Harper Steele.

      by

      How well do we know our friends? Our neighbors? Ourselves? In the new documentary “Will & Harper,” which opens in select theaters on Sept. 13 and will stream on Netflix starting Sept. 27, the superstar comedian Will Ferrell and his best friend and frequent collaborator, Harper Steele, take a New York-to-California road trip together to try to answer those questions.Listen to the Conversation with Will Ferrell and Harper SteeleThe superstar comedian and his best friend and collaborator discuss the journey that deepened their friendship.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppHitting the highway on a quest for meaning is a classic American story, but it hasn’t been told in exactly this fashion before: Steele is a trans woman who came out to her friends, including Ferrell, two years ago. That was after years as a comedy writer, many of them at “Saturday Night Live,” where they both worked and where Steele eventually became a head writer. The two friends explained to me that the show wasn’t always the easiest environment, though they have different reasons for saying so. They also experienced some ups and downs on their cross-country drive, which gave them a chance to talk through what Steele’s transition means for their friendship and to get a clearer sense of how their fellow Americans feel about transgender identity.As you might expect, the film’s soul-searching often comes wrapped in laughs. But given the politicization of trans rights, even situations the duo set up for silly comedy can turn tense. There’s a key scene in the documentary in which Steele and Ferrell stop for what they hope is a goofy eating challenge at a rowdy Texas steakhouse. It does not wind up being goofy.That scene, and this emotionally wide-ranging film, evoked feelings in me that work by Will Ferrell hasn’t before. (And I say that as someone who will happily argue for the deeper resonance of his gloriously idiotic “Step Brothers.”) But as “Will & Harper” the movie and Will and Harper the people attest, change can very often be a good and necessary thing — a funny one too.The hard-hitting first question: How did you become friends? Ferrell: We became friends at “Saturday Night Live.” We were hired in the summer or fall of 1995, and we were all this brand-new group. No one knew each other, and one day Harper and I went to lunch. A very pivotal lunch for me. More

    • 125 Shares99 Views

      in Television

      That’s a Great Reality TV Set. Let’s Use It Again.

      by

      “The Circle” is one of many current shows using the same state-of-the-art production hub to shoot a variety of international versions.In “The Circle,” a reality competition show on Netflix, a group of strangers are sequestered for days inside a multistory apartment complex, angling to survive rounds of eliminations to win a cash prize, much like “Big Brother.” The twist is that the players can’t see or hear one another, and must communicate via text — people might not be what they seem, and anyone, at any time, could be catfishing.As it turns out, “The Circle” has been doing some impersonation of its own, with one sleek setting standing in for a local building across several international versions of the show.The neon-lit compound — which was initially a housing block in Salford, England, before moving, in 2023, to a complex in Atlanta, Georgia — has not only been the set for the series’ flagship American edition, which returns to Netflix for a seventh season on Sept. 11. It has also been used for “The Circle Brazil,” France’s “The Circle Game,” the British version of “The Circle” and its 2020 spinoff “The Celebrity Circle.” With minimal adjustments, the show can look like it’s located virtually anywhere in the world.“We need a building with 10 rooms, without noise bleed, that looks great, is in a cool location, and that can house a team of 200 people in the basement,” Jack Burgess, an executive producer on “The Circle,” said in a recent interview. “That’s a hard thing to find, so of course you want to make the most of it.”“The Circle” is one of many current reality programs taking advance of international production hubs: state-of-the-art bases where multiple production companies can pool resources to make versions of a show tailored to a variety of global markets.The “Circle” building for the upcoming seventh season of the U.S. show. via NetflixWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares99 Views

      in Television

      In ‘Nobody Wants This,’ Adam Brody Keeps the Faith

      by

      Adam Brody’s bar mitzvah was held six months late. It was barely held at all. This was in San Diego, Calif., in the early 1990s, and Brody, who spent most of his free time surfing, attended Hebrew school only under duress. He knew few other Jews.“I wanted long, straight blond hair,” he said. “All my idols were named Shane.”A decade later, after a cursory stint at community college, an impulsive move to Los Angeles, a handful of television one-offs and a brief arc on “Gilmore Girls,” Brody became the most famous Jewish (well, half Jewish) high schooler in America. (He was actually 23, which made the fandom a little tricky.) Starring as Seth Cohen on the sun-kissed teen romantic dramedy “The O.C.,” he played a curly-haired heartthrob, responsible for introducing the holiday portmanteau “Chrismukkah” into the lexicon.“Adam has that quality of it being very Adam,” said Valerie Faris, the director of “Nobody Wants This.” “But at the same time, it’s perfect for the character too.” Josh Schwartz, a creator of “The O.C.” put a lot of himself into Seth. But Brody, he said in an interview, brought charisma and a surfer cool to a character who could have come off as merely nerdy. “He’s an aspirational Jew,” Schwartz joked of Brody.The “O.C.” ended four years later. (Beachy TV can accommodate only so many car crashes and love triangles, and 20-somethings can’t play teens forever.) Brody worked steadily for the next two decades, darting between film and television. Mostly he played variations on a theme, the nice guy, although they aren’t always so nice. As he reminded me over lunch in Santa Monica, “I’ve played my fair share of rapists and murderers.”But Brody’s gift is for comedy — comedy flecked with emotional complication. He reminded viewers of this in the 2022 limited series “Fleishman Is in Trouble,” in which he plays another aspirational Jew, a likable finance guy. (This is harder than it looks.) He is now the star of “Nobody Wants This,” a Netflix romantic comedy about Noah (Brody), a Los Angeles rabbi, who falls for Joanne (Kristen Bell), an outspoken non-Jewish podcaster. It premieres on Sept. 26.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

    • 75 Shares149 Views

      in Television

      ‘Terminator Zero’ Reinvigorates a Weary Franchise

      by

      The Netflix anime series channels familiar themes without feeling like a retread.“Terminator 2: Judgment Day” was a megahit in 1991, and every installment of the franchise since has been at least a little disappointing. Until now: The Netflix anime series “Terminator Zero” is a smart take on the lore, channeling familiar themes without feeling like a retread.Developed by Mattson Tomlin, “Terminator Zero,” does not focus on Sarah and her son, John Connor, the protagonists of James Cameron’s first two movies and many of the follow-ups. (The short lived Fox show “Terminator: The Sarah Connor Chronicles” was actually pretty fun.)Instead, “Terminator Zero” takes place in Japan and centers on a scientist named Malcolm Lee, voiced in the English dub by André Holland, who gives the character the requisite gravitas for his philosophizing. It is 1997, which “Terminator” fans will recognize as a significant year: That’s when the so-called “Judgment Day” takes place and the artificial intelligence known as Skynet turns on humanity and launches a nuclear attack. Malcolm knows this is coming and has built a competing A.I. he calls Kokoro, voiced by Rosario Dawson.At the same time, Malcolm’s three children and their nanny (Sumalee Montano) are being pursued by two visitors from the future: A Terminator (Timothy Olyphant) — this one comes with a crossbow arm — and a resistance fighter (Sonoya Mizuno). Their true target is Malcolm, because of the impact he might have on potential futures.Directed by Masashi Kudō, there is a haunting beauty to “Terminator Zero,” particularly when Malcolm consults with Kokoro in his lab. As the A.I. debates the case for humanity’s survival with its tormented creator, it is personified by multiple ghostly hovering figures. The score by Michelle Birsky and Kevin Henthorn, a lighter riff on Brad Fiedel’s clanging “Terminator Theme,” is less abrasive but often even more chilling.Through a mixture of stunning animation, extravagantly bloody action and heady philosophical questions — What kind of future is worth fighting for? Who is worth sacrificing for the greater good? — “Terminator Zero” breathes new life into a franchise that has often seemed stuck in a time loop of its own. More

    • 138 Shares99 Views

      in Television

      Netflix Adds Disclaimer to Indian Show After Anger Over Hijacker Names

      by

      The series, based on a 1999 plane hijacking, prompted backlash on social media. Critics claimed it wrongly portrayed the Islamist hijackers as Hindus.Netflix expanded a disclaimer for Indian audiences with a fictional series inspired by the 1999 hijacking of a plane by Islamist militants, after social media users and a high-ranking member of India’s ruling party accused it of portraying the hijackers as Hindus.“IC 814: The Kandahar Hijack,” released last week, became the latest production by a Western streaming giant to find itself in the cross hairs of India’s Hindu nationalist movement, which has been accused of building up an increasingly intolerant atmosphere in the country.The series shows five Islamist militants hijacking an Indian Airlines flight from Nepal to India, and their interactions with the plane’s crew and passengers. In the show, the hijackers refer to themselves by code names, including “Shankar,” a common name for Hindu men.That prompted anger among many social media users, with some accusing the producers of playing down the Muslim identity of the hijackers. A national official of the ruling Bharatiya Janata Party, Amit Malviya, said the series’ use of the hijackers’ aliases “legitimized their criminal intent.”“Decades later, people will think Hindus hijacked IC-814,” Mr. Malviya, who oversees information technology and social media for the B.J.P., wrote on X on Monday.India’s Ministry of Information and Broadcasting summoned a Netflix executive to discuss the government’s grievances about the show, according to local media reports.“For the benefit of audiences unfamiliar with the 1999 hijacking of Indian Airlines Flight 814, the opening disclaimer in India has been updated to include the real and code names of the hijackers,” Netflix said in a statement on Tuesday.During the actual hijacking of the flight, over eight days, the militants forced the pilots to fly the plane to a number of locations, including Dubai, and then Kandahar, Afghanistan, which was ruled by the Taliban at the time. The plane’s passengers were freed after India released three Pakistanis who had been held under terrorism charges.The Indian government said at the time that the five hijackers were from Pakistan and used code names, including “Shankar,” in front of the passengers and crew to conceal their identities.Before the show’s release on Aug. 29, its director, Anubhav Sinha, told Scroll, an Indian news site, that his goal was to present the event “exactly in the manner in which it happened.”The updated disclaimer on Netflix now says the series “does not make any claims of authenticity or historical correctness” of the events featured in it. It also lists the hijackers’ real names: Ibrahim Athar, Shahid Akhtar Sayed, Sunny Ahmed Qazi, Mistri Zahoor Ibrahim and Shakir.This is not the first time major streaming platforms have faced pressure from Hindu nationalists in India.Netflix in January removed a film after Hindu nationalists said it mocked Hinduism. The makers of a 2021 Amazon series cut some scenes after critics accused them of disrespecting Hindu gods. More

    • 188 Shares179 Views

      in Television

      New Movies and TV Shows Coming to Netflix in September: ‘The Perfect Couple’ and More

      by

      A glitzy mystery starring Nicole Kidman arrives early this month; later, a new true-crime series tells the troubling tale of Lyle and Erik Menendez.Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of September’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)‘The Perfect Couple’Starts streaming: Sept. 5Reminiscent of both “The White Lotus” and “Big Little Lies,” this adaptation of an Elin Hilderbrand novel is part murder mystery and part social satire, covering the secrets and prejudices of two families at a Nantucket wedding. Eve Hewson plays Amelia, a middle-class gal about to marry into a rich and famous clan, led by the pot-smoking patriarch Tag Winbury (Liev Schreiber) and his hyper-judgmental wife, Greer (Nicole Kidman), a best-selling author. When a member of the wedding party turns up dead on the beach, the police interrogate the guests, gradually piecing together a story that involves deceit and old grudges. Directed by the veteran art-house filmmaker Susanne Bier (who also directed the Netflix hit “Bird Box”), “The Perfect Couple” is less about the crime than it is about the delusions and pretensions it exposes.‘Rebel Ridge’Starts streaming: Sept. 6After making a foray into literary adaptation with “Hold the Dark” (2018), the writer-director Jeremy Saulnier gets back to the lean pulp thrills of his critically acclaimed “Blue Ruin” and “Green Room” with his latest movie. “Rebel Ridge” features an original Saulnier script about a military veteran named Terry Richmond (Aaron Pierre), who has a run in with some swaggering rural southern cops. The officers seize his money, then conspire to punish him further when Terry pushes back. AnnaSophia Robb plays a court clerk who helps Terry dig into the rot spilling downward from the corrupt local police chief (Don Johnson). Although the film deals with the serious contemporary social issue of civil asset forfeiture, in spirit it has a lot in common with the likes of “Walking Tall,” “First Blood” and other old-school action pictures in which one man takes on a whole town.‘Monsters: The Lyle and Erik Menendez Story’Starts streaming: Sept. 19In 2022, the producer Ryan Murphy and his frequent creative partner Ian Brennan delivered one of Netflix’s most-watched mini-series with the Emmy-nominated “Dahmer — Monster: The Jeffrey Dahmer Story,” a dramatization of the life and crimes of a notorious serial killer. The next season of their ripped-from-yesterday’s-headlines anthology series pluralizes the title — from “Monster” to “Monsters” — and covers the brothers Lyle (Nicholas Alexander Chavez) and Erik (Cooper Koch) Menendez, who murdered their parents, José (Javier Bardem) and Kitty (Chloë Sevigny), in 1989. The cast also includes Ari Graynor as Leslie Abramson, the attorney who attempted to paint the brothers in court as the victims of an abusive father, and Nathan Lane as Dominick Dunne, the Vanity Fair columnist whose reporting on the trial was filled with gossipy detail about the Menendezes’ upscale Los Angeles lives.‘Twilight of the Gods’ Season 1Starts streaming: Sept. 19Zack Snyder’s latest Netflix project is this adult-oriented animated series, set in the lusty, violent milieu of Norse mythology. When Thor (Pilou Asbaek) disrupts a mortal wedding and instigates a devastating massacre, the bride and groom — the warrior Sigrid (Sylvia Hoeks) and a king named Leif (Stuart Martin) — set out on a mission of revenge. Soon, they and their soldiers find themselves caught up in ancient rivalries, involving the likes of Loki (Paterson Joseph) and Odin (John Noble). Snyder and his “Twilight of the Gods” fellow creators, Eric Carrasco and Jay Oliva, don’t spare the gore or the nudity as they tell a tale that stretches from the underworld to the land of giants, with a Hans Zimmer score to help set a grand, epic tone.‘Nobody Wants This’ Season 1Starts streaming: Sept. 26Based loosely on the personal experiences of its creator, Erin Foster, the romantic comedy “Nobody Wants This” stars Kristen Bell as Joanne, a popular podcaster who riffs on sex and dating alongside her sister Morgan (Justine Lupe). Then Joanne meets Noah (Adam Brody), a sweet and funny rabbi who recently broke up with his longtime girlfriend and has since been fending off a steady stream of his congregants’ daughters and nieces. The show is partly about how an agnostic exhibitionist and an emotionally reserved, deeply religious guy overcome their differences and form bonds, with each other and with their respective sets of friends and family. But it’s also about two middle-aged people searching for some grounding and direction in their hectic lives.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