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      Stream These Movies and Shows Before They Leave Netflix in December

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      A bunch of movies and TV shows are leaving for U.S. subscribers by the end of December. Here’s a roundup of the best.Two excellent independent dramas leave Netflix in the United States early this month, so get on them while you can; other present-wrapping background possibilities include a Liam Neeson action flick, two animated comedies and an easy-breezy comedy-drama about the rich and the doctor who serves them. (Dates indicate the final day a title is available.)‘White Girl’ (Dec. 2)Stream it here.Morgan Saylor, best known at the time this movie was released, in 2016, for her work as an all-American teen daughter on “Homeland,” raised some eyebrows when this sexually frank and pharmaceutically candid indie drama debuted. She stars here as Leah, a New York City college student whose adventures in casual sex and recreational drugs take up much of the picture’s running time. But this is no lazy exercise in shock value; the writer-director Elizabeth Wood based her script on her own rocky youth and treats her protagonist with an expected, but still refreshing, nonjudgmental sympathy. It’s a vivid and occasionally troubling movie, but it never feels forced or inauthentic.‘The Commuter’ (Dec. 3)Stream it here.This 2018 action drama was an early entry in a seemingly endless line of late-period action vehicles for Liam Neeson, the Oscar-nominated star of “Schindler’s List.” Here, he plays Michael MacCauley, an ex-cop who just lost his job as a life insurance salesman; on the commuter train home, he is drawn into a complicated scheme involving contract killers, dirty federal agents and the would-be witness they’re supposed to protect. Jaume Collet-Serra directed several of Neeson’s action pictures before this one, and he had already figured out how to play to his strengths, even if this one is essentially a relocated remake of their earlier film “nonstop.” And Collet-Serra handles the big set pieces with flair, particularly a long fight scene between Neeson and a hit man, in which the two men demolish each other and their train car using their fists, glass and, at one point, an electric guitar.‘Trolls’ (Dec. 7)Stream it here.Some family movies — like, say, “Wild Robot,” or “Inside Out” — truly offer fun for the whole family. So let’s clear this up right away: “Trolls” is not one of those movies. It’s an aggressively over-the-top experience, big and broad and loud and frequently obnoxious. But kids absolutely love it (take it from a father of two), and it’s not hard to see why: The songs are catchy, the performers — especially the leads, Anna Kendrick and Justin Timberlake — are having a good time, and the never-give-up messaging is valuable (particularly in Kendrick’s charming solo number “Get Back Up Again”).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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      Colman Domingo Makes Sense of ‘The Madness’

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      The Netflix thriller uses a murder mystery to explore the dangers of misinformation and conspiracy theories. “It’s this flood of not knowing what to believe,” the actor says.The actor Colman Domingo had recently finished back-to-back shoots for the films “Rustin” and “The Color Purple.” He was not looking to star in a series, let alone a series in which the main character seemingly never stops talking. “I’ll be very honest,” he said. “I was trying to rest.” But when his agent sent him the scripts for “The Madness,” he couldn’t help himself.“I thought, Yeah, this is just too good,” he said.This was on a recent evening, and Domingo had joined a video call to discuss “The Madness,” an eight-episode thriller that premieres Thursday on Netflix. Domingo stars as Muncie Daniels, a CNN pundit who has become increasingly alienated from his family, his community and even his own beliefs. When a white supremacist is murdered and Muncie is falsely accused of the crime, he goes on the run, embarking on a journey that reconnects him with what he values. (It also connects him to television’s current favorite villain: a shady billionaire.)A suspenseful series, set largely in Philadelphia and the Poconos, “The Madness” is a showcase for Domingo and a meditation on the dangers of misinformation, disinformation and conspiracy theories, though some of those theories turn out to be true. Domingo, who is currently shooting a new project in Beacon, N.Y. (he is bad at resting), joined the showrunners Stephen Belber, based in New York, and V.J. Boyd, who called in from Los Angeles, to discuss conflict, repair and why cable news is never the answer. These are edited excerpts from the conversation.Why did you want Colman?STEPHEN BELBER I’ve been a fan since his theater days. I wanted this weirdly beautiful blend of grace and force that Colman brings to everything he touches. It was what Muncie required. There’s a certain bombast to him, but there’s a certain vulnerability. And then remembering that Colman is from West Philly, the universe was speaking to us.V.J. BOYD It was very important that we had someone who had great presence, because this is a show where the protagonist is front and center.And Colman, why did you want to do the series?COLMAN DOMINGO I had questions about our society, about who’s pulling the strings, about disinformation, about why we’re so divided. All these questions that I had, they were uncovering. They were saying, “Let’s bring this to the forefront.” I wanted to be the instrument. I understand this character deeply.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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      Lottery to Be Held for Coveted Seats at Menendez Brothers Hearing

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      The court is expecting high demand and has announced a public lottery for a limited number of seats at a status hearing in Los Angeles on Monday.What’s one of the most exclusive tickets in Los Angeles? It may not be what you think.A lottery is being held on Monday to determine who will be the 16 people who get to witness what happens next in the case of the Menendez Brothers, who are serving life sentences for murdering their parents in 1989.The drawing will take place between 8 a.m. and 9 a.m. Pacific time, in front of the Van Nuys Courthouse West, the Superior Court of Los Angeles County said. The seats for 16 people, in a county of more than 10 million residents, will be allocated just one hour before the status hearing is set to begin at 10:30 a.m.The court occasionally holds public lotteries “when seating is limited and public interest is high,” a court spokesperson said in an email.The high level of interest in the case is in part spurred by a new series as well as a new documentary on Netflix that detail the brothers’ abuse allegations against their parents. Erik and Lyle Menendez killed their parents, Jose and Kitty Menendez, more than 35 years ago in their Beverly Hills mansion.The Menendez brothers were found guilty of first-degree murder in 1996 and sentenced to life in prison without parole. At the time, the judge said that he sentenced each brother to two consecutive life sentences because they had carefully decided to kill their parents.In the almost three decades since, the public perception of Lyle and Erik Menendez, who were 21 and 18 when they committed the murders, has shifted somewhat. Many have shown their interest in the murders in social media posts, and have often pushed for the brothers’ release, with the renewed attention earning them a new class of defenders.Last month, the Los Angeles County district attorney, George Gascón, said he would request that the brothers be resentenced, which could ultimately lead to their release.“I came to a place where I believe that under the law, resentencing is appropriate,” said Mr. Gascón, who has since lost his seat.The brothers could also find freedom through clemency from California’s governor, for which they have petitioned. Gov. Gavin Newsom has said he would hold off on considering that request until the new district attorney, Nathan Hochman, takes office early next month and has had a chance to review the case. More

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      ‘A Man on the Inside’ Review: Ted Danson in Another Good Place

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      Created by Michael Schur and starring Danson, this Netflix sitcom synthesizes the most gutting realities of life and death into cozy, low-stakes comedy.“A Man on the Inside,” created by Michael Schur and starring Ted Danson, synthesizes the most gutting realities of life and death into a cozy, low-stakes comedy populated by well-intentioned sweethearts. The show is as gentle and mild as baby soap, though it could hardly promise no tears.Danson stars as Charles, whose wife died a year earlier from complications of Alzheimer’s. He is a retired professor and a San Francisco booster who wrote a book about the Golden Gate Bridge; he has a warm but arm’s-length relationship with his daughter, Emily (Mary Elizabeth Ellis), who encourages him find a project or hobby. So he responds to an ad in a newspaper and finds himself working for a private investigator, going semi-undercover in a Bay Area retirement community.The show is loosely based on “The Mole Agent,” a Chilean documentary from 2020, though the stakes here have been dialed way down: While the figures in the film were investigating potential abuse in an elder-care facility, here the narrative clothesline is a missing necklace. The only person truly aggrieved by its absence is the necklace owner’s son (Marc Evan Jackson), who icily describes his mother moving back in with him as “suboptimal.”Under the weakly exasperated guidance of Julie (Lilah Richcreek Estrada), the investigator, Charles moves into Pacific View. Virginia (Sally Struthers), an aggressive flirt, and Florence (Margaret Avery), an energetic poet, take an immediate liking to him, which bothers Virginia’s on-again-off-again lover, Elliott (John Getz), who declares Charles his “sexual rival.” Calbert (Stephen McKinley Henderson) and Charles develop the rom-com-y friendship that would be doomed by Charles’s duplicity were the show not defined by its characters’ deep wells of forgiveness. Didi (Stephanie Beatriz) is the devoted administrator running the facility, cheery and capable. Mostly, Pacific View is like a resort, with parties and companionship and dignified care. According to Didi, loneliness is as detrimental to seniors as any aspect of aging.Perhaps it is merciful not to dwell in the self-dissolving agony of dementia, for death to be peaceful, hygienic and offscreen. A subplot about a declining woman named Gladys (Susan Ruttan) is central to the story and handled gracefully — shallowly. Better to discuss a fancy watch that costs $10,000, which the characters do, often, or run up an $800 Uber tab. Elliott, the most ornery and cynical resident, can’t stay mad long, and he encourages Charles to simply become inured to his peers losing themselves.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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      Mike Tyson and Netflix Are Sluggish During a Hyped Fight

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      Tyson looked slow and unsteady in a dull loss to Jake Paul. For many, Netflix’s latest live programming was hindered by buffering.The anticipated boxing match between Jake Paul, the 27-year-old social media influencer, and Mike Tyson, the 58-year-old former heavyweight champion, ended in unspectacular fashion on Friday night as boos rained down from the crowd at AT&T Stadium in Arlington, Texas.Paul was declared the winner after eight dull rounds during which Tyson looked slow and exhausted. Many fans watching at home were just as displeased: Netflix, which was airing the fight as part of its expansion into live programming, experienced a variety of technical difficulties.Here are three takeaways from the event:A Made-for-Streaming SpectacleThe night’s final match was not one to remember, but it capped days of spectacle.During their weigh-in on Thursday, Tyson slapped Paul across the face, explaining later that Paul had stepped on his foot. After the fight, Paul and Tyson seemed to forgive each other in the ring. “That was a good slap, I liked that,” Paul said.Paul had entered the ring after a dramatic walkout during which he and his brother, Logan, approached in a slowly moving car. Paul, who has compiled an 11-1 record since his first professional boxing bout in 2020, easily won the fight by landing effective punches that broke through Tyson’s defense. Tyson, who last fought an official match in 2005, fell to 50-7.Netflix took advantage of the event to show off for its more than 280 million subscribers. People dressed as characters from “Squid Game,” whose second season releases next month, were shown ringside. After one of the night’s earlier fights, Netflix played a trailer from Jamie Foxx and Cameron Diaz’s upcoming movie, “Back in Action,” which will premiere in January.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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      Jake Paul-Mike Tyson: What to Know About the Fighters

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      This Guy VS. That Guy Meet the 27-year-old social media influencer and 58-year-old former heavyweight champion who are gearing up for a bizarre boxing match. The Curious Fight Between Jake Paul and Mike Tyson The most-watched program on Netflix this weekend may not be a documentary or a romantic comedy. Instead, millions of people are […] More

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      Two Boxing Rivals Are Ready for a Rematch. Hold the Trash Talk.

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      Fierce rivalries are a cornerstone of boxing. But Katie Taylor and Amanda Serrano, who will fight for a championship title on Netflix on Friday, are going about it differently.When Katie Taylor defeated Amanda Serrano at Madison Square Garden two years ago in what was billed as the biggest women’s boxing match in history, the calls for a rematch started before the sweat and blood even had a chance to dry.A new rivalry was born. Fans and pundits wanted more. But the trash talk that is synonymous with boxing was largely absent.That was April 2022. On Friday night, Taylor and Serrano are finally set for a rematch on an even bigger stage — Netflix — and under even bigger headline names: Mike Tyson and Jake Paul.And yet the trash talking has been scarce — at least as far as Taylor and Serrano are concerned.“It’s definitely business, I respect all of my opponents,” Serrano, 36, said in a recent interview. “I respect any woman that does this sport, that goes into the ring and gets punched in the face. The sport isn’t easy.”“We have mutual respect,” Taylor, 38, said, “because I know how much courage it takes to step into the ring.”Fierce rivalries are a cornerstone of boxing. Mutual hatred builds a story line around a match that is maintained and encouraged by promoters and the media.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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      ‘Cross’ and ‘The Lincoln Lawyer’ Offer Different Spins on the Same Formula

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      Within the boundaries of the crime-solving genius genre, “Cross” represents the dark yin and “The Lincoln Lawyer” the bright yang.On the page, Alex Cross, the embittered psychologist created by James Patterson, leads his fellow fictional crime solver Mickey Haller, the flamboyant lawyer created by Michael Connelly, 32 novels to seven. On the small screen, the tables turn: The Haller series “The Lincoln Lawyer” debuted its third season last month on Netflix while the first season of “Cross,” announced nearly five years ago, finally arrives Thursday on Amazon Prime Video.But who’s counting? There appears to be endless space in the current marketplace for brilliant but wounded investigators, and Haller and Cross share an essential marker of the contemporary crime-drama hero. Their personal traumas — Cross’s loss of his parents and wife, Haller’s issues with his father and with addiction — generate much of the tension in their stories, reducing the need for real complexity of personality or the clever unraveling of mystery.Formulas can be executed in different ways, however, and the two shows provide radically different viewing experiences. Within the boundaries of the problematic-genius formula, “Cross” represents the dark yin and “The Lincoln Lawyer” the bright yang. “Cross” goes for self-consciously heavy, “The Lincoln Lawyer” for perilously light. Most significant, perhaps, “Cross” is out to sanctify its protagonist; “The Lincoln Lawyer,” while it provides Haller with a full allotment of anguish, never asks us to feel sorry for him.The creator of “Cross,” Ben Watkins, previously created the eccentric neo-noir “Hand of God,” also for Amazon. The penchants he demonstrated then for hair-raising imagery, and for throwing together tones and styles, carry through to the new show. Choosing not to base “Cross” on a specific Patterson novel (unlike film adaptations including “Kiss the Girls” and “Along Came a Spider”), Watkins frees himself to cook up a lurid but not very exciting stew of serial-killer horror, buddy-cop action, social-justice point-making and sentimentality.Cross, played by Aldis Hodge (“Leverage”), is a District of Columbia police detective with a Ph.D. in psychology. We meet him on the occasion of his wife’s murder, and for eight episodes the character shuttles between dour grief and bellowing anger; Hodge, usually a magnetic performer, settles on a glaring, unmediated intensity.The A plot, in which Cross investigates the murder of a defund-the-police activist, blossoms into a richly nonsensical “Silence of the Lambs”-style fantasia. Common sense is left far behind, in matters large and small; at one slap-your-forehead juncture, a cop yells, “He could be anywhere!” seconds after the killer escapes, while his car can still be heard in the near distance.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