‘Eddington’ | Anatomy of a Scene
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‘Eddington’ Review: Once Upon a Time in the Pandemic
Ari Aster returns with a dystopian Western farce about a world gone mad that you definitely remember.The first and maybe only true jump scare in Ari Aster’s “Eddington” comes right at the start. A barefoot old man trudges down the center of a road running through an empty Western town. He’s ranting and incoherently raving as he climbs a craggy hill silhouetted against a twilight sky. He gazes, or maybe glares, out at the town below.And then, the jolt, via text onscreen: LATE MAY, 2020.Buckle up and hang on. Now we know why the streets are empty, and the man’s ravings take on some new dimension: Maybe he’s just regular unhinged, or maybe he’s been driven into lunacy by the last eight or so weeks of madness. Or maybe he’s the only sane one left. Who can tell? By late May 2020, even the most unflappable among us felt one raisin short of a fruitcake.We were living with an invisible and potentially extinction-level threat, people were dying and the sirens were unrelenting. But we were also surrounded by screens from which blared real facts, half-facts, fact-shaped nonsense and full-on gobbledygook. It all felt more real than reality itself, which in turn felt like something we had once seen in a movie.That feeling of unreal reality is what “Eddington” sets out to capture, and that is Aster’s specialty. He was introduced to us as a horror director with 2018’s “Hereditary” (family and demonic horror) and 2019’s “Midsommar” (relationship and folk horror), but in 2023 he swerved into obviously personal territory with “Beau Is Afraid” — basically therapy journals dumped out on a table and come to hilarious, psychotically anxious life.I love all of these movies, clearly designed to be feel-bad flicks and also provide twisted catharsis. It is hard to have a medium-size reaction to an Aster joint, and perhaps never more than with “Eddington.” This one is a Western, centering on Joe Cross (Joaquin Phoenix), the beleaguered asthmatic sheriff of the titular New Mexico town. He lives with his depressed wife, Louise (Emma Stone), who makes weird little dolls and sells them on the internet, and her mother, Dawn (Deirdre O’Connell), who moved in with them when the pandemic started and has gotten really into YouTube conspiracy theorists. (“Coronavirus, they used that word in 2019!” she tells her daughter and son-in-law over breakfast, by way of convincing them that this is all some kind of … well, who knows.)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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5 Free Movies to Stream on Tubi, Plex and PlutoTV
In films like Andrew Haigh’s “Weekend,” you’ll find new beginnings in time for spring. Here’s a rundown of what’s currently on Tubi, Plex and PlutoTV.Spring, with its blooms and many unfurlings, is a time of awakening. Yet birth and renewal also means being confronted with the cold light of day.The early seconds of Josephine Decker’s 2018 film “Madeline’s Madeline” opens on a theater exercise that doubles as a kind of transformation for its teenage protagonist. “What you are experiencing is just a metaphor,” she’s assured. But what it represents will prove to be confusing and brutal; growing into the world often is.Spring, of course, also welcomes the budding of new romance. In the films from this month, you’ll recognize the sudden possibilities of love, in its wonder and its terror, along with the prickly realities of coming of age. For these (mostly) young characters, it’s a season of change. Watching them, one can only hope they make it out the other end intact.‘Weekend’ (2011)Stream it on PlutoTV.The fleeting encounter is an age-old archetype kept alive by the most romantic, and perhaps idealized, corners of our imagination. But in this story of a two-night stand by Andrew Haigh (“All of Us Strangers”), a brief connection is rendered achingly deep and real.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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Timothée Chalamet Sings Live for the Bob Dylan Biopic, ‘A Complete Unknown’
The actor’s vocals so impressed the film’s director that he used the live recordings, instead of those prerecorded in a studio. Here’s a look at other actors who have hit their own high notes in musical biopics.In one trailer for the upcoming Bob Dylan biopic, “A Complete Unknown,” a fan pleads with the musician, played by Timothée Chalamet, saying that she can’t hear the music at his sold-out concert.Chalamet, his eyes hidden behind Dylan’s trademark Ray Ban sunglasses, his hair a frizzy mop, responds: “I’ll sing louder.”Biopics have often relied on creative license to portray a star, but Chalamet’s words are not just blowin’ in the wind. The songs in “Unknown,” directed by James Mangold, have resonated through generations, and Chalamet’s voice was so impressive that his live vocals — sung while performing in character — were kept for the final cut.That is not the industry standard. Some films use an original artist’s track while an actor lip-syncs. When actors in biopics do sing, it is common for them to record the vocals in a studio and then overdub them onscreen. Singing live on camera can leave a performance falling flat, especially if the actor is not a trained vocalist.But when done well, live vocals can add a touch of realism.“The idea was to get a little bit different sound in each different venue by using practical microphones from the period,” Tod Maitland, the sound mixer for “Unknown,” said in an interview with Variety this month. “That helped create a nice tapestry of sounds. But Timmy went 100 percent live. It was pretty amazing.”It’s not Chalamet’s first time at the mic — he sang in the 2023 film “Wonka,” and attended LaGuardia High School, a performing arts school in New York City.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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Ridley Scott on ‘Gladiator II,” Denzel Washington and Joaquin Phoenix
It’s been 24 years since the director Ridley Scott scored one of the biggest hits of his career with “Gladiator,” a swords-and-sandals epic starring Russell Crowe that won the Oscar for best picture. Now 86, Scott still works at a prodigious pace, sometimes even directing two films in the same year.His latest is “Gladiator II,” which picks up two decades after Crowe’s character, Maximus, died heroically in the arena. In the years since, Lucius (Paul Mescal) — Maximus’s secret son — has been shuttled to North Africa where he, too, has become a capable fighter. But war waged by the Roman general Marcus Acacius (Pedro Pascal) will draw Lucius back to his birthplace, where the clever arms dealer Macrinus (Denzel Washington) will try to manipulate the young man to further his own ambitions.In October, I met Scott at his Los Angeles office, which was decorated with posters of some of his memorable films like “Alien,” “Blade Runner” and “The Martian.” True to form, while gearing up for the Nov. 22 release of “Gladiator II,” he was already deep into preproduction for his next movie (a Bee Gees biopic set to shoot in February) and had even begun storyboarding the one after that (a sci-fi adaptation).“I feel alive when I’m doing something at this level,” he said. “I don’t call it stress, I call it adrenaline. And a bit of adrenaline is good for you.”Here are edited excerpts from our conversation.Paul Mescal in “Gladiator II.” Scott said spotting talent is crucial to directing, and added: “To me, a casting director is as important as a good camera.”Paramount PicturesA sequel to “Gladiator” had been in the works for over two decades, making it by far the longest film you’ve ever developed. What made you want to see it through?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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‘Joker’ Sequel Falls Far Short of Original at the Box Office
The bleak musical drama is on track to open to around $40 million, significantly less than what the 2019 version made on its first weekend.The original “Joker,” in 2019, earned 11 Oscar nominations, $1 billion in global box office receipts and created a cultural phenomenon. So it was inevitable that Warner Bros. would make a sequel, with the same director, Todd Phillips, and star, Joaquin Phoenix.More of a surprise is that the new film was dismissed by its audience this weekend. Titled “Joker: Folie à Deux,” and featuring Lady Gaga as Mr. Phoenix’s love interest/partner-in-crime, the bleak R-rated musical drama is on track to open to around $40 million, significantly less than what the 2019 version made on its first weekend. The studio will now struggle to earn back its production budget of around $200 million, plus its hefty marketing costs.Reviews have been dismal. The New York Times called it “a dour, unpleasant slog,” and audiences awarded it a D score in exit polls, according to tracker CinemaScore. The musical element — an idea that apparently came to Mr. Phoenix in a dream — offered audiences a fresh idea and, to many critics, it served as the proper way to further explore a deranged main character with a warped imagination. But in this case, it alienated the typical fanboy audience who would be expected to have been frothing for a follow-up to the nihilistic film that won Mr. Phoenix his Best Actor Oscar.The opening draw is a far cry from the $96 million “Joker” generated in its first weekend five years ago, almost to the day. That film cost $55 million to make. This one is contained primarily to two locations: Arkham Asylum, which houses Arthur Fleck, a.k.a. The Joker, after his murderous spree killed six people, and the courthouse, where he’s being tried for his crimes. So it shouldn’t have cost as much. But everyone was paid handsomely for their efforts, under the new production heads at Warner Bros., Michael De Luca and Pamela Abdy. (Trade reports indicate that Mr. Phoenix received $20 million to reprise his role of Arthur Fleck/Joker while Lady Gaga earned $12 million to return to the bleak world of Mr. Phillips’s creation.)“Lady Gaga in a musical was an unconventional choice,” David A. Gross, a film consultant who publishes a newsletter on box office numbers, said in an email. “‘Joker’ was a well-made character study about a dark, sad figure. That story had limited potential to grow, and ‘Folie à Deux’ is not overcoming it.”With overall box office receipts down 12 percent compared with last year at this time, Hollywood was looking for a big hit to kick off October and help the studios stoke momentum through the rest of the year. Now it looks as if it will have to rely on “Venom: The Last Dance” and the Thanksgiving movies: “Wicked,” “Gladiator 2” and “Moana 2” to recover. More
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‘Joker: Folie à Deux’ Review: Make ’Em Laugh (and Yawn)
Todd Phillips’s “Joker” sequel stars Joaquin Phoenix and Lady Gaga who sing and dance like crazy kids, but the movie is seriously un-fun.“Joker: Folie à Deux” is such a dour, unpleasant slog that it is hard to know why it was made or for whom. That’s admittedly nonsensical — it’s for us! — though no more ridiculous than anything in this sequel to “Joker” (2019). Directed by Todd Phillips and starring Joaquin Phoenix as the sad, mad clown of the title, that first movie was a success, both critically and commercially. The intensity of Phoenix’s performance, with its smoldering violence and unpredictability, drew you in, and the gestures at American violence and nihilism kept you wondering. The movie seemed to have something serious to say, which was finally its big joke.The original “Joker” won the top prize at the Venice Film Festival, and grossed more than a billion worldwide. It was also nominated for 11 Oscars (including best picture), which is only notable because that’s nearly three times the total number of nods that Martin Scorsese received for “Taxi Driver” and “The King of Comedy,” two of Phillips’s obvious touchstones. So, all things considered, and with oodles of money in the offing, a sequel was inevitable even if Phoenix’s sour frown, the movie’s barely-there story, its unrelenting grimness and its commitment to forced eccentricity suggest that no one involved was really stoked to make it.The big non-news about “Folie à Deux” is that it’s a half-baked, halfhearted musical complete with one star who can sing, Lady Gaga as Lee Quinzel a.k.a. Harley Quinn, and another (Phoenix) who can’t or won’t. Gaga and Phoenix perform assorted song-and-sometimes-dance numbers featuring classics from the Great American Songbook that are mixed in with some traditional tunes and recent songs. Anytime that Gaga sings, the movie holds you, and it’s amusing to see Phoenix getting his Gene Kelly on with some tap-tap-tapping. The numbers are distributed throughout the movie, which otherwise largely toggles between scenes of Joker — and his sad-sack civilian alter-ego, Arthur Fleck — locked in a mental institution and of him in a Gotham court, standing trial on multiple counts of murder.Written by Phillips and Scott Silver, the sequel tracks Fleck/Joker in and out of the institution where the guards (played by Brendan Gleeson, among others) are predictably barbaric and routinely mete out the usual cruel punishment. At some point, Fleck meets Lee/Harley, who’s in an adjacent ward. It’s love or insanity or something at first sight, unconvincingly, and soon they’re swapping kisses, trading weird smiles, performing duets and planning mayhem like crazy kids do in storybook romances. Despite the two leads’ obvious attractions, they never make sense as a couple in large measure because the movie itself never coheres.There are appealing moments here and there, including one scene built around courtroom testimony by Gary Puddles (Leigh Gill), a colleague from Fleck’s days as a clown-for hire. In the first movie, Puddles witnesses Fleck (or Joker) stab another colleague to death (that’s entertainment!), and now he has been called to recount the gory mess. Gill makes both his character’s tremulous fear and anguish palpable; it’s a rare moment of feeling in the movie, one that Phillips almost instantly undermines by inserting a shot showing that Puddles, who’s of short stature, is seated on a telephone book. Whether Phillips was daring — or baiting — moviegoers to laugh at this image, the cutaway only undermines the actor’s performance.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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Joaquin Phoenix and the Big Question at the ‘Joker: Folie à Deux’ Premiere
At the Venice Film Festival with his co-star, Lady Gaga, would the actor answer questions about dropping out of a Todd Haynes movie?Joaquin Phoenix has never been eager to face the press. The 49-year-old actor grants few interviews, speaks with great reluctance about his process, and once walked out on a journalist when asked whether his film “Joker” might inspire copycat violence.Knowing all that, you could already expect tension at the Venice news conference for “Joker: Folie à Deux,” a sequel to the 2019 hit that has Phoenix reprising the comic-book role that won him the Oscar. Still, this meeting with the media was expected to be particularly fraught as Phoenix has not done any press since August, when he dropped out of a film from the director Todd Haynes just days before it was supposed to shoot, scuttling the production and exposing the star to potential legal action.Hollywood has been buzzing about Phoenix’s murky motivations for weeks, not least because the project — a sexually explicit gay romance co-starring the “Top Gun: Maverick” actor Danny Ramirez — was based on an original idea by Phoenix, who brought the project to Haynes and co-wrote it with the “May December” director.Would Phoenix be willing to shed any light on the situation while in Venice or would he skip the news conference entirely, as “Don’t Worry Darling” star Florence Pugh did two years ago amid rumors of a feud with that film’s director, Olivia Wilde? While waiting for the conference to begin on Wednesday afternoon, journalists placed bets on whether Phoenix would bail twice.They were surprised, then, when Phoenix bounded into the room smiling, followed by his director, Todd Phillips, and co-star Lady Gaga. “First of all, hi everyone!” he told the press. “It’s nice to see you.”Phoenix remained upbeat and unexpectedly willing to answer questions until several minutes into the news conference, when a journalist asked whether he would share his reason for leaving the Haynes film. The actor began to answer, then paused, thinking it over.“If I do, I would just be sharing my opinion from my perspective, and the other creatives aren’t here to share their piece,” Phoenix said, referring to Haynes and his partners.He continued: “It doesn’t feel like that would be right. I don’t think that would be helpful, so I just don’t think I will.”Then he added brightly, “Thank you!”Since Phoenix dropped out of the Haynes film, it’s been reported that the actor often gets cold feet and nearly bailed on making the first “Joker.” Phillips implied as much when he talked about how he convinced Phoenix to star in a sequel. “If we were really going to do it, it had to scare him in the way the first one did,” Phillips said.The director admitted to his own nerves in bringing “Folie à Deux” to Venice, since the first film won the festival’s prestigious Golden Lion. “It’s easier to come in as the insurgent instead of the incumbent,” Phillips said.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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Venice Film Festival 2024: What to Watch For
“Joker: Folie à Deux,” with Joaquin Phoenix, and Pedro Almodóvar’s first English-language feature are on tap. Here are the questions we hope to answer.The 81st edition of the Venice Film Festival kicks off Wednesday with the premiere of Tim Burton’s sequel “Beetlejuice Beetlejuice,” and starry fare will follow, like the sexually provocative Nicole Kidman film “Babygirl” and the George Clooney-Brad Pitt team-up “Wolfs.”Here are four big questions we expect to be answered at the festival, which has long been considered the unofficial kickoff of Oscar season.Will Joaquin Phoenix face the music?A Venice debut for “Joker: Folie à Deux” has been presumed ever since the first “Joker” won the festival’s prestigious Golden Lion award five years ago. Can the sequel match that film’s success, which made more than a billion dollars at the box office and landed a best-actor Oscar for Joaquin Phoenix? The new film adds song-and-dance sequences and a potent co-star in Lady Gaga, so it’s clear that some big swings have been taken.But the “Joker: Folie à Deux” news conference at Venice may be even more keenly awaited than the movie itself now that Phoenix has made headlines for dropping out of a Todd Haynes film just as it was about to start shooting. With the actor potentially facing legal action, will he be willing to take questions about the controversy from reporters? Or will he skip the conference altogether and call to mind Florence Pugh, who famously ditched her Venice press duties for “Don’t Worry Darling” two years ago amid a rumored feud with her director, Olivia Wilde?Can ‘Queer’ and ‘Maria’ make a mark?Two of Venice’s most anticipated titles are still looking for buyers: Luca Guadagnino’s “Queer,” an adaptation of the William S. Burroughs novel starring Daniel Craig, and Pablo Larraín’s “Maria,” featuring Angelina Jolie as the opera singer Maria Callas.After the writers’ and actors’ strikes left many studios’ year-end slates looking awfully barren, you might have expected a bidding frenzy for two prestige films with major stars, but potential distributors that have screened the movies are taking a wait-and-see approach. Splashy premieres at Venice and almost-certain Oscar buzz could help make the sale.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
