Television

Subterms

    More stories

    • 138 Shares119 Views

      in Movies

      Stream These Movies and Shows Before They Leave Netflix in November

      by

      A slew of great movies and TV shows are leaving Netflix for U.S. subscribers in November. Here’s a roundup of the best.Three inventive and engaging biopics are leaving Netflix in the United States this month, along with a scorching stage adaptation, a thrilling Tom Cruise vehicle and an animated comedy that is decidedly not for the kiddies. (Dates indicate the final day a title is available.)‘Edge of Tomorrow’ (Nov. 6)Stream it here.If James Cameron remade “Groundhog Day,” it might come out looking like this fast, funny and thrilling Tom Cruise vehicle from the director Doug Liman (“The Bourne Identity”). Cruise stars as a military public relations man with a cowardly streak who is reluctantly thrown onto the front lines, where he discovers he is trapped in a time loop: When he is killed, he jolts awake back at the beginning of his adventure, forced to keep doing it until he gets it right. Emily Blunt is dynamite as the heroic soldier who shows him the ropes (and has a fair number of laughs at his expense), while Liman orchestrates the comic and action beats with equal grace and skill.‘First Man’ (Nov. 14)Stream it here.A common thread of this month’s titles is unconventional biopics — stories about important historical figures that mostly manage to eschew the cradle-to-grave framing, on-the-nose dialogue and shallow insights of too many screen biographies. Take this portrait of Neil Armstrong, first man on the moon, which is less interested in telling a broad historical story than an intensely personal one. As played by Ryan Gosling, Armstrong is a modest man, one who takes that “one giant leap” more from a sense of duty and service than from ambition or ego. It’s a character study; the character just so happens to be the first man to walk on the moon. The director Damien Chazelle, re-teaming with his “La La Land” leading man, is as aware of the biopic clichés as you are, and he smoothly sidesteps most of them to make a picture that is surprisingly urgent and emotional.‘Harriet’ (Nov. 15)Stream it here.The “Eve’s Bayou” director Kasi Lemmons directs this similarly outside-the-lines dramatization of the life of Harriet Tubman, brought to scorching life by the gifted Cynthia Erivo (on the big screen this fall in “Wicked”). The telling is fairly direct: Working from a script written with Gregory Allen Howard, Lemmons hits the biographical milestones in Tubman’s journey from slave to runaway to guide for those who wished to do the same. But Lemmons’s direction is artful and lyrical, taking its cues from the visions that Tubman said guided her, which gives the enterprise an almost otherworldly quality. Erivo’s performance is powerful and textured; she is supported by an excellent cast, including Joe Alwyn, Vanessa Bell Calloway, Vondie Curtis-Hall, Janelle Monáe, Leslie Odom Jr. and Clarke Peters.‘Sausage Party’ (Nov. 22)Stream it here.Parents who aren’t quite paying full attention might assume that this animated feature about anthropomorphic supermarket foods is typical kiddie fare — and boy, oh boy, would they be in for a surprise. This is very much an R-rated, adults-only venture, the brainchild of the actor and filmmaker Seth Rogen and his frequent collaborator Evan Goldberg. As with their previous films “Superbad,” “Pineapple Express” and “This Is the End,” the jokes are rude and crude, and the cast is stuffed with comic stars. But the nicest surprise of “Sausage Party” is its thoughtfulness; in the end, it’s a pointed examination of conventional wisdom surrounding religion and death, which is not quite what you might expect from a film that culminates in a food orgy.‘Ali’ (Nov. 30)Stream it here.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 Shares179 Views

      in Movies

      Best Movies and Shows Streaming in November: ‘Bad Sisters,’ ‘Cruel Intentions’ and More

      by

      “Cruel Intentions,” “Music by John Williams” and “Dune: The Prophecy” arrive, along with “Bad Sisters” Season 2.Every month, streaming services add movies and TV shows to their libraries. Here are our picks for some of November’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.)New to Amazon Prime Video‘Cruel Intentions’ Season 1Starts streaming: Nov. 21The 1999 movie melodrama “Cruel Intentions” became a box office hit and inspired multiple sequels, thanks to its twisty plot and sexual frankness, all borrowed from the novel, play and film “Dangerous Liaisons.” The new TV version carries on the tone of the films, following the bed-hopping and betrayals among a group of rich young men and women. Set at a prestigious college, the “Cruel Intentions” series is mainly about two stepsiblings, Caroline (Sarah Catherine Hook) and Lucien (Zac Burgess), who are adept at seducing and manipulating their classmates. The pair never seems to care how many enemies they make, so long as everyone fears them.Also arriving:Nov. 1“Libre”Nov. 7“Citadel: Honey Bunny”“Look Back”“My Old Ass”Nov. 8“Every Minute Counts”Nov. 14“Cross” Season 2Nov. 19“Abigail”“Jeff Dunham’s Scrooged-Up Holiday Special”Nov. 20“Wish List Games”Nov. 21“Dinner Club”Nov. 26“It’s in the Game”Nov. 28“Oshi No Ko”Nov. 29“The World According to Kaleb: On Tour”A scene from “The Creep Tapes,” new to AMC+.ShudderNew to AMC+‘The Creep Tapes’ Season 1Starts streaming: Nov. 15The “Creep” franchise of found footage horror films features Mark Duplass (who also co-wrote the series with the director, Patrick Brice) as a serial killer who hires aspiring filmmakers to help him make movies, which inevitably end in actual murders. “The Creep Tapes” offers bite-size versions of this premise, with episodes running under a half an hour and featuring a variety of scenarios. Duplass is back as the villain, who changes his name from victim to victim. His vibe rarely changes, though. He is overly friendly and pushy, to the point of being unpleasant; and yet he also seems pretty harmless, right up to when his shtick turns deadly.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

    • 100 Shares119 Views

      in Movies

      What if A.I. Is Actually Good for Hollywood?

      by

      The Los Angeles headquarters of Metaphysic, a Hollywood visual-effects start-up that uses artificial intelligence to create digital renderings of the human face, were much cooler in my imagination, if I’m being honest. I came here to get my mind blown by A.I., and this dim three-room warren overlooking Sunset Boulevard felt more like the slouchy offices of a middling law firm. Ed Ulbrich, Metaphysic’s chief content officer, steered me into a room that looked set to host a deposition, then sat me down in a leather desk chair with a camera pointed at it. I stared at myself on a large flat-screen TV, waiting to be sworn in.But then Ulbrich clickety-clicked on his laptop for a moment, and my face on the screen was transmogrified. “Smile,” he said to me. “Do you recognize that face?” I did, right away, but I can’t disclose its owner, because the actor’s project won’t come out until 2025, and the role is still top secret. Suffice it to say that the face belonged to a major star with fantastic teeth. “Smile again,” Ulbrich said. I complied. “Those aren’t your teeth.” Indeed, the teeth belonged to Famous Actor. The synthesis was seamless and immediate, as if a digital mask had been pulled over my face that matched my expressions, with almost no lag time.Ulbrich is the former chief executive of Digital Domain, James Cameron’s visual-effects company, and over the course of his three-decade career he has led the VFX teams on several movies that are considered milestones in the field of computer-generated imagery, including “Titanic,” “The Curious Case of Benjamin Button” and “Top Gun: Maverick.” But in Ulbrich’s line of work, in the quest for photorealism, the face is the final frontier. “I’ve spent so much time in Uncanny Valley,” he likes to joke, “that I own real estate there.”In the spring of 2023, Ulbrich had a series of meetings with the founders of Metaphysic. One of them, Chris Ume, was the visual-effects artist behind a series of deepfake Tom Cruise videos that went viral on TikTok in early 2021, a moment many in Hollywood cite as the warning shot that A.I.’s hostile takeover had commenced. But in parts of the VFX industry, those deepfake videos were greeted with far less misgiving. They hinted tantalizingly at what A.I. could soon accomplish at IMAX resolutions, and at a fraction of the production cost. That’s what Metaphysic wanted to do, and its founders wanted Ulbrich’s help. So when they met him, they showed him an early version of the demonstration I was getting.Ulbrich’s own career began during the previous seismic shift in the visual-effects field, from practical effects to C.G.I., and it was plain to him that another disruption was underway. “I saw my career flash before my eyes,” Ulbrich recalled. “I could take my entire team from my former places of employment, I could put them on for eternity using the best C.G.I. tools money can buy, and you can’t deliver what we’re showing you here. And it’s happening in milliseconds.” He knew it was time to leave C.G.I. behind. As he put it: “How could I go back in good conscience and use horses and buggies and rocks and sticks to make images when this exists in the world?”Back on Sunset Boulevard, Ulbrich pecked some more at his laptop. Now I was Tom Hanks — specifically, a young Tom Hanks, he of the bulging green eyes and the look of gathering alarm on his face in “Splash” when he first discovers that Daryl Hannah’s character is a mermaid. I can divulge Hanks’s name because his A.I. debut arrived in theaters nationally on Nov. 1, in a movie called “Here.” Directed by Robert Zemeckis, written by Zemeckis and Eric Roth — a reunion of the creative team behind “Forrest Gump” — and co-starring Robin Wright, “Here” is based on a 2014 graphic novel that takes place at a single spot in the world, primarily a suburban New Jersey living room, over several centuries. The story skips back and forth through time but focuses on a baby-boomer couple played by Hanks and Wright at various stages of their lives, from age 18 into their 80s, from post-World War II to the present day.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

    • 88 Shares119 Views

      in Television

      Jimmy Kimmel Trashes Trump’s ‘Cosplay Garbage Man’

      by

      Kimmel said that when Trump delivered a speech while wearing an orange safety vest, it was “like a 4-year-old who wants to wear his costume to school.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Trump as Trash ManOn Wednesday, former President Donald Trump spoke to reporters from inside a garbage truck while wearing an orange safety vest.Jimmy Kimmel called Trump “a cosplay garbage man” on Thursday, joking that “the garbage is driving the truck.”“That vest will come in handy when he’s on the side of the highway picking up trash with the other inmates.” — JIMMY KIMMEL“And then this lunatic decides to stay in the garbage costume for the whole duration of his speech, like a 4-year-old who wants to wear his costume to school.” — JIMMY KIMMEL“I have to say; if there is a single image that we will look back on and say, this defines what America was going through in 2024, I think it will be the Republican nominee for president dancing to the song ‘Y.M.C.A.’ in a garbage man costume.” — JIMMY KIMMEL“Donald Trump could never make it as a sanitation worker. It’s a tough job with actual stakes, genuine responsibilities, and no amount of cosplaying can make up for the fact that he’d be really bad at it. He wouldn’t last a day. If Trump was a sanitation worker in New York City, we’d have garbage piled higher than the Empire State Building, as opposed to what we currently have, which is only half as tall.” — SETH MEYERSThe Punchiest Punchlines (Last-Minute Costume Idea Edition)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

    • 150 Shares169 Views

      in Television

      ‘Culte’ Is a Fascinating Romp Through the Dawn of French Reality TV

      by

      A new docudrama recounts the conflicts and controversy surrounding “Loft Story,” a French twist on “Big Brother” that divided critics and generations.Anaïde Rozam stars as a reality TV creator in the French series “Culte.”AmazonThe behind-the-scenes French docudrama “Culte” (in French, with subtitles), available on Amazon Prime Video, captures the birth of reality TV in France. And like many births, it’s a messy and emotional process, with plenty of screaming and crying from multiple parties, some unhelpful meddling from the families, fits of doubt and unknown reservoirs of determination.No one is quite the same after, and then there’s this whole new being to take care of. In this case, it’s “Loft Story,” a “Big Brother” adaptation that debuted in April 2001.Isabelle (Anaïde Rozam) is a stymied TV producer, a failure in her publishing-royalty parents’ eyes. She seizes on the format of “Big Brother,” a new hit show in the Netherlands, but the bigwigs are averse to anything they deem trashy. Reality shows are “voyeuristic, macabre, mind-numbing,” says one executive. “Hellish,” another agrees. “We can’t be the nation of Chartres cathedral and 12 dummies living in an apartment.” Well … just you wait, monsieur!Isabelle vows that her show will be something politically provocative, a social experiment with participants who reflect the totality of France in age, income, ethnicity and outlook. But once the production countdown begins, some of her grander ambitions give way to what we can now see as the basis of most reality casting: Round up some sexy drama llamas, and let the cameras roll. No one is prepared for what unfolds — the fame, the derision, the ratings bonanza.Over its six episodes, “Culte” moves with speed and agility — and, praise God, only one timeline — and its characters’ maneuverings are just as loaded and occasionally backstabby as any reality villain’s. The apparently nationwide hand-wringing about the dangers of lowbrow entertainment feel quaint, almost darling. “Does French TV still have morals?” someone wonders.But lurid tabloid stories have a way of setting the conversation, and TV networks are rarely in the morality business; they’re in the ratings business. “The Americans have a term for this,” a network head says, his eyes agleam. “‘Buzz.’” “Loft Story” indeed puts every apiary to shame.“Culte” makes the most of its festive, exciting ambiguities, and the “Loft” folks do not try to occupy a moral high-ground, nor could they really. They merely wander the bumpy natural topologies of society, and maybe no one is much higher or lower than anyone else. More

    • 138 Shares119 Views

      in Television

      Kimmel and More Late Night Hosts Mock Trump’s Garbage Truck Stunt

      by

      The comment shocked “everyone who couldn’t believe Joe successfully logged onto Zoom,” the guest host of “Gutfeld” said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘We Are Garbage!’President Biden came under fire this week after seemingly referring to Trump supporters as “garbage” during a Zoom call. (In a posting on social media, Mr. Biden said he was talking about racist language, not Trump supporters.)On Wednesday, Jimmy Kimmel said that he didn’t blame the Trump campaign for jumping “all over this garbage thing.”“It’s not a smart thing to say,” Kimmel said. “Joe Biden should drop out of this race immediately.”“Today Kamala Harris was like, ‘Can someone drop Joe in a corn maze and leave him there till Wednesday, just have him wander?’”— JIMMY FALLON“Now, obviously, what he meant to say was nothing. Why are you saying anything? Did you forget that you’re so bad at saying things we had to go get somebody else?” — SETH MEYERS“Shocking everyone who couldn’t believe Joe successfully logged onto Zoom.” — TOM SHILLUE, guest host of “Gutfeld”“This happened during Trump’s rally, and fortunately, someone was there to help boost Marco Rubio up onto the stage so he could frantically share this important news.” — JIMMY KIMMEL“He’s like an excited little Minion bringing big news to Gru: It’s like ‘Mr. President! Stop the proceedings! I’ve got a bulletin!’” — JIMMY KIMMEL“And if you thought that was insulting, wait until those people hear what you said about Donald Trump.” — JIMMY KIMMEL“Look how excited Rubio is: ‘Everybody, everybody, everybody! I have great news: We are garbage!’” — RONNY CHIENG“Celebrate good times, come on! I mean, Rubio delivered that news like he was announcing the war is over.” — RONNY CHIENG“And you can tell how excited Trump is because his face is at full orange alert.” — RONNY CHIENGThe Punchiest Punchlines (Mookie Edition)“At the World Series last night, two Yankees fans tried to pry a foul ball out of the glove of Dodgers right fielder Mookie Betts. I’ve got to be honest, it’s nice to see New York fans try to steal something besides a wallet.” — TOM SHILLUE“On the bright side, they were offered season tickets by the Phillies.” — SETH MEYERS“It’s Mookie versus the mooks.” — JIMMY KIMMEL“They call that the Staten Island handshake.” — JIMMY KIMMELThe Bits Worth WatchingSalma Hayek showed Jimmy Fallon how to dance with a snake circling his neck on Wednesday’s “Tonight Show.”What We’re Excited About on Thursday NightConnie Chung, a veteran journalist, will discuss her new memoir on Thursday’s “Daily Show.”Also, Check This OutLili Taylor, left, with Annabella Sciorra in “The Addiction.”Fast Films, Inc.The subscription streaming service Arrow has several spooky film options for a horror-filled Halloween. More

    • 88 Shares179 Views

      in Television

      Jimmy Kimmel: ‘Tonight’s Monologue Is for Republicans’

      by

      Kimmel made a 19-minute case against Donald Trump on Tuesday, asking viewers to “send it to a Republican you love.” (He did throw in a Biden joke.)Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Crossing the Aisle“Tonight’s monologue is for Republicans,” Jimmy Kimmel said on Tuesday. He then made a 19-minute case against Donald Trump, asking his viewers to send the clip to “a Republican you love and respect.” “Ask them to watch this whole thing as a personal favor to you,” he said. Then, after promising no “liberal virtue-signaling” and throwing in a Biden joke, he introduced himself to “those of you who don’t ever watch.”“I’m Jimmy Kimmel. Maybe you remember me from ‘The Man Show.’ We had a pretty good relationship back then — the beer, the trampolines. Good times, right? We had fun. But now times are less fun.” — JIMMY KIMMEL“We are very divided, and not just because of Donald Trump, because of people like, if I’m being honest, me. I do a lot of mocking and belittling, and it isn’t always productive.” — JIMMY KIMMEL“Am I biased against Donald Trump? Yes. Do I think I have good reasons for being biased against him? Yes. And I’m probably wrong, but I think when you hear some of those reasons, you might agree with me, even just a little bit.” — JIMMY KIMMEL“Maybe there’s a little voice in the back your head saying, ‘I might not want this guy driving the bus.’ And if you’re one of those people who think Democrats are controlling the weather or Beyoncé eats baby skin, forget it. This is not going to help at all.” — JIMMY KIMMEL“Donald Trump is the exact meeting point between QAnon and QVC. You remember when Ronald Reagan was selling high-tops in the 1980s? No, you don’t, because he wasn’t.” — JIMMY KIMMEL“Not to mention the 34 felony convictions. Will he be president from jail? I mean, how do you see that working?” — JIMMY KIMMEL“Anyway, if you made it this far, thank you for listening.” — JIMMY KIMMELThe Punchiest Punchlines (What a Joke Edition)“It’s rare to tell a joke so bad that it alters the course of human history.” — STEPHEN COLBERT, on the backlash over the comedian at Trump’s Madison Square Garden rally who compared Puerto Rico to garbage“Today, following his disastrous rally at Madison Square Garden, former President Trump defended the event and called it an ‘absolute lovefest.’ Then Kamala Harris looked at the polls and said, ‘Well, I’m certainly loving it.’” — JIMMY FALLONWe 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

    • 150 Shares159 Views

      in Movies

      Teri Garr, Comic Actress in ‘Young Frankenstein’ and ‘Tootsie,’ Dies at 79

      by

      An Oscar nominee for her role in “Tootsie,” she was also a favorite guest of David Letterman and Johnny Carson and a three-time host of “Saturday Night Live.”Teri Garr, the alternately shy and sassy blond actress whose little-girl voice, deadpan comic timing, expressive eyes and cinematic bravery in the face of seemingly crazy male characters made her a star of 1970s and ’80s movies and earned her an Oscar nomination for her role in “Tootsie,” died on Tuesday at her home in Los Angeles. She was 79.Her publicist, Heidi Schaeffer, said the cause was complications of multiple sclerosis.Ms. Garr received that diagnosis in 1999, after 16 years of symptoms and medical research; she made her condition public in 2002. In late 2006, she had a ruptured brain aneurysm and was in a coma for a week, but she was eventually able to regain the ability to walk and talk.Onscreen, Ms. Garr’s outstanding features were her eyes, which could seem simultaneously pained, baffled, sympathetic, vulnerable, intrigued and determined, whether she was registering a grand new discovery or holding back tears. If her best-known roles had a common thread, it was the erratic behavior of the men in her characters’ lives.Ms. Garr and Dustin Hoffman in “Tootsie” (1982). She was nominated for an Oscar for her performance as the neglected friend-turned-lover of an actor played by Mr. Hoffman.Moviestore Collection Ltd/Alamy Stock PhotoIn “Close Encounters of the Third Kind,” she initially went into denial when her husband (Richard Dreyfuss) became obsessed with U.F.O.s, but promptly abandoned him, taking the children, when he built, in their family room, a mountain of garbage, fencing and backyard soil.In “Oh, God!,” Ms. Garr was supportive when her husband (John Denver), a California supermarket manager, told everyone that he was hanging out with God incarnate (George Burns). In “Tootsie,” for which she earned a 1983 Academy Award nomination for best supporting actress, she whined eloquently as the neglected friend-turned-lover of an actor (Dustin Hoffman) who was behaving strangely. It turned out he had been posing as a woman to get better acting jobs.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