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A merger could be announced as soon as Monday, in a deal that would offload the media business that AT&T fought to buy.Less than three years after AT&T spent over $85 billion and millions more fending off a government challenge to buy Time Warner, one of the biggest prizes in media, the phone company has decided on a completely different strategy. More
The movie musical is set to play the United Palace in Washington Heights, the neighborhood where the story is set. It will also screen outdoors in all five boroughs.The Tribeca Festival announced Friday that it will open its 2021 edition this summer with the world premiere of “In the Heights,” the eagerly anticipated movie musical conceived by Lin-Manuel Miranda. The event adds a high-profile piece of arts programming to the statewide effort to bring the arts back after an entire year was upended by the coronavirus pandemic.The premiere will be held at the United Palace theater in the Washington Heights neighborhood, where Miranda’s New York tale takes place. And for the first time in the festival’s 20-year history, organizers say their opening-night selection will be screened simultaneously across all five boroughs in multiple open-air venues, meaning that New Yorkers in every pocket of the city will be able to enjoy the film in a setting that poses relatively low risk of spreading the virus.“It is such an honor to open the 20th anniversary Tribeca Festival with ‘In the Heights.’ We’re so excited to welcome them uptown!” Miranda said in a statement. “This will be an unforgettable night at the United Palace. We can’t wait to share this musical love letter to our community, with our community, in our community.”Organizers say the 2021 Tribeca Festival, running June 9-20 and dropping “film” from its name, will be the first big movie event in North America held in person since the pandemic began. Most of last year’s film festivals, including Tribeca, were delayed, postponed, canceled or reimagined because of concerns about mass gatherings during the public health crisis.In a news release, organizers called the Tribeca Festival the “culmination” of NY PopsUp, the statewide revitalization initiative seeking to bring back live performances and help the arts sector in New York.For much of the last year, Broadway was dark, movies theaters were closed and concert halls were empty. But in recent weeks, some arts institutions have begun holding performances outdoors. At the same time, indoor performances have been allowed to resume in New York City with limited capacity. Earlier this month, a Broadway house opened — albeit briefly — for the first time.Still, the pandemic persists. Although many New Yorkers are getting vaccinated, virus variants have emerged, and the city continues to average more than 3,000 new cases per day.The premiere of “In the Heights” will probably spark some amount of joy for weary New Yorkers eager for a vibrant celebration of their city. Adapted from the Broadway show with a book by Quiara Alegría Hudes and music and lyrics by Miranda, the movie stars Anthony Ramos as Usnavi, a bodega owner dealing with the gentrification of his Upper Manhattan neighborhood. Miranda, who starred onstage, takes on a supporting role as the owner of a shaved-ice dessert stand.The musical opened on Broadway in 2008 and was a critical success. It preceded Miranda’s “Hamilton,” a smash stage hit that was filmed and released last year on the small screen via Disney+. Several “Hamilton” alumni appear in “In the Heights,” including Miranda and Ramos.Now “In the Heights” will have its moment away from the stage.“‘In the Heights’ is the quintessential New York story of hard work, resilience, and triumph,” said Jane Rosenthal, the co-founder and chief executive of the Tribeca Festival who is also helping to lead the NY PopsUp effort.“We are proud to feature this film as opening night,” she added, “where it can debut in its hometown in celebration of its New York roots and the Latinx community.” More
Greg Spottiswood had faced numerous complaints over the way issues of race and gender were addressed on the show, a rare prime-time CBS drama with a Black woman as a protagonist.Warner Bros. Television has fired the showrunner and creator of the CBS show “All Rise,” Greg Spottiswood, after a second investigation into allegations regarding how he dealt with the show’s writers, including in conversations involving race. “Warner Bros. Television has relieved ‘All Rise’ executive producer Greg Spottiswood of his duties, effective immediately,” the studio said Wednesday night in a statement. “We remain committed, at all times, to providing a safe and inclusive working environment on our productions and for all employees.”Mr. Spottiswood had previously been investigated for his treatment of the writing staff during the first season of the CBS procedural, which debuted in September 2019 and stars a Black actress, Simone Missick, as the show’s protagonist, an idealistic Los Angeles judge. The studio kept Mr. Spottiswood, who is white, in charge of the show, and provided him a corporate coach to advise him. It also hired a new co-showrunner, Dee Harris-Lawrence, after his original co-showrunner, Sunil Nayar, left the production.Five of the original seven members of the “All Rise” writing staff left the show because of his treatment of them and the way the show, under his direction, depicted race and gender, The New York Times reported in August. Among those who departed were the series’ three highest-ranking writers of color, including Shernold Edwards, a Black woman who departed in November 2019 after multiple disagreements with Mr. Spottiswood.“We had to do so much behind the scenes to keep these scripts from being racist and offensive,” Ms. Edwards told The Times.At the time, Mr. Spottiswood said he was aware of the problems with his leadership and pledged to do better.“All Rise” has been celebrated by CBS after its prime-time lineup had been criticized for its lack of diversity. It has been applauded both for its inclusive cast and its equally diverse writers room. Yet the writing staff from the original season said problems were apparent from the start.Mr. Nayar, for one, complained of being sidelined by Mr. Spottiswood, claiming he was interested only in having Mr. Nayar appear at public events with the title of executive producer but did not give him the duties to match that position.“It became clear to me, when I left the show, that I was only there because I’m the brown guy,” Mr. Nayar said in an interview at the time. “Greg hired me to be his brown guy.”The most recent investigation was again focused on statements Mr. Spottiswood was said to have made in the writers’ room. After the studio’s inquiry, Mr. Spottiswood was also dropped as a client by his talent representatives at the Agency for the Performing Arts. The agency had represented him since 2015.A lawyer for Mr. Spottiswood did not respond to a request for comment.Ms. Harris-Lawrence will take over Mr. Spottiswood’s responsibilities for the remainder of the season. The show is in production on its 15th episode of its 17-episode season. Production is scheduled to conclude next month. More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyZack Snyder’s Rough and Tumble Ride With ‘Justice League’The director digs into his exit from the original version of the epic and what led to his edit, the Snyder Cut, which HBO Max will release Thursday. “Am I a provocateur? A little bit.”Snyder at his home in Los Angeles. He said of his exit from the original “Justice League”: “The decision to leave was 100 percent mine.”Credit…Maggie Shannon for The New York TimesMarch 14, 2021, 5:00 a.m. ETEven superhero movies can have dual identities.To most filmgoers, “Justice League” is just another misbegotten comic-book adaptation that came and went in 2017 — one in which DC heroes like Batman (Ben Affleck), Wonder Woman (Gal Gadot) and Aquaman (Jason Momoa) united to battle an intergalactic foe.But to genre fans, “Justice League” is laden with notorious history: the director Zack Snyder exited the project during postproduction, leaving it to be completed by Joss Whedon (“The Avengers”), who had come on to help rewrite it. The result was an unsatisfying attempt by Warner Brothers to kick-start its own Marvel-style franchise.Snyder occupies a singular space in the blockbuster business. After breakthrough films like “Dawn of the Dead” (2004) and “300” (2007), he has been both praised and pilloried for unapologetically bombastic superhero opuses like “Watchmen” (2009), “Man of Steel” (2013) and “Batman v Superman: Dawn of Justice” — his big, brutal dust-up between those two characters, which grossed $873 million worldwide in 2016 yet still ended up a critical and commercial disappointment.The making of “Justice League” coincided with a tragic period in Snyder’s life; his daughter Autumn died by suicide in March 2017, and his family was mourning her while he tried to finish the film.It would be understandable if Snyder had chosen to disown and disregard “Justice League” entirely, but he did not. His fans and cast members promoted online petitions and a hashtag, #ReleaseTheSnyderCut, encouraging him to put forward his own edit of the movie. Eventually, Snyder acknowledged that such a project existed — not a finished version of the film but a rough assembly that Warner Brothers gave him a budget of about $70 million to complete. HBO Max (which, like Warner Brothers, is owned by WarnerMedia) will release this four-hour film, now called “Zack Snyder’s Justice League,” on Thursday.From left, Jason Momoa as Aquaman, Ray Fisher as Cyborg, Gal Gadot as Wonder Woman and Ezra Miller as the Flash in the Snyder Cut.Credit…HBO MaxOn a Sunday afternoon this month, Snyder, dressed in a basic white T-shirt that exposed his heavily tattooed forearms, was relaxing at his home in Los Angeles as he spoke in a video interview. In mid-conversation, his 10-year-old daughter, Sage, barnstormed through the room to fiddle with her father’s iPad settings, and he playfully shooed her away.Snyder, 55, is both self-serious and self-aware, sometimes puffing up his own accomplishments and tearing them down in the same breath. He knows that whether his “Justice League” cut is celebrated or panned like the original, it helps burnish his professional standing either way.Riffing on the exorbitant running time of the film, he said facetiously, “It’s like ‘The Irishman,’ but with action. You could say that. That’s a fine review. You could also say it’s the ‘Godfather’ of superhero movies. That’s another fine review.”More sincerely, he spoke of the strange satisfaction at getting to release the Snyder Cut and the toll it had taken on him. “It’s in some ways fun to surf the wave of a cultural phenomenon,” he said. “In other ways it’s terrifying and horrible.”He spoke further about the making of “Zack Snyder’s Justice League,” the circumstances that led up to it and whether audiences still want to see his grandiose take on these enduring characters. Here are edited excerpts from the conversation.Was there a point, going back to “Batman v Superman,” when you realized you were on thin ice with Warner Brothers?There was a definitely a shift in confidence that they had, and I think that kept multiplying as we went along. They had this giant I.P. [intellectual property] and their confidence in my point of view had eroded.Was it a warning sign when the studio brought in Joss Whedon for rewrites?It was a bit of a red flag. They were like, We think punching up the humor and doing some more fun stuff will be great. I was like, Hmm, I’m happy to shoot a scene if you guys have a good idea. We kicked around a bunch of different writers and they had come in with Joss. He’s a talented writer, no two ways about it. But I really didn’t see the point. And then when I was like, I’m done, I can’t do this, I feel like they were volunteering Joss as the de facto finisher.You left “Justice League” of your own volition?Absolutely. The decision to leave was 100 percent mine. I knew the fight that I was in for with them. And my family needed me, and I needed them. I was in a struggle at home, and then to go to my place of work and be in a second struggle there seemed like an outrageous thing to do to myself and my loved ones.Did you worry about the long-term ramifications your departure might have for your standing with Warner Brothers or your career?For sure. And the truth is, I was in such a place of desperation, I didn’t care. You know what? Good riddance to “Justice League.” I was like, Guys, really? You’re going to give me a hard time? Let’s go. I’ll fight you right now. [Laughs.] I was not in the mood for that kind of thing. I felt like we had done a great job, and the movie was done, even the two-hour-and-20-minute version that the studio had knocked me down to.How did you end up with a director’s cut of the film?Almost every movie I’ve ever made has a director’s cut. When I said, OK, I’m done, I [told] one of the editors I worked with [Carlos Castillón]: Put it together as best you can, and give it to me. A bunch of my inner-circle buddies who worked on the movie always talked about, Oh, maybe we just drop a thumb drive somewhere and let a “fan” [he makes air quotes] find it. And I was like, that’s funny but I think it’s better if it just lives as this thing that no one will ever see. I’ve lost my appetite for the fight.Should he have tried to emulate Marvel more? Snyder said no: “A director has one skill — your point of view.” Credit…Maggie Shannon for The New York TimesWere you dropping hints to its existence in the hopes that it would eventually be released?It was more just me having fun on [the social network] Vero with my fans. Did I think there would ever be a version of this where the fans’ rallying cry got so loud that a big company like WarnerMedia would consider this as an option? Absolutely not. I thought maybe in 10 years, there might be a DVD version where they might go, Hey, maybe it’s worth a couple dollars if we spruce up the Snyder cut.And now the same media company you clashed with on “Justice League” — under different management — is letting you put out your version of it.I appreciate that, I really do. This movie wouldn’t exist if it wasn’t for HBO Max; I’m eternally grateful for them. And the viewing experience is still at a hugely high quality. It’s really up to your TV. It’s in the same aspect ratio as “First Cow.” Those two movies share some common DNA, I think. [Laughs.] I really did like “First Cow,” actually. I would love that in a double feature, “First Cow” and the Snyder cut of “Justice League.”Do you see the DC heroes on a grand level, like characters from Wagner or “Lord of the Rings”?It’s obvious I take these characters and their mythology really seriously. I want them to be fully realized as characters, existing in that world. I don’t think that it’s cool to have fun at their expense. And there was a vision that we had, a complete universe, fully fleshed out, that we really wanted to take all the way.Was that to draw an intentional contrast with what Marvel is doing in its movies?I knew it before “BvS,” when we made “Man of Steel.” Marvel is doing something else. They’re doing, at the highest level, this popular action-comedy with a heart. And they have that nailed. An effort to duplicate that is insanity because they’re so good at it. What DC had was mythology at an epic level, and we were going to take them on this amazing journey. Frankly, I was the only one saying that.The release of your “Justice League” brings back some painful memories, but aren’t you savoring it a bit, too?Only in the sense that it’s three years later, and here I am releasing a four-hour version of the movie. It really shows that the consumer is not wrong in a lot of ways. “They can’t handle anything over two hours, they’re going to lose their minds.” They were underestimated, the audience themselves.How long did you want the theatrical cut of “Justice League” to be?My point of view is that the movie should be about 20 minutes longer each time. “BvS” should be 20 minutes longer than “Man of Steel,” and “Justice League” should be about 20 minutes longer than “BvS.” I thought the movie should be a little closer to three hours when I initially went into it. I know that it’s indulgent. The truth is there’s probably about 10 Snyder cuts — there’s a longer version than the four-hour version. There’s a three-hour version. A two-hour and 20. I think I showed the studio two hours and 40 minutes. And then I showed them subsequent cuts of two hours and 30 minutes, and two hours and 28 minutes, and two hours and 22 minutes.How did you end up with enough footage for a four-hour movie?I do it on every movie. I tend to shoot a lot, but it’s really carefully done. It’s not like we’re just running a second camera. Everything is very methodically thought out. When I sit down to draw the movie, the movie is different than the movie the studio wants or that anybody knows about.Ben Affleck as Batman in “Zack Snyder’s Justice League,” the director’s cut of the movie.Credit…HBO MaxWhy did you bring back some of your actors to shoot a new finale?I added it because this was going to be the last movie I make for the DCU and to have this entire cinematic universe without Batman and Joker meeting up just felt weird. Jared [Leto] and I had a bunch of conversations about it. I had mentioned it to Ben and I was like, Ben, let’s just do it at my house. I could shoot it in the backyard. Don’t tell the studio and I’m not going to pay you guys. I’m just going to shoot it myself.Is that what you ended up doing?No, what happened is it worked out and we were able to do it for real. And then I called the rest of those cast members and said, Hey, would you guys be down to come around and do it.The actor Ray Fisher raised complaints, alleging that Whedon was abusive to him on the “Justice League” reshoots, which led to an investigation by WarnerMedia and other actors coming forward with accounts of similar experiences with Whedon. Were you aware this was happening?Not at the time. The last thing they wanted to do was call me, complaining about them having a hard time shooting. But in retrospect, do I feel bad that they had to go through that? I do. These guys are my friends, and they’re amazing actors, and they’re strong people. I want them to be taken care of and in a healthy situation. I wasn’t there, so your opinion on it is probably is as good as mine.Why did you end the movie with, essentially, a cliffhanger teasing another movie that’s never going to come?The ask was for my version of the movie.Had you gotten to make further ‘Justice League’ movies, what would have happened in them?It’s the fall of Earth, when Superman succumbs to anti-life. And then sending Flash back in time to change one element so that doesn’t happen. And then the big battle where we beat him. When [the villain] Darkseid comes to Earth, in the movie that you’ll never see, the armies of Earth all unite again, as they did before. This time there would be aircraft carriers and Special Forces guys, all the armies of the world would come together, as well as [Aquaman’s fellow] Atlanteans rising out of the ocean and the Themyscirans [Wonder Woman’s compatriots] coming off their island. That was our big finale. But it’s a long drum roll and guitar solo to get there.Darkseid in “Zack Snyder’s Justice League.” If there were sequels, the character would have had a larger role in those, the director said.Credit…HBO MaxSince “Justice League,” there have been other DC movies, like “Aquaman” and “Shazam!”, that have gotten more enthusiastic reviews and made more money. Does that sting for you, that your films didn’t achieve that?I couldn’t be happier. It doesn’t sting for me at all. Those movies are cool, and they’re really well-made and excellent. But “BvS,” love it or hate it, it’s probably the most mentioned movie in hashtags and references. It’s the closest thing to a cult film that could exist at this level of pop culture. Am I a provocateur? A little bit. Is my job to make some pop-culture piece of candy that you eat and forget about the next day? Nah. I would rather [expletive] you up in a movie than make it nice and pretty for everybody. Let’s be frank, there’s no cult of “Aquaman.” Jason is a force of nature, and by all means, I want there to be 100 “Aquaman” movies because he’s an awesome guy. But it’s not controversial. And I have purposely, because I love it, made the movies difficult.Is it possible that the zeitgeist just didn’t embrace your interpretation of these characters?It could be. And that’s fine, too. I don’t have a dog in the hunt. When I made “Watchmen,” it’s deconstructionist. It’s a movie that pokes holes in your heroes. And “BvS” is the same thing. It’s meant to say, Oh, Batman’s drunk and taking painkillers and he’s sleeping with some anonymous girl. He’s a broken person. He dresses up as a bat and he goes out at night and he beats people up. He has issues. I do think the movie came along at a point where everyone was like, oh, we don’t want that Batman. We want Batman to be the warrior-monk who’s cool. And I personally am fine with that.When you see what Marvel is doing in its movies, do you ever think, I should be doing more of that?No, not at all. I don’t know how to hit a ball any different than I hit it. A director has one skill — your point of view. That’s all you have. If you’re trying to imitate another way of making a movie, then you’re on a slippery slope.Even though the DC movies have retained your principal cast members like Gal Gadot and Jason Momoa, they’re moving away from story lines that your films set up and the sense of a shared universe they established. Do you feel like they’re dismantling your legacy?They are 100 percent moving away. They consider the theatrical cut of “Justice League” as canon. That’s their decision. I wish them all the best, and I hope the whole thing is a giant blockbuster on top of blockbuster on top of blockbuster. The stars of those movies are my friends, and I want them to be prosperous, and I want people to love it.Gal Gadot and Affleck in “Batman v Superman.” Snyder said of that film, “Love it or hate it, it’s probably the most mentioned movie in hashtags and references.”Credit…Clay Enos/Warner Bros.You’ve been making comic-book adaptations for some 15 years. Are you done with that genre entirely? Do you feel you need to get away from it for a while?I don’t think about it in those terms. It was nice to go do “Army of the Dead” [a coming zombie action movie for Netflix]. They were completely supportive, and it was an incredible, cathartic re-immersion into that relationship. I’m trying to put together this movie called “Horse Latitudes,” a super-microbudget movie that I’m going to go shoot with my buddies in South America. It’s about a man’s journey into his past and how does death shape you? Am I ready to make a movie like that? I think so.Are you still planning an adaptation of Ayn Rand’s “The Fountainhead”?“Fountainhead” right now is on the back burner, and I don’t know how that movie gets made, at least not right away. We need a less divided country and a little more liberal government to make that movie, so people don’t react to it in a certain way.Meaning, if it had come out in the last few years, it would have struck the wrong tone?I think so. But we’ll see. I’m in no rush.Do you think your “Justice League” has broader implications for the film industry and the lengths that studios will continue to go to cater to audiences?This is a social experiment. For millions of people, it’s, Oh, look a giant superhero movie — I guess that’s cool. But then for a large portion of my fans, it comes custom-made. [As a viewer] you have the perception, more than ever, that the movie was made singularly for you as you watch it. It’s the culmination of this entire experience: I fought and used the hashtag #ReleaseTheSnyderCut, and it’s in my world, in my computer, on my TV, in my house. I don’t think anybody can quantify what that means yet.What will you do when it’s finally released?I have to go to the dentist on the 18th. That’s how my day’s going to be.AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyLet Down by ‘Wonder Woman 1984’? Here are 6 Great Superhero MoviesThe Wonder Woman sequel received mixed reviews. But there are plenty of excellent and entertaining alternatives to stream, and many that never received the attention they deserve. Gugu Mbatha-Raw in “Fast Color.”Credit…Jacob Yakob/Codeblack FilmsJan. 9, 2021Last month, Warner Bros. released the coronavirus-delayed “Wonder Woman 1984,” a sequel to the 2017 hit “Wonder Woman.” The action-adventure movie has done relatively well at the box office (in places where theaters are open), even though it’s also available for a limited time on the streaming service HBO Max. But compared with the enthusiastic response to the first “Wonder Woman” movie, the sequel has drawn a mixed reaction, with some critics and comic book fans complaining about the film’s unlikely plot and lengthy running time.So for those who felt let down by “Wonder Woman 1984,” here are six other superhero options to stream — from the widely beloved and popular to films that have never received the big audiences they deserved.‘The Rocketeer’Stream it on Disney+; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.The moviegoing public was still developing a taste for superheroes back in 1991, when Walt Disney’s Buena Vista Pictures failed to draw crowds for this charmingly old-fashioned pulp exercise. Based on a little-known comic by the illustrator Dave Stevens, “The Rocketeer” is a fast-paced potboiler set in a 1930s Hollywood filled with glamorous swells and optimistic go-getters — including a bombshell actress Jenny (Jennifer Connelly) and her stunt-pilot boyfriend (Billy Campbell). The director Joe Johnston brings light and zip to the film’s Nazi-fighting plot — something he’d do again 20 years later with the mighty “Captain America: The First Avenger.”[Read The New York Times review.]Liam Neeson in “Darkman.”Credit…Universal Pictures Home Entertainment‘Darkman’Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.A little over a decade before the director Sam Raimi was entrusted with the 2002 blockbuster “Spider-Man,” he made his own twisted, R-rated version of a Marvel Comics movie, about a mad scientist driven by tragedy to become a vigilante, disguised in an artificial skin that dissolves in sunlight. Anchored by a zesty Liam Neeson performance (getting an early start on the “capable hero, out for blood” screen persona he’s mastered in recent years), “Darkman” combines elements of old Universal monster movies, gritty 1970s superhero comics and slapstick comedy. Though it’s rated R and not appropriate for younger viewers, the movie is a true original.[Read The New York Times review.]‘Fast Color’Stream it on Amazon Prime or Hulu; rent or buy it on Apple TV, Google Play, Vudu or YouTube.In some of the most haunting superhero stories, the powerful dwell among us in the ordinary world, devoid of costumes or code names. One of the best-known of these is M. Night Shyamalan’s “Unbreakable.” Film buffs who love that film should definitely catch up with the writer-director Julia Hart’s similarly low-boil “Fast Color,” about a family of women who hide their extraordinary abilities from a government agency that wants to exploit them. Hart and her co-writer/producer Jordan Horowitz add their own spin on this classic genre premise by focusing on human relationships and small moments of wonder.[Read The New York Times review.]Michael Fassbender, left, and James McAvoy in”X-Men: First Class.”Credit…Murray Close/20th Century Fox‘X-Men: First Class’Stream it on HBO Max; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.The X-Men movie franchise and its Deadpool and Wolverine offshoots have been hugely popular but inconsistent. “X-Men: First Class” is the best of the bunch because it isn’t bogged down by complicated mythology. Instead, the story starts at the beginning, in 1962, as two young mutant chums with different ideologies work together to recruit more of their own kind. The director Matthew Vaughn gives the picture the polish of a James Bond film, while James McAvoy (as Professor Charles Xavier) and Michael Fassbender (as Erik “Magneto” Lehnsherr) lead an ace cast in an adventure filled with international intrigue.[Read The New York Times review.]‘Big Hero 6’Stream it on Disney+; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Given that the superhero genre became a phenomenon thanks to the ink-stained medium of comic books, it’s too bad there haven’t been more big-budget animated superhero movies. The Oscar-winning “Big Hero 6” is a fine example of how the exaggerated, cartoony illustrations common to animation lend themselves well to kinetic, fantastical action. The film is also kid-friendly, telling the story of a moody teenage genius who assembles a group of tech-savvy nerds to help him, along with his adorably squishy super-robot Baymax, unravel a conspiracy. At once cute and visually dazzling, “Big Hero 6” is an old-fashioned superhero tale suffused with positivity.[Read The New York Times review.]From left, Rosie Perez, Mary Elizabeth Winstead, Margot Robbie, Ella Jay Basco and Jurnee Smollett-Bell in “Birds of Prey.”Credit…Claudette Barius/Warner Bros. Pictures, via Associated Press‘Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)’Stream it on HBO Max; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Comic book connoisseurs disappointed in “Wonder Woman 1984” had an excellent alternative last year for their DC Comics superheroine fix. In the “Suicide Squad” spinoff “Birds of Prey,” Margot Robbie reprises her role as the delightfully daffy Gotham City rogue Harley Quinn, who joins forces with some slightly more virtuous ladies in an explosive standoff with a local mob boss. The director Cathy Yan and screenwriter Christina Hodson load their movie up with foul language, bloody violence and self-referential humor, making the case that while strong female heroes are great, strong female antiheroes may be more fun.[Read The New York Times review.]AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyTrading Box Office for Streaming, but Stars Still Want Their MoneyIf studios are no longer trying to maximize ticket sales, what will that mean for often lucrative pay packages tied to a film’s performance in theaters?The actress Gal Gadot received more than $10 million from Warner Bros. after the studio decided “Wonder Woman 1984” would not have a traditional theater release.Credit…Chris Delmas/Agence France-Presse — Getty ImagesBy More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyWarner Bros. Says All 2021 Films Will Be Streamed Right AwaySeventeen movies will each arrive in theaters and on HBO Max simultaneously, the biggest challenge yet to Hollywood’s traditional way of doing business.Timothée Chalamet and Rebecca Ferguson in “Dune,” one of 17 films Warner Bros. will release in theaters and on HBO Max simultaneously next year.Credit…Chia Bella James/Warner Bros.By More
