Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
As awards season begins to take shape, this week the New York Film Festival announced its closing night selection: the world premiere of Bradley Cooper’s “Is This Thing On?”
Starring Will Arnett and Laura Dern as a couple on the brink of splitting up when he immerses himself in the world of stand-up comedy, the film has been described as a “pivot” from Cooper’s previous directing efforts “A Star Is Born” and “Maestro.”
Will Arnett in Bradley Cooper’s “Is This Thing On?,” which will have its world premiere on closing night of the New York Film Festival.
(Jason McDonald / Searchlight Pictures)
Dennis Lim, artistic director of the NYFF, said that in putting together a program each year, he doesn’t mind drawing from films that have already premiered at festivals throughout the year, including Sundance, Cannes, Venice, Telluride, Toronto and others.
“How do we make a case for cinema as an art form that is still vital and relevant? I think programming the New York Film Festival is answering this question,” said Lim. “If I’m going to put forward a list of films that makes the case for cinema as an art form that matters today in 2025, which are the films that I’m going to put forward as evidence? The program is our answer to that question.”
John Woo on Hong Kong action cinema
Chow Yun-fat, left, and Danny Lee in John Woo’s “The Killer.”
(Shout! Studios)
The stylish, delirious action cinema that emerged from Hong Kong in the late 1980s and early 1990s redefined the genre, creating a visual grammar and thematic template that is still wildly influential to this day. The American Cinematheque and Beyond Fest, in partnership with Shout! Studios and GKIDS, are launching “Hong Kong Cinema Classics,” a series to celebrate these explosively exciting films.
Due to tangled rights issues, many of these movies have been largely out of circulation in the U.S. for years. To have them now remastered in 4K from original camera negatives is a thrill and puts them back in front of audiences where they belong.
The series will launch Saturday with the U.S. premiere of the new restoration of John Woo’s 1992 “Hard Boiled,” his final film made in Hong Kong before coming to the U.S., starring Chow Yun-fat, Tony Leung and Anthony Wong. Woo himself will be present for the screening at the Egyptian Theatre and will return on Sunday for 1989’s “The Killer” and a triple-bill of the “A Better Tomorrow” trilogy.
Other films in the series include Woo’s “Bullet in the Head,” Ringo Lam’s 1987 “City on Fire,” Tsui Hark’s “Peking Opera Blues” and Ching Siu-tung’s trilogy of “A Chinese Ghost Story” films.
Director John Woo, photographed in Los Angeles in 2023.
(Jay L. Clendenin / Los Angeles Times)
After relocating to America in 1993, Woo would go on to make a string of English-language films in Hollywood such as “Hard Target,” “Broken Arrow,” “Face/Off,” “Mission: Impossible 2” and “Windtalkers” as well as the more recent “Silent Night” and a 2024 remake of “The Killer.”
Speaking from his home in Los Angeles recently, Woo noted what it means to him that audiences still respond to his Hong Kong films.
“I so appreciate all the fans — for all these years they still give me great support,” said Woo, 78. “That’s why I’m so excited. It’s hard to believe that after so many years, I still have a chance to meet the audience and the audience is still excited about it. So I’m very proud.”
The Hong Kong action movies celebrated in the series slowly found their way to western audiences via festival screenings, limited theatrical releases and eventually home video.
Writing about “The Killer” in 1992, The Times’ Kevin Thomas said, “Sentimentality and violence have gone hand-in-hand from the beginning of the movies, but seldom have they been carried to such extremes and played against each other with such effectiveness.”
For Woo, there was a creative freedom while making his movies at that time. Proven Hong Kong directors were often allowed to largely do what they wanted without interference.
“In the rest of the world, I’ve been told there are very clear rules for every kind of movie,” said Woo. “The comedy is comedy. Action is only for the action fan and people who enjoy the melodrama never go to see the action movie. So each kind of movie has a certain kind of audience. But for the Hong Kong film, it is so much different. We had — in one movie — a human drama, a sense of humor and then the action. We can put everything all together.”
Chow Yun-fat, left, and Tony Leung in John Woo’s “Hard Boiled.”
(Shout! Studios)
In a 1993 profile of Woo by Joe Leydon, writer-director Quentin Tarantino, then known only for his debut “Reservoir Dogs,” lavished praised on his fellow filmmaker, saying “John Woo is reinventing the whole genre. The guy is just terrific — he’s just the best one out there right now.”
Tarantino added, “After I saw ‘A Better Tomorrow,’ I went out and bought a long coat and I got sunglasses and I walked around for about a week, dressing like Chow Yun-fat. And to me, that’s the ultimate compliment for an action hero — when you want to dress like the guy.”
Woo has always been open about the influence of filmmakers such Jean-Pierre Melville, Sam Peckinpah and Martin Scorsese on his own movies.
“I just feel like we are all in a big family,” said Woo of his enduring influence, which you can see evidence of as recently as the “John Wick” franchise. “We are all learning from each other. Every time it’s a learning process for me.”
Alex Ross Perry visits ‘Videoheaven’
Maya Hawke records the narration for Alex Ross Perry’s “Videoheaven.”
(Cinema Conservancy)
Having already released the boldly form-defying hybrid documentary “Pavements” this year, filmmaker Alex Ross Perry continues his adventurous streak with “Videoheaven,” an epic essay film about the rise and fall and continued life of video stores and their importance to film culture, with narration by Maya Hawke.
Perry will be in-person for a series of L.A. screenings this week, starting at Vidiots on Wednesday for a Q&A moderated by “The Big Picture” podcast co-host Sean Fennessey. On Thursday, the film will play at Videothèque with Perry in conversation with the store’s co-manager, Lucé Tomlin-Brenner. On Friday, Aug. 8, the film will play at the Los Feliz 3 with an introduction by Perry.
Points of interest
‘Zola’
Riley Keough, left, and Taylour Paige in “Zola.” Its director, Janicza Bravo, will attend the movie’s screening Thursday at the Academy Museum.
(Anna Kooris / A24)
The Academy Museum is screening Janicza Bravo’s 2020 “Zola” on Thursday with the filmmaker in person. Written by Bravo and Jeremy O. Harris, the film is based on a notorious 2015 Twitter thread by A’Ziah “Zola” King that chronicled an uproarious tale of a road trip gone very wrong. With a cast that includes Taylour Paige, Riley Keough, Nicholas Braun and Colman Domingo, the film plumbs disorientation and information overload both with equal skill.
Bravo, who has directed recent episodes of “The Bear” and “Too Much” (also appearing in the latter as an actor) spoke at the film’s release about balancing outrageous humor with the darker currents of its story, which touch on complex issues around sex work, sex trafficking and race.
“If it were a not funny movie about sex work and sex trafficking, I don’t think that I would be the right director for it,” said Bravo. “But A’Ziah King, who wrote this story, had imbued it with so much dark humor — you’re laughing at some of the most disturbed moments. … Her way of exorcizing her trauma — it feels so familiar to me. I feel so close to it. This is how I move through the world.”
“Zola” is screening as part of the series “American Gurl: Seeking…” which spotlights coming-of-age films about women of color. Also upcoming in the series is Martine Syms’ “The African Desperate”; Minhal Baig’s 2019 “Hala,” starring Geraldine Viswanathan; Nisha Ganatra’s “Chutney Popcorn” in 35mm with the filmmaker in conversation with Fawzia Mirza; Robert Townsend’s 1997 “B.A.P.S.” in 35mm with screenwriter Troy Byer and Spike Lee’s “Girl 6” in 35mm.
‘Taxi Zum Klo’
The 45th anniversary re-release poster for “Taxi Zum Klo.”
(Altered Innocence)
For its 45th anniversary, Frank Ripploh’s 1980 German film “Taxi Zum Klo” is returning to theaters in a new 4K restoration. A semi-autobiographical tale of a schoolteacher (played by Ripploh) exploring Berlin’s queer underground scene, the film was groundbreaking for its unapologetic candor. The film will have a limited run at the Los Feliz 3, playing on Aug. 5, 10 and 12.
In a 1981 review of the film, Sheila Benson wrote, “Films like ‘Taxi’ as so rare as to be unique, a collage of cinema journalism, an unblinking (but selective) view of homosexual life and intensely personal sexual images.”
Merle Oberon and ‘Dark Waters’
Merle Oberon, center, in 1944’s “Dark Waters.”
(United Artists / Photofest)
On Saturday the UCLA Film and Television Archive will have a 35mm screening of André de Toth’s 1944 “Dark Waters,” starring Merle Oberon. Along with the film there will be a Q&A with Mayukh Sen, author of the book “Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star,” moderated by programmer and critic Miriam Bale. Sen will also do a signing before the screening.
A tense thriller that combines elements of Southern Gothic and film noir, the movie is about an heiress (Oberon) who finds herself taking refuge at a relative’s Louisiana plantation. She becomes embroiled in local intrigues and entanglements.
Writing about the movie in 1945, Philip K. Scheuer said, “The production builds suspense rather ingeniously, and culminates in an exciting night-shrouded chase in and around the bayou. … Miss Oberon never tops her initial outburst of hysterics, which I found pretty terrifying, but it is nice to see her in the part.”
In other news
‘Cat Video Fest’ returns
An image from “Cat Video Fest 2025.”
(Oscilloscope Laboratories)
The “Cat Video Fest” is back for its eighth installment, playing at Vidiots, the Alamo Drafthouse DTLA and multiple Laemmle locations. Created and curated by Will Braden, the series has raised more than $1 million since 2019 to help shelters, support adoptions and foster care and volunteer sign-ups.
Yes, you can watch plenty of cat videos on your phone. But sitting in a theater delighting in them with an audience is something else entirely.