I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Got any home improvement projects on tap? Seems like a good time to tackle one while we take a look at the shows that might win Emmys next month for writing and directing.
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Writing and directing power rankings
The writing and directing categories at this year’s Emmys could give us a couple of A-list acceptance speeches — Ben Stiller and Seth Rogen — as well as providing the usual hints about what shows will wind up prevailing in the series categories.
Let’s sketch out how the races are shaping up with our official set of power rankings, ordered from worst to first for drama, comedy and limited series. Try to see if you can read it all in a single take in honor of all the “oners” nominated.
Drama series directing
Adam Scott and Britt Lower in “Severance.”
(Apple TV+)
7. “The White Lotus.” “Amor Fati,” Mike White Season 3 aftertaste remains as bitter as one of Timothy’s poison piña coladas.
6. “Slow Horses.” “Hello Goodbye,” Adam Randall Another exemplary season. There’s a reason Randall recently became the first director to be hired for another go-round.
5. “Andor.” “Who Are You?,” Janus Metz Should be required viewing for American citizens right now.
4. “The Pitt.” “7 a.m.,” John Wells How it all began …
3. “The Pitt.” “6 p.m.,” Amanda Marsalis And how it ended.
2. “Severance.” “Chikhai Bardo,” Jessica Lee Gagné We finally got our Gemma episode and it was breathtaking in the ways it used visual language to convey the most heartbreaking love story this side of “Eternal Sunshine of the Spotless Mind.”
1. “Severance.” “Cold Harbor,” Ben Stiller Innie Mark vs. Outie Mark. Frantic chases down the hallways. An impossible choice. And a marching band.
Comedy series directing
Sarah Polley, left, Catherine O’Hara and Seth Rogen in “The Studio.”
(Apple TV+)
5. “Mid-Century Modern.” “Here’s to You, Mrs. Schneiderman,” James Burrows For those keeping score, that’s Emmy nomination No. 28 as a director for Burrows. (He has won five times.)
4. “The Bear.” “Napkins,” Ayo Edebiri Tina’s origin story, and the episode that probably won Liza Colón-Zayas her Emmy last year. Also likely to be remembered for being Edebiri’s directorial debut and, taken with her co-writing this season’s standout “Worms,” an auspicious sign of good things to come.
3. “The Rehearsal.” “Pilot’s Code,” Nathan Fielder In which Fielder lives the life of Sully Sullenberger, from baby to adult, complete with a puppet mom and an unforgettable lactation scene.
1. “The Studio.” “The Oner,” Seth Rogen and Evan Goldberg Not my favorite “Studio” episode (that would be “The Pediatric Oncologist”) but an obvious choice to take this category.
Limited / TV movie directing
Owen Cooper, left, and Stephen Graham in “Adolescence.”
(Netflix )
6. “Sirens.” “Exile,” Nicole Kassell It was not a good year for limited series.
5. “Zero Day,” Lesli Linka Glatter Seriously.
4. “Dying for Sex.” “It’s Not That Serious,” Shannon Murphy La petite mort onward to the last roundup. Que Dieu te garde, Molly.
3. “The Penguin.” “A Great or Little Thing,” Jennifer Getzinger Just when you thought it couldn’t get any darker, the show’s finale went there.
2. “The Penguin,” “Cent’Anni,” Helen Shaver The series’ best episode and why Cristin Milioti will probably win the Emmy.
1. “Adolescence,” Philip Barantini Every episode was a oner.
Drama series writing
Tramell Tillman in “Severance.”
(Apple TV+)
6. “Slow Horses.” “Hello Goodbye,” Will Smith To my great and everlasting surprise, “Slow Horses” won this Emmy last year, meaning that however long it lasts — and there will be at least two more seasons — it will have triumphed at least once.
5. “The White Lotus.” “Full–Moon Party,” Mike White I’m a little like Saxon after his hookup with his brother in this episode, wanting to pretend it — and the whole season — never happened.
4. “The Pitt.” “7 a.m.,” R. Scott Gemmill This is such a wonderfully written episode, introducing us to a couple of dozen characters, establishing them and the setting and doing so in a tight 53 minutes.
3. “Andor.” “Welcome to the Rebellion,” Dan Gilroy There’s so much respect for what the Gilroy brothers did with “Andor” that you could see voters having a strong impulse to reward it.
2. “The Pitt.” “2 p.m.,” Joe Sachs You remember how this episode ends? The honor walk for Nick? I am getting tears in my eyes typing this sentence. And that was just one element in an episode that left me so gutted that I had to sequester myself after it ended before I could even choke out a word or two with my wife.
1. “Severance.” “Cold Harbor,” Dan Erickson Trippy, emotionally fraught season finale that’ll probably win since loyalists of “The Pitt” have two choices in this category.
Comedy series writing
Jean Smart in “Hacks.”
(Jake Giles Netter / HBO Max)
6. “What We Do in the Shadows.” “The Finale,” Sam Johnson, Sarah Naftalis and Paul Simms They shut the casket one final time, satisfying nearly everyone who loved the show for six seasons.
5. “Somebody Somewhere.” “AGG,” Hannah Bos, Paul Thureen and Bridget Everett Another series finale, a near-perfect summation of the show’s lovely blend of joy and melancholy.
4. “Abbott Elementary.” “Back to School,” Quinta Brunson Solid season opener of a series that has crossed over into “taken-for-granted” status.
3. “The Rehearsal.” “Pilot’s Code,” Nathan Fielder, Carrie Kemper, Adam Locke-Norton and Eric Notarnicola “It was difficult at first to inhabit the mind of a baby. I know so much more than babies do, and it can be hard to forget all that stuff. So I tried not to think about the fact that I was a 41-year-old man and just did my best to be present in the moment.”
2. “The Studio.” “The Promotion,” Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez The episode that started it all and made me more interested to see a “Kool-Aid” movie than practically anything that an actual studio released this summer.
1. “Hacks.” “A Slippery Slope,” Lucia Aniello, Paul W. Downs and Jen Statsky “Hacks” has won this Emmy twice in its first three seasons, and the dramatic episode — Deborah loves Ava more than her dream job! — seems a spot to prevent a “Studio” sweep.
Limited / TV movie writing
Christine Tremarco and Stephen Graham in “Adolescence.”
(Netflix )
5. “Say Nothing.” “The People in the Dirt,” Joshua Zetumer Car bombs, hunger strikes, political assassinations.
4. “Black Mirror.” “Common People,” Charlie Brooker and Bisha K. Ali Technology really is going to destroy us, isn’t it?
3. “Dying for Sex.” “Good Value Diet Soda,” Kim Rosenstock and Elizabeth Meriwether Of course, we’re all gonna die anyway. Might as well indulge.
2. “The Penguin.” “A Great or Little Thing,” Lauren LeFranc After all, evil and depravity win out in the end.
1. “Adolescence,” Jack Thorne and Stephen Graham So hug your children tonight.
New Delhi, India – What if Michael had died instead of Sonny in The Godfather? Or if Rose had shared the debris plank, and Jack hadn’t been left to freeze in the Atlantic in Titanic*?
Eros International, one of India’s largest production houses, with more than 4,000 films in its catalogue, has decided to explore this sort of what-if scenario. It has re-released one of its major hits, Raanjhanaa, a 2013 romantic drama, in cinemas – but has used artificial intelligence (AI) to change its tragic end, in which the male lead dies.
In the AI-altered version, Kundan (played by popular actor Dhanush), a Hindu man who has a doomed romance with a Muslim woman, lives. But the film’s director, Aanand L Rai, is furious.
“The idea that our work can be taken and modified by a machine, then dressed up as innovation, is deeply disrespectful,” Rai said, adding that the entire film crew had been kept in the dark about the re-release.
“What makes it worse is the complete ease and casualness with which it’s been done,” said Rai. “It is a reckless takeover that strips the work of its intent, its context, and its soul.”
This is the first time a film studio has re-released a movie with AI alterations, anywhere in the world, and it has also caused an uproar among critics, filmmakers and film lovers.
Here is what we know so far about why this move has been so controversial, and what the legal and ethical issues are.
How has the film been altered?
Eros International, a prominent film studio, has re-released a Tamil-dubbed version of the film, Raanjhanaa, titled Ambikapathy, with an alternate, AI-generated ending.
This altered version, which significantly deviates from the original film’s climax, screened at cinemas in Tamil Nadu, a southern Indian state, on August 1.
At the end of the original movie, the lead male character, Kundan, lies dead, covered in bruises from his injuries, in a hospital with his lover sitting by his side, crying. In the AI-altered ending, however, Kundan does not die. Instead, he opens his eyes and starts to stand up.
How have people reacted to the re-release?
The release of the AI-altered version prompted immediate objections from the film’s original creators. Dhanush, a Tamil actor, issued a statement noting that “this alternate ending stripped the film of its soul” and that the re-release had “completely disturbed” him.
With its changed ending, Ranjhaanna is “not the film I committed to 12 years ago”, he said. The actor added that the use of AI to alter films “is a deeply concerning precedent for both art and artists [that] threatens the integrity of storytelling and the legacy of cinema”.
Rai, the director, shared a detailed note on Instagram condemning the move. “Let me say this as clearly as I can: I do not support or endorse the AI-altered version … It is unauthorised. And whatever it claims to be, it is not the film we intended, or made.”
“This was never just a film to us. It was shaped by human hands, human flaws, and human feeling,” Rai added. “To cloak a film’s emotional legacy in a synthetic cape without consent is not a creative act. It’s an abject betrayal of everything we built.”
Richard Allen, professor of film and media art at City University of Hong Kong, said it seems inevitable that AI-altering will become a mainstream method of filmmaking in global film industries.
“If producers think they can make more money out of old content by using AI, they will do so,” Allen told Al Jazeera.
Indian Bollywood actor Dhanush attends a party for the Hindi film, Raanjhanaa, in Mumbai on July 24, 2013 [File: STRDEL/AFP via Getty Images]
Is AI-altering legal?
Rai has said that he is investigating legal options to challenge the re-release of this movie.
Eros International insists that its actions are perfectly legal, however, and has refused to retract the re-release.
“This re-release is not a replacement – it is a creative reinterpretation, clearly labelled and transparently positioned,” said Pradeep Dwivedi, chief executive of Eros International Media.
Dwivedi noted that under Indian copyright law, the producer of a film (in this case, Eros International) is deemed its author and primary rights-holder, meaning that the production house is the first owner of copyright for the film.
He said the film studio is “the exclusive producer and copyright holder, holds full legal and moral rights” under Indian laws. He described the alternate ending to the movie as “a new emotional lens to today’s audiences”.
The studio, which has released more than 4,000 movies globally, will “embrace generative AI as the next frontier in responsible storytelling”, Dwivedi said, adding that Eros International is “uniquely positioned to bridge cinematic legacy with future-ready formats”.
What about the ethics of this?
Mayank Shekhar, an Indian film critic, said the real issue with AI-altering is one of ethics: doing it without the expressed consent of the creators – writer, director and actors – involved.
“What’s left then is simply the legalese of who owns the copyright, or who paid for the product, and is hence the sole producer, and therefore the owner of the work,” Shekhar said. “Technically, I suppose, or so it seems, what Eros has done isn’t illegal – it’s certainly unethical.”
In his statement, Eros International’s Dwivedi said that every era of cinema has faced the clash between “Luddites and Progressives”. He added: “When sound replaced silence, when colour replaced black-and-white, when digital challenged celluloid, and now, when AI meets narrative.”
Dwivedi insisted that reimagining the movie’s ending was not “artificial storytelling,” but “augmented storytelling, a wave of the future”.
Has AI been used to alter films before?
AI has not been used to alter the storyline of an existing movie by its own producers or crew for re-release before this.
However, it has been used for post-production purposes in movies – such as voice dubbing or computer-generated imagery (CGI) enhancements. Its use was a flashpoint in Hollywood during the labour protests of 2023, which resulted in new guidelines for the use of the technology.
In an interview, The Brutalist’s Oscar-nominated editor, David Jancso, said that the production had used a Ukrainian software company, Respeecher, to make the lead actors, Adrien Brody and Felicity Jones, sound more “authentic” when they spoke Hungarian in the film.
Similarly, filmmaker David Fincher supervised a 4K restoration of his celebrated crime-thriller, “Se7en” for its 30th anniversary this year, using AI to correct technical flaws in focus and colour.
Ted Sarandos, Netflix’s co-CEO, said last month that the company had used generative AI to produce visual effects for the first time on screen in its original series, El Eternauta, or The Eternaut. Netflix has also been exploring the use of trailers personalised for subscribers’ user profiles.
Reuters reported that Netflix had also tested AI to synchronise actors’ lip movements with dubbed dialogue to “improve the viewing experience”, quoting company sources.
Director James Cameron with Kate Winslet and Leonardo DiCaprio on the Titanic door during filming [20th Century Fox]
Will AI alterations become the norm in cinema?
Allen said the alteration to Raanjhanaa felt different from the way AI has been used to enhance movies in the past. “There are so many things that AI doctoring might do to a movie,” he said.
However, he added: “We won’t necessarily lose sight of the definitive version, unless newly released versions are mislabelled as restorations or original versions of the movies themselves, which goes back to the ethical frameworks.”
Shekhar said: “The larger issue is simply of regulation. AI is too new for laws to catch up yet.
“The fact is, a work of art ought to be protected from predators. And respected for its own worth, whether or not somebody likes the ending of a film!”
An alternative ending to a film also needs to be plausible.
In 2022, Titanic director James Cameron said he commissioned a forensic analysis, involving a hypothermia expert, that proved there would have been no way for both Jack and Rose to survive on that infamous floating door. Jack “had to die”, Cameron said then.
The hit Broadway musical “Hamilton” is making its way to the big screen on Sept. 5.
Lin-Manuel Miranda announced the theatrical release date for the Tony Award-winning musical Tuesday night during an interview on “The Tonight Show Starring Jimmy Fallon.”
“We always wanted to release it theatrically, but then the pandemic hit and so we decided to release it on streaming, so that everyone could see it at home whenever they wanted,” Miranda said on the show. “[Soon] you will be able to see ‘Hamilton’ in movie theaters nationwide and in Puerto Rico.”
The show’s cinematic release marks a major milestone: It’s been nearly 10 years since the off-Broadway premiere of “Hamilton,” which was based on the life of Alexander Hamilton, a founding father of the United States. Created by Miranda, who also composed the music, lyrics and book, the hip-hop- and R&B-inflected musical used source material from “Alexander Hamilton,” a 2004 biography written by Ron Chernow. The musical went on to win 11 Tony Awards, including best musical, and the Pulitzer Prize for drama in 2016.
The film was shot in June 2016, during a live performance at the Richard Rodgers Theatre on Broadway, and features much of the original cast. This includes Miranda as Alexander Hamilton; Leslie Odom Jr. as Aaron Burr; Renée Elise Goldsberry as Angelica Schuyler and Phillipa Soo as Eliza Hamilton.
The film was originally slated for release in movie theaters in October 2021. Disney paid $75 million for worldwide movie rights in 2020 and released it later that year exclusively on its streaming platform; the film went on to win two Emmy Awards in 2021.
The “Hamilton” anniversary is being celebrated in more ways than one. Prior to Miranda’s “Tonight Show” interview, Madame Tussauds New York unveiled a wax figure of Miranda dressed as Alexander Hamilton at the Richard Rodgers Theatre.
Two special performances of the hit musical will also take place at the same theater today. Every actor who has performed on the Broadway musical since its opening has been invited, according to the Associated Press.
Attendees for the matinee were already selected via a lottery process and the evening performance is an invite-only fundraiser for the Immigrants: We Get the Job Done Coalition — a host of 14 immigrant service organizations that uplift immigrant communities across the country.
Tickets for the film are now available for purchase.
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.
This is a story about a movie that saved a sport. OK, that’s a stretch, but only a little one.
Scottie Scheffler is the No. 1 golfer in the world. Has been for a couple of years. He has won two Masters titles, one PGA Championship and the recent British Open, as well as an Olympic gold medal. He is so good that somebody ought to check his golf balls for tiny magnets that hook up to the cups on the greens. So far this year, by slapping a little white dimpled ball around in the grass, he has won $19.2 million. He has yet to turn 30, but his overall income, just from golf tournaments, is around $90 million.
This guy is so good that his caddie, Ted Scott, is estimated, at the normal 10% of winnings, to have pocketed about $5 million. For carrying a bag.
So, what’s the problem?
Scheffler is so good that he might also be sparking a trend called remote remorse. You really want to watch, but once he gets ahead by a couple of shots, there is nothing left. No drama, no possible twist and turn, no chance of any excitement. Other players in those tense, title-on-the-line final holes, dunk a shot into the water or bury one so deep in the sand that their only choice of club is a shovel.
Not Scheffler. He is a 6-foot-3 human robot whose veins circulate ice water. When the going gets tough, Scheffler yawns.
Scottie Scheffler, right, and wife Meredith Scudder attend the premiere of Netflix’s “Happy Gilmore 2” on July 21 in New York.
(Evan Agostini / Evan Agostini/invision/ap)
So, you see this and you know what is coming next — final putt, arms raised in satisfaction, a hug for his multi-millionaire caddie, the mandatory TV interview with the apparently mandatory British-accent female sportscaster, who will always start with, “How does this feel?”
You, and millions more, click the button on your remote for something more interesting, like HGTV or the Gardening Channel. When Scheffler gets ahead in the final round like that — which is almost always — it is game over. He can squeeze the drama out of a golf tournament like Bill Belichick could out of an NFL postgame interview.
Certainly, you say, Tiger Woods used to win lots of tournaments by lots of big margins and that never seemed boring.
That’s because it wasn’t. Tiger was animated, angry, annoyed, analytical, fed up with some part of his game, charged up over another part, mad at a reporter, upset with his agent. Tiger could win by eight, occasionally did, and it was still must-see TV. When Tiger was at his best, nobody could beat him and the public loved him and just wanted more. Scheffler is currently at his best and the public certainly is terribly impressed and, sadly, kind of meh. Tiger was a pound-on-the-table-and-shout-at-the-TV kind of player. Scheffler is a nod and a shrug.
But there is hope. Hollywood has intervened, as only Hollywood can.
Twenty-nine years ago, an up-and-coming comic named Adam Sandler made a movie inspired by one of his New England friends, who was a great hockey player and could also hit a golf ball a long distance with a hockey stick. Sandler called the movie “Happy Gilmore” and found a wide audience that loved it for its irreverence about a game that flaunts hushed reverence.
Among the highlights was an on-course fistfight between Happy Gilmore (Sandler) and aging TV game show host Bob Barker. Barker won by KO.
The movie was hilariously overdone slapstick. It was a gut-laugh-a-minute. It was so stupid and wacky that it was wonderful.
Now, Sandler has made “Happy Gilmore 2,” and it is again a must-see for all the reasons that the original was. Plus the cameo appearances. Especially one by Scheffler.
In the movie, Scheffler is good, funny, fun. He doesn’t have a lot of lines, but he has perfect timing. He punches a guy out on the green and the cops come and haul him away. “Oh, no. Not again,” he says.
Remember, earlier this year, when Louisville cops hauled him away and put him in an orange jail suit, when he was accused of making a wrong turn while driving into the golf course at the PGA Championship, a tournament that he would eventually win? Well, Sandler and his writers made hay out of that, but more significantly, Scheffler played to it perfectly.
After the movie punch-out, Scheffler is pictured in a jail cell, in an orange jail suit, as a guard asks, since he has been in that cell for three days, if he wants to get out. Scheffler replies, “Ah, what’s for dinner?” When he is told chicken fingers, he says, “I think I’ll stay another night.”
Now, of course, none of that is knee-slapping stuff, but it is Scheffler, and the self-effacing comedy is a perfect image-enhancer, even if it is only in a stupid movie. It is so much better for golf fans to see Scheffler as a roll-with-the-punches fun guy, than an emotionless, ball-striking robot. Neither is totally accurate, but in this media world of image-is-everything, “Happy Gilmore 2” has done wonderful things for this wonderful golfer. Even moreso, for his sport
He will be all over your TV screens for the three-week FedEx playoffs. It starts Aug. 7 with a tournament in Memphis, followed by the next week in Baltimore and the grand finale Aug. 21 in East Lake, Ga., near Atlanta. For the playoffs, the PGA will distribute $100 million in prize money and the winner will receive $10 million.
Scheffler, a likely winner, would then certainly be invited to appear on TV, especially the late-night shows such as Stephen Colbert and Jimmy Fallon. This would present another great image-building opportunity. He could show up in an orange jump suit.
SEOUL — When South Koreans start to obsess over a movie or TV series, they abbreviate its name, a distinction given to Netflix’s latest hit “K-pop Demon Hunters.” In media headlines and in every corner of the internet, the American-made film is now universally referred to as “Keh-deh-hun” — the first three syllables of the title when read aloud in Korean.
And audiences are already clamoring for a sequel.
The animated film follows a fictional South Korean girl group named “HUNTR/X” as its three members — Rumi, Mira and Zoey — try to deliver the world from evil through the power of song and K-pop fandom.
Since its release in June, it has become the most watched original animated film in Netflix history, with millions of views worldwide, including the U.S. and South Korea, where its soundtrack has topped the charts on local music streaming platform Melon. Fans have also cleaned out the gift shop at the National Museum of Korea, which has run out of a traditional tiger pin that resembles one of the movie’s characters.
Much of the film’s popularity in South Korea is rooted in its keenly observed details and references to Korean folklore, pop culture and even national habits — the result of having a production team filled with K-pop fans, as well as a group research trip to South Korea that co-director Maggie Kang led in order to document details as minute as the appearance of local pavement.
There are nods to traditional Korean folk painting, a Korean guide to the afterlife, the progenitors of K-pop and everyday mannerisms. In one scene, at a table in a restaurant where the three girls are eating, viewers might notice how the utensils are laid atop a napkin, an essential ritual for dining out in South Korea — alongside pouring cups of water for everyone at the table.
“The more that I watch ‘Keh-deh-hun,’ the more that I notice the details,” South Korean music critic Kim Yoon-ha told local media last month. “It managed to achieve a verisimilitude that would leave any Korean in awe.”
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“K-pop Demon Hunters” has nods to traditional Korean folk painting, a Korean guide to the afterlife, the progenitors of K-pop and everydaymannerisms.
(Netflix)
Despite its subject matter and association with the “K-wave,” that catch-all term for any and all Korean cultural export, “K-pop Demon Hunters,” at least in the narrowest sense, doesn’t quite fit the bill.
Produced by Sony Pictures and directed by Korean Canadian Kang and Chris Appelhans — who has held creative roles on other animated films such as “Coraline” and “Fantastic Mr. Fox” — the movie is primarily in English and geared toward non-Korean audiences. But its popularity in South Korea is another sign that the boundaries of the K-wave are increasingly fluid — and that, with more and more diaspora Korean artists entering the mix, it flows in the opposite direction, too.
Those barriers have already long since broken down in music: many K-pop artists and songwriters are non-Korean or part of the Korean diaspora, reflecting the genre’s history of foreign influences such as Japanese pop or American hip-hop.
“Once a cultural creation acquires a universality, you can’t just confine it to the borders of the country of origin, which is where K-pop is today,” said Kim Il-joong, director of the content business division at the Korea Creative Content Agency, a government body whose mission is to promote South Korean content worldwide. “Despite what the name ‘K-pop’ suggests, it is really a global product.”
In “K-pop Demon Hunters,” Zoey is a rapper from Burbank. In addition, the soundtrack was written and performed by a team that includes producers, artists and choreographers associated with some of the biggest real-life K-pop groups of the past decade.
Streaming productions are increasingly flying multiple flags, too: Apple TV’s “Pachinko” or Netflix’s “XO, Kitty” are both American productions that were filmed in South Korea. But few productions have been able to inspire quite the same level of enthusiasm as “K-pop Demon Hunters,” whose charm for many South Koreans is how accurately it captures local idiosyncrasies and contemporary life.
While flying in their private jet, the three girls are shown sitting on the floor even though there is a sofa right beside them. This tendency to use sofas as little more than backrests is an endless source of humor and self-fascination among South Koreans, most of whom would agree that the centuries-old custom of sitting on the floor dies hard.
South Korean fans and media have noted that the characters correctly pronounce “ramyeon,” or Korean instant noodles. The fact that ramyeon is often conflated with Japanese ramen — which inspired the invention of the former decades ago — has long been a point of exasperation for many South Koreans and local ramyeon companies, which point to the fact that the Korean adaption has since evolved into something distinct.
It’s a small difference — the Korean version is pronounced “rah myun” — but one that it pays to get right in South Korea.
Apple TV’s “Pachinko,” with Sungkyu Kim, Eunchae Jung and Minha Kim, is an American production filmed in South Korea.
(Apple)
The girls’ cravings for ramyeon during their flight also caught the eye of Ireh, a member of the real-life South Korean girl group Purple Kiss who praised the film’s portrayals of life as a K-pop artist.
“I don’t normally eat ramyeon but whenever I go on tour, I end up eating it,” she said in a recent interview with local media. “The scene reminded me of myself.”
South Korean fans have also been delighted by a pair of animals, Derpy and Sussy, which borrow from jakhodo, a genre of traditional Korean folk painting in which tigers and magpies are depicted side by side, popularized during the Joseon Dynasty in the 19th century.
In the film, Derpy is the fluorescent tiger with goggle eyes that always appears with its sidekick, a three-eyed bird named Sussy.
“K-pop Demon Hunters” is peppered with homages to Korean artists throughout history who are seen today as the progenitors of contemporary K-pop.
(Netflix)
Though they have long since been extinct, tigers were once a feared presence on the Korean peninsula, at times coming down from the mountains to terrorize the populace. They were also revered as talismans that warded off evil spirits. But much like Derpy itself, jakhodo reimagined tigers as friendlier, oftentimes comical beings. Historians have interpreted this as the era’s political satire: the magpie, audacious in the presence of a great predator, represented the common man standing up to the nobility.
The movie is peppered with homages to Korean artists throughout history who are seen today as the progenitors of contemporary K-pop. There are apparent nods to the “Jeogori Sisters,” a three-piece outfit that was active from 1939 to 1945 and is often described as Korea’s first girl group, followed by the Kim Sisters, another three-piece that found success in the U.S., performing in Las Vegas and appearing on “The Ed Sullivan Show.”
Longtime K-pop fans might recognize the demon hunters from the 1990s as S.E.S., a pioneering girl group formed by S.M. Entertainment, the label behind present-day superstars Aespa and Red Velvet. (Bada, S.E.S.’s main vocalist, recently covered “Golden,” the film’s headline track, on YouTube.)
For a long time, South Korean audiences have often complained about outside depictions of the country as inauthentic and out of touch. Not anymore.
“Korea wasn’t just shown as an extra add-on as it has been for so long,” Kim said. “‘K-pop Demon Hunters’ did such a great job depicting Korea in a way that made it instantly recognizable to audiences here.”
It follows Bond as he chases an assassin through the streets of Istanbul in a bid to recover a stolen list exposing the identities of MI6 secret agents.
When the mission goes terribly wrong, Chief M (Dame Judi Dench) is forced to take extreme measures to preserve the agency.
Skyfall is streaming now on ITVX(Image: Publicity Picture)
Craig shares the screen with Naomie Harris, who Bond enthusiasts will recognise from other films in the franchise.
Other notable cast members include Oscar winner Javier Bardem, 28 Years Later star Ralph Fiennes and French actress Bérénice Marlohe.
As you’d expect from this stellar ensemble, Skyfall was an instant hit.
It bagged a rare 92% Rotten Tomatoes score, where critics raved: “Sam Mendes brings Bond surging back with a smart, sexy, riveting action thriller that qualifies as one of the best 007 films to date.”
What’s more, the spy drama earned five Oscar nominations, including nods in the Best Cinematography, Best Original Score and Best Sound Mixing categories.
Ultimately, the thriller won the Oscars for Best Sound Editing and Best Original Song. The latter was awarded to Adele for her hit song, Skyfall.
Viewers claim Skyfall is the best Bond film (Image: Metro-Goldwyn-Mayer Studios)
Moviegoers were captivated by the film, with one Google reviewer gushing: “By far the best Bond Movie I’ve ever seen especially given the amazing performances of Javier Braden.”
A second agreed: “Skyfall in my view is the best Bond film ever made. No Time To Die is good but this Bond film will always have the edge above others.”
Meanwhile, an IMDb user shared: “This is one of the best Bond movies I have ever seen.
“The story is superbly put together and has some interesting twists, the action is well done and contains none of the shaky cam which plagued the last film. The actors all do a great job.”
It was clobberin’ time this weekend, as Marvel’s “The Fantastic Four: First Steps” nabbed the top spot at the box office with a performance that returned the Walt Disney Co.-owned superhero franchise to form.
The movie hauled in $118 million in the U.S. and Canada and grossed $218 million globally in its opening weekend. The film, which stars Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn, is just the latest remake of the comic book property, though the first under Walt Disney Co.’s ownership.
Disney has already capitalized on its ownership of the “Deadpool” and “X-Men” properties — its 2024 film, “Deadpool & Wolverine,” garnered more than $1 billion in global box office revenue.
Fox produced and released three “Fantastic Four” movies, none of which were well-received by audiences or critics. A 2015 reboot was particularly reviled.
Quality was not an issue this time. The movie notched a 88% approval rating on aggregator Rotten Tomatoes and an “A-” grade from audience polling firm CinemaScore.
The movie exceeded pre-release estimates. “First Steps” was expected to gross $100 million to $110 million in its debut weekend, on a reported budget of about $200 million.
The theatrical reception for “The Fantastic Four” is a relief for Disney and Marvel, which has struggled in recent years to reap the box office earnings it once did with its superhero films.
The Anthony Mackie-led “Captain America: Brave New World” received middling reviews from critics and brought in about $415 million in global box office revenue. Ensemble movie “Thunderbolts*” received strong reviews, but made only $382 million worldwide.
Disney Chief Executive Bob Iger said earlier this year that the company “lost a little focus” in its zeal to produce more shows and movies for the Disney+ streaming platform, acknowledging that “quantity does not necessarily beget quality.”
“By consolidating a bit and having Marvel focus much more on their films, we believe it will result in better quality,” he said during an earnings call with analysts in May.
Anticipation was high for “The Fantastic Four,” and Disney went all out with the marketing. The company hired a skywriter to craft encircled 4’s in the sky near downtown Los Angeles on the day of the premiere and featured a drone show outside the Dorothy Chandler Pavilion after the showing.
“While Marvel films have settled into a fairly predictable core audience after multiple under-cooked films and streaming series in the post-’Avengers: Endgame’ era, the brand remains sturdy when the right film comes along,” Shawn Robbins, director of movie analytics at Fandango and founder of site Box Office Theory, wrote in a weekend theatrical forecast published Wednesday.
Warner Bros.’ DC Studios’ “Superman” came in second at the box office this weekend with a domestic total of $24.9 million for a worldwide gross so far of $503 million.
British actor Micheal Ward, known for the Netflix series “Top Boy” and and most recently Ari Aster’s movie “Eddington,” is facing charges of allegedly raping and sexually assaulting a woman in the United Kingdom in 2023.
London’s Metropolitan Police announced in a Friday statement that prosecutors had charged BAFTA winner Ward, 28, with two counts of rape and three counts of sexual assault following an investigation into an alleged January 2023 incident. The statement did not provide details about the incident, including the location and the identity of Ward’s accuser.
“Our specialist officers continue to support the woman who has come forward — we know investigations of this nature can have significant impact on those who make reports,” Det. Supt. Scott Ware said in the statement.
Representatives for Ward did not immediately respond to The Times’ request for comment Friday. The actor is due to appear at Thames Magistrates’ Court in London on Aug. 28.
Ward, who was born in Jamaica, broke into acting less than a decade ago, appearing in the British drama series “Top Boy” and rapper Rapman’s 2019 film “Blue Story.” He won BAFTA’s rising star award in 2020. That same year he appeared in “The Old Guard” opposite Charlize Theron and in Steve McQueen’s “Small Axe” miniseries.
His movie credits also include Sam Mendes’ “Empire of Light,” “The Book of Clarence,” “Bob Marley: One Love” and “The Beautiful Game.” He currently stars as a young police officer in “Eddington,” the latest film from “Hereditary” and “Midsommar” filmmaker Aster.
Resources for survivors of sexual assault
If you or someone you know is the victim of sexual violence, you can find support using RAINN’s National Sexual Assault Hotline. Call (800) 656-HOPE or visit online.rainn.org to speak with a trained support specialist.
After starring in several back-to-back projects over the past six months, Jack Quaid has been eager to finally settle in for a bit.
“It’s amazing that I get to do this job, but I do find myself missing home a lot,” Quaid says from his Los Angeles apartment, which he shares with his girlfriend and “The Boys” co-star Claudia Doumit. “So it will be nice to really connect with the people I grew up with and the place I’m from.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Quaid kicked off his jam-packed year with the sci-fi thriller “Companion,” and a couple of months later, he transformed into a superhero who feels no pain in “Novocaine.” Shortly after, he co-starred in a crime thriller called “Neighborhood Watch,” and he traveled across the pond to London to star in “Heads of State” with Idris Elba, John Cena, and Priyanka Chopra, which is now streaming on Prime Video.
When we hop on a Zoom call, Quaid has recently returned to L.A. after shooting the fifth and final season of “The Boys,” Prime Video’s superhero dramedy.
“I’ve really grown up on that show,” says Quaid, who dedicated an Instagram post to “The Boys” with a collection of bloody selfies. “I worked a bit before, but that show was really like actor boot camp.”
Quaid talked about his perfect Sunday in L.A., which involves taking a “giant walk” to visit all of his favorite spots, including a comic book store, coffee shop and a classic diner. If it were up to him, the action star would break the laws of physics and be in more than one place at a time. For now, sadly, that only works in superhero movies.
This interview has been lightly edited for length and clarity.
7:30 a.m.: Coffee, records and backgammon
Claudia or I will usually make coffee. We kind of have a whole morning routine. Not to sound too douchey, but I’m never really here or at least I haven’t been in the past year, so every time I’m home, I just want to take it in. The one constant every day is that we wake up, have coffee and put a record on. It’s usually “Pink Moon” by Nick Drake or “Super Sad Generation” by Arlo Parks. Sometimes it’s Marty Robbins’ “Gunfighter Ballads and Trail Songs,” which is a good one. Just stuff that starts the day off in kind of a chill way.
We’ll go out onto our balcony, have our coffee and play backgammon. Backgammon is something I learned on the set of “The Boys.” It’s just such a fun game that keeps your mind active. You’re not on your phone and it’s nice to play with someone that you love, obviously.
10 a.m.: Fill up my tote bag with new comics
I usually go for a giant walk. L.A. is not a walkable city, but I’m trying to make it one. I love my local businesses and coffee shops, and I try to be a regular whenever I can. I typically will walk to my favorite comic book shop in L.A. called Golden Apple. I started going there to get all the issues of “The Boys” to research the comic. I was really into comics when I was younger, and then recently, I’ve gotten very into comics. My specification is that it can’t be about superheroes. No disrespect to those comics, but I’m in that world a lot.
I really started getting into this writer named James Tynion IV. I stared reading “Something Is Killing the Children” and I got obsessed with it, and that kind of spawned this new comic renaissance for me. I just go to the shop, I talk to the guy who works at the store and he recommends new books to me and I just love that.
11 a.m.: Feel nostalgic at my favorite diner
I’d probably walk all the way to Swingers Diner and meet up with a friend. I used to go there with my sketch comedy group — we would write there a lot. Everyone who works there is amazing and that place is legendary. I grew up in Santa Monica and I used to go to that location which used to have purple cows on the walls. I think that closed, which is unfortunate. Back then, I’d be doing a school play and that’s where everybody would go after a performance.
Typically, I get the protein breakfast with quinoa, egg whites and chicken. Very boring. But on my ideal Sunday, I’d get something involving bananas, pancakes and peanut butter. I’d want to sit and eat on the [patio] area. If it has a little bit of tree shade, I’m in.
1:30 p.m.: Coffee break
Then I would go to Coffee for Sasquatch, which is amazing. My sketch comedy group is called Sasquatch so I feel like I have to go in there. Since it’s my ideal Sunday, I’ll kind of eschew any dietary restrictions. Usually I have black coffee, but I’d get their frozen blended coffee with almond milk, which is basically a milkshake. I can’t remember the name, but It’s so good and it gets you that caffeine buzz. I’d probably have my headphones on, listening to music and reading comics.
4 p.m.: Video games and virtual photography
I think that 4 p.m. is my least favorite time of day. It’s not quite settling down in the evening. The sun is still high in the sky. There’s something about it that I just don’t like, so I’d probably want to go home. My internal clock wherever I am just knows it’s 4 p.m. and I get a little sad.
I’ve gotten really into virtual photography. A lot of games have a photo mode where you can pause the game and put a digital camera anywhere in the 3D space. There’s like lenses and filters, and it’s kind of inspired me to do photography in the real world if I can. It’s really calming so I think I would need that around 4 p.m.
5 p.m.: Run down Sunset Boulevard
5 p.m. is fine because the sun is starting to set and that’s cool. I’d probably go for like a giant jog. I’d basically go to where Book Soup is and then head back. Some of it’s on Sunset Boulevard, which is kind of overwhelming but it’s nice to see the new billboards in town. I’d jog by the Comedy Store and the Laugh Factory. I’m an anxious person and jogging is good for anxiety.
7 p.m.: Mexican food with friends
At 7 p.m., I’d assemble the biggest group of people I know who are in town, including my group of high school friends and their partners, to go to a classic Mexican restaurant. My favorite thing to do in L.A. is to eat authentic Mexican food. L.A. is better with these places here. It’s just what makes L.A. L.A. to me. So I’d go to any restaurant with “El” in the title. The three big “El’s” to me are El Compadre, El Coyote and El Carmen. They’re all delicious and they have so much history to them, which I love. I was literally at El Coyote last night. I always order a combo of shrimp and chicken fajitas, and I’d get a spicy margarita or three of them. I’m a giant spice fan.
9 p.m.: Watch “Jaws” in a cemetery
My favorite thing to do in L.A., period, and I’ve been doing it since high school, is to go to the Hollywood Forever Cemetery to watch a movie. There’s this company called Cinespia that does screenings of classic movies. I say it’s in a cemetery and people go, “Why are you doing that?” But it’s on this big grassy field and — at least they say — you’re not on top of dead bodies. People bring a blanket, wine, snacks and everyone just watches a movie.
But let’s say we want to go see a movie that’s currently in theaters. In the fantasy of my perfect Sunday, the ArcLight is back. That was a big pandemic loss for me because that was my favorite movie theater I think I’d ever been to. When you came out of the theater, you’d talk about it with everyone. I loved the employees doing the intro of the movie. I’d love to manifest another dream. ArcLight was the best place to be a moviegoer, so I want to have a hand in creating something like that in L.A. again.
12 a.m.: Canter’s and cartoons before bed
I’d probably go home and fall asleep to “The Simpsons” or “Futurama.” That’s usually the way that Claudia and I go down. But if I’m still hungry, I’d order take out from Canter’s Deli cause I’ve had three margaritas and that’s the best place to have some good greasy, classic L.A. diner food. I’d get a turkey Reuben with some thick french fries. Then I’d like to go to bed late on my perfect Sunday like around 1 a.m. I’d like to relish in that as long as I can.
“The Fantastic Four: First Steps” slots into summer blockbuster season like a square peg in a round popcorn bucket. Prestige TV director Matt Shakman (“WandaVision”) isn’t inclined to pretzel himself like the flexible Reed Richards to please all four quadrants of the multiplex. His staid superhero movie plays like classic sci-fi in which adults wearing sweater vests solemnly brainstorm how to resolve a crisis. Watching it, I felt as snug as being nestled in the backseat of my grandparents’ car at the drive-in.
This reboot of the Fantastic Four franchise — the third in two decades — is lightyears closer to 1951’s “The Day the Earth Stood Still” than it is to the frantic, over-cluttered superhero epics that have come to define modern entertainment. Set on Earth 828, an alternate universe that borrows our own Atomic Age decor, it doesn’t just look old, it moves old. The tone and pace are as sure-footed as globe-gobbling Galactus, this film’s heavy, purposefully marching into alt-world Manhattan. Even its tidy running time is from another epoch. Under two hours? Now that’s vintage chic.
“First Steps” picks up several years after four astronauts — Reed (Pedro Pascal), his wife, Sue (Vanessa Kirby), his brother-in-law Johnny (Joseph Quinn) and his best friend Ben (Ebon Moss-Bachrach) — get themselves blasted by cosmic rays that endow them with special powers. You may know the leads better as, respectively, Mr. Fantastic, the Invisible Woman, the Human Torch and the Thing. For mild comic relief, they also pal around with a robot named H.E.R.B.I.E., voiced by Matthew Wood.
Skipping their origin story keeps things tight while underlining the idea that these are settled-down grown-ups secure in their abilities to lengthen, disappear, ignite and clobber. Fans might argue they should be a bit more neurotic; screenplay structuralists will grumble they have no narrative arc. The mere mortals of Earth 828 respect the squad for their brains and their brawn — they’re celebrities in a genteel pre-paparazzi time — but these citizens are also prone to despair when they aren’t sure Pascal’s workaholic daddy will save them.
Lore has it Stan Lee was a married, middle-aged father aging out of writing comic books when his beloved spouse, Joan, elbowed him to develop characters who felt personal. The graying, slightly boring Reed was a loose-limbed version of himself: the ultimate wife guy with the ultimate wife.
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But Hollywood has aged-down Lee’s “quaint quartet,” as he called them, at its own peril. Make the Fantastic Four cool (as the movies have repeatedly tried and failed to do) and they come across as desperately lame. This time, Shakman and the script’s four-person writing team of Josh Friedman, Eric Pearson, Jeff Kaplan and Ian Springer valorize their lameness and restore their dignity. Pascal’s Mr. Fantastic is so buttoned-down that he tucks his tie into his dress shirt.
The scenario is that Sue is readying to give birth to the Richards’ first child just as the herald Shalla-Bal (Julia Garner), a.k.a. the Silver Surfer, barrels into the atmosphere to politely inform humanity that her boss Galactus (voiced by Ralph Ineson) has RSVP-ed yes to her invitation that he devour their planet. In a biologically credible touch, the animators have added tarnish to her cleavage: “I doubt she was naked,” Reed says evenly. “It was probably a stellar polymer.”
Typically, this threat would trigger a madcap fetch-this-gizmo caper (as it did in the original comic). Shakman’s version doesn’t waste its energy or our time on that. Rather, this a lean showdown between self-control and gluttony, between our modest heroes and a greedy titan. It’s at the Venn diagram of a Saturday morning cartoon and a moralistic Greek myth.
The film is all sleek lines, from its themes to its architecture to its images. The visuals by the cinematographer Jess Hall are crisp and impactful: a translucent hand snatching at a womb, a character falling into the pull of a yawning black hole, a torso stretched like chewing gum, a rocket launch that can’t blast off until we get a close-up of everyone buckling their seatbelts. Even in space, the CG isn’t razzle-dazzle busy. Meanwhile, Michael Giacchino’s score soars between bleats of triumph and barbershop-chorus charm, a combination that can sound like an automobile show unveiling the first convertible with tail fins.
There is little brawling and less snark. No one comes off like an aspiring stand-up comic. These characters barely raise their voices and often use their abilities on the mundane: Kirby’s Sue vanishes to avoid awkward conversations, Moss-Bachrach’s Ben, in a nod to his breakout role as the maître d’ on “The Bear,” uses his mighty fists to mash garlic. Johnny, the youngest and most literally hotheaded of the group, is apt to light himself on fire when he can’t be bothered to find a flashlight. He delivers the meanest quip in a respectful movie when he tells Reed, “I take back every single bad thing I’ve been saying about you … to myself, in private.”
Yes, my audience giggled dutifully at the jiggling Jell-O salads and drooled over the groovy conversation pits in the Richards’ living room, the only super lair I’d ever live in. The color palette emphasizes retro shades of blue, green and gold; even the extras have coordinated their outfits to the trim on the Fantasticar. Delightfully, when Moss-Bachrach’s brawny rock monster strolls to the deli to buy black-and-white cookies, he’s wearing a gargantuan pair of penny loafers.
If you want to feel old, the generation of middle schoolers who saw 2008’s “Iron Man” on opening weekend are now beginning to raise their own children. Thirty-seven films later, the Marvel Cinematic Universe has gotten so insecure about its own mission that it’s pitching movies at every maturity level. The recent “Thunderbolts*” is for surly teenagers, “Deadpool & Wolverine” is the drunk, divorced uncle at a BBQ, and “First Steps” extends a sympathetic hand to young families who identify with Reed’s frustration that he can’t childproof the entire galaxy.
Here, for a mass audience, Kirby gets to reprise her underwatched Oscar-nominated turn in “Pieces of a Woman,” in which she extended out a 24-minute, single-take labor scene. This karaoke snippet is good (and even a little operatic when the pain makes her dematerialize). I was as impressed by the costumer Alexandra Byrne’s awareness that even super moms won’t immediately snap back into wearing tight spandex. (By contrast, when Jessica Alba played Sue in 2007’s “Fantastic Four: Rise of the Silver Surfer,” the director notoriously asked her to be “prettier” when she cried.)
This reboot’s boldest stride toward progress is that it values emotionally credible performances. Otherwise, Pascal aside, you wouldn’t assemble this cast for any audience besides critics and dweebs (myself included) who keep a running list of their favorite not-quite-brand-name talents who are ready to break through to the next level of their career while yelling, “It’s clobbering time!”
Still, this isn’t anyone’s best role, and it’s a great movie only when compared to similarly budgeted dreck. Yet it’s a worthy exercise in creating something that doesn’t feel nostalgic for an era — it feels of an era. Even if the MCU’s take on slow cinema doesn’t sell tickets in our era, I admire the confidence of a movie that sets its own course instead of chasing the common wisdom that audiences want 2½ hours of chaos. Studio executives continuing to insist on that nonsense deserve Marvel’s first family to give them a disappointed talking-to, and send them to back their boardrooms without supper.
‘The Fantastic Four: First Steps’
Rated: PG-13, for action/violence and some language
Ari Aster’s “Eddington” is such a superb social satire about contemporary America that I want to bury it in the desert for 20 years. More distance will make it easier to laugh.
It’s a modern western set in New Mexico — Aster’s home state — where trash blows like tumbleweeds as Sheriff Joe Cross (Joaquin Phoenix) stalks across the street to confront Eddington’s mayor, Ted Garcia (Pedro Pascal), whom he is campaigning to unseat. It’s May of 2020, that hot and twitchy early stretch of the COVID pandemic when reality seemed to disintegrate, and Joe is ticked off about the new mask mandate. He has asthma, and he can’t understand anyone who has their mouth covered.
Joe and Ted have old bad blood between them that’s flowed down from Joe’s fragile wife Louise, a.k.a. Rabbit (Emma Stone), a stunted woman-child who stubbornly paints creepy dolls, and his mother-in-law Dawn (Deirdre O’Connell), a raving conspiracist who believes the Titanic sinking was no accident. Dawn is jazzed to decode the cause of this global shutdown; there’s comfort in believing everything happens for a reason. Her mania proves contagious.
Bad things are happening in Eddington and have been for decades, not just broken shop windows. Joe wears a white hat and clearly considers himself the story’s hero, although he’s not up to the job. If you squint real hard, you can see his perspective that he’s a champion for the underdog. Joe gets his guts in a twist when a maskless elder is kicked out of the local grocery store as the other shoppers applaud. “Public shaming,” Joe spits.
“There’s no COVID in Eddington,” Joe claims in his candidacy announcement video, urging his fellow citizens that “we need to free our hearts.” His earnestness is comic and sweet and dangerous. You can hear every fact he’s leaving out. His rival’s commercials promote a fantastical utopia where Ted is playing piano on the sidewalk and elbow-bumping more Black people in 15 seconds than we see in the rest of the movie. Ted also swears that permitting a tech behemoth named SolidGoldMagikarp to build a controversial giant data center on the outskirts of the county won’t suck precious resources — it’ll transform this nowheresville into a hub for jobs. Elections are a measure of public opinion: Which fibber would you trust?
Danger is coming and like in “High Noon,” this uneasy town will tear itself apart before it arrives. Aster is so good at scrupulously capturing the tiny, fearful COVID behaviors we’ve done our best to forget that it’s a shame (and a relief) that the script isn’t really about the epidemic. Another disease has infected Eddington: Social media has made everyone brain sick.
The film is teeming with viral headlines — serious, frivolous or false — jumbled together on computer screens screaming for attention in the same all-caps font. (Remember the collective decision that no one had the bandwidth to care about murder hornets?) Influencers and phonies and maybe even the occasional real journalist prattle on in the backgrounds of scenes telling people what to think and do, often making things worse. Joe loves his wife dearly. We see him privately watching a YouTuber explain how he can convince droopy Louise to have children. Alas, he spends his nights in their marital bed chastely doomscrolling.
Every character in “Eddington” is lonely and looking for connection. One person’s humiliating nadir comes during a painful tracking shot at an outdoor party where they’re shunned like they have the plague. Phones dominate their interactions: The camera is always there in somebody’s hand, live streaming or recording, flattening life into a reality show and every conversation into a performance.
The script expands to include Joe’s deputies, aggro Guy (Luke Grimes) and Bitcoin-obsessed Michael (Micheal Ward), plus a cop from the neighboring tribal reservation, Officer Butterfly Jimenez (William Belleau) and a handful of bored, identity-seeking teens. They’ll all wind up at odds even though they’re united by the shared need to be correct, to have purpose, to belong. When George Floyd is killed six states away, these young do-gooders rush into the streets, excited to have a reason to get together and yell. The protesters aren’t insincere about the cause. But it’s head-scrambling to watch blonde Sarah (Amélie Hoeferle) lecture her ex-boyfriend Michael, who is Black and a cop, about how he should feel. Meanwhile Brian (Cameron Mann), who is white and one of the most fascinating characters to track, is so desperate for Sarah’s attention that he delivers a hilarious slogan-addled meltdown: “My job is to sit down and listen! As soon as I finish this speech! Which I have no right to make!”
The words come fast and furious and flummoxing. Aster has crowded more pointed zingers and visual gags into each scene than our eyes can take in. His dialogue is laden with vile innuendos — “deep state,” “sexual predator,” “antifa” — and can feel like getting pummeled. When a smooth-talking guru named Vernon (Austin Butler) slithers into the plot, he regales Joe’s family with an incredulous tale of persecution that, as he admits, “sounds insane just to hear coming out of my mouth.” Well, yeah. Aster wants us to feel exhausted sorting fact from fiction.
The verbal barrage builds to a scene in which Joe and Dawn sputter nonsense at each other in a cross-talking non-conversation where both sound like they’re high on cocaine. They are, quite literally, internet junkies.
This is the bleakest of black humor. There’s even an actual dumpster fire. Aster’s breakout debut, “Hereditary,” gave him an overnight pedigree as the princeling of highbrow horror films about trauma. But really, he’s a cringe comedian who exaggerates his anxieties like a tragic clown. Even in “Midsommar,” Aster’s most coherent film, his star Florence Pugh doesn’t merely cry — she howls like she could swallow the earth. It wouldn’t be surprising to hear that when Aster catches himself getting maudlin, he forces himself to actively wallow in self-pity until it feels like a joke. Making the tragic ridiculous is a useful tool. (I once got through a breakup by watching “The Notebook” on repeat.)
With “Beau Is Afraid,” Aster’s previous film with Phoenix, focusing that approach on one man felt too punishing. “Eddington” is hysterical group therapy. I suspect that Aster knows that if we read a news article about a guy like Joe, we wouldn’t have any sympathy for him at all. Instead, Aster essentially handcuffs us to Joe’s point of view and sends us off on this tangled and bitterly funny adventure, in which rattling snakes spice up a humming, whining score by the Haxan Cloak and Daniel Pemberton.
Not every plot twist works. Joe’s sharpest pivot is so inward and incomprehensible that the film feels compelled to signpost it by having a passing driver yell, “You’re going the wrong way!” By the toxic finale, we’re certain only that Phoenix plays pathetic better than anyone these days. From “Her” to “Joker” to “Napoleon” to “Inherent Vice,” he’s constantly finding new wrinkles in his sad sacks. “Eddington’s” design teams have taken care to fill Joe’s home with dreary clutter and outfit him in sagging jeans. By contrast, Pascal’s wealthier Ted is the strutting embodiment of cowboy chic. He’s even selfishly hoarded toilet paper in his fancy adobe estate.
It’s humanistic when “Eddington” notes that everyone in town is a bit of a sinner. The problem is that they’re all eager to throw stones and point out what the others are doing wrong to get a quick fix of moral superiority. So many yellow cards get stacked up against everyone that you come to accept that we’re all flawed, but most of us are doing our best.
Joe isn’t going to make Eddington great again. He never has a handle on any of the conspiracies, and when he grabs a machine gun, he’s got no aim. Aster’s feistiest move is that he refuses to reveal the truth. When you step back at the end to take in the full landscape, you can put most of the story together. (Watch “Eddington” once, talk it out over margaritas and then watch it again.) Aster makes the viewer say their theories out loud afterwards, and when you do, you sound just as unhinged as everyone else in the movie. I dig that kind of culpability: a film that doesn’t point sanctimonious fingers but insists we’re all to blame.
But there are winners and losers and winners who feel like losers and schemers who get away with their misdeeds scot-free. Five years after the events of this movie, we’re still standing in the ashes of the aggrieved. But at least if we’re cackling at ourselves together in the theater, we’re less alone.
‘Eddington’
Rated: R, for strong violence, some grisly images, language and graphic nudity
Jane Austen fans may have missed this adaptation of her works
The Jane Austen adaptation gave a refreshing take on Pride and Prejudice (Image: MIRAMAX)
As Jane Austen marks her 250th birthday this year, fans are revisiting the celebrated author’s works.
Over the years, numerous adaptations of her novels have been created, along with fresh interpretations that draw inspiration from her books, reports the Express.
Some notable examples include Bridget Jones’s Diary, which reimagines Pride and Prejudice in a modern setting, and Clueless, which transposes Emma from Regency England to the complex social hierarchy of a 1990s Beverly Hills high school.
Additionally, there are productions like ITV’s Lost in Austen, where a contemporary woman finds herself in the world of Pride and Prejudice, and Austenland, which follows a romantic as she visits a Jane Austen-themed park in pursuit of her Regency dreams.
However, one lesser-known adaptation, featuring two Virgin River stars, is also worth watching.
On IMDb, one viewer praised the film as “brilliant”, saying: “Vibrant, colorful [sic], hilarious and lively, this movie was a sheer joy to watch. A refreshing take on an old classic.”
Martin Henderson stars in the Jane Austen-inspired movie (Image: MIRAMAX)
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Another reviewer commented: “Well, it’s pretty hard, isn’t it, to write a spoiler for a film which is based on such a well-known, well-loved novel! I will show my hand here and say that I am a Janeite.
“However, I am not a purist and I like many Jane Austen adaptations that many Janeites don’t (for example I like ‘Mansfield Park’).”
One viewer noted: “The script did a pretty good job of capturing the essence of the story whilst playing around with some of the details eg cutting out the fifth daughter whose role in the story is pretty minimal, and making the ‘tyrant’ in Darcy’s life his mother not his aunt (a more realistic situation in its modern setting).”
Another fan chimed in: “Gurinder Chadha has transported Jane Austen’s great novel to India. What a charmer this film turns out to be! The adaptation of the novel is excellent as the new locale is incorporated to the story.”
They continued: “The incredible Indian colors explode in front of our eyes giving the Western viewers such an opportunity to experience a little taste of India [sic].”
Martin Henderson and Aishwarya Rai Bachchan in Bride and Prejudice (Image: MIRAMAX)
Bride and Prejudice, released in 2004, masterfully blended Bollywood and Hollywood through the lens of Jane Austen.
Directed by Gurinder Chadha of Bend It Like Beckham fame, the film offered a refreshing spin on Austen’s classic tale of Pride and Prejudice.
Bollywood icon Aishwarya Rai Bachchan took centre stage as Lalita Bakshi, who initially butts heads with the suave American businessman Will Darcy, played by Martin Henderson, before they inevitably fall for each other.
Joining Henderson was Daniel Gillies, known for his roles in Virgin River and The Originals, who portrayed his rival George Wickham – a role that amusingly mirrors their respective characters in Netflix’s romantic drama series.
The cast also boasts acclaimed Indian actor Anupam Kher, known for his roles in Bend It Like Beckham and Hotel Mumbai, Naveen Andrews of Lost and The English Patient fame, Namrata Shirodkar from Hera Pheri and Major, Indira Varma who starred in Game of Thrones and Luther, and EastEnders‘ Nitin Ganatra.
Bride and Prejudice is available to watch on Apple TV+
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
Writer-director Ari Aster has refashioned himself from a maker of art-house horror films like “Hereditary” and “Midsommar” into a more overt social satirist with “Beau Is Afraid” and his latest film, “Eddington,” which opens this week.
Pointedly set in the spring of 2020 in a small town in New Mexico — a moment when uncertainty, paranoia and division over the response to COVID were maximally disorienting — the film’s story concerns a sheriff (Joaquin Phoenix) who tosses his hat in the ring to run against an incumbent mayor (Pedro Pascal). Each spouts their own complicated, spiraling rhetoric as the race between them becomes more intense, and they seem swept away by circumstances much larger than they can understand or control.
Joaquin Phoenix in the movie “Eddington.”
(A24)
In her review of the film Amy Nicholson wrote, “Aster’s feistiest move is that he refuses to reveal the truth. When you step back at the end to take in the full landscape, you can put most of the story together. (Watch ‘Eddington’ once, talk it out over margaritas and then watch it again.) Aster makes the viewer say their theories out loud afterwards, and when you do, you sound just as unhinged as everyone else in the movie. I dig that kind of culpability: a film that doesn’t point sanctimonious fingers but insists we’re all to blame.
“But there are winners and losers and winners who feel like losers and schemers who get away with their misdeeds scot-free. Five years after the events of this movie, we’re still standing in the ashes of the aggrieved. But at least if we’re cackling at ourselves together in the theater, we’re less alone.”
Carlos Aguilar spoke to acclaimed cinematographer Darius Khondji, a former collaborator of David Fincher, James Gray and the Safdies, about working with Aster for the first time on “Eddington.”
“Ari and I have a common language,” Khondji said. “We discovered quite early on working together that we have a very similar taste for dark films, not dark in lighting but in storytelling.”
‘Hearts of Darkness: A Filmmaker’s Apocalypse’ restored
Francis Ford Coppola in the documentary “Hearts of Darkness: A Filmmaker’s Apocalypse.”
(Rialto Pictures / American Zoetrope)
The 1991 film “Hearts of Darkness: A Filmmaker’s Apocalypse” is widely thought of as among the greatest behind-the-scenes documentaries ever made. Directed by Fax Bahr with George Hickenlooper from documentary footage directed by Eleanor Coppola, the film explores the epically complicated production of Francis Ford Coppola’s “Apocalypse Now.” A new 4K restoration of “Hearts of Darkness” will have a limited run at the American Cinematheque beginning Sunday, with Bahr in-person for multiple Q&As.
When Eleanor Coppola went to the Philippines in 1976 with her husband and their three children for the production of his hallucinatory Vietnam War saga “Apocalypse Now,” he enlisted her to shoot doc footage in part to save on additional crew and also to give her something to do.
Drawing from Eleanor’s remarkable footage, surreptitious audio recordings she made and her written memoir of the experience, “Notes: On the Making of ‘Apocalypse Now,’” “Hearts of Darkness” becomes a portrait of the struggle to maintain creativity, composure and sanity amid chaos as everything that could possibly go wrong seemingly does. Military helicopters are redeployed during takes, star Martin Sheen suffers a heart attack, monsoons destroy sets, Marlon Brando is immovable on scheduling and the ending of what all this is leading toward remains elusive.
Frederic Forrest, left, Laurence Fishburne, Martin Sheen and Albert Hall in “Apocalypse Now: The Final Cut.”
(Rialto Pictures )
“I think it’s really held up and survived,” said Bahr of the documentary in an interview this week. “It works as a complement to this extraordinary film that Francis produced. Of course, [‘Apocalypse Now’] would be what it is without this, but I do think for people who really want to go deeper into the ‘Apocalypse’ experience, this is really a necessary journey to take.”
When “Apocalypse Now” first premiered at the 1979 Cannes Film Festival, Francis Ford Coppola infamously said, “The way we made it was very much like the way the Americans were in Vietnam. We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little we went insane.”
The years between the lengthy production of “Apocalypse Now,” its turbulent release and the subsequent years before the “Hearts of Darkness” project came to be likely eased the Coppolas into participating with such candor and full-fledged access.
Eleanor Coppola in “Hearts of Darkness: A Filmmaker’s Apocalypse.”
(Rialto Pictures / American Zoetrope)
“I think having almost 10 years after ‘Apocalypse Now’ was helpful,” said James T. Mockoski, who oversaw the restoration for Coppola’s company American Zoetrope. “It would’ve been a much different documentary when it was supposed to come out. It was supposed to support the publicity and the marketing of the film at that time. ‘Apocalypse’ was very difficult, as we have seen, obviously. I don’t know how much they would’ve had the hunger to revisit the film and go right into a documentary. It was a rather difficult, challenging time for them. And I think 10 years gave them a perspective that was needed.”
“He gambled it all and he won,” said Bahr. “And what I hope we really achieved with ‘Hearts’ was showing the despair that really all artists go through in the creative process. And even though you go there, if you keep at it and your goal is true then you achieve artistic greatness.”
According to Mockoski, Francis Ford Coppola has seen his own relationship to the documentary change over the years. While at times unflattering, and certainly showing the filmmaker racked by doubt and in deep creative crisis, “Hearts” also shows him as someone, improbably, finding his way.
“It’s a very hard relationship with the documentary, but he has grown over the years to be more accepting of it,” said Mockoski. “He doesn’t like the films to ever be shown together. If anyone wants to book it, they shouldn’t be on the same day. There should be some distance. And he doesn’t really want people to watch the documentary and then just figure out, where’s Francis and what is his state of mind at this point? They’re two separate things for him. And he would rather people watch ‘Apocalypse’ just for the experience of that, not to be clouded by ‘Hearts.’”
Martin Sheen in the movie “Apocalypse Now.”
(Rialto Pictures)
In his original review of “Hearts of Darkness,” Michael Wilmington wrote, “In the first two ‘Godfather’ movies, Coppola seemed to achieve the impossible: combining major artistic achievement with spectacular box-office success, mastering art and business. In ‘Apocalypse Now,’ he wanted to score another double coup: create a huge, adrenaline-churning Irwin Allenish spectacle and something deeper, more private, filled with the times’ terror. Amazingly, he almost did. And the horror behind that ‘almost’ — Kurtz’s Horror, the horror of Vietnam, of ambition itself — is what ‘Hearts of Darkness’ gives us so wrenchingly well.”
“What ‘Hearts’ is great about is that it shows you a period of filmmaking that’s just not seen today,” said Mockoski. “You look at this and you look at [“Apocalypse’] and there’s just no way we could make this film. Would we ever allow an actor to go to that extreme situation with Martin Sheen? Would we be allowed to set that much gasoline on fire in the jungle? Hollywood was sort of slow to evolve, they were making films like that up from the silent era, these epic films, going to extremes to just do art. It just captured a moment in time that I don’t think we’ll ever see again.”
‘Kill Bill: The Whole Bloody Affair’
The event’s poster.
(Vista Theater)
Having premiered at the 2006 Cannes Film Festival and screened only a few times since, Quentin Tarantino’s “Kill Bill: The Whole Bloody Affair” will play twice daily at the Vista Theater from July 18-28.
Clocking in at over 4 hours and screening from Tarantino’s personal 35mm print (complete with French subtitles), it combines the films known as “Kill Bill Vol. 1” and “Kill Bill Vol. 2” into a single experience with a few small changes. The main difference is simply taking it all in as “The Whole Bloody Affair,” an epic tale of revenge as a woman mostly known as “The Bride” (Uma Thurman in a career-defining performance) seeks to find those who tried to kill her on her wedding day. (I’ll be seeing the combined cut for the first time myself during this run at the Vista.)
Uma Thurman in Quentin Tarantino’s “Kill Bill Vol. 2.”
(Andrew Cooper / Miramax Films)
Manohla Dargis’ Los Angeles Times reviews of the two films when they were first released in October 2003 and April 2004 still make for some of the most incisive writing on Tarantino as a filmmaker.
Dargis’ review of “Vol. 2” inadvertently helps sell the idea of the totalizing “The Whole Bloody Affair” experience by saying, “An adrenaline shot to the movie heart, soul and mind, Quentin Tarantino’s ‘Kill Bill Vol. 2’ is a blast of pure pop pleasure. The second half of Tarantino’s long-gestating epic, ‘Vol. 2’ firmly lays to rest the doubts raised by ‘Vol. 1’ as to whether the filmmaker had retained his chops after years of silence and, as important, had anything to offer beyond pyrotechnics and bloodshed. Tarantino does have something to say, although most of what he does have to say can be boiled down to two words: Movies rock.
“In a world of commodity filmmaking in which marketing suits offer notes on scripts, this is no small thing. Personal vision is as rare in Hollywood as humility, but personal vision — old, new, borrowed and true blue to the filmmaker’s inspirations — shapes ‘Vol. 2,’ giving it texture and density. Personal vision makes Tarantino special, but it isn’t what makes him Quentin Tarantino. What does distinguish him, beyond a noggin full of film references, a candy-coated visual style and a deep-tissue understanding of how pop music has shaped contemporary life, affecting our very rhythms, is his old-time faith in the movies. Few filmmakers love movies as intensely; fewer still have the ability to remind us why we fell for movies in the first place.”
Points of interest
‘2046’ in 35mm
Tony Leung in the movie “2046.”
(Wing Shya / Sony Pictures Classics)
Showing at Vidiots on Friday night in 35mm will be Wong Kar-wai’s “2046,” the 2004 follow-up to his cherished “In the Mood for Love.” Loosely connected to both “In the Mood for Love” and Wong’s earlier “Days of Being Wild,” “2046” stars Tony Leung as a writer in late 1960s Hong Kong who has encounters with a series of women, played by the likes of Maggie Cheung, Faye Wong, Gong Li, Carina Lau and Zhang Ziyi. (He may be imagining them.) Fans of Wong’s stylish, smoky romanticism will not be disappointed.
In her original review of the film, Carina Chocano called it “a gorgeous, fevered dream of a movie that blends recollection, imagination and temporal dislocation to create an emotional portrait of chaos in the aftermath of heartbreak.”
‘Lost in America’ + ‘Modern Romance’
Albert Brooks in the movie “Lost in America.”
(Geffen Film Company)
On Tuesday and Wednesday, the New Beverly will screen a 35mm double bill of Albert Brooks’ 1985 “Lost in America” and 1981’s “Modern Romance.” Directed by, co-written by (with Monica Johnson) and starring Brooks, both films are fine showcases for his lacerating comedic sensibilities.
A satire of the lost values of the 1960s generation in the face of the materialism of 1980s, “Lost in America” has Brooks as an advertising executive who convinces his wife (Julie Hagerty) to join him in quitting their jobs, selling everything they own and setting out in a deluxe RV to explore the country, “Easy Rider”-style.
In a review of “Lost in America,” Patrick Goldstein wrote, “Appearing in his usual disguise, that of the deliriously self-absorbed maniac, Brooks turns his comic energies on his favorite target — himself — painting an agonizingly accurate portrait of a man imprisoned in his own fantasies. … You get the feeling that Brooks has fashioned an unerring parody of someone who’s somehow lost his way in our lush, consumer paradise. Here’s a man who can’t tell where the desert ends and the oasis begins.”
Kathryn Harrold and Albert Brooks in the movie “Modern Romance.”
(Michael Ochs Archives / Getty Images)
“Modern Romance,” features Brooks as a lovelorn film editor in Los Angeles desperate to win back his ex-girlfriend (Kathryn Harrold).
In his original review of ”Modern Romance,” Kevin Thomas wrote, “You have to hand it to Albert Brooks. To put it mildly he’s not afraid to present himself unsympathetically.”
In a 1981 interview with Goldstein, Brooks said, “As a comedian it’s really my job to be the monster. People either love me or hate me. If I wanted to be a nice guy, I’d make a movie about someone who saves animals.”
(Brooks would, of course, go on to appear as a voice actor in “Finding Nemo” and “Finding Dory.”)
In other news
‘The Little Mermaid’
A mermaid named Ariel contemplates what it would be like to be human in “The Little Mermaid.”
(Walt Disney Pictures)
For the next installment of the Los Angeles Film Critics Assn.’s ongoing series at the Egyptian, there will be a screening on Thursday, July 24, of 1989’s “The Little Mermaid” with directors Ron Clements and John Musker present for a Q&A moderated by Carlos Aguilar.
“The Little Mermaid” received LAFCA’s inaugural award for animation, the first of its kind among critics groups.
We’re nearing the home stretch for kiddie summer movies, moms and dads. Stay hydrated and nourished, because your multiplex chaperone duties aren’t truly over until early August or so, when the fare turns distinctively adult-themed before going full prestige in the child-unfriendly zone of fall awards season.
But with the messy, strained “Smurfs” on offer this weekend, a tired parent may want to bail early and find a last-minute sleepaway camp to shove the little ones off to instead, because this latest big-screen version of the cute-culture behemoth may test your tolerance for all things wee and cerulean. As legacy management goes, it’s more trial than celebration.
Even if you grew up with Belgian artist Peyo’s utopian woodland humanoids (rendered with Hanna-Barbera efficiency for cheap ’80s television), nostalgia isn’t on offer here — just the usual running tap of attention-driven wackiness, creating a fast-growing puddle of gags, colors, songs (including pop icon Rihanna’s contributions) and believe-in-yourself platitudes that feel random, not earned. As deployed by “Shrek” franchise veteran Chris Miller (“Puss in Boots”), animation is less a storied artistic method with which to enchant, so much as a whiz-bang weapon of mass distraction, scalable and noisy.
The Smurfs themselves have come in for something of an origin makeover. No longer simple, communal mushroom-village inhabitants with happy lives centered on personality quirks and avoiding a mean wizard, in this telling (written by Pam Brady) they hail from a line of ancient, cosmic guardians of goodness, a background that feels beholden to the superhero mindset overriding so much popcorn gruel these days. Conversely, the baddies, wizard brothers Gargamel and new antagonist Razamel (both amusingly snarled into existence by voice actor JP Karliak, channeling Harvey Korman), belong to — what else? — an Evil Alliance set on world domination.
Everything about the story, from opening to closing dance party, feels like it was made up on an especially unimaginative playdate by bored kids who’d rather be watching TV. A Smurf called No Name (James Corden) wants to be known for something, like his trait-defined pals Hefty, Vanity, Grouchy, Baker and Clumsy. Close friend Smurfette (Rihanna), the village’s confident, outgoing badass, tries to buck him up, but he sings a boring who-am-I lament anyway.
Papa Smurf (John Goodman) is kidnapped through a portal, the first of many. There’s a missing magical book given the name Jaunty (Amy Sedaris). The Smurf rescue party goes to a disco in Paris. Then the Australian Outback. Outer space too. Natasha Lyonne voices the leader of an underground species of what look like scratchy couch pillows. Razamel hates Gargamel. Papa has a red-bearded brother, Ken (Nick Offerman tiringly doing Nick Offerman), and we learn later, a long-lost sibling named Ron (Kurt Russell). All these brothers, yet I still wouldn’t say family dynamics are a going emotional concern.
Sometimes everyone floats in the air. Mostly, it’ll be your mind. But turn away for one second, and the characters will have likely gone to another dimension. Because, of course, multiverses are really popular now too. Like the kind in which no voice cast member was likely in the same city as any other when they phoned in their lines.
At least the animators looked like they stayed busy. At one point, when dimension-palooza hurtles our tiny blue posse into different animation modes — claymation, pencil drawings, 8-bit video graphics — there’s a whiff of the delightful, meta-zany chaos of classic cartoons. But for the most part, “Smurfs” hews to the textbook silliness of CGI-generated action and attitude humor, only this time so needlessly zigging and zagging it barely has time to convincingly sell its ultimate message of strength in togetherness. An incoherent movie is hardly the vessel for that kind of lesson. When it ends, though, it’ll definitely feel like an example of kindness.
‘Smurfs’
Rated: PG, for action, language and some rude humor
An unflinching documentary by Albert Serra goes deeply, with minimal explanation, in the ritualistic carnage of the bullring, where you may find poetry and outrage both.
The live-action “Legend of Zelda” movie has found its stars.
Legendary game designer Shigeru Miyamoto, who’s an executive producer on the film, announced Wednesday on X that Bo Bragason will portray Princess Zelda and Benjamin Evan Ainsworth will play Link in Nintendo and Sony’s film. Miyamoto created the hit video game series with Takashi Tezuka.
This is Miyamoto. I am pleased to announce that for the live-action film of The Legend of Zelda, Zelda will be played by Bo Bragason-san, and Link by Benjamin Evan Ainsworth-san. I am very much looking forward to seeing both of them on the big screen. (1/2) pic.twitter.com/KA5XW3lwul
British actor Bo Bragason is known for her roles in BBC One’s “Three Girls” and “The Jetty,” as well as Disney+’s “Renegade Nell” and the 2024 vampire comedy “The Radleys.”
Ainsworth, also from the U.K., voiced Pinocchio in Disney+’s live-action “Pinocchio” in 2022 and played Miles in Netflix’s “The Haunting of Bly Manor.” He also stars in the Canadian series “Son of a Critch” and the comedy “Everything’s Going to Be Great.”
The actors’ young ages — 21 and 16 — have sparked fan speculation that the film may draw from “The Wind Waker” or “Ocarina of Time” games, which feature Zelda and Link as teens.
While initially slated for a March 2027 release, production delays have shifted the film’s launch to May 7, 2027.
The project is helmed by director Wes Ball, known for the “Maze Runner” trilogy and “Kingdom of the Planet of the Apes.” A huge fan of the franchise, Ball told Entertainment Weekly in late 2023 that he wanted to create something more akin to “a live-action Miyazaki” than “The Lord of the Rings.”
“That wonder and whimsy that he brings to things, I would love to see something like that,” he told EW about the renowned Japanese animator.
Avi Arad is also producing the film.
The adaptation marks Nintendo’s second big-screen foray after 2023’s mega-successful “The Super Mario Bros. Movie.” The animated film grossed about $1.4 billion worldwide.
The action-adventure video game franchise, released in 1986, follows young hero Link on his quests to rescue Princess Zelda and overcome the villain Ganon. Missions include navigating dungeons, solving puzzles and taking on an array of enemies.
Celebrated for its innovative gameplay, installments of the popular game include “The Legend of Zelda: Ocarina of Time” and “The Legend of Zelda: Breath of the Wild.” In the years since, the franchise has expanded beyond video games and into other media like animated series and comic books, and now film.
The “Saturday Night Live” alum’s girlfriend, British model and actor Elsie Hewitt, confirmed the news Wednesday with a cheeky Instagram post.
“Welp now everyone knows we had sex,” the model captioned a carousel of pregnancy photos, images of the pair and memes (including the viral “Love Island” “mamacita” moment).
Davidson, who famously avoids social media and does not have a public Instagram account, has not yet commented on the news.
Hewitt, 29, and Davidson, 31, first sparked dating rumors in March when they were spotted kissing in Palm Beach, Fla., and they’ve reportedly been living together in Brooklyn and Upstate New York. They made their red carpet debut in May at the Blossom Ball in New York City.
Hewitt, who previously dated Jason Sudeikis and Benny Blanco, has modeled for Guess and was a Playboy Playmate. She landed her first television role in 2018 on the series “Turnt” and has since made appearances on rapper Lil Dicky’s sitcom “Dave.”
Since Davidson left “SNL” in 2022, he has pivoted to focus more on stand-up and movies. The comedian — whose high-profile exes include Ariana Grande, Kim Kardashian, Madelyn Cline, Kate Beckinsale, Margaret Qualley, Kaia Gerber and Phoebe Dynevor — has a few projects lined up this year, including a starring role in the horror movie “The Home,” out July 25.
Davidson spent eight seasons on “SNL,” where he served as the show’s “resident young person,” developed his popular recurring character “Chad” and even bought a boat (the Staten Island Ferry) with co-star Colin Jost. He returned to host in 2023 and participated in the 50th anniversary special in February.
HER breakout role saw her play Michael Douglas’s drug-addicted teen daughter in 2000 crime flick, Traffic.
Since then she’s starred opposite some of Hollywood‘s biggest names from Kevin Costner to Susan Sarandon.
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This famous actress found fame opposite Michael DouglasCredit: The Mega Agency
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She’s been in dozens of movies and films over the past three decadesCredit: The Mega Agency
And 25 years on from that career-defining role, the successful actress, 42, is embracing her natural self.
She was spotted out and about in LA in a vest top and ripped jeans freely showing off her armpit hair as she reached up to adjust her locks.
Going makeup-free, Parenthood star Erika Christensen looked at ease and radiant as she strolled in the sunshine.
Mom-of-two Erika currently stars in ABC crime drama Will Trent as the titular dyslexic detective’s on/off girlfriend Angie Polaski.
She hasn’t stopped working for the past three decades with dozens of film, TV and music video credits to her name.
Some of her best known work includes the films Swimfan, The Upside of Anger and Flightplan, while on the small screen she’s been in The Geena Davis Show and Law & Order: Special Victims Unit.
Her first major role was back in 1995 when she appeared in Michael Jackson’s Childhood video, though she never got to actually meet the King of Pop.
She once told Blackfilm.com, “I wish I could have met him, I didn’t. We were green screened together. In the video he’s sitting in a forest and all the kids are in boats above him. He sent me an autographed photo and that was nice.”
The interview came out ahead of the release of her 2005 rom-com The Upside of Anger where she played the daughter of Joan Allen’s character Terry Wolfmeyer.
The family drama sees Terry fall for heavy drinking neighbor Denny Davies [Costner] after husband Grey upped and left the family for a life in Sweden with his secretary – though this doesn’t end up being the case.
Cheaper by the Dozen Official Trailer
Erika said at the time, “Kevin Costner and Joan Allen, who does not love Joan Allen? She’s fantastic, so cool as a person.
“She’s our mother, it’s about a family, there are four daughters, Alicia Witt, Kerri Russell, Evan Rachel Wood, and myself. It’s a great cast and it’s written and directed by Mike Binder. He stars in it too.
“It’s a bunch of us over a period of three years. It’s very dramatic and funny. It’s really character driven. I’m looking forward to see it so much.”
Erika was raised a Scientologist in Seattle and has defended the controversial religion in recent years.
She opened up about it to her Parenthood co-star Dax Shepard on an episode of his Armchair Expert podcast, explaining her beliefs.
She said: “I can justify things in all kinds of different ways, but basically, like, as a Scientologist, and I definitely cannot speak for every Scientologist about anything because everybody has their own beliefs and comes at it from even other religions and all kinds of stuff.
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Erika Christensen’s breakthrough role was in TrafficCredit: Alamy
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She currently has a lead role in crime drama Will TrentCredit: Getty
“However, I don’t believe this is the first time I have lived on this planet and I basically think I’ve probably done absolutely everything before.”
The foundation of Scientology is the belief each person is an immortal spiritual being with unlimited potential.
Erika poured scorn on Leah Remini’s stirring docuseries Scientology and the Aftermath as well as follow up Going Clear: Scientology and the Prison of Belief.
She said, “It honestly doesn’t have anything to do with anything that I’ve ever learned about the group or organization.
“To be specific about [Going Clear], if somebody has read a book, read Dianetics or some Scientology book and wants to philosophically tell me what they disagree with it, cool.
“That is a totally different thing. But, specifically with that documentary, the documentary was based on a book. The book was not even published in some English-speaking countries because the libel laws are stricter than they are here.”
Erika Christensen’s career timeline
Erika Christensen’s journey in Hollywood kicked off pretty early, even featuring in Michael Jackson’s “Childhood” music video back in 1995 when she was just twelve. She never actually got to meet the King of Pop on set though, as they were green-screened together for the video.
Her big moment arrived in 2000 with her captivating portrayal of Caroline Wakefield, a teenage drug addict, in Steven Soderbergh’s acclaimed film Traffic.
The role really put her on the map, earning her an MTV Movie Award for Breakthrough Female Performance and a Screen Actors Guild Award as part of the ensemble cast. People magazine even named her one of their “Breakthrough Stars of 2001”.
After Traffic, Erika kept busy with a mix of film roles, diving into everything from teen thrillers like Swimfan (2002) to comedies such as The Banger Sisters (2002) and The Perfect Score (2004).
She also explored dramatic and thriller territory in films like Flightplan (2005), How to Rob a Bank (2007), The Tortured (2010), and more recently, The Case for Christ (2017), KIMI (2022), and Cheaper by the Dozen (2022).
Erika’s television career has been equally varied. She had early guest spots on popular shows like Frasier, The Practice, 3rd Rock from the Sun, and That ’70s Show.
A significant chapter of her TV career was playing Julia Braverman-Graham in the beloved NBC family drama Parenthood from 2010 to 2015, a role for which she won a Gracie Award in 2014.
She also appeared in shows like Six Degrees (2006-2007), Wicked City (2015), and Ten Days in the Valley (2017).
Currently, you can catch her starring as Angie Polaski in the ABC series Will Trent, which premiered in 2023.
