Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
The Cannes Film Festival is winding down, with the awards ceremony happening on Saturday. Amy Nicholson and Joshua Rothkopf have been there, watching as many films as they can. In a notebook dispatch from the fest’s first week, Amy covered many early titles, including Harris Dickinson’s directing debut, “Urchin,” Ari Aster’s “Eddington,” Dominik Moll’s “Dossier 137,” Sergei Loznitsa’s “Two Prosecuters” and Oliver Laxe’s “Sirât.” A second diary is live now, covering several films including Spike Lee’s “Highest 2 Lowest” and the directorial debut of Kristen Stewart, “The Chronology of Water.”
Josh spoke to filmmaker Lynne Ramsay about her long-awaited return with “Die, My Love,” a tale of the struggles of motherhood, starring Jennifer Lawrence and Robert Pattinson. So far the film has become the festival’s biggest acquisition, picked up by “The Substance’s” distributor Mubi for a reported $24 million.
Director Lynne Ramsay on the set of the movie “Die, My Love.”
(Kimberly French)
Ramsay spoke about working with Lawrence and Pattinson, who, besides being big stars, are committed performers as well.
“I think they were very willing participants,” said Ramsay. “There was a lot of trust. I try and create an atmosphere of trust and I just threw them into the fire. I did the sex scene on the first day. I thought it’s a risk. It’s either going to work or it’s going to be a disaster. But I could see there was chemistry. And when they arrived, I was getting them dancing. They were dancing together, synchronized. And it was fun. And then I think Robert was a little nervous, but then something just kind of broke the ice.”
Josh also spoke to director Ari Aster about “Eddington” and whether he set out to make his most overtly politically charged film to date with the story of a small town’s sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) sparring during the early days of the pandemic.
“I am just following my impulses, so I’m not thinking in that way,” said Aster. “There’s very little strategy going on. It’s just: What am I interested in? And when I started writing, because I was in a real state of fear and anxiety about what was happening in the country and what was happening in the world, and I wanted to make a film about what it was feeling like.”
‘The Sugarland Express’ and our Spielberg Summer
Michael Sacks, left, William Atherton and Goldie Hawn in the 1974 movie “The Sugarland Express.”
We seem to be on the verge of a summer of Spielberg. After last week’s screening of 2002’s “Minority Report,” this Thursday brings a showing of Spielberg’s 1974 “The Sugarland Express” at the Academy Museum with a conversation with the film’s star, Goldie Hawn.
There are also multiple opportunities to see “Jaws” this Memorial Day weekend in celebration of the film’s 50th anniversary, including presentations at the Egyptian, the New Beverly,Vidiots and the Frida Cinema. The film will also play at the Hollywood Bowl on July 5, with a live performance of John Williams’ score by the Los Angeles Philharmonic.
“The Sugarland Express,” screening in a 4K restoration from the original 35mm camera negative, was Spielberg’s theatrical feature debut. As tempting as it is to view it for the seeds of what was still to come, the movie is a fully formed charmer all on its own.
Lou Jean Poplin (Hawn) convinces her husband (William Atherton) to escape from prison just a few months from being released because their son is about to be placed for adoption. When the pair wind up taking a police officer hostage, their journey across Texas becomes an unlikely pursuit involving the authorities and the media.
In an April 1974 review, Kevin Thomas called the film “dazzling, funny, exciting and finally poignant. … An increasingly disenchanted portrait of contemporary America.”
Thomas added, “Spielberg and his associates are trying for entertainment rather than profundity, and ‘The Sugarland Express’ is anything but heavy. But it is incisive as it is rapid, like the more optimistic vintage Capra films it brings to mind. … When all things are considered, however, one realizes it is Goldie Hawn who gives the film its focus and dimension, making Lou Jean at once very funny and very sad, quite real, and for all her intransigence, most appealing.”
In a March 1973 report from the set, Hawn spoke to reporter Jeff Millar. She said it took a year after the film “Butterflies Are Free” to find another project that excited her as much. “I flipped when I saw this one,” Hawn said. “It’s a different kind of role for me. She’s aggressive. She’s a leader, she’s comical. But she’s still a plain country girl.
“I guess the most exciting thing is the director,” Hawn continued. “I’d never met him, but everybody knew about him, you know? ‘Oh yeah, you’re going to do a picture with Steve Spielberg. The bright young guy who’s coming up…’”
In comments that bring to mind his recent film “The Fabelmans,” Spielberg, 25 at the time, told Millar, “I’ve been making pictures in 8mm, 16mm and 35mm since I was 15. This is the fourth year I’ve had that Directors Guild of America card. I’ve been directing in television since I was 21.”
Of the movie, he added, “I wanted to shoot in Texas because it’s so big. I’m very into Americana — and Texas is a lot more Americana to me than, well, Kansas or Andrew Wyeth.”
Points of interest
Susan Sontag’s ‘Duet for Cannibals’
Adriana Asti, left, and Susan Sontag making their 1969 film “Duet for Cannibals.”
(Susan Wood / Getty Images)
In 1968, Susan Sontag, already a well-known and deeply influential writer and critic, was invited to Stockholm to make her first movie. The result was “Duet for Cannibals,” a darkly comedic satire of bourgeois values focused on two couples. The film plays at Vidiots on Wednesday.
In May 1973, Kevin Thomas wrote about the film when it had a few screenings at an art gallery and restaurant near LACMA, noting that it “demonstrates Susan Sontag is as gifted a filmmaker as she is a critic and philosopher.”
Thomas concluded, “Sontag illuminates human potential, with emphasis on its bent for destruction yet capacity to endure to a breathtaking fullness. In this bravura example of a work of art that achieves maximum of means, Susan Sontag proves she is a critic who can practice what she preaches.”
‘How to Get Ahead in Advertising’
Richard E. Grant in the movie “How to Get Ahead in Advertising.”
(Janus Films)
Writer-director Bruce Robinson followed up his cult hit “Withnail & I” with 1989’s “How To Get Ahead in Advertising,” a bitter satire of commercialization and the media. Richard E. Grant plays rising advertising executive Denis Dimbleby Bagley, who, while suffering an ethical crisis over the impact of his work, develops a boil on his neck that begins talking to him. The film will play in a new restoration at the Los Feliz 3 on Sunday, Wednesday and Thursday.
In a May 1989 review, Sheila Benson called the movie “a strange piece, to be sure. It’s cruel, funny, knowing, never less than biting and occasionally brilliant. Pure fury seems to have driven Robinson to it. … There are problems in creating something as simultaneously funny and unlovely as a talking boil. It’s possible that some audiences will lose interest once they learn that the effects are good but minor; the boil, even when grown to full manhood (boilhood?) isn’t a patch on ‘The Fly.’ But then, this isn’t that sort of movie. This is a blistering broadside, a warning for the safety of our souls.”
In a set visit by Bart Mills published around the film’s release, Robinson, then 43, did an interview from his office at Shepperton Studios outside London.
He said it was his own disillusionment at “the constant stream of disinformation the media and the politicians give us” that inspired the story. “This is the kind of anger I feel all the time. All the time. It’s intolerable. The only thing that saves me, that keeps the electrodes off my head, is that, thank God, I’m allowed to make a movie about it.”
Yet, Robinson added, “I don’t believe the cinema can change anything. It’s not a teacher, it’s an entertainer. I enjoy finding a comedic way to exploit my burning rage.”
The short films of Charles and Ray Eames
The title frame for Charles and Ray Eames’ 1955 short film “House: After Five Years of Living.”
(Eames Office, LLC.)
On Wednesday, the Philosophical Research Society and the Charles and Ray Eames Foundation will host an evening celebrating the famous creative duo. There will be a program of seven of the Eames’ shorts, including 1955’s “House: After Five Years of Living,” 1964’s “Think” and likely their best-known film, 1977’s “Powers of Ten.”
The event will also include a panel discussion moderated by programmer Alex McDonald including the Eames’ grandson Eames Demetrios, art director Jeannine Oppewall and the creative pair of Adi Goodrich and Sean Pecknold, known as Sing-Sing.
Writing about the enduring influence of the Eames in 2012, David L. Ulin said, “In our age of constant contact, it’s almost impossible to step away from the workplace even when we’re off the clock. And yet, if the Eameses have anything to tell us, it’s that we can — must — aspire to a higher integration, in which work should not only feed our stomach but also, and more importantly, our souls.”
In other news
Rolf Saxon accepts another ‘Mission’
Actor Rolf Saxon, photographed at the Museum of the Moving Image in Queens, New York.
(Justin Jun Lee / For The Times)
Fans of the “Mission: Impossible” franchise are in for a real surprise when they see the new sequel “The Final Reckoning,” which opens this weekend. Actor Rolf Saxon, who had a memorable turn in the first film in 1996, is back with a surprisingly large role in the new film.
Saxon’s character of CIA analyst William Donloe was sent to a radar station in Alaska after his computer station got hacked by Tom Cruise’s Ethan Hunt in one of the series’ signature set pieces. In the new film, it turns out Donloe has been in Alaska the entire time and now may have vital information for the Impossible Mission Force.
The new film brought Saxon to caves in the English midlands and, most spectacularly, Svalbard, an archipelago off the northern coast of Norway.
“This was in many ways a dream job,” says Saxon. “The people I’m working with, the thing I’m working on and the places I got to go to work — it’s just like, what would you really like to do? Here it is.”
My extended feature with Saxon goes live a little later this afternoon. Stay tuned.
Morocco rocks – Sanjeeta Bains goes on a multi-centre mission most possible for fans of blockbuster movies such as James Bond, Mission: Impossible and the Bourne Ultimatum
Hannah Gutierrez, the weapons handler in the ill-fated Alec Baldwin western movie “Rust,” has been released from prison after serving 14 months for her conviction last year of involuntary manslaughter.
New Mexico prosecutors faulted the Arizona woman for reckless handling of firearms and ammunition in violation of gun safety rules.
The special prosecutor also argued that Gutierrez had unwittingly brought the live bullets with her to the popular western film location, Bonanza Creek Ranch, and mingled them with inert “dummy” bullets used on film sets.
The New Mexico judge overseeing the “Rust” criminal prosecutions, New Mexico 1st Judicial District Court Judge Mary Marlowe Sommer, dismissed the charge against Baldwin three days into his high-profile trial last July.
Marlowe Sommer found the prosecutor and Santa Fe County sheriff’s deputies had concealed evidence from Baldwin’s legal team, which the judge said prejudiced the case against Baldwin. At the time, the actor-producer’s team was exploring whether prosecutors and sheriff’s deputies botched the investigation into how the bullets made their way onto the set.
Halls pleaded no contest to negligent use of a deadly weapon and received a suspended six-month sentence, which ended in October 2023. Halls, who has since retired from the industry, agreed to pay a $500 fine, participate in a firearms safety class, refrain from taking drugs or alcohol and complete 24 hours of community service.
She was released on parole. She also is being supervised under terms of probation after pleading guilty to a separate charge of unlawfully carrying a gun into a Santa Fe bar that prohibited firearms a few days before the fatal shooting, according to the Associated Press.
Terms of her parole include mental health assessments and a ban on firearms possession.
Gutierrez, through her attorney, declined an interview request Sunday.
“When I took on ‘Rust,’ I was young and I was naive but I took my job as seriously as I knew how to,” Gutierrez told the judge during her April 2024 sentencing hearing.
Marlowe Sommer, who also presided over the armorer’s case, gave Gutierrez the maximum sentence, saying: “You were the armorer, the one that stood between a safe weapon and a weapon that could kill someone. .. You alone turned a safe weapon into a lethal weapon.”
With Gutierrez’s release, the criminal phase of the “Rust” saga has concluded.
Baldwin and other actors and crew members finished filming in Montana, 18 months after the fatal shooting in New Mexico. The movie was finally released in the U.S. this month on just a handful of screens.
“Rust” was racked with problems, including allegations of safety rules and hiring inexperienced crew members such as Gutierrez. “Rust” was just her second job as head armorer. She also was tasked with the job of prop assistant.
Hours before the fatal shooting, “Rust” camera crew members had walked off the job to protest safety concerns and a lack of housing near the film’s set. Crew members complained about earlier accidental gun discharges.
Esai Morales is on a death-defying mission to make Tom Cruise’s life impossible, yet again, in the latest installment of the “Mission: Impossible” action film franchise. Titled “The Final Reckoning,” the movie was released Friday.
Morales reprises his role as Gabriel, an assassin liaison set on carrying out a dangerous mission for Entity, an artificial intelligence system gone rogue, whose capabilities render it a danger to human society. This role dates back to the first “Mission: Impossible” film in 1996, as a murder Gabriel committed was the impetus for Ethan Hunt (Tom Cruise) to join the Impossible Missions Force.
“I have to look at Gabriel as the star of his own movie,” said Morales in a video call. “I play these characters with as much humanity as I can.”
Although for most of the franchise Gabriel is presumably dead, audiences are introduced to Morales’ character in the 2023 summer flick, “Mission: Impossible — Dead Reckoning Part One.” Besides shouldering responsibility as the main antagonist, which involves risky stunts opposite veteran adventurer Cruise, Morales also made franchise history as the first Latino lead in the action series.
The Brooklyn-born Puerto Rican actor is best known for his role as Bob Morales in the 1987 Chicano film “La Bamba” and as Jesus “Chucho” Sánchez in 1995’s “Mi Familia” — both of which been added to the National Film Registry at the Library of Congress. Morales is also known for his roles as Joseph Adama in the “Battlestar Galactica” prequel spin-off of “Caprica,” as well as Camino del Rio in Netflix’s “Ozark” and villain Deathstroke in the DC “Titans” series.
“The thing I love about ‘Mission: Impossible,’ with Gabriel, is that you don’t know he’s Latino,” Morales said. “It doesn’t focus on race. It focuses on the race to get the key!”
Likewise, the release of the last two “Mission: Impossible” films was a dash to the finish. Directed by Christopher McQuarriel, filming spanned five years with some stops along the way due to the COVID-19 pandemic, plus the 2023 strikes by members of the Screen Actors Guild (SAG-AFTRA) and the Writers Guild of America. Additional costs due to inflation brought the total budget of the Paramount Pictures movie up to $400 million, making it one of the most expensive films of all time.
Morales considers its release a momentous occasion — and a “graduation” of sorts.
“All those obstacles are like the pressure that creates a diamond out of coal,” he said. “I hope that the audiences feel what I felt and continue to feel when I watch the film.”
This interview has been edited for clarity and shortened.
How did you prepare physically and mentally for the role in ”Mission: Impossible”? I was asked if I was physical and I said, “Actually, yeah.” I love playing tennis so my conditioning is really good. During the pandemic, I [would sneak] into the ocean at dusk and I would swim at night for hours at a time. It was kind of scary. Then [I got] to London and met some of the finest stunt people who do fighting, acrobatics, knife fighting, boxing. The thing is to get your reflexes in shape, because sometimes you have to do take after take and you don’t want to gas out.
Mentally it’s a lifetime of preparation. It’s not like I can study the life of Gabriel, so you apply what you can about your own character and characteristics under imaginary circumstances. Some of it comes from the ether… from the ether going after Ethan [laughs]. It’s an instinct and a lifetime of seeing movies, including the “Mission: Impossible” movies. They work hard. One of the most comforting things they instill is [that] “we’re not gonna leave until we get it right.”
Cruise is known for his gutsy live-action scenes. What was it like to join him on these scenes? It’s thrilling. I couldn’t think of anyone else whose hands I’d want to put my well-being in, because look at his track record: He’s still alive and extremely healthy, and he doesn’t take these things lightly. He’s extremely strict about safety. Life is inherently risky. If you’re gonna take other risks, it’s best to take them with people that have survived and thrived for decades doing the same.
There’s a death-defying scene up in the air that was being teased a lot in this press run. What was going through your mind as you were up there? After the initial prayers and thanking God, the universe and the angels, who and whatever has kept me alive and blessed me with an amazing life so far… You’ve gotta let go and let God, as they say.
What impact has this franchise had on your long-term career? It’s a blessing. I got the job during one of the most trying times of my life — and everyone else’s. I hope it’s not all downhill from here. I’m just grateful because I got to work on something at this scale, with these kinds of collaborators.
I am hoping that the work I continue to do leads to meaningful roles and characters that enhance the human condition for having watched it. I wanna do things that make people feel good about being human. Even if I’m the bad guy, somebody’s gotta play the bad guy. Right?
But is Gabriel really the bad guy? Not in this actor’s eyes. For me, I have to look at Gabriel as the star of his own movie. Wars are not fought by people who feel they’re gonna lose them. So I play these characters with as much humanity as I can.
How did the COVID-19 pandemic and Hollywood strikes impact production of this film? I am on the board of SAG-AFTRA. I did feel the impact of both COVID-19 and the strikes. I mean, it was not easy, it was not fun. It’s still not easy. We still have to deal with new media or new technology, speaking of AI. The production stuck together. When you struggle with adversity, it makes you stronger.
You consider yourself an honorary Chicano, particularly because of your role as Bob Morales in “La Bamba.” What memories come to mind when you think back to that role? So many, but the incredible irony or synchronicity or synergy that a role with my [last] name on it would be one of the most remembered. They’d say, ‘That has your name all over it.’ Well, this [role] literally did. When people wanted me to focus more on Ritchie, I wanted to bear witness and lend my pain to the role of Bob [Ritchie Valens’ brother].
I don’t know where my career would be without that film and a few others. When you have the ability to be with the person you are portraying, first of all, it’s an extreme amount of pressure because they’re there and you’re not them. And it’s like you’re gonna pretend to inhabit their being and their life. You don’t wanna mess up. But [Bob and I] were able to bond and have a few beers and really kick back, and I was able to absorb Bob’s biorhythm. I absorbed his Mexicanismo, [the same way] Anthony Quinn portrayed “Zorba the Greek.” [Whenever] he went [into] a Greek restaurant, plates would crash in honor of him and his portrayal … and he is a Mexican Irish actor.
I think a lot of people forget that you’re Puerto Rican because you play the Mexican role so well. I’m proud to be Puerto Rican, but I’m so secure in it that I don’t feel like I have to wear my banner on my head. I just want my work to speak for itself. We have to embrace that which has toughened us and has given us character and has given us something a little extra yearn for and live for.
There are many Latinos in sci-fi films. I’m thinking of you in “Caprica.” There’s also Diego Luna and Adria Arjona in “Andor,” Zoe Saldaña in “Guardians of the Galaxy,” Pedro Pascal in “The Mandalorian,” Ricardo Montalbán in “Star Trek …” What do you think of space roles introducing Latino actors to new audiences? How about to their own audience? We make up 25% of the movie-going audience, at least. It’s a wise decision to include people that in the past were overlooked. We were overlooked. So to put in all the great people is serving your market and representing them. It’s long overdue but extremely welcomed.
Is outer space the gateway to more Latinos in mainstream roles in rom-coms or action? I would like to see that. I would like to see us play more central characters, people that we can grow to learn, grow to love and feel for, because I think that’s what movies do. They let you inside the heart of your lead characters. And you just can’t help but to love them, you know?
The Avengers will return slightly later than expected.
Disney is pushing back the release dates of its next two “Avengers” movies. “Avengers: Doomsday” is now slated to hit theaters Dec. 18, 2026, and “Avengers: Secret Wars” will be released Dec. 17, 2027. Both films were previously planned for May in their respective years.
In March, Marvel revealed, in a five-plus hour livestream, 27 members of the “Doomsday” cast, which includes veteran “Avengers” stars Chris Hemsworth (Thor), Anthony Mackie (Sam Wilson/Captain America), Sebastian Stan (Bucky Barnes), Paul Rudd (Scott Lang/Ant-Man) and Tom Hiddleston (Loki), as well as “Thunderbolts*” (a.k.a. New Avengers) actors Florence Pugh (Yelena Belova), David Harbour (Alexei Shostakov/Red Guardian), Lewis Pullman (Bob Reynolds), Wyatt Russell (John Walker) and Hannah John-Kamen (Ava Starr/Ghost).
“Doomsday” will also feature members of the MCU’s newest superhero team, the Fantastic Four. Pedro Pascal (Reed Richards), Vanessa Kirby (Sue Storm), Joseph Quinn (Johnny Storm) and Ebon Moss-Bachrach (Ben Grimm) will make their debut in the upcoming “The Fantastic Four: First Steps,” which bows in theaters July 25. “First Steps” will mark the beginning of the MCU’s Phase 6. For now, Sony and Marvel’s “Spider-Man: Brand New Day” is the only MCU film expected to be released between “First Steps” and “Doomsday” on July 31, 2026.
The MCU’s Phase 5 will officially conclude on TV with the upcoming series “Ironheart,” which premieres June 24 on Disney+.
Amid the “Avengers” release date shuffle, Disney also revealed that its “The Devil Wears Prada” sequel, which will reportedly see Meryl Streep’s Miranda Priestly navigating the decline of magazine publishing (too real, says this reporter), is scheduled to open May 1, 2026, while Ridley Scott’s adaptation of the post-apocalyptic “The Dog Stars” will hit theaters March 27, 2026.
The BBC is set to deliver a Regency drama that’s certain to leave viewers weak at the knees, reports Surrey Live.
Audiences have lavished praise on the period piece, with one eager fan sharing their Rotten Tomatoes review: “Seen this in a movie theater elevates it to another level.
“The top of the top in the romance/drama/comedy genre, and one of the best movies of all times [sic].”
Another elated watcher wrote a glowing second review: “I would have to say, personally, this is the greatest movie I have ever watched.
“The story was so compelling, the characters like no other.”
Further praise came from a third delighted viewer who admitted: “I love every single minute of this movie.”
Netflix will be remaking Pride and Prejudice(Image: FOCUS FEATURES)
Joe Wright’s cinematically gorgeous 2005 version of Pride and Prejudice is slated for arrival on BBCiPlayer this month, just in time for its 20th anniversary celebrations and synchronising with what would have been Jane Austen’s 250th birthday.
This cinematic rendition sparked debate among die-hard Pride and Prejudice aficionados, especially as it followed a decade after the BBC’s much-cherished 1995 series featuring Colin Firth and Jennifer Ehle as the definitive Mr Darcy and Elizabeth Bennet.
Firth’s embodiment of Mr Darcy transcended the pages when he later mirrored the iconic role in Bridget Jones’s Diary, amassing an even wider fanbase and solidifying his portrayal as the ultimate Mr Darcy for many.
However, Matthew Macfadyen stepping into the prestigious shoes of Austen’s beloved hero for the 2005 film did stir some dissent among admirers, especially as the actor was known then for his work on Spooks.
Pride and Prejudice (2005) featured an all-star cast(Image: FOCUS FEATURES)
However, his performance alongside Pirates of the Caribbean and Bend It Like Beckham star Keira Knightley, who played Elizabeth Bennet, managed to win over even the most doubtful critics.
Wright’s Hollywood rendition boasted stunning cinematography, featuring expansive shots of the English countryside, including a memorable scene of Lizzy perched on a cliff in the Peak District.
Complementing the striking visuals was the enchanting score by Italian composer Dario Marianelli.
For those unfamiliar with Austen’s classic, Pride and Prejudice follows the spirited Lizzy and her sisters as they navigate societal expectations to secure their futures through marriage.
Despite their mother Mrs Bennet’s, portrayed by Brenda Blethyn of Vera fame, frantic attempts at matchmaking, several of the Bennet sisters do find a match.
Amidst all this, Lizzy defies convention by seeking a marriage based on love rather than wealth.
Her initial awkward interaction with Mr Darcy sets them both on a transformative journey that challenges their preconceived notions and changes them irrevocably.
Pride and Prejudice (2005) remains a firm favourite(Image: FOCUS FEATURES)
Pride and Prejudice boasted an impressive cast including Rosamund Pike, the late Donald Sutherland, Carey Mulligan, Talulah Riley, Jena Malone, Tom Hollander and Rupert Friend.
The film is certainly worth revisiting before Netflix’s upcoming adaptation of Pride and Prejudice, which will feature Emma Corrin as Elizabeth Bennet, Jack Lowden as Mr Darcy and Olivia Colman as Mrs Bennet.
Netflix has assured that the upcoming series will be a true-to-source, classic adaptation of the novel, with Dolly Alderton, author of Everything I Know About Love, handling the scriptwriting.
Filming for Netflix’s Pride and Prejudice is set to take place in the UK this year.
Pride and Prejudice (2005) will be streaming on the BBC iPlayer from May 26
A gritty, rock-inflected comedy using the nocturnal peculiarities of Mumbai slum life as a fertile (if at times fetid) palette, British-raised Karan Kandhari’s “Sister Midnight,” about a restless young housewife’s urban malaise, easily holds your attention for long stretches when seemingly little happens, but everything feels charged.
Don’t mistake this stylish feature debut for a misery wallow, however, or some poetic character study. It’s tantalizingly oddball and indelicate: a combined daymare and night odyssey that scratches until a feral hidden strength is revealed in the misfit main character, captivatingly played by Indian star Radhika Apte.
Though the movie ultimately can’t square its episodic unpredictability with the bubbling feminist-outlaw energy at its core — not to mention the comic-book twist that shakes it all up halfway through — that’s less a bug than a feature. Like a movie DJ, Kandhari is flexing a pulpy mood of big-city dislocation, building a trippy, jarring and blackly funny experience out of a city’s stray colors, sounds and personalities.
Arriving at their one-room hovel in the dead of night, arranged-marriage newlyweds and rural transplants Uma (Apte) and Gopal (Ashok Pathak) look more like thrown-together prison cellmates adjusting to a warden’s rules than a romantic couple embracing a future together. We glean that this was a match of undesirables: the timid, sexless guy no girl wanted and the girl too outspoken to be paired.
But here they are, having to make do. Gopal at least has a job to go to, from which he often comes home hammered after drinks with colleagues. Uma, left behind in the solitude of a shack that only allows one shaft of window light, is quick to profanely protest the joyless, intimacy-challenged rut they’ve entered. Alternating between angry and exhausted, she bristles at acclimating to the domesticity that her prickly neighbor wives treat like a club handshake.
Before long, Uma’s taste for cigarettes under the moonlight turns into regular solo walks at all hours. An impulsive journey to a coastal part of town hours away leads to her taking a cleaning job in an office building (and a friendship with a glumly simpatico elevator operator). Suddenly, she’s brandishing a mop and pail everywhere like a rootless knight without a quest or a horse. Then there’s a cryptic street encounter with a goat and things get even weirder. But also, somehow, more validating.
Kandhari, with his hypnotic Wes Anderson-by-way-of-David Lynch widescreen framing and deliberate tracking shots, seems more concerned with capturing something liminal in Uma’s alternative existence, as if the city were just weird and oppressive enough to tease out any transformation that was already lying dormant. (By the time the movie introduces stop-motion creatures roaming the streets, you’ve been primed to think, “Sure, why not?”)
A mischievously off-the-wall exercise like “Sister Midnight” (which eventually embraces some gnarlier elements) needs a certain steam to keep up its deadpan wildness. Kandhari is blessed in that regard with an active visual curiosity about his cracked fable’s punk potential, helped by Sverre Sørdal’s humid cinematography and a game lead in Apte, whose middle-finger energy is sometimes hilariously offset by a wonderful silent-film-star haplessness.
One wishes it all held together a little more, instead of laying seeds that tend to sprout vibes and distractions instead of an illuminating cohesiveness. Kandhari will too often keep Uma in cartoon rebel-goddess mode, needle-dropping another classic rock cut as if daring us to accept Motorhead or Buddy Holly as the only viable soundtrack for what’s going on. But those elements are a kick, too.
Of course, the title “Sister Midnight” is an Iggy Pop staple. “What can I do about my dreams?” it growls, an apt lyric for the singularly inventive and unmanageable fever of a movie that shares its name.
The movie wowed audiences and critics alike upon release
An acclaimed Western flick, featuring the likes of Benedict Cumberbatch and Kirsten Dunst, is set to hit screens later this month, reports Surrey Live.
The film, which first graced cinemas in 2021, has garnered top-notch reviews from both critics and cinema-goers alike.
One glowing critique on Rotten Tomatoes stated: “A deeply symbolic movie presented through the genre of a Western.”
Another viewer enthused: “This movie may be hard to watch at times but it is worth it.”
They added: “Great atmosphere, an incredibly compelling story, amazing acting and characters that are genuinely interesting and multidimensional.”
Meanwhile, another fan described the film as: “The Power of the Dog is a slow-burning masterpiece of tension and repression.”
Yellowstone fans can enjoy The Power of the Dog (Image: PARAMOUNT)
They continued: “Benedict Cumberbatch delivers a career-best performance as the menacing yet vulnerable rancher Phil Burbank, while Kirsten Dunst and Kodi Smit-McPhee shine in this haunting psychological drama.
“Director Jane Campion crafts a visually stunning, emotionally devastating film that lingers long after the credits roll.”
The Power of the Dog is a compelling watch(Image: NETFLIX)
BBCiPlayer will be adding The Power of the Dog to its roster at the end of the month, available for viewers at no extra cost.
Based on Thomas Savage’s 1967 novel, the film promises to be a riveting experience.
The plot of The Power of the Dog delves into the tense dynamics between rugged rancher Phil Burbank (Cumberbatch), his sister-in-law Rose Gordon (Dunst), and her son Peter Gordon (Kodi Smit-McPhee).
Set in the 1920s on a Montana ranch, the film follows Rose’s spiral into alcoholism after being humiliated by her brother-in-law Phil.
Phil had previously accused Rose of marrying his brother George Burbank (Plemons) for financial gain, adding fuel to the fire.
The Power of the Dog stars Benedict Cumberbatch and Jesse Plemons(Image: NETFLIX)
Viewers are given a glimpse into Phil’s past as he forms a connection with Peter, who returns from medical school for the holidays.
Despite having previously ridiculed Peter, it seems the two manage to overcome their differences.
The Power of the Dog is a blend of Western family drama and psychological thriller.
Other members of the cast include Thomasin McKenzie known for The Hobbit, Keith Carradine from Dexter and Madam Secretary, Frances Conroy from Six Feet Under, Peter Carroll from Sleeping Beauty and Alice Englert from Beautiful Creatures and Ginger and Rosa.
The Power of the Dog will be streaming on BBC iPlayer from May 30
If you are only going to be in one part of a movie, it’s best if it’s the most memorable part. For example, a thrilling set-piece that sets the template for an entire franchise.
So it was for actor Rolf Saxon, who appeared as a befuddled CIA analyst in the very first “Mission: Impossible” film. The sequence, in which Tom Cruise dangles from the ceiling of a stark white vault room to infiltrate the computer system overseen by Saxon’s character, is now the stuff of action-cinema history.
From a throwaway punchline in that 1996 film — exiling Saxon’s William Donloe to a remote radar station in Alaska — comes one of the most unexpected storylines in the new “Mission: Impossible – The Final Reckoning.” His part in the new film is substantially larger and provides the film with some of its emotional heft, making Saxon’s return as Donloe a triumph. (A rather memorable knife makes a comeback as well.)
For Saxon’s work in the first film, he was in the same physical space as Cruise but their two characters never interacted and had no dialogue together. So a moment late in the new film when Donloe makes a heartfelt expression to Cruise’s Ethan Hunt of what his life has been like all these years in Alaska provided relief for the character of Donloe — and for the actor portraying him too.
“It was something I was hoping for, and then it happened,” says Saxon, 70. “It’s a great scene. Working with one of the biggest movie stars in the world, that’s kind of cool too.”
Rolf Saxon in the first ‘Mission: Impossible’ from 1996.
(Paramount Pictures)
Finally sharing a proper scene with Cruise also gave Saxon some insight into the reason Cruise has been one of the world’s biggest movie stars for more than 40 years.
“There’s no question why he is,” Saxon says. “The energy that he personally brings into a room, I’ve never witnessed before. It’s focused, it’s practiced. I know this sounds like I’m supposed to say this about him, but it’s true. This guy’s unbelievable. And he does those effing stunts.”
Saxon is impressed, too, by the real-life mission Cruise is often vocal about. “His whole raison d’être is to enhance the industry that’s given him so much and bring people in, bring them back to theaters. And I just applaud that on my feet.”
Rolf Saxon as William Donloe in the movie “Mission: Impossible — The Final Reckoning.”
(Giles Keyte / Paramount Pictures)
Having had a steadily successful career between his two “Missions,” Saxon lives in the Sierra Foothills of Northern California but was recently on a Zoom call from New York City the day after attending the new film’s U.S. premiere there. It was Saxon’s second time seeing the movie, having also attended a premiere in London just a few days earlier.
Born in Virginia, Saxon studied acting in England, where he would land parts in numerous British TV series as well as assorted film and theater roles. Throughout his career he has also done voice-over work for video games, including the “Broken Sword” series, and was the narrator for the American edition of the popular children’s show “Teletubbies.”
According to Saxon, much of the business of what Donloe does onscreen in the first movie directed by Brian De Palma came from an unexpected interaction on set.
“I was given the script,” he recalls, “I read it and I thought, OK, there’s not a lot to do here. And then one day I was messing around on set, joking around, there was some downtime. And I got a tap on the shoulder from the first [A.D.], who said that Brian De Palma wanted to have a word with me. And I thought, ‘Uh-oh.’
“And I walked over and he had a very stern demeanor. Great guy, but he just always looked angry and he said, ‘You’re playing around on set.’ I said, ‘Yes, Mr. De Palma.’ He said, ‘Could you do that again?’ I said, “Sure, of course.” What am I going to say to say, no? He said, ‘OK, after lunch, we’re going to have you messing around onstage. We’ll film that.’” All of Donloe’s memorable physical mishaps — the vomiting, the double take — were Saxon improvs.
The vault sequence has become one of the signature set-pieces of the first film, seemingly lifting from both the silent heist in “Rififi” and the spacewalk of “2001: A Space Odyssey” and setting a stunts-centric guide for the franchise to come. To perform the scene, Cruise spent hours in a harness suspended from the ceiling.
“I mean, it was a long time,” says Saxon. “And they’d bring him down sometimes, but he’s that guy. He does what needs to be done. I was in the room a number of times with him, while he was filming it, but [our characters] never were supposed to meet.”
Saxon recalls that while shooting the first “Mission” film, he and Cruise shared a makeup room at the studio in England. One day the woman who did Cruise’s makeup wasn’t there because her son had an accident at his school. As soon as Cruise heard the news, he called his private on-call doctor and sent him to attend to the boy.
“And he hung up the phone, said, ‘Shut the door,’” remembers Saxon. “And he said, ‘This stays between us. If this comes out, it’s somebody in this room. I’m going to find out who it is and that’ll be your last day on the film.’ He wanted no publicity. He did it for this lady and her son. And the boy was fine, he was mildly concussed. When she came back the next day, there was a massive bouquet of flowers, saying ‘Welcome back.’ And then nothing was ever said of it again. That’s the kind of guy he is. And it took me two years before I would tell that story.”
Saxon had never had reason to encounter Cruise in the intervening years, because, as he says, “I’m an actor but I’m not a star.”
Director Christopher McQuarrie, standing, gives notes to the cast, including Saxon, on the set of “Mission: Impossible — The Final Reckoning.”
(Antonio Olmos / Paramount Pictures)
The call for the new film first came in January of 2022, and Saxon began shooting on the film in August of that year, finishing in July of 2024. (Saxon’s casting was announced via director Christopher McQuarrie’s Instagram in March 2023.) This time around, Donloe becomes a vital part of the team and is in the middle of the action at the film’s climax. In his years in Alaska he has even married an Inuit woman, Tapeesa (Lucy Tulugarjuk).
“The feeling on this set was one of warmth and inclusivity — welcoming,” says Saxon. “I was on it for almost three years, but people were on it for over five years. This schedule for the filming was very erratic, and [McQuarrie] kept very calm. McQ and Tom, they worked very much in tandem. I loved coming to work every day. Not that I didn’t with Brian’s stuff, but this was just a joy, and I was much more a part of it than I was in the first one. I was much more part of the team, the core group that was working.”
For “The Final Reckoning,” a sequence meant to take place in Alaska, with a team of agents arriving to the remote cabin occupied by Donloe and Tapeesa, was actually shot in Svalbard, an archipelago north of Norway.
“We were staying on a ship,” says Saxon. “We went to Longyearbyen, which is the furthest most populated area in the world. Then we took a six-hour ride north on the ship, parked on the glacier. And that’s where we lived for two weeks. Polar bears, walruses, reindeer and us. It was the most beautiful place I’ve ever been in my life.”
The cave sequence that is part of the movie’s action finale is set in South Africa but was shot in the Middleton mines in England’s East Midlands.
“This was in many ways a dream job,” says Saxon. “The people I’m working with, the thing I’m working on and the places I got to go to work. It’s just like, what would you really like to do? Here it is.”
Hayley Atwell, left, Simon Pegg, Tom Cruise, Rolf Saxon, Lucy Tulugarjuk, Greg Tarzan Davis and Pom Klementieff in “Mission: Impossible — The Final Reckoning.”
(Paramount Pictures)
From his initial conversations with McQuarrie, Saxon knew that his part would be significantly larger than in the first film. But even then it developed over the course of production. McQuarrie informed him that some scenes Saxon initially shot were no longer going to be used and due to rewrites, the actor would now be part of the climactic finale.
“He said, ‘We really like what you did, but we’ve had a story alteration, so we can’t use that. So we’re going to put you in in other ways,’” says Saxon. “And that was kind of like, ‘Oh, no’ and ‘Oh, yeah’ at the same time. Which is kind of the way this worked the whole way through.”
Among the actors in his scenes this time out, Saxon had previously worked with Simon Pegg on the 1999 British sitcom “Hippies.” He also discovered that he and Hayley Atwell had attended the same drama school in London, though some years apart. Also returning was Henry Czerny, whose character in the initial film sent Donloe to Alaska in the first place.
NEW YORK — MAY 19 2025: Actor Rolf Saxon for the movie “Mission: Impossible- The Final Reckoning” posing with the knife from the original Mission: Impossible film, photographed at the Museum of Moving Image
(Justin Jun Lee/For The Times)
As to whether he had ever imagined returning to the franchise, Saxon holds his arms out wide, saying, “Just a little dream.”
He adds, “I thought about writing Chris or Tom, ‘Dear Tom, here’s what I think we could do with Donloe.’ Or, ‘What about this with Donloe?’ And at one point, after listening to a friend, I drafted a letter to him. The next day I woke up and I thought” — he mimes wadding up a piece of paper and tossing it away — ‘That’s never going to happen.’ And then years later, bang, it did.”
Saxon said he has never been recognized by anyone for the part of Donloe. (That is likely about to change.) If pressed, his favorite of the “Mission: Impossible” films has remained the first one. Up to now.
“I suppose closure is one way of putting it,” says Saxon. “It’s been much more fun, this one. The other one, I did my job and I enjoyed doing it. But this one I got to really investigate. It’s like remounting a production onstage, or coming back to a project you did 20 years ago, 30 years ago and getting to redo it with what you know now, particularly with the excitement of a larger part. It’s fantastic. It’s another reason this is such a gift.”
Terry Crews is a man of many talents. In the 1990s, he played for both the Rams and the Chargers before becoming an actor and starring in projects like “White Chicks,” “Everybody Hates Chris,” “Brooklyn Nine-Nine” and “The Expendables” franchise. Other roles on his resume? Old Spice spokesman, high-end furniture designer, accomplished painter and author of a memoir. Crews was also featured in People magazine’s Sexiest Man Alive issue three times.
But the gig that has made him internationally known, he says, is hosting “America’s Got Talent” for the last six years. The show, which is celebrating 20 seasons, returns to NBC on May 27.
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.
For Crews, hosting “AGT” is a job that suits him. “I am a honey-baked ham,” he shamelessly admits, flashing his endearing white smile during a Zoom call. “I like the spotlight. I’ve always been a dancer, so it was like this is the vibe. But then I got in there, and I was like, now I see why I love this so much. It’s because every contestant reminds me of me.”
We caught up with Crews to discuss his ideal Sunday in L.A. It involves walking around Old Town Pasadena, catching a movie and spending time with his wife Rebecca King-Crews and their five adult children.
This interview has been lightly edited for length and clarity.
6:30 a.m.: Wake up and hit the gym
I am an early riser no matter what. Even if it’s Sunday, it’s like, my body clock just kind of pops up. Like when I say I sleep in late, that’s 6:30 or 7 a.m. because I like to get up at the crack of dawn. I’m a 4:30 or 5 a.m. guy. Every Sunday, I start with a workout. It’s very light, more of cardio and active recovery, but I never miss it.
9 a.m.: Pick up breakfast from Erewhon
I’ve been intermittent fasting for almost 15 years, so I don’t eat breakfast, but I love breakfast food. So what I do — and this is a real staple — we have an Erewhon that opened near us and it has the most fabulous cooked breakfast. It’s half a store, half a restaurant. Erewhon has the best smoothies, the best pastries. Even though I don’t eat until 2 p.m., I go to Erewhon and get all their breakfast stuff. I’ll get the bacon and eggs, or the breakfast sandwiches [and] breakfast burritos. A lot of the time on Sundays, that’s when all the kids want to stop by, so I’ll bring a bunch of stuff, set it on the stove, and they go in there and I tell them, “Leave me something.”
10 a.m.: Praise break at home
My wife actually started a church. It’s called the L.A. Life Church. It’s like Tiny Desk meets church and she has a thing called Sonic Sundays. It’s online, but we record during the week, and it’s basically a half an hour with a lot of music, and then she does a lesson. We watch it together every Sunday morning when it comes out at 10 a.m. When COVID hit, it kind of changed our churchgoing habits because everybody had to do it at home, and she just decided, “You know what? Let’s just do it!”
11:30 a.m.: Hit up Old Town in Pasadena
Once that’s over, that’s when we go down to Old Town. It’s our favorite place to go. I have an office slash studio that’s right off Colorado Avenue. That’s where all the stores are, and my wife has a store, Rebeccca Crews, which is in Hugus Alley. My daughter works there too. So we’ll walk around Old Town and I’ll stop by Alfred to pick up a coffee. I get a double espresso, straight with nothing in it.
If we decide to stay out, one place we love is Americana in Glendale, which is really close. I love this place called Egg Slut there. Crazy name, but man-oh-man, like I told you, I love breakfast food and they close at 2 p.m. So we have to time it out. We’ll do all that Old Town running around, then we’ll jump down to Glendale and usually I get there by 1:30 p.m. and I’ll be their last customer, and they know me. I have a double bacon, double egg breakfast sandwich. It comes with a little ketchup on it and I get a side salad, which is like arugula and a little Parmesan and maybe a small orange juice.
3:30 p.m.: Pop over to the Americana in Glendale
I love books. I have a library of books that is probably the most valuable thing that I own. I probably have like 10,000 books, so what I love to do is go to Barnes and Noble. You can’t find them anymore. It’s very rare and the Barnes and Noble at Americana is one of my favorite spots, because I’ll get lost. You can spend literally two or three hours there.
5 p.m.: Watch a flick
I’m a big movie guy, so usually on a Sunday, that’s when I do my theater watching. I’ve been getting tickets to throwback movies. Being at home, it’s OK, but I love the smell of popcorn and I love to experience the reactions of other people. When you’re going to see a comedy or something scary or something weird, it’s kind of like you want to feel that energy, so we go to IPIC. I’m a gold member. I’m practically a platinum member because I’m about really nice experiences. If you’re going to do a theater, do it well.
7 p.m.: Enjoy my cheat–day meal
Even though I do intermittent fasting, Sunday is my cheat day. When it’s time for dinner, that’s In-N-Out Burger time. I’ll get a couple double-doubles. You know, I’m simple. Or we’ll find a restaurant that everyone’s been talking about. But a lot of times, they aren’t open on Sunday nights. There are a few like Majordomo that my guy David Chang [owns], but other than that, it’s In-N-Out Burger time.
If there’s a sporting event on a Sunday, I’d go to SoFi to see a football game. I was on the Rams and the Chargers, so the funny thing is, when I get invited to a Chargers game, I act like I’m the biggest Chargers fan in the world, and then when I get invited to the Rams game, I do the same thing. They both ended up in L.A., so they both claim me and I’m like yep [laughs].
8 p.m.: Get ready for bed
I go to bed early and my wife is like, “What are we, in third grade?” [Laughs] That’s why I don’t like to go to the movies too late. I will never, ever go to a movie that starts at 7 p.m. cause you won’t be out of there until like 10 p.m. I’m like nope! I go to bed at the latest 8:30 p.m. and my regime — something I’ve been doing for years and it feels so good — is I close all the curtains, make sure the room is all cool. I try my best to put the phone up. I don’t want that blue light on me. I wash my face, brush my teeth, get in bed and I’ll have the book of the century — whatever I’m reading — right next to the bed and my glasses.
I look forward to this time cause you know where you left off, whether it’s a novel or an autobiography, and you’re like, I wonder what happened there? I always have to make sure I leave at a good spot. I’m the guy who gets sad at the end of a book. The same way people feel about streaming when you’ve gone through all 10 episodes. I’m reading a book called “The Weight of Air” by this guy named David Poses. Oh, my God. He was addicted to heroin for years and was in and out of rehab. It’s fascinating because he’s so transparent and it just inspires me to be that vulnerable.
The lure for music stars to cinematize their success will never grow old, and the movies — in need of high-wattage attractions as ever — always seem ready to oblige. The latest to enter that terrain is Abel Tesfaye, the artist known as the Weeknd, whose chart-toppers over the last decade-plus have painted, in club colors and through his haunted falsetto, a hedonist performer’s ups and downs.
It’s one thing to croon about the aftertaste of youthful excess to a dirty, mesmerizing dance beat, however, and another to draw the subject out to a compelling feature length, which the turgid psychodrama “Hurry Up Tomorrow,” starring Tesfaye and directed by Trey Edward Shults, mostly fails to do. But not for lack of trying from the visually vibey “Waves” filmmaker, who wrote the movie with Tesfaye and Reza Fahim, and from co-stars Jenna Ortega and Barry Keoghan, roped into playing along in the superstar’s sandbox of tour-nightmare solipsism.
The title also belongs to the latest hit album of Tesfaye’s, released this year, which the singer-songwriter has hinted in the press to be a redemptive mic drop of sorts for his mysterious sex-and-drugs-fueled Weeknd persona. Whether you call the film a promotional tie-in or companion piece — it was filmed two years ago, before all the album’s tracks were recorded — it’s still little more than a long-form music video vanity project, straining for importance, fumbling at resonance.
A tight frame on Tesfaye’s boyish, anxious-looking face, his angry girlfriend’s breakup voice message (“I used to think you were a good person!”), and superficial pumping up from his manager (a bro-mode Keoghan), let us know all is not right backstage for this musician on the first night of a big tour. Elsewhere, a distraught young woman (Ortega) drenches a house’s interior with gasoline and sets it on fire, then drives to a gas station to refill her canister.
These tortured souls meet the night his coked-up, busted-heart malaise triggers a walk-off midperformance, and she’s there backstage to lock eyes with him and ask if he’s OK. (He’s not!) From there it’s an escapist date of air hockey, carnival rides and, once they settle in a fancy hotel room, the sharing of a sensitive new song.
In the cold light of day, though, when her vulnerabilities bump up against his reset untouchability — Ortega gets a great line, “You don’t look worried, you look scared” — this impulsive star/fan connection takes a violent turn. Anyone familiar with the HBO series “The Idol” that Tesfaye co-created will soon sense an unwelcome reprise of that short-lived showbiz yarn’s retrograde misogyny.
The germ of an edgy fantasia about an isolated pop icon’s ego death is swimming somewhere in the DNA of “Hurry Up Tomorrow,” but it’s been flattened into a superficial, tear-stained pity party. Shults and cinematographer Chayse Irvin are gifted image makers, but they seem hamstrung applying their bag of style tricks — different aspect ratios, multiple film stocks, 360 shots and roving takes — to so shallow and prideful an exercise. There’s always something to look at but little that illuminates.
As for Tesfaye, he’s not uninteresting as a screen presence, but it’s an embryonic magnetism, in need of material richer than a bunch of close-ups that culminate in a howl of a ballad. In the flimsy narrative’s pseudo-biographical contours — notably the real-life voice loss he experienced onstage a few years ago — parallels to what Prince sought to achieve with the real-life-drawn “Purple Rain” are understandable. But that film was a cannier bid for next-level success, offsetting its three-act corniness with emotional stakes that led to a crescendo of its genius headliner’s performance prowess.
“Hurry Up Tomorrow” is thinner and sloppier. It won’t slam the door on Tesfaye’s movie ambitions, but as a bid to conquer the big screen, it’s an off-putting, see-what-sticks wallow that treats the power of cinema like a midconcert costume change.
‘Hurry Up Tomorrow’
Rated: R for language throughout, drug use, some bloody violence and brief nudity
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
This year’s edition of the Cannes Film Festival launched this week. The winner of last year’s Palme d’Or, Sean Baker’s “Anora,” went on to win five Oscars including best picture. Numerous other Cannes premieres from 2024, such as “The Substance,” “The Apprentice” “Emilia Peréz” and “Flow,” went on to successful awards season runs as well.
This year’s lineup features many titles we could be talking about all year long, including Lynne Ramsay’s “Die, My Love,” Kelly Reichardt’s “The Mastermind,” Wes Anderson’s “The Phoenician Scheme,” Joachim Trier’s “Sentimental Value,” Ari Aster’s “Eddington,” Richard Linklater’s “Nouvelle Vague” and Spike Lee’s “Highest 2 Lowest.” The festival will world-premiere the feature directing debuts of Kristen Stewart and Scarlett Johansson, with “The Chronology of Water” and “Eleanor the Great” respectively. Read all of our coverage as it unfurls right here.
The festival also saw the premiere of Christopher McQuarrie’s “Mission: Impossible – The Final Reckoning,” the fourth movie he has made in Tom Cruise’s venerable action-espionage franchise. Amy Nicholson was at the film’s world premiere, writing, “Cruise is the reason audiences will, and should, see “Final Reckoning” on a large and loud screen. His Ethan continues to survive things he shouldn’t. … Yet, what I’ve most come to appreciate about Ethan is that he doesn’t try to play the unflappable hero. Clinging to the chassis of an airplane with the wind plastering his hair to his forehead and oscillating his gums like a bulldog in a convertible, he is, in fact, exceedingly flapped.”
‘Minority Report’ in 35mm
Samantha Morton and Tom Cruise star in the movie “Minority Report.”
(DreamWorks LLC / 20th Century Fox)
As audiences prepare themselves for the upcoming release of “Final Reckoning,” folks may want to revisit not only other films in the “Mission: Impossible” series but also other titles from the now nearly 45-year career of Tom Cruise.
On Sunday, the Egyptian Theatre will have a 35mm screening of 2002’s “Minority Report,” which paired the star with director Steven Spielberg for the first time. Adapted from a novella by sci-fi writer Philip K. Dick and set in 2054, the story finds Cruise as an officer for a “pre-crime” unit that uses clairvoyant humans to stop crimes before they occur. When he discovers possible faults in the system and finds himself accused of a crime he has yet to commit, Cruise must go on the run.
In a review at the time, Kenneth Turan wrote that the film “finds Hollywood’s preeminent director more convincingly at home with unapologetically bleak and unsettling material than he was with Kubrick’s ‘A.I.’ ‘I wanted to make the ugliest, dirtiest movie I have ever made,’ Spielberg told cinematographer Janusz Kaminski, and there’s little doubt he’s succeeded. … But the road to self-knowledge can be an uneven one, and as impressive as this disturbing, even haunting film can be, it does not feel all of a piece.”
Turan added, “A word must be said for Cruise. Though his is the starring role, it is in some ways a thankless one, needing him to be the tireless turbine that powers this expensive cinematic machine and nothing more. It’s not the kind of work that wins awards, but without Cruise’s intensity almost willing our interest in Spielberg’s unrelentingly dark world, ‘Minority Report’ wouldn’t have nearly as much life as it does.”
More ‘Old Man’ films from ‘You Must Remember This’
Jacqueline Bisset and Candice Bergen on set of the movie “Rich and Famous” in 1981.
(Michael Ochs Archives / Getty Images)
The American Cinematheque has a series underway to celebrate the recent season of the podcast “You Must Remember This.” A few months ago, I featured an interview with the show’s writer, producer and host Karina Longworth to talk about “The Old Man Is Still Alive,” a season examining the late careers of filmmakers such as Alfred Hitchcock, Vincent Minnelli, Billy Wilder and others who had enjoyed decades of success only to find themselves floundering amid the cultural changes happening in Hollywood during the 1960s and ’70s.
The Cinematheque series, playing Tuesdays throughout July at the Los Feliz 3, features some of the most intriguing titles from that podcast, many of them rarely screened and all worthy of the reappraisal Longworth invites. This Tuesday will be Howard Hawks’ 1965 film “Red Line 7000,” about young stock car racers.
In a published transcript from the episode covering Hawks, Longworth said the film was “a bizarre, low-budget experiment that grafts Hawks’s longstanding interest in gender warfare onto a semi-documentary sports movie about low-rent race car champions, starring a very young, very hot James Caan. Hawks’ ’60s romantic comedy, ‘Man’s Favorite Sport?’ could have been made in the 1930s and ’40s as basically the same movie. The same goes for each of the other films he made in his last decade as a filmmaker, none of which took place in contemporary America, except for ‘Red Line 7000.’ ‘Red Line 7000’ is a movie that could have only been made in 1965.”
Kevin Thomas reviewed the film on Nov. 26, 1965, writing, “‘Red Line 7000’ takes off like a streak of lightning, zooms through a thicket of romantic entanglements and winds up a winner at the finish. … Plenty of action plus a cast of attractive unknowns assures another success for veteran director Howard Hawks.”
That will be followed on May 27 by a 35mm screening of George Cukor’s 1981 “Rich and Famous,” starring Candice Bergen and Jacqueline Bisset as friends who become competitive over their literary careers. Noting Pauline Kael’s withering New Yorker review of the film, Longworth added, “What Kael sees as reason for derision, I see as worthy of praise.”
Thomas spent time on the set while the film was in production. Cukor told him, “It’s a great pleasure to read a really good script. And with such wit and style. It’s very contemporary and devastatingly accurate, with a bold, impertinent wit and gaiety. There are two extraordinary parts for women, and the man has a good one, too. So it’s up to us to make it work. I don’t think wit is the coin of the realm right now — it’s ‘Star Wars’ and all that.”
In an October 1981 profile of the film’s writer, Gerald Ayres, who also did Adrian Lyne’s 1980 “Foxes,” the writer says of Cukor, “He put bite and energy into it. His work survives so well because of that squeeze of lemon he puts in his films.”
James Coco and Dyan Cannon in the movie “Such Good Friends.”
(American Cinematheque)
On June 17, there will be a screening of Otto Preminger’s “Such Good Friends,” a satirical dramedy about middle-class sexual escapades starring Dyan Cannon (nominated for a Golden Globe for her performance) that featured a screenplay worked on by the likes of Joan Micklin Silver, John Gregory Dunne and Joan Didion with Elaine May receiving final screen credit under a pseudonym.
On the podcast, Longworth said of the film, “In the midst of a cultural moment that was obsessed with the idea of a sexual revolution but at the same time refused to acknowledge the ways in which that revolution mostly benefited men while imposing on women a whole new set of impossible standards, ‘Such Good Friends’ is the rare Hollywood movie of its time to portray the imbalance between men and women in terms of acceptable levels of desire and anger.”
A January 1972 Times profile of Preminger by Wayne Warga found the journalist tagging along to Preminger’s tastefully luxurious office on the Paramount lot (which the filmmaker would soon be losing), as well as to local TV appearances hosted by Tom Snyder and Regis Philbin. Cannon canceled a promotional tour for the film due to a dispute with Preminger and said for the record, “I have absolutely no words for him. I will come up with a word for him one day. It hasn’t been invented yet.”
Lola Falana and Roscoe Lee Browne in the 1970 movie “The Liberation of L.B. Jones.”
(American Cinematheque)
Other films in the series include Alfred Hitchcock’s 1972 “Frenzy,” Billy Wilder’s 1964 “Kiss Me, Stupid” in 35mm, Vincente Minnelli’s 1962 “Two Weeks in Another Town” in 35mm and Stanley Donen’s 1967 efforts “Two for the Road” and “Bedazzled.”
Among the most exciting titles in the series is a 35mm screening of William Wyler’s 1970 “The Liberation of L.B. Jones,” starring Roscoe Lee Browne, Lee J. Cobb, Anthony Zerbe and Lola Falana in a story of a successful Black businessman who finds his life complicated by his wife’s affair with a local white police officer.
Longworth called the film “uncompromising and unforgiving,” adding that, “‘The Liberation of L.B. Jones’ feels like Wyler leapfrogging over the ’60s entirely, skipping straight from a nostalgic cinematic universe in which nothing very bad ever happens to a ’70s of disillusionment and failed ideals.”
In a review from the time of the film’s release, Charles Champlin echoed those sentiments when he wrote the film was “unsentimental, unsparing, unforgiving, also brutal, credible, powerful, deeply disturbing and depressing and superbly well-acted. It reaffirms — not that it needed reaffirming — the immense power of the film as a social document. It will enrage as few pictures this year will enrage, and we’ll all have to hope that truth is its own purgative.”
Points of interest
‘Going Down’
A scene from the 1983 Australian film “Going Down.”
(Muscle Distribution)
The first theatrical re-release from the new company Muscle Distribution, 1983’s “Going Down” from Australian filmmaker Haydn Keenan will play in a 4K restoration on Friday and Saturday at Vidiots. The film has never had a U.S. release until now and is just the kind of off-beat, undiscovered title the current rep-revival scene is set up to embrace.
“Going Down” is similar to the early Susan Seidelman films “Smithereens” and “Desperately Seeking Susan” for the way it serves as a snapshot of a specific time and place — the clothes, the décor, the music — as well as being a portrait of a series of personalities. Capturing the early ’80s alternative scene of Sydney, the film follows four young women (played by Tracy Mann, Vera Plevnik, Julie Barry and Moira Maclaine-Cross) as they are all trying to establish their own identities and launch their lives, while also making their way across the city to find an envelope of missing money.
U.S. premiere of Chung Mong-hong’s ‘The Embers’
A scene from Taiwanese filmmaker Chung Mong-hong’s “The Embers.”
(American Cinematheque)
This weekend American Cinematheque is launching a series on the Taiwanese filmmaker Chung Mong-hong, including the U.S. premiere of his latest film “The Embers.” Aside from writing and directing all of the films in the series, Chung is also his own cinematographer. The filmmaker is scheduled to appear in person at all the shows.
Writing about him in 2022, critic Carlos Aguilar called Chung “one of the most infuriatingly underappreciated storytellers of our time.” This series should help bring his work to a broader audience.
“Parking,” from 2008, tells the story of a man trying to win back his estranged wife and is screening in 35mm. 2016’s “Godspeed” finds a cab driver mixed up with a drug dealer, while 2019’s family drama “A Sun” was Taiwan’s submission to the Academy Awards.
On Sunday, Chung will also introduce a 35mm screening of Jim Jarmusch’s 1984 “Stranger Than Paradise.”
Lars von Trier’s ‘Nymphomaniac’
Charlotte Gainsbourg and Jamie Bell in “Nymphomaniac: Volume II.”
(Christian Geisnaes / Magnolia Pictures)
On Wednesday, Brain Dead Studios will be screening both volumes of Lars von Trier’s “Nymphomaniac” combined as a single 242-minute experience. The films were released separately but both tell a continuing story, as Joe (Charlotte Gainsbourg) recounts to Seligman (Stellan Skarsgård) the story of her sexual awakening and ongoing struggles as a sex addict. The cast also includes Stacy Martin, Shia LeBeouf, Jamie Bell, Mia Goth, Willem Dafoe and Uma Thurman.
When the films were initially released in 2014, I reviewed both “Volume 1” and “Volume II” separately. As I said at the time, “Few other filmmakers are capable of quite the same walloping power, though the film’s digressive, chaptered style gives it an offhand quality that asks for easy dismissal. Von Trier is such a masterful filmmaker that every new project comes on with the expectation and air of a totalizing masterwork, [creating] the unsated sensation of having too much and wanting more.”
In another piece I wrote that considered the films within Von Trier’s larger body of work (noting the filmmaker’s turn toward pranksterish provocations such as his now-notorious Cannes news conference appearances), I added that with the “Nymphomaniac” films, “he further questions both himself and his audience, asking what we want from cinema and what cinema is capable of giving us back. … What the ‘Nymphomaniac’ project may represent most of all is Lars von Trier burning down his own house, clearing a path to get out of his own way. Provocative in every sense of the word, stirring the loins, the head and the heart, the cinema of Lars von Trier is not to be dismissed. And that’s no joke.”
In other news
Summer movie preview
Mia Threapleton and Benicio del Toro in director Wes Anderson’s “The Phoenician Scheme.”
(TPS Productions / Focus Features)
As part of our summer preview, the LAT published an interview wth Benicio del Toro, star of “The Phoenician Scheme.” Del Toro’s unpredictable screen presence has long made him one of my favorite actors and it is exciting to see him in a lead role. Wes Anderson wrote the part specifically for Del Toro, playing a 1950s industrialist tycoon known as Anatole “Zsa-zsa” Korda.
As Del Toro said to Carlos Aguilar, the actor couldn’t quite believe what he was reading in the script pages Anderson would periodically send him. “I didn’t know if it was going to be another film like ‘The French Dispatch,’ where my character ends and then another story rolls up,” he said. “Little by little, I understood that it was the whole thing.”
Allison Williams and an animatronic M3GAN in a scene from the movie “M3GAN 2.0,” directed by Gerard Johnstone.
(Universal Pictures)
Joshua Rothkopf spoke to Adrien Morot and Kathy Tse, the creative team behind Morot FX Studio, who along with several puppeteers, technicians and 15-year-old actor Amie Donald bring the film’s unnerving robot doll to life in the upcoming “M3GAN 2.0.” (Morot and Tse also won an Oscar for their work on “The Whale.”) The doll for the new film has been altered somewhat to keep up with Donald’s own growth.
“In my naiveté, I never quite understood just how much this was basically an elevated Muppet movie,” said the film’s director Gerard Johnstone. He added, “I thought, Why are we making something that looks like a toy when these guys can make things that look human? Wouldn’t that be really fun if we went further into the uncanny valley than we’ve ever gone before? And Adrien and Kathy were the perfect people to partner up with on that.”
There is also a handy list of 18 films to look forward to this summer, including Celine Song’s “Materialists,” Eva Victor’s “Sorry, Baby,” Darren Aronofsky’s “Caught Stealing,” Danny Boyle’s “28 Years Later,” James Gunn’s “Superman,” Zach Cregger’s “Weapons,” Joseph Kosinski’s “F1,” Akiva Schaffer’s “The Naked Gun,” Michael Shanks’ “Together” and Nisha Ganatra’s “Freakier Friday.”
The film has an impressive 86% on Rotten Tomatoes and has been described as “impeccably cast and smartly written”.
The horror movie has been branded a ‘masterpiece’
A chilling horror movie that’s been dubbed a ’10/10′ must-watch by fans is now streaming at no charge. The film has garnered accolades for featuring the ‘best plot twist ever’ – and it’s hitting BBCiPlayer for free this weekend.
Bodies, Bodies, Bodies boasts an impressive 86% on Rotten Tomatoes and has earned glowing reviews for being “impeccably cast and smartly written”, as well as “an uncommonly well-done whodunit”.
The plot centres around: “When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong.”
With a young and talented cast, the film features stars like Amandla Stenberg from The Hate U Give, Rachel Sennott from Shiva Baby, and the comedian Pete Davidson.
Bodies Bodies Bodies has a star-studded cast
Horror enthusiasts believe this film is grossly underrated, with many voices on Rotten Tomatoes comments section singing its praises, reports Surrey Live.
One fan remarked: “What initially seemed like a typical teen horror flick turns out to be a fun and surprisingly well-crafted film.”
Another added their voice stating: “Bodies Bodies Bodies is a sharp, satirical take on Gen Z culture wrapped in a murder mystery.
“The dialogue is witty and self-aware, capturing the internet-fueled language of the TikTok generation. It’s not your typical slasher flick; it’s more of a psychological whodunit with a cheeky twist.”
Several viewers found themselves entirely gripped by the “insane” twist of the tale, with one confessing: “Best plot twist ever. Be prepared to be amazed.”
One viewer enthused: “A well done fun guilty pleasure murder mystery film with sure some cheesy lines but some good acting and scenes that hooks you in with twists and a wow of an ending.”
Another fan raved: “Another A24 masterpiece, insane plot twist, hilarious, it just has it all.”
Bodies, Bodies, Bodies packs a killer twist
However, some viewers were left unimpressed, with one dismissing it as “pure dribble” and another criticising: “Highly annoying, unlikeable characters. I regret watching this.”
In contrast, professional critics were largely full of praise, with The Times’ Edward Porter noting: “In general the film crackles with life. It has a caustic script, a stormy atmosphere and a talented cast.”
The Independent’s Clarisse Loughrey observed: “It’s peak nihilistic entertainment, watching these souls try, in vain, to keep their fragile reputations intact while they’re drenched head to toe in blood.”
Empire Magazine’s Ella Kemp concluded: “Tense when it needs to be and awfully good fun throughout. Stupidity reigns supreme for these rich kids, but the filmmakers are smart enough to make Bodies Bodies Bodies stick the landing.”
The Financial Times’ Danny Leigh also commented: “The title could hint at either sex or death, and both end up with roles to play in a movie carefully stuffed with rising stars du jour.”
Bodies Bodies Bodies is streaming tonight at 11.30pm on BBC One and will be available on BBC iPlayer after broadcast.
The TV industry and buyers of commercial time were able to breathe a little easier going to their annual week of presentations known as the upfronts.
Not long before the curtain went up Monday at Radio City Music Hall for NBCUniversal’s event, President Trump announced he would hold off on tariffs on China, easing some of the economic uncertainty going into the selling season for television networks.
But the messaging from media executives throughout the week acknowledged that advertisers will be under pressure to get more from their marketing dollars. Between performances by Lizzo, Lady Gaga and the Dallas Cowboys Cheerleaders, ad buyers heard about the new artificial intelligence-powered tools for targeting specific audiences.
While traditional TV still commands the bulk of U.S. advertising spending, advertisers’ increasing comfort with streaming was apparent.
Seven years ago, YouTube executives had to reassure sponsors that the company would work harder to keep their ads from running in user-created videos that pushed conspiracy theories or hate speech.
But at the Google-owned platform‘s gathering at Lincoln Center on Wednesday, the audience saw a glowing testimonial video from Marc Pritchard, chief branding officer for Procter & Gamble, a company known for being meticulous about its marketing and media decisions.
Netflix and Amazon marched into the week buoyed by the growing number of streaming subscribers who see ads. Netflix said its service carrying commercials now reaches 90 million subscribers worldwide while Amazon’s Prime Video is now at 130 million in the U.S.
The week of parties and parade of celebrities offered a glimpse into the current state of the TV business. Here’s what stood out:
Live sports rule, especially the NFL
Walt Disney Co.’s TV lineup is packed with big-name talent. But the company kicked off its upfront with an opening number by an unlikely singing duo — former NFL quarterbacks Eli and Peyton Manning.
The audience at North Javits in Manhattan saw two more NFL stars, Kansas City Chiefs quarterback Patrick Mahomes and Philadelphia Eagles running back Saquon Barkley, before a single actor appeared on stage. It was a sign of the NFL’s vital importance to the company and the TV business writ large.
Disney — where not too long ago Chief Executive Bob Iger mused about spinning off ESPN — wasn’t alone in touting its commitment to the league.
NFL Commissioner Roger Goodell did a walk-on at the YouTube presentation to announce the platform’s first exclusive livestream of a league game, the Los Angeles Chargers season opener against the Chiefs in Brazil on Sept. 5.
Roger Goodell speaks onstage during Netflix’s Upfront 2025 on Wednesday in New York.
(Roy Rochlin / Getty Images for Netflix)
On the Netflix stage, Goodell was joined by Cowboys owner Jerry Jones to plug a documentary series on the franchise and announce this year’s two Christmas games that will be carried on the platform.
Jason and Travis Kelce promoted their Wondery podcast at Amazon’s show. Former tight end Rob Gronkowski showed up at two upfront presentations, one for Fox where he is part of the network’s NFL coverage and later at YouTube because, well, why not?
NFL games accounted for 95 out of the top 100 most-watched TV programs last year and is now setting records on streaming. Netflix had its most watched Christmas Day in history when 65 million U.S. viewers streamed some portion of its NFL double header. (Goodell wore a Santa Claus suit for his announcement of this year’s Netflix games).
For TV industry veterans, the emphasis on live sports was surprising. “Traditionally entertainment was the driver of the upfront,” Ben Silverman, co-CEO of production company Propagate, told CNBC.
Or as ABC late night host Jimmy Kimmel put it during his annual Disney upfront roast: “This is all sports. What happened? We used to be so gay.”
But as the audience continues to be atomized by the growing number of streaming options, sports are more valuable than ever for advertisers who want to reach a mass audience.
Executives at Netflix, long on the leading edge of providing niche offerings to fit every consumer’s taste, now extol the virtues of the mass audience viewing experience now that it carries NFL games.
Live sports have become a lifeline to traditional TV, as most young viewers have turned to streaming for scripted series and movies. The trend was reflected in NBCUniversal’s presentation, which emphasized the arrival of the NBA on the network that will cost $2.5 billion a year.
“Tonight” host Jimmy Fallon may have summed it up best when he said, “Good morning, I’m glad to be at the NBA upfront — I mean NBC upfront.”
Planning for life after cable
Warner Bros. Discovery stunned the crowd at the Theater at Madison Square Garden with the announcement that its streaming service Max will once again be called HBO Max. The company stripped HBO from the name in 2023, believing the HBO brand name was too exclusive for the service’s ambitions to broaden its audience.
Dropping the prestigious HBO logo from the name of the service was a dubious decision from the start. But restoring it was a recognition of an undeniable fact: the future belongs to streaming, so why relegate a familiar and respected brand name to the waning cable box?
CNN and ESPN announced that their direct-to-consumer streaming services rolling out later this year will use the network names that have been familiar to cable viewers for more than four decades. The monikers will not carry a plus sign or any other designation that suggest the product differs from what’s on TV, and that’s by design.
Younger viewers may be forgoing cable subscriptions, but they know the CNN and ESPN brand names through their digital content. For those viewers, streaming isn’t an add-on, it is the way they watch TV
Movies are open for ad business, too
Not so long ago, seeing a movie star on stage at a network upfront presentation was a big deal.
But streaming has blurred the line by offering both series and original movies, and media companies are using that to their advantage when pitching to advertisers. The trend has given the platforms a bit more sizzle in their pitches.
Charlize Theron speaks onstage during Netflix’s upfront presentation Wednesday in New York.
(Jamie McCarthy / Getty Images for Netflix)
Arnold Schwarzenegger riffed at length about his upcoming Christmas film for Amazon, “The Man With the Bag.” The moment got added mileage when the former California governor’s “True Lies” co-star Jamie Lee Curtis joined him on stage.
Charlize Theron took the stage at the Perelman Performing Arts Center to plug her upcoming Netflix feature “Apex.”
NBCUniversal teased the sequel to “Wicked,” which will eventually run on its Peacock streaming service.
Warner Bros. Discovery touted its sponsor partnerships for the theatrical blockbuster “A Minecraft Movie” and brought out James Gunn and Peter Safran, keepers of DC Studios, to say there will be opportunities for the upcoming Superman movie and other projects.
Spiritually, Gabby Windey is all about Sundays in a hardcore, no-exceptions, day-of-rest sort of way. The “Long Winded” podcast host became the breakout star of “The Traitors” this year after winning the reality TV competition with a series of bold outfits and stereotype-smashing strategic moves. Her stream-of-consciousness podcast monologues continue to boost her star, frequently going viral on Instagram and TikTok for their vocal fry realness. Now she’s booked and busy beyond belief, a mixed bag for Windey.
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.
“You know I’m always begging for a break,” Windey says. “It’s things that I want to be busy with, so I can’t really complain. But yeah, I’m always looking for my next nap.”
That makes Sundays feel like a “special occasion” for her, especially since it’s when she gets slow, quality time with her wife, comedian Robby Hoffman. Together, Windey and Hoffman spend their Sundays in the most relatable way possible: scrolling the internet, watching TV and movies, getting high with friends and snacking.
Sundays are also the ultimate example of Windey’s famous “business hours,” the time after 3 p.m. in which Windey’s confidence plummets and she’d rather “gouge my eyes out with a dull chopstick” than FaceTime for work. Woe to anyone who would bother Windey on a Sunday.
“God forbid, if anyone emails you on a Sunday, block and delete, fire them all,” Windey says. “On Sunday I am closed for business. You will not hear a peep from me.”
This interview has been edited and condensed for length and clarity.
9 a.m.: Get out of bed, get back into bed
We’ll sleep in until, like, hopefully 9 or something. Robby works nights, you know, she’s a stand-up comedian. I’m like blaming [sleeping in] on her, but I can easily get 10 hours of sleep a night. So yeah, we like a lazy morning.
We’ll go get coffee. We’re right next to Lamill now. Then we’ll come back home and do the New York Times crossword, Connections, Wordle in bed.
Normally, when Robby’s had her fair share of like showing me YouTube clips or Reels, then I’ll start to get antsy. I’m like, “Enough of this. Let’s go.”
11 a.m.: Groceries and tamales
We’ll walk to the Silver Lake Farmers Market. Robby does a lot of the grocery shopping, and I’ll just, like, get a tamale. They’re $5, and they’re huge. I like a red sauce and a green sauce, so it’s like beef with the red sauce and chicken with the green sauce, but I also like a dessert tamale, a sweet tamale. I’m half Mexican, and my mom did not cook except for tamales. So it’s a very comforting food.
Robby’s really good at grocery shopping, so I just kind of let her go. But we get fresh berries. We’ll make veggie sandwiches throughout the week, which is like romaine lettuce, mushrooms, tomatoes and cucumber. We’ll get those ingredients and whatever weird food there is, you know, there’s always like some hippie fermented thing that’s supposed to be good for you.
Noon: Back to bed.
I have to take a break.
1 p.m.: Prerolls in the park
For [the weed holiday] 4/20, we met up with friends in Silver Lake Meadow. First I went to Botanica to get some snacks. They have good snacks, so I got this really good carrot hummus. It’s like sweet. I got some good crackers, some goat cheese wrapped in tea leaves. It sounds better than it actually was. And I’m exploring NA [nonalcoholic] options. So I got some Ghia. People die for it. But I’m like, I don’t know. I wasn’t quite sold. It’s not giving me a buzz. Surprisingly — there’s nothing in it! But I still want a buzz of some sort, which in comes the weed. So then we went to the park to just like get high on Edie Parker prerolls, talk s— with some friends for like three hours and eat good snacks. (Note: Windey has a partnership with fashion and cannabis brand Edie Parker).
4:30 p.m.: Catch a movie
Then we’ll go see a movie. We’ll f— with the Americana [at Brand] hard. We love the popcorn, love the ease. We’ll like sneak food in and out, you know, I don’t even think you need to sneak it in anymore. We haven’t gotten caught, but we always have the backstory of like that we’re gluten-free, or that we’re kosher, because Robby grew up Hasidic. So she knows what it’s like to be kosher, and I guess it’d be a good excuse for sneaking in food to the movie theater.
7:30 p.m.: Eat special-occasion sushi
After the movies, we’ll probably go out, like on a date night. I love sushi, obviously, who doesn’t? So we’ll either go to Sugarfish, because it’s like you get the same thing every time. You know, it’s so reliable. Or Kombu Sushi in Silver Lake. They have a great baked crab roll that I literally crave. But I like to save it for a special occasion, for Sunday.
9:30 p.m.: Call it a night
Back home, I’ll maybe do some skincare if I have any energy left, which after this Sunday it sounds like I won’t. Other than that, we might just watch a show, or I’ll do like a face mask. I’ll read on the Kindle — I’m reading “Adult Children of Emotionally Immature Parents.” I can’t wait to be done with it. I’m like, “OK, I just need to get through this. And then I can start fun reading again.” I didn’t get much of the American lit category in school. So I’m trying to kind of move my way through that. I just read Joan Didion’s “Slouching Towards Bethlehem.” I might go to the other book that people think is her best one next.
Life, death, crime, kitsch, nostalgia, immigrant aspirations and witty design — all of these elements converge in the world of motels, which didn’t exist before 1925.
Here are five facts and phenomena from the century of history.
The motel turns 100. Explore the state’s best roadside havens — and the coolest stops along the way.
Where Magic Fingers are found
From the late 1950s into the ’80s, thousands of motels proudly advertised their Magic Fingers — a little collection of vibrating electric nodes under your mattress that would give you a 15-minute “massage” for 25 cents, inspiring creators from Kurt Vonnegut to Frank Zappa. Alas, their moment passed. But not everywhere. Morro Bay’s Sundown Inn, which gets two diamonds from the Auto Club and charges about $70 and up per night, is one of the last motels in the West that still features working Magic Fingers, offered (at the original price) in most of its 17 rooms. “We’ve owned the hotel for 41 years, and the Magic Fingers was here when we started. We just kept them,” said co-owner Ann Lin. Ann’s mother- and father-in-law immigrated from Taiwan and bought the property in 1983.
Motels, hotels and Patels
Many motels and small hotels are longtime family operations. Sometimes it’s the original owner’s family, and quite often it’s a family named Patel with roots in India’s Gujarat state. A recent study by the Asian American Hotel Owners Assn. found that 60% of U.S. hotels — and 61% of those in California — are owned by Asian Americans. By one estimate, people named Patel own 80% to 90% of the motels in small-town America. The beginnings of this trend aren’t certain, but many believe that one of the first Indians to acquire a hotel in the U.S. was Kanjibhai Desai, buyer of the Goldfield Hotel in downtown San Francisco in the early 1940s.
Motels, media and murders
There’s no escaping the motel in American pop culture. Humbert Humbert, the deeply creepy narrator of Vladimir Nabokov’s 1955 novel “Lolita,” road-tripped from motel to motel with his under-age victim. Edward Hopper gave us the disquieting 1957 oil painting “Western Motel.” In the film “Psycho” (1960), Alfred Hitchcock brought to life the murderous motel manager Norman Bates. When Frank Zappa made a movie about the squalid misadventures of a rock band on tour, he called it “200 Motels” (1971). When the writers of TV’s “Schitt’s Creek” (2015-2020) wanted to disrupt a rich, cosmopolitan family, they came up with the Rosebud Motel and its blue brick interior walls. And when executives at A&E went looking for a true-crime series in 2024, they came up with “Murder at the Motel,” which covered a killing at a different motel in every episode.
The Lorraine Motel, before and after
The 1968 assassination of Dr. Martin Luther King Jr. made the Lorraine Motel in Memphis globally notorious. But before and after that day, the Lorraine played a very different role. Built as a small hotel in 1925 and segregated in its early years, the property sold to Black businessman Walter Bailey in 1945. He expanded it to become a motel, attracting many prominent African American guests. In the 1950s and ’60s, the Lorraine was known for housing guests such as Count Basie, Cab Calloway, Roy Campanella, Ray Charles, Nat King Cole, Aretha Franklin, Lionel Hampton, Wilson Pickett, Otis Redding and the Staples Singers. After King’s assassination, the motel struggled, closed, then reemerged in 1991 as the National Civil Rights Museum, now widely praised. Guests follow civil rights history through the building, ending at Room 306 and its balcony where King was standing when he was shot.
The man upstairs in the Manor House
In 1980, a Colorado motel owner named Gerald Foos confided to journalist Gay Talese that he had installed fake ceiling vents in the Manor House Motel in Aurora, Colo., and for years had been peeping from the attic at guests in bed. The man had started this in the 1960s and continued into the ’90s. Finally, in 2016, Talese spun the story into a New Yorker article and a book, “The Voyeur’s Motel,” sparking many charges that he had violated journalistic ethics.
As the box office improves, will a steep discount on tickets bring more people to the multiplex this summer?
That’s what AMC Theatres is betting.
The Leawood, Kan.-based chain said this week that members of its AMC Stubs loyalty program, which has a free tier, will get 50% off adult evening-priced movie tickets all day long Wednesdays, starting July 9.
The move comes as the studios and theater owners have struggled to bring audiences back to the movies after the COVID-19 pandemic.
Box-office revenue improved in fits and starts as the pandemic waned, though the number of films released was greatly affected by the dual writers and actors strikes in 2023.
As of this past weekend, domestic ticket sales this year are down about 30% compared with the same time period in 2019, according to Comscore. Even before the pandemic, attendance numbers were declining.
But there is some hope on the horizon.
Total North American box-office grosses this year are expected to reach about 80% of 2019’s totals, with 2026 predicted to reach 86%, said Alicia Reese, senior vice president of equity research for media and entertainment at Wedbush Securities.
“The post-pandemic recovery has been pretty bumpy,” she said. “That said, the strikes really challenged the box-office volume for a while, but that’s now in the rear-view mirror.”
Theatrical attendance and flexible ticket pricing were frequent topics of conversation at the CinemaCon trade conference earlier this year in Las Vegas, where studio executives and exhibitors alike mused about how to bring audiences back to theaters.
A more diverse lineup of films would help, some said. Others, like Paramount domestic distribution president Chris Aronson, argued that an improved experience in the theaters, including fewer ads, limited trailers, extended matinee pricing or daily deals could lure customers back.
He highlighted the “Discount Tuesday” promotion available at many theaters.
“Why not ‘Discount Wednesdays’? Unless, of course, you’re already at full capacity on Wednesday, in which case, don’t do it,” he said during his on-stage presentation, to laughter from the audience of theater owners and industry executives.
That’s now exactly what’s happening at AMC, as theater operators consider ways to improve traffic on less-attended weekdays.
In explaining the decision, AMC Chief Executive Adam Aron touted the improved box-office results in the fiscal second quarter.
The bleak first quarter at the box office took a toll on AMC’s earnings, which the chain reported last week.
The company reported revenue of $862.5 million, down 9.3% from the $951.4 million it logged during the first quarter of 2024. Net loss for the first quarter was $202.1 million, compared with a loss of $163.5 million during the previous year. AMC also reported lower attendance for the first quarter with 41,903 admissions, a decrease of 10.1% from the same time period a year ago.
Aron cautioned in a statement at the time that the first-quarter domestic box office was “a distorting anomaly” and that anyone trying to draw conclusions about the movie theater business from those results was “likely to be mistaken.”
So far this spring, films like Warner Bros. Pictures’ “A Minecraft Movie” and Ryan Coogler’s “Sinners” have jolted the box office back to life.
And with several new movies on the horizon, including Disney’s live-action “Lilo & Stitch” and the Tom Cruise-led “Mission: Impossible — The Final Reckoning,” analysts and theaters feel optimistic about the potential box office trajectory. As of last weekend, the year’s box-office grosses are up 16% compared with the same time period last year, according to Comscore.
“Realistically, we could not afford to have made this change to our ticket pricing strategy until the box office showed true signs of sustained recovery,” Aron said in a statement. “But in April and now in May, the box office has been booming, and the remainder of 2025 appears poised to continue that upward box office trend.”
Already, Tuesdays have emerged as the biggest non-weekend moviegoing day, said Paul Dergarabedian, senior media analyst at Comscore. Adding another lower-priced day to the mix could help drive attendance, increase concession sales and expose audiences to trailers for new films, he said.
“When consumers feel like they’re getting something more, the loyalty developed there is very important,” Dergarabedian said. “Having one of the bigger chains commit to this is a big deal.”
The initiative will likely be a test to whether it cannibalizes higher-priced attendance on other days, Reese said.
“Overall, I think it’s a strong strategy with a lot of really good content available over the summer to get people who wouldn’t otherwise go to the movies to come back to the movie theater,” she said. “Either way, it gets attention, it gets far more people onto their loyalty programs that they can communicate with directly, it opens their eyes to AMC’s paid subscription program.”
Dynamic ticket pricing, similar to hotels and concerts, has long been discussed as a potential attendance booster but hasn’t been fully embraced for movies.
Nonetheless, AMC has experimented with different kinds of discounts. The company a couple years ago introduced modestly lower-priced tickets for less in-demand front row seats, but later backed away from the idea.
“Selena y Los Dinos,” the latest documentary film about the life of Tejano music icon Selena Quintanilla, has been acquired by Netflix. The film is currently scheduled to begin streaming in winter 2025.
The movie, directed by Isabel Castro, features original VHS footage taken by Selena’s older sister, Suzette, and is interspersed with present-day interviews with family and friends.
Netflix announced its acquisition in a Tuesday press release.
“Through personal archive and intimate interviews with her family, the film reveals new dimensions of her journey that have never been seen before,” Castro shared in the release. “I am deeply grateful to her family for their trust and support throughout this journey, and I can’t wait for a global audience to experience the magic, heart and community that Selena gave to all of us.”
Suzette also shared her enthusiasm about the scope of the partnership with Netflix in the Tuesday announcement, stating, “Grateful to have a platform that helps bring Selena’s story to fans around the world.”
This is not the first time that the Quintanilla family has collaborated with the streaming giant. They worked with Netflix to help create “Selena: The Series” — a scripted retelling of Selena’s childhood, rise to fame and death starring Christian Serratos as the Texas singer.
It was after working as an executive producer on the Netflix series that Suzette consulted her lawyer about making her own documentary.
“There’s some things that you just want to hold on to and not share with everyone,” Suzette said at the documentary’s 2025 Sundance Film Festival premiere. “I was always taking the pictures, always with the camera. And look how crazy it is, that I’m sharing it with all of you so many years later.”
The documentary surfaces footage from performances in which Selena subverts the idea of the well-manicured image that the Quintanilla family has constantly put out of the singer in the 30 years since her death. It also captures, in real time, the evolution of a bold new identity growing among Latino youth in the 1980s, encapsulated in Los Dinos’ cultural hybridity.
The film was awarded with a special jury prize for archival storytelling at the renowned movie gathering at Sundance. The jury made note of how the feature “transported us to a specific time and place, evoking themes of family, heritage, love and adolescence.”
So badly were people clamoring to view the movie that the organizers of Sundance pulled it from its online platform. The film had fallen victim to a number of copyright infringements as eager fans were uploading clips from it to social media platforms. This was the first time that Sundance had removed a feature during the festival.
De Los assistant editor Suzy Exposito and Times staff writer Mark Olsen contributed to this report.
Rams owner Stan Kroenke will build a movie studio next to SoFi Stadium in Inglewood that will serve as the international broadcast center for the 2028 Olympic Games.
Construction will start by summer on the studio and production facility that will house hundreds of broadcasters from around the world that have acquired rights to cover the Summer Games in Los Angeles, Kroenke’s company said Tuesday.
After the Games, the facility known as Hollywood Park Studios will be used to make movies, television shows and other productions and perhaps host live broadcasts.
The development is part of Hollywood Park, a multibillion-dollar complex built on the site of a former horse racing track also known as Hollywood Park that includes the stadium, apartments, theaters, offices, shops and restaurants.
Kroenke’s organization hopes that attention from the Olympics will boost Hollywood Park Studios’ appeal as a future entertainment production center.
“We want it to be recognized around the world,” said Alan Bornstein, who is overseeing development of the studio for Kroenke.
The studio is part of Hollywood Park’s master development plan focusing on media, entertainment and technology, Bornstein said, anchored by SoFi Stadium, YouTube Theater and the NFL Media office building.
“There has been an increasing convergence of media and technology and sports, all under the notion of entertainment that is now distributed in in multiple channels,” Bornstein said, “whether it’s through streaming or whether through broadcast television or movies in theaters,”
The first phase of Hollywood Park Studios will occupy 12 acres and will consist of five soundstages, each 18,000 square feet, two of which may be opened to a single 36,000-square-foot stage.
The complex will have a three-story, 80,000-square-foot office building to support stage, production and postproduction activities. The studios will have a dedicated open base camp where trucks, equipment and actors’ trailers could be placed, along with a parking structure for 1,100 cars. Future development could include as many as 20 stages and 200,000 square feet of related office space.
The additional stages would be built to suit for future tenants as demand emerges, Bornstein said, who declined to estimate how much the studio complex will cost.
Although demand for soundstages outstripped supply a few years ago, production has recently slowed and dampened the current need for them.
A rendering of the Hollywood Park Studios broadcast center and movie production facility.
(Gensler)
Last year, the average annual occupancy rate dropped to 63%, a further indication of Hollywood’s sustained production slowdown, according to a recent report by FilmLA, a nonprofit organization that tracks on-location shoot days in the Greater Los Angeles area.
That was a decline from 2023, which saw an average regional occupancy rate of 69%. That was the year when dual strikes by writers and actors crippled the local production economy for months.
The foray into Hollywood-level production facilities is part of Kroenke’s goal to combine sports, entertainment and media from around the world, Bornstein said.
In addition to the Rams, Kroenke is owner of the Denver Nuggets basketball team, the Colorado Avalanche hockey team, the Colorado Rapids soccer team, the Colorado Mammoth lacrosse team and Arsenal Football Club, the Premier League soccer team based in London.
SoFi Stadium, where the Chargers also play football, will be converted into the largest Olympic swimming venue in history during the Games in 2028. It will host the Olympic opening ceremony with the Los Angeles Memorial Coliseum, as well as the opening ceremony for the Paralympic Games.
Kroenke is also a major real estate developer and landlord. The 300-acre Hollywood Park project is one of the largest mixed-use developments under construction in the western United States. SoFi Stadium alone cost $5 billion to build.
Last month, he also unveiled plans for a new Rams headquarters on a 100-acre site at Warner Center in Woodland Hills that would include a residential and retail community intended to be the centerpiece of the San Fernando Valley. It could cost more than the total price of Hollywood Park, which has been valued by outside observers at more than $10 billion.
Creating a second epicenter in Woodland Hills allows the Rams to significantly increase the size of their footprint in the Southern California market.
“When you’re looking to do a practice facility, you don’t need to be right in the middle of everything, and typically that real estate is very expensive,” Kroenke told The Times. “We built an identity in the Valley, with Cal Lutheran, and a lot of our players and families are up there. Our experience was really good.”
Architecture firm Gensler spearheaded the design for the Warner Center headquarters and Hollywood Park Studios. Clayco will be the general contractor for the studio, with Pacific Edge acting as project manager. Financing was arranged by Guggenheim Investments.
Times staff writer Sam Farmer contributed to this report.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
Hollywood was shocked last weekend with the announcement by President Trump of a plan to impose a new 100% tariff on films produced outside the United States. The exact logistics of the plan were unclear; determining which projects would be subject to the tariff would itself be extremely complicated.
As one film executive said in a story by Meg James and Samantha Masunaga, “Nobody knows, and I don’t suspect we will for awhile. Is it on domestically funded foreign productions? Is it on foreign-funded ones? Is the tariff on film revenues or film costs on those projects, or both?”
Though many seemed to disagree that a tariff was the solution to Hollywood’s problems concerning runaway production, as the week went on there was a turn toward hoping that this could nevertheless be the start of something positive.
“It’s great that the president is starting to pay attention,” producer Jeffrey Greenstein said to Ryan Faughnder. “So let’s have a real conversation about it and figure out the best way to start bringing movies back.”
One thought is that perhaps some kind of federal tax incentive could get things moving in the right direction. In a separate story, Masunaga and James looked at California Gov. Gavin Newsom’s efforts to create such a program.
“Right now the industry is teetering,” UCLA professor George Huang said. “This would go a long way in helping right the ship and putting us back on course to being the capital of the entertainment world.”
‘Crouching Tiger, Hidden Dragon’ in 35mm
Zhang Ziyi in the movie “Crouching Tiger, Hidden Dragon.”
Released in 2000, the film still holds the distinction of being the highest-grossing, non-English-language film of all time in the U.S. and also won four Oscars. Set in 19th century China, the movie kicks off with a warrior (Chow Yun-Fat) giving his sword to his lover (Michelle Yeoh) but it is soon stolen, setting them on a journey to retrieve it.
In his original review of the film, Kenneth Turan wrote, “Films we can categorize, that’s what we’re used to. Good or bad, fiascoes or masterpieces, we put them in their place, every one. What we’re not used to, what we haven’t had much of at all, are films that transcend categorization, that remind us — simply, powerfully, indelibly — what we go to the movies for. Ang Lee’s ‘Crouching Tiger, Hidden Dragon’ is that kind of a picture.
“A delightful one-of-a-kind martial arts romance where astounding fight sequences alternate with passionate yet idealistic love duets, ‘Crouching Tiger’ is a fusion film from top to bottom,” Turan added. “By joining emotional sophistication to the most thrilling kind of Hong Kong-style acrobatic action, by having classical cellist Yo-Yo Ma and preeminent fight choreographer Yuen Woo-ping in the same film, ‘Crouching Tiger’ brings a specific national cinema fully into the world spotlight. It can do all this so successfully because Lee reconciles these opposites in his own life and work.”
Scarlet Cheng spent time on the set of the film as it was shooting in China, capturing the scene as Chow was prepped to perform one of the film’s dazzling wire-work stunts. Action choreographer Yuen Woo-ping explained why it was worth the extra effort to do the stunts for real rather than assisted by computer effects, saying, “It never looks quite right. It still requires people doing it.”
Writing about the film in 2023, Justin Chang said, “If you were among those who saw the movie on its initial release, lured by reports that Lee had made the most kick-ass action picture in years, you might have felt a twinge of impatience at those first 15 minutes of dialogue-rich, action-free scene-setting. Or perhaps you were drawn in by the classical refinement of the filmmaking, the understated gravity of the performances, the realistic sense of grounding in an utterly fantastical world. Operating by his own laws of cinematic physics, Lee must first establish gravity before he can defy it.”
Ted Kotcheff tribute
Andrew McCarthy, left, and Jonathan Silverman in a scene from the 1989 movie “Weekend at Bernie’s.”
Though “First Blood,” the film that introduced Sylvester Stallone’s character of John Rambo, has already screened in the series, there are still some delights to come. Tonight and tomorrow, the Los Feliz 3 will screen 35mm showings of 1989’s “Weekend at Bernie’s,” starring Jonathan Silverman and Andrew McCarthy as two low-level salesmen who get invited for the weekend to the luxury house of their shady boss, Bernie (Terry Kiser). When Bernie winds up dead, they concoct a scheme to convince people he is still alive, in part to keep the party rolling. (Kotcheff has a cameo as father to one of the boys.)
In his original review of the film, Kevin Thomas wrote, “It can’t in fact be accused of possessing so much as a shred of subtlety, but as a broad farce its not only cleverly sustained but frequently hilarious. What’s more, a weekend among the rich, the jaded and the corrupt is just the right cup of tea for an acid social satirist as Kotcheff.”
“Fun With Dick and Jane,” the director’s 1977 film starring George Segal and Jane Fonda as a middle-class couple who turn to crime when they find themselves out of work, will screen on Thursday and May 17 at the Los Feliz 3.
Points of interest
‘The Magnificent Ambersons’ in 35mm
On Sunday afternoon, the American Cinematheque will screen Orson Welles’ 1942 “The Magnificent Ambersons” in 35mm. Adapted from a novel by Booth Tarkington, the film concerns a wealthy Midwestern family who see their family’s fortunes diminish as time passes them by. The cast included Joseph Cotton, Dolores Costello, Anne Baxter, Tim Holt and Agnes Moorehead.
On July 8, 1942, Edwin Schallert wrote in the paper, “Whatever Hollywood powers-that-be have in mind about the future of Mr. Orson Welles as a picture-maker, there could be no outcome more ghastly, to my way of thinking, than to let him slip away from these purlieus and back to the confines of the stage. ‘The Magnificent Ambersons’ is proof positive that he should be retained in active service. Whatever values it might lack in humanness — and I’m sure I don’t know what they are — it is a splendid technical achievement — indeed, one all but justifying the re-use of the ‘magnificent’ of its title.”
However, on Aug. 24, 1942, Norbert Lusk wrote, “Apparently there is a desire on the part of some to hail Mr. Welles as the savior of the screen or at least one of its most brilliant trailblazers, but he refuses to come through quite. Actually, his picture is a dull, pretentious bore which in essence states nothing except the folly of scoffing at new inventions like the automobile and that if one is arrogant to one’s fellow man one is bound to get his ‘come-uppance.’”
‘Vox Lux’
Raffey Cassidy, left, in a scene from “Vox Lux.”
(Atsushi Nishijima / NEON)
Now might be a good moment to revisit the early works of Brady Corbet, with his recent “The Brutalist” having won three Oscars. On Wednesday, Brain Dead Studios will be screening Corbet’s 2018 film “Vox Lux.” Natalie Portman gives a wickedly unhinged performance as an aging pop star trying to navigate her faltering career while also raising her teenage daughter in a world increasingly marked by senseless violence.
Perhaps hinting at the even grander ambitions to come in “The Brutalist,” Corbet said at the time, “And I think that we actually have to reach for bigger ideas in order to move anyone, because we’re all just so accustomed to seeing the same thing over and over and over again. It’s rare that something really shoots for the moon. And since things are so tough right now, we should really attempt to try and make stories better and be bolder.”
Keep an eye out for a tribute to Corbet and his partner Mona Fastvold as part of the upcoming “Bleak Week,” including another screening of “Vox Lux” on Thursday, June 5.
In other news
‘Pavements’ at the Nuart
Stephen Malkmus in the movie “Pavements.”
(Utopia)
The new documentary “Pavements” is opening in Los Angeles this weekend. Directed by Alex Ross Perry, the film captures the spirit of the ’90s indie rock pioneers Pavement by including documentary footage of their 2022 reunion tour along with a stage musical, a museum and a biopic all created just for the project. The result is genuinely unique, all the parts of the film coalescing into a vibe that a more straightforward telling of the band’s story could never approach.
There will be Q&As at multiple weekend shows at the Nuart with Perry, band member Scott Kannberg, actors Jason Schwartzman, Tim Heidecker and Logan Miller. John C. Reilly will moderate a Saturday night Q&A.
I wrote about the film and its unconventional approach to the rock doc. In explaining the film’s overall strategy, Perry said, “I wanted to make a movie from the perspective of Pavement [being] — as we say onscreen in the film — the world’s most important and influential band, because that is literally true to 100,000 white Gen-X nerds. So what if the movie takes that not as a premise but as a fact? And builds a fictional world where this music has inspired these other things people build as shrines to their favorite musicians — a museum, a Broadway show, a crappy biopic? Let’s just do that and presume that is the cultural footprint of Pavement.”
The film plays well to longtime fans and newcomers alike. But for anyone hung up on what is true or not from the film, band member Bob Nastanovich offers, “If it confuses people, then I’m pretty easy to contact. I can tell them what’s real and not real.”
Reviewing the movie for The Times, Scott Tobias wrote, “At a little over two hours long, ‘Pavements’ can feel a little like the band’s notoriously misshapen 1995 opus ‘Wowee Zowee,’ a double album with only three sides. Yet the perfectly imperfect shape of ‘Pavements’ is similarly tailored to those who appreciate the band’s creative unruliness. It also feels like an apt companion to Perry’s last fiction feature, 2018’s ‘Her Smell,’ which strongly alludes to the life of Hole lead singer Courtney Love and pays off a chaotic two-hour drama with a breathtakingly lovely final act.”
