Where are the goddamned roles for Diane Lane? Since her career launched, with a starring role as a precocious 13-year-old American girl in Paris in 1979’s A Little Romance, Lane seems to have confounded casting directors: Is she the button-nosed embodiment of joie de vivre or the anarchist post-punk tempest…
In a world where many people would rather binge-watch 13 Reasons Why on Netflix, two men from Miami are changing the game. Their series, Flaming Classics, educates audiences about classic films that are feminine, queer, campy, and everything in between — and includes live performances by drag queens. It’s 2017, Donald Trump is president, and we need this.
The film is highly self-aware, and Juliette Binoche’s performance as Aude Van Peteghem is delightfully redolent of the snooty dames so memorably captured by Margaret Dumont in the Marx Brothers’ films.
A young man enters a building with a gun in his hand. Already, he has shot the man at the door, and before he is finished, lying in a pool of his own blood, he will have wasted two more. This sounds like a news item from yesterday or today,…
In 2008, the National Academy of Sciences saw an opening for outreach: Get real science in the movies. And by November of that year, it had begun the Science and Entertainment Exchange, which offered a way for Hollywood to link up with scientists to advise and consult on projects. Dr…
It might be surprising to realize that David Lynch has only ever made one period piece: The Elephant Man (1980), set in the Victorian era. The rest of the director’s films, save for his 1984 sci-fi disaster Dune, take place in what presumably is the here and now. Or, more…
The stats and facts are alarming. On average, according to the Campaign for Youth Justice, the U.S. sends two million children to juvenile prison per year. And annually, about 250,000 minors are tried, sentenced, or incarcerated as adults. Beyond the figures are the individuals and their families impacted by juvenile incarceration,…
Chris Gethard, the comedian and talk-show host, has the look of his own comic-strip avatar. Those black glasses, that elfin, upright forelock, the eyebrows that dance in alarm and amazement: Onstage, in his one-man show, Career Suicide, Gethard could be Charles Schulz’s sketch of Chris Gethard, a work of cartoon…
Pour one out for the summer movie season, which was once Memorial Day till Labor Day but now has spread like a self-replicating, geometrically evolving A.I. determined to cleanse the Earth of human vermin. Around the turn of the century, the summer movies started showing up the first weekend in…
Ever wonder how New York City was able to escape L.A.’s expressway-choked fate? Thank Jane Jacobs, the journalist, author and community activist who continually predicted — and fought to stave off — the public-planning policies that would kill the American city. In Citizen Jane: Battle for the City, documentarian Matt…
Heavyweight almost-champ Chuck Wepner was a character long before he inspired Sylvester Stallone to pen Rocky. But Wepner is no Rocky Balboa. Sure, he comes from a working-class town (Bayonne, New Jersey), and when he boxed, he took a good punch, bled like a hemophiliac and dreamed of taking home…
Growing up on Key Biscayne in the ’90s, Xavier Manrique’s foremost passion was playing tennis. But there was always something about the movies. “Any time it was raining, we couldn’t play tennis, so we’d watch movies,” Manrique tells New Times. “I’d obsess over everything on the screen: the photography, the music, the costumes. Same with every Sunday, when my Dad would take me to the Riviera or the Miracle Center to see a movie.”
A light and cheery appraisal of a somber subject, Vanessa Gould’s documentary Obit focuses on the writers and editors assigned to the necrology desk of The New York Times. Like other chronicles of dead-tree media made in the past decade — The September Issue, R.J. Cutler’s Vogue ode (2009); Andrew…
If nothing else, Alien: Covenant is the most ambitious Alien film ever made. It’s almost as if Ridley Scott, foiled in his recent attempts at biblical epics, metaphysical dramas and thorny psychosexual thrillers, decided to revisit those genres under cover of a prized franchise sequel. That’s not to suggest that…
Despite my fondness for Quentin Tarantino, I’ve never been a Reservoir Dogs fan. Back in 1992, the writer-director’s feature debut seemed to me little more than a clever and grotesquely violent one-act play, gussied up with structural whimsy. Yes, the opening scene — black-suited crooks bantering about Madonna and the…
“I am garbage,” Amy Schumer’s Emily Middleton, on a vacation in Ecuador with her ma, Linda (Goldie Hawn), that’s gone all wrong, chimes in agreement with someone who’s leveled the insult at her — and who’s also holding the two women for ransom — in Snatched. Your enjoyment of this…
King Arthur is neither Guy Ritchie’s worst film nor his best, but it might well be his most frustrating. A compendium of all the things that make the British director so occasionally exciting and so often irritating, this new, hyper-stylized take on the Arthurian legends veers between genius and idiocy…
There was never any doubt about the thoughtfulness with which Aziz Ansari, in the first season of his Netflix series, Master of None, addressed the kinds of societal divides — racial, cultural, generational, sexual — that most sitcoms either lack the vision to perceive at all or take on only…
Michael Mann’s 1995 masterpiece, Heat, comes out this week in a brand-new, fully loaded and beautiful Blu-ray edition. To explore further what makes this epochal crime drama so special, I recently talked to the director. The story of Heat was based on real-life personalities. There was real thief named Neil…
I Love Dick, the epistolary novel, is an obsessive confessional story from a woman — a version of the author Chris Kraus — who, in her letters, lusts for an English art critic named Dick. He barely returns the affection. Yet … she persists. The story is almost like a…
The true heart of Michael Mann’s Heat is revealed a little more than an hour into the film. No, I’m not talking about the classic coffee conversation between Robert De Niro’s master thief, Neil McCauley, and Al Pacino’s obsessed LAPD cop, Vincent Hanna — that fantastic and immortal face-off comes…
Both the poet’s body and soul are made ineradicable in Davies’ lovely film.
