killing

Why L.A.’s movie scene is world-class, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

I have been writing this newsletter, most weeks, for more than 10 years now. I wouldn’t even want to do the math on how many of them that would be, or just how many movies I have written about. That count is about to come to a close as this is the last one.

Don’t worry: I will still be covering the world-class scene of moviegoing in Los Angeles as well as writing about a broad swath of films and filmmakers, just finding new ways to go about it.

When this newsletter began, it was a catch-all for movie coverage and related events from The Times and eventually settled into a curated survey of the best new releases each week. We helped figure out what you should go see. As theaters reopened following the closures forced by the pandemic, the repertory scene in Los Angeles exploded, with new audiences turning out for old movies in astonishing numbers.

We followed their lead, flipping the focus of the newsletter to the rep scene while still keeping an eye on new releases. Venues around the city had a newly revived energy to match audiences’ enthusiasm. The Academy Museum opened with two gold-standard theaters, while the American Cinematheque expanded the number of screens it programs. (Just recently, it added the historic Village Theater in Westwood.) The Vista began bringing first-run films in 35mm and 70mm, along with classic movies. Vidiots opened in Eagle Rock, helping to redraw the map of L.A.’s movie-loving community.

Red plush seats await moviegoers in a giant theater.

The David Geffen Theater at the Academy Museum seats a thousand and is often fully attended.

(Ricardo DeAratanha / Los Angeles Times)

The city has also seen the rise of itinerant pop-up series such as Mezzanine, Acropolis Cinema and Hollywood Entertainment pulling off must-see events. Smaller venues such as Now Instant Image Hall, 2220 Arts + Archives, Eastwood Performing Arts Center, Brain Dead Studios and the Philosophical Research Society have made a home to all kinds of movies. The Laemmle and Landmark chains have continue to play traditional arthouse releases and international films, while the Frida and Gardena theaters bring great movies to the South Bay.

Entities such as Revival Hub and MovieTown do a vital job of collating extensive listings info. (We will also continue to give monthly overviews of the best movies to see.) This is simply an incredible time for going to the movies in Los Angeles, arguably the best ever.

My main takeaway from the experience of working on this newsletter is confirmation of my belief in the movies themselves and the community of people around them. I was recently at a sold-out screening of Akira Kurosawa’s “Ran” and the idea of sitting with nearly a thousand other people watching a Japanese movie from the 1980s, each connecting to the events on screen in their own way, was deeply inspiring.

Among my favorite recent developments is how many venues now name the show’s projectionists as part of a screening’s introduction, which is always met with an enthusiastic round of applause. It is a reminder that what this is really about is people, dedicated to something we love.

And since this isn’t really a goodbye, it seems fitting to turn to the movies once again, as another week demonstrates why the scene here in Los Angeles is so truly special.

A tribute to Sam Neill

A man with a harpoon gun and a woman pose on a boat.

Sam Neill and Nicole Kidman on the set of 1989’s “Dead Calm.”

(Michael Ochs Archives / Getty Images)

Anyone looking for an example of just how intimate the screening scene in Los Angeles can be should make their way to the New Beverly Cinema on July 24. The theater already had a three-night double-bill of Rob Reiner’s “Misery” and Phillip Noyce’s 1989 thriller “Dead Calm” booked when news broke last weekend that actor Sam Neill had died at age 78.

The New Bev quickly announced that it would make one of those screenings into a tribute to Neill, who co-stars in “Dead Calm.” Director Noyce, along with co-star Billy Zane and filmmaker Roger Donaldson (who worked with Neill on 1977’s “Sleeping Dogs”) will all be there to celebrate their friend and colleague.

“Dead Calm” is a tight thriller set within the confines of a small sailing boat. Reviewing the movie when it was first released in 1989, Sheila Benson wrote, “Neill is probably one of the screen’s most underrated actors … ‘Dead Calm’ was probably far and away his nastiest assignment physically, yet his presence, sexuality and all, is absolutely vital to the balance of the story.”

Remembering the actor as part of a rundown of his greatest performances, Glen Whipp described Neill in “Dead Calm” as “part Cary Grant, part MacGyver.”

Two by Ross McElwee

A bearded man has a cocktail and looks into the lens.

Documentary filmmaker Ross McElwee in his 1986 movie “Sherman’s March.”

(Music Box Films)

Documentary filmmaker Ross McElwee helped to reinvent the form with his 1986 film “Sherman’s March,” which comes with the explanatory subtitle of “A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation.”

Ostensibly a film about Union General William Tecumsah Sherman’s campaign of destruction during the Civil War, the movie actually ends up being about McElwee revisiting old girlfriends and forging a few new ones along the way, reflecting on his own campaign of romantic misadventure. As charming as it is revelatory, the movie is being rereleased in a new 4K restoration.

McElwee’s latest film, “Remake,” reflects on the death of his son Adrian and whether the director himself had a detrimental effect on the boy’s life. Reviewing “Remake,” Tim Grierson calls it “especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.”

A weekend with Robert Rodriguez

Two men stand alarmed in a strip club.

Quentin Tarantino, George Clooney and Salma Hayek in the horror movie “From Dusk Till Dawn.”

(Academy Museum)

The Academy Museum will present “A Weekend with Robert Rodriguez” to celebrate the 30th anniversary of “From Dusk Till Dawn” and the 25th anniversary of “Spy Kids.” It speaks to Rodriguez’s undersung range as a filmmaker that one movie is a bawdy, gory comedy about a criminals on the run who encounter an ancient den of vampires, while the other is a family-friendly tale of two siblings who discover their parents are secret agents and must rescue them from a supervillain.

Rodriguez will not only be present to talk about both movies, he will be performing music each day with a different band.

Reviewing “From Dusk Till Dawn,” which was scripted by Quentin Tarantino, Jack Matthews said it was “a film nerd’s fever dream, a Frankenstein’s monster of used movie parts, deliberately mismatched styles, and deliriously implausible characters.”

Elaine May’s secret success

Two people bicker on a New York City street.

Dustin Hoffman and Jessica Lange in the movie “Tootsie.”

(Everett Collection / Columbia Pictures)

One of the most exciting things about the ongoing revival of L.A.’s repertory scene is the upheaval of the notion of the “canon.” What are the most lauded movies of all time and who gets to do the lauding? Case in point is the now widely accepted coronation of Elaine May as a towering creative figure, no longer relegated to being merely a fringe character unfairly saddled with the commercial failure of “Ishtar.”

May is credited as director on only four feature films, though she’s an uncredited writer on a number of other projects, perhaps most notably 1982’s comedy “Tootsie,” starring Dustin Hoffman as a struggling New York City actor who finds success when he lands a part by secretly posing as a woman. Directed by Sydney Pollack, who also makes a tremendous turn as Hoffman’s agent, the movie will be playing at Vidiots on Saturday.

Finding new moves

Two men in eyeglasses play chess with computers.

Wiley Wiggins and Patrick Riester in the movie “Computer Chess.”

(Kino Lorber)

The very first thing I ever wrote under the banner of Indie Focus was about how independent filmmakers such as Andrew Bujalski and Alex Ross Perry were working on 35mm at a time when mainstream Hollywood was very much forcing the idea of shooting on digital. So it only seems appropriate that this final edition of the newsletter should include something on Bujalksi, who has long been one of my favorite contemporary American filmmakers.

“Computer Chess,” Bujalski’s oddball experiment in using antiquated video equipment to tell a heady, offbeat story about a weekend chess tournament in the early ’80s, will screen in a 35mm print at Brain Dead Studios on July 24, presented by Mezzanine. Bujalski will be present, along with Blair Barnes, a filmmaker who will be showing the L.A. premiere of his short “sitrep,” also shot on an analog-era tube camera.

New this week

A bearded man gets advice from a goddess on a beach.

Matt Damon and Zendaya in the movie “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Sure to be one of the biggest movies of the year, Christopher Nolan’s adaptation of “The Odyssey opens today. Los Angeles audiences have multiple venues to choose from that are showing the film in Nolan’s preferred Imax 70mm format — these theaters are among only a small number across the world that are doing this. Presenting a movie in Imax 70mm isn’t the easiest endeavor. Eloise Rollins-Fife has a report on how that’s actually done. Get your epic on.

Reviewing the movie, Amy Nicholson wrote, “Nolan refuses to tremble before the canon. Grabbing mighty scissors, he cuts and rejiggers Homer and a bit of Virgil to transform these classical texts into his type of tale: one fixated on memory, self-identity, destructive genius and the slippage of time. As ever, it’s light on sex, heavy on wine-dark angst.”

Kenneth Turan spoke to Nolan about the movie’s origins, saying, “I’ve been telling this story in all my films for years. It’s a family story, a love story, a revenge story, a war story, a coming-of-age story. It’s a very strong foundational text for me.”

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Rafale Fighter Adds Cheap Drone Killing Rocket To Its Armory

France has conducted live-fire tests of laser-guided rockets from its Rafale fighter, adding a low-cost anti-drone capability to the jet. Following the United States and the United Kingdom, this reflects a broader trend in modern air warfare, as air forces increasingly recognize that they need layered, cost-effective intercept options rather than relying exclusively on expensive missiles.

Today, the Directorate General of Armaments (DGA), the French government defense procurement and technology agency, announced the successful integration of the 68mm laser-guided rockets on the Rafale. The tests began in February. The DGA added that the integration work was conducted together with the French Air and Space Force’s Centre d’expertise aérienne militaire (CEAM, the French aerospace research and test center), supported by Dassault Aviation and Thales. The program is known as Lutte antidrone sur avion de combat (LADAC, or anti-drone capability for combat aircraft).

While LADAC is initially intended for French Rafales, flown by the air force and navy, it could also be provided to export Rafale customers, and potentially other combat jets.

Last October, the Chief of Staff of the French Air and Space Force, Gen. Jérôme Bellanger, told a parliamentary hearing that there was a need to provide laser-guided rockets for the Rafale and/or the Mirage 2000D RMV, to counter long-range one-way attack drones, such as the Iranian Shahed-136 and the Russian Geran series.

“Regarding airborne anti-drone operations, it is not sustainable to use MICA air-to-air missiles costing over a million euros to shoot down a drone worth a few thousand dollars,” Bellanger said. “We must develop our own low-cost firing capabilities or adapt our gun fire-control systems,” he added.

The Chief of Staff of the Air Force suggested that off-the-shelf solutions would most likely be used.

In the event, a primarily French solution has been adopted.

This involves 68mm rockets with laser guidance, loaded in 12-round Thales Telson JF12 rocket pods. These are used in conjunction with the Rafale’s RBE2 radar, which has undergone modifications for the role, as well as the Talios pod, used for target tracking and laser designation.

TELSON : INDUCTION ROCKET SYSTEM thumbnail

TELSON : INDUCTION ROCKET SYSTEM




The rocket itself is understood to be the Aculeus-LG, which has a stated range of 3.7 miles.

Development of the LADAC capability was begun last December 31 as a matter of urgency.

By the end of February, French Rafales were protecting the airspace of the United Arab Emirates against Iranian drone attacks during Operation Epic Fury. In the process, they fired several dozen MICA IR/EM missiles in only a few weeks.

In April, the French parliament was informed that a study was underway to equip the Rafale with rocket pods. The same month, unofficial imagery appeared showing a dedicated test Rafale carrying a pair of JF12 pods while flying from Istres-Le Tubé Air Base, home of the DGA.

As of April, it was suggested that the capability could be ready to be fielded this summer. This target will be achieved, with the LADAC capability rolled out to French Air and Space Force Rafales by the end of the month.

At this point, it’s unclear if the Rafales will also have their onboard 30mm cannons specifically modified for anti-drone work, as Bellanger had previously suggested. This would involve adaptation of the gun fire-control system to mitigate the risk posed by debris from the destroyed drones. As we have discussed many times in the past, firing a fighter’s gun against a small, low, and slow-moving target is inherently dangerous, due to a combination of speed and engagement dynamics, the risk of collision, shrapnel and other debris, plus the increased chances of collateral damage on the ground.

Le canon du #Rafale : le #30M791 thumbnail

Le canon du #Rafale : le #30M791




The U.S. military took the lead in integrating laser-guided rockets on combat aircraft for anti-drone purposes.

The laser-guided 70mm Advanced Precision Kill Weapon System (APKWS) rocket with air-to-air capability has now been cleared for use by U.S. Air Force F-15E Strike EagleF-16C, and A-10 combat jets, and other types, like the U.S. Navy’s F/A-18E/F Super Hornet, are expected to receive it too.

In 2019, TWZ was first to report that the U.S. Air Force had begun to look at using APKWS as an air-to-air weapon against drones and cruise missiles, when it conducted a test of the weapon in that role from an F-16C. The first reports of the capability being used in combat came in 2024, when U.S. Air Force F-16s began using the rockets to shoot down drones launched by Iranian-backed Houthi militants in Iran, as TWZ was again first to report.

F-16C Viper Shoots Down Target Drone With Laser-Guided Rocket thumbnail

F-16C Viper Shoots Down Target Drone With Laser-Guided Rocket




Since then, U.S. Air Force F-15Es and F-16s have repeatedly called upon the rockets to deal with Iranian drone and missile attacks in the Middle East. In particular, the rocket-armed fighters were very actively involved in defending Israel from Iranian drones and missiles. The same encounters saw F-15E crews running out of missiles when faced by large barrages of drones and missiles, a problem that laser-guided rockets can help address.

The Eurofighter Typhoon became the next aircraft to add the air-to-air optimized variant of the laser-guided APKWS rocket to its armament options.

At the Paris Air Show in June 2025, Eurofighter CEO Jorge Tamarit Degenhardt confirmed that the counter-drone mission was of growing importance for Typhoon customers and that he “needs to now have that conversation” with Germany, Italy, Spain, and the United Kingdom — the four Eurofighter partner nations that are responsible for developing, building, and sustaining the aircraft.

The U.K. Royal Air Force announced in May of this year that its Typhoons were now equipped with APKWS, “significantly enhancing their ability to counter emerging threats during operations in the Middle East.” 

A U.K. Royal Air Force Typhoon fires an APKWS rocket during trials in the UK in April 2026. Crown Copyright

Laser-guided rockets of all kinds offer some significant benefits for the counter-drone role, compared with traditional air-to-air missiles. Their performance parameters make them especially suitable for bringing down relatively steady flying, non-reactionary, low-performance targets, including drones and subsonic cruise missiles.

They also bring a major increase in ‘magazine depth,’ with each pod carrying several rounds, taking up a weapons pylon that would otherwise normally be loaded with just one air-to-air missile.

Above all, however, the requirement for these weapons has been driven by the huge mismatch in cost between the target and air-to-air missiles that would otherwise be used for the role. In a French context, a single MICA round reportedly costs around $2 million, significantly more than the latest variants of the AIM-120 Advanced Medium-Range Air-to-Air Missile (AMRAAM), which cost around $1 million each.

Meanwhile, a Shahed drone might come with a unit cost of around $50,000, as we have discussed in the past.

Air Force pilots from 104 French Air Base prepare the French Rafale fighter jet to take off for a training exercise at the air base of Al Dhafra, near Abu Dhabi on December 20, 2025. (Photo by Ludovic MARIN / AFP via Getty Images)
A French Rafale fighter is prepared for a training exercise at Al Dhafra, near Abu Dhabi on December 20, 2025. Photo by Ludovic MARIN / AFP

The cost of the Aculeus-LG is unclear, but is likely in the same region as the equivalent APKWS. Here, the laser guidance section costs between $15,000 and $20,000, with only a few thousand dollars more needed to provide the rocket motor and warhead.

It seems all but certain that the French Rafales will not be the only ones to get the new weapon.

There is a large Rafale operating community in the Middle East, with Qatar already flying them and the United Arab Emirates due to receive them soon. Both of these and others could benefit from these capabilities. Since these rockets were also eyed for the Mirage 2000 in the past, Ukrainian Mirages could also be a candidate for integration; the Ukrainian Air Force already uses APKWS on its F-16s.

With future conflicts likely to feature large salvos of one-way attack drones and cruise missiles, this type of capability is likely to become a more regular feature on modern combat aircraft.

Contact the author: thomas@thewarzone.com

Thomas Newdick is a staff writer at TWZ, where he covers military aviation, defense technology, weapons systems, and international security. Based in Berlin, Germany, he reports on conflicts, military modernization efforts, and emerging aerospace technologies around the world, with a particular interest in airpower and its role in contemporary warfare. His reporting is informed by deep expertise in modern and historical airpower, particularly in Europe, with a focus on military aviation, air campaigns, and aerospace developments across the continent and beyond.




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Nothing to suggest Ann Widdecombe killing was politically motivated, police say

Police investigating the alleged murder of Ann Widdecombe say there is “nothing to suggest it was politically motivated”.

Devon and Cornwall Police added they are not looking for anyone else in connection with her death, following the arrest of a 28-year-old man in Rotherham, South Yorkshire, on Saturday.

The former Conservative MP, 78, was found with serious injuries at her home in Haytor, Devon, on Thursday.

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‘Give ‘Hudson Hawk’ another chance, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

One of the big discoveries for me at this year’s Sundance Film Festival was the erotic thriller “Night Nurse,” which opens in theaters this week. A remarkably confident feature debut from writer-director Georgia Bernstein, the film is hypnotic and entrancing, with a powerfully sustained sense of mood and menace. Brought to life by two assured lead performances, the story is about a young woman (Cemre Paksoy) who takes a job as an attendant at a senior living community and is assigned to help a man (Bruce McKenzie) who quickly ensnares her into an ongoing phone scam in which he swindles other residents.

Taking cues from the likes of Catherine Breillat and David Cronenberg, there are moments where you start to feel turned on and then feel weird about feeling turned on. It’s delightful stuff, full of the unexpected and unnerving, with shifting power dynamics that destabilize everything. See it with someone you maybe aren’t so sure about.

‘Hudson Hawk’ will have its day

Two people kiss in the subway.

Andie MacDowell and Bruce Willis in the 1991 movie “Hudson Hawk.”

(Columbia TriStar / Getty Images)

Its name has become synonymous with box office bomb, with tales of an out-of-control production leading to terrible reviews and rejection by audiences. Yet 1991’s “Hudson Hawk” is one of those movies that over the years has seen its reputation slowly turn around and is now en route to becoming a cult classic in the vein of “Ishtar” or “Showgirls.”

On Monday at Brain Dead Studios there will be a 35th anniversary screening of the film in 35mm with director Michael Lehmann and co-writer Daniel Waters in-person. Presented by Hollywood Entertainment, the evening could be ground zero for the next stage of the misbegotten movie’s revival.

The movie is a playful buddy-comedy / caper-heist hybrid, starring Bruce Willis as the title character, a master thief newly released from prison who reteams with his old partner (Danny Aiello) as they are drawn into a convoluted conspiracy involving the CIA, a villainous ultra-rich couple (played with maniacal, scene-stealing glee by Richard E. Grant and Sandra Bernhard) and ancient designs by Leonardo da Vinci. Upending action movie conventions, “Hudson Hawk” is simply a fun hang.

On a recent video call together, there is a certain gallows humor shared by Lehmann and Waters over the film, which at the time threatened to derail both of their careers. Waters was already working on the script for Tim Burton’s “Batman Returns” by the time the movie came out, while Lehmann admits he spent some time in director jail — “I was in director federal penitentiary and death row for a while,” he says — before going on to direct films such as “Airheads” and “The Truth About Cats and Dogs.”

“You can’t escape a big failure in Hollywood,” he adds. “You have to be good-natured about the fact that you’ve made something that so many people hated when it came out, but that you feel still has some value — quite a bit of value, I think. And that eventually people would start noticing that.”

The project began as an idea between Willis and his friend Robert Kraft that snowballed into having action super-producer Joel Silver attached and a screenplay draft by “Die Hard” writer Steven E. De Souza. Eventually Lehmann became involved to direct and he helped bring on Waters, the two having worked together on the hit black comedy “Heathers.” (Waters had also worked with Silver on “The Adventures of Ford Fairlane.”) The reunited writer-director team set about subverting what began as a more conventional action movie.

“My intention was to turn that kind of movie on its head,” says Lehmann. “I thought people have seen these things so many times, they must be ready to see the truly odd version of it.”

“In the Olympics you can’t just go up and make any dive,” says Waters. “You tell the judges what dive you’re going to do and then they grade you. And ‘Hudson Hawk,’ we never told the judges what dive we were doing. I think people got angry: Wait a minute, you didn’t give us a Bruce Willis action movie.”

Leading up to the film’s release, there were reports of a shoot hijacked by a star whose ego was getting the better of him as he rode the wave of the success of the first two “Die Hard” movies. Lehmann admits the clash of personalities made for a complicated shoot.

“Of course, when you’re hired by Bruce Willis and Joel Silver to do what is essentially a vanity project of Bruce’s, you’re not going to have the kind of control that you have when you make a piece of personal filmmaking,” says Lehmann. “But it was really difficult to deal with somebody who, in theory, was one of my bosses as producer on the film and a big star, which is always a thousand-pound gorilla.”

Author David Hughes recently published “The Unmaking of Hudson Hawk,” a book on the film’s production, reception and afterlife. Calling from England, Hughes thinks the critical reappraisal and resuscitation of the movie has gained a bit of momentum — and is in danger of slipping.

“I feel like any day there’s going to be a headline that says, ‘Nope, despite what you’ve heard, “Hudson Hawk” is still s—.’ The pendulum is about to swing back the other way and people are going to start saying that it’s bad again. And when that happens, I think that will be the most perfect life cycle of the film.”

But for now two of the key people behind making the film in the first place want to enjoy a moment they have rarely been allowed.

“People are finally laughing with the movie, not at the movie,” says Waters.

Celebrating a fallen friend

A man sits on a couch.

Harry Dean Stanton, photographed in Los Angeles in 2013.

(Jordan Strauss / Invision / AP)

To celebrate the centennial of the birth of the beloved character actor Harry Dean Stanton, Vidiots will screen the 2013 documentary “Harry Dean Stanton: Partly Fiction on Tuesday. Director Sophie Huber will be joined in conversation by actor Logan Sparks for an evening hosted by Cherry Jones.

The film is a tender portrait of Stanton, who found relative fame later in life with roles in films such as “Alien,” “Paris, Texas,” “Repo Man” and “Pretty in Pink.”

“He makes it look really easy,” said Stanton’s friend and frequent collaborator David Lynch around the time of Stanton’s death in 2017. “But it’s not that easy to be looking like it’s easy.”

A flaky love story

Two people bicker in a car.

Gena Rowlands and Seymour Cassel in the 1971 movie “Minnie and Moskowitz.”

(Michael Ochs Archives / Getty Images)

One of my most memorable moviegoing experiences of the last few years was seeing John Cassavetes’ 1971 “Minnie and Moskowitz” for the first time. The movie has a joyful, unpredictable energy thanks to the openhearted, dynamic performances of its two leads, Gena Rowlands and Seymour Cassel, as two mismatched strangers who find temporary solace in each other. Romantic, funny and with lots of great L.A. locations and moments — I often think of a perilous U-turn across La Brea by Cassel — this is a singular gem.

It was just announced that a new restoration of the film will premiere later this year at the Venice Film Festival, but there is no reason to wait. The movie is showing tonight at the Philosophical Research Society as part of its “YesterdayLA” series celebrating the city. On Saturday there will also be a rare theatrical screening of 1972’s “Columbo: Étude In Black,” starring Cassavetes as an L.A. symphony conductor who may have committed the perfect crime until he catches the attention of Peter Falk’s rumpled detective.

On the road again

Three people drive in a car.

Maribel Verdú, left, Diego Luna and Gael García Bernal in the movie “Y Tu Mamá También.”

(Criterion Collection)

Playing as part of the American Cinematheque’s “Summer Breakdown” series, which, true to its name, features movies about car trouble, Alfonso Cuarón’s 2001 “Y Tu Mamá También is showing tonight and tomorrow at the Los Feliz Theater in 35mm.

It stars Gael García Bernal and Diego Luna as two teenage best friends who set off on a road trip with an alluring older woman (Maribel Verdú) they don’t know particularly well. Emotions fly fast and furious among all three of them, as the film seems at times like a horndog teen comedy and at others like a subtle exploration of class and sexual dynamics. Of course, it is all of those things, made with a fresh sense of style.

As Kenneth Turan put it in his 2002 review, “Nominally a simple road movie about two Mexican teenagers taking off to look for a mythical beach in the company of a suddenly available woman of 28, ‘Y Tu Mamá’ manages to be comic, dramatic, erotic, sociological and even political, all without breaking a sweat.”

New this week

  • Amy Nicholson calls the new movie “Gail Daughtry and the Celebrity Sex Pass” a “screwball joy … a sex comedy that’s as innocent as a Labrador puppy.”
  • Less positively, Amy reviewed the live-action adaptation of “Moana,” noting “Every one of Disney’s remakes and spinoffs of its animated hits has been a naked cash grab.”
  • The new “Evil Dead Burn” is brutal and not much else, per our reviewer Joshua Rothkopf: “The gore comes like a tide, shockingly for a mainstream studio wide release.”

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Lawyers for man charged with killing Charlie Kirk question reliability of evidence

Lawyers for the man accused of killing conservative activist Charlie Kirk planned to call a final witness Friday as they try to raise doubts about the prosecution’s case before it can go to trial.

A Utah judge is deciding whether prosecutors have enough evidence to put Tyler Robinson on trial on a charge of aggravated murder. Kirk, 31, was killed as he spoke to a crowd of thousands at Utah Valley University on Sept. 10.

One of Robinson’s attorneys, Michael Burt, tried to inject uncertainty into the case Thursday by challenging the reliability of ballistics tests on a bullet fragment recovered from Kirk’s body.

Authorities sought to tie the fragment to the suspected murder weapon, but the results were inconclusive.

“Saying anything but inconclusive was inappropriate,” said Samantha Karner with the Bureau of Alcohol, Tobacco, Firearms and Explosives.

Earlier in the week, Robinson’s team questioned the reliability of DNA evidence that investigators said linked Robinson to the scene. Experts say the science behind DNA testing is sound.

Robinson has not entered a plea. He turned himself in a day after the fatal shooting of Kirk, a close ally of President Trump credited with helping galvanize young voters for the Republican in the 2024 election.

At the request of Kirk’s family, State District Judge Tony Graf said he would allow to be shown inside the courtroom an altered version of campus surveillance video that prosecutors said shows Robinson crawling out to a rooftop “sniper’s perch” before shooting Kirk.

The unaltered video was previously shown. The altered version includes footage that zooms in on a figure that prosecutors said was Robinson and red marks that were added to the video.

The weeklong preliminary hearing ends Friday, but a decision won’t come until after Sept. 1, when Graf scheduled oral arguments in the matter.

Prosecutors on Thursday aired portions of a recorded interview with Robinson’s roommate, Lance Twiggs. The day after Kirk was shot in the neck, Robinson allegedly told Twiggs “he wishes he hadn’t done it,” a recording played in court revealed.

Later that same day — and only about an hour before turning himself in — Robinson posted “it was me at UVU yesterday,” in a chat room on the Discord social media platform, according to investigators and messages shown by prosecutors.

Defense attorneys unsuccessfully fought the public release of the statements from Twiggs and the chat room messages. They argued prosecutors would characterize the material as a confession, undermining Robinson’s right to a fair trial.

Prosecutors contend the shooting endangered others at Kirk’s campus event — an aggravating circumstance that could make the crime punishable by death under Utah law. Robinson also faces possible sentence enhancements based on claims by prosecutors that he targeted Kirk because of his political views.

Twiggs said in the April interview with prosecutors and investigators that Robinson sometimes talked about politics, including Trump. But Twiggs said he never heard Robinson talk about Kirk before the shooting. The defendant also did not talk much about gender issues or LGBTQ rights, Twiggs said.

The weeklong preliminary hearing has attracted intense media coverage and spectators who have angled for one of the 14 seats in the courtroom that are reserved for the public.

People have lined up early — sometimes sleeping there overnight — in hopes of getting in.

Schoenbaum and Brown write for the Associated Press. Brown reported from Billings, Montana.

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Egypt coach condemns silence on killing of Palestinian children | World Cup 2026

NewsFeed

Egypt head coach Hossam Hassan has called for players and reporters at the World Cup to speak out about the killing of children in Gaza and Palestine. Hassan made the comments after his team’s controversial 3-2 defeat to Argentina in the last 16.

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Kyiv struck in deadly strikes on eve of Nato talks, killing nine

Rescuers in Kyiv are racing to find people trapped under the rubble of partly demolished apartment blocks, after at least nine were killed in Russia’s second round of strikes on the Ukrainian capital in a week.

Kyiv’s top military administrator Timur Tkachenko said 46 people were injured, with at least five children injured.

The strikes come on the eve of the Nato summit in Turkey, where Ukrainian President Volodymyr Zelensky is expected to hold talks with US President Donald Trump.

Hours before the latest strikes, Zelensky warned that Moscow was preparing a second “massive strike” on Kyiv following its attacks on Thursday that killed 30 people.

Russian ballistic missiles hit several buildings across the city, Mayor Vitaly Klitschko said, adding that fires had broken out in some apartment complexes.

Warehouses and a garage workshop were also damaged, according to the mayor.

Photos emerging from Kyiv show smouldering wreckage and charred cars littered throughout the city. Footage also shows crews continuing to comb through wreckage on Monday morning to find survivors.

Zelensky said on Sunday, hours ahead of the strikes, that intelligence indicated that Kyiv would come under a second wave of Russian attacks in a week.

After a barrage of drone and missile strikes through Thursday night, tens of thousands of residents evacuated to metro stations around the city as alarms blared in the early hours of Friday morning.

Ukraine accused Moscow of deliberately attacking civilian areas in the attack, which left at least 30 people dead. Russia said it had targeted military and energy bases in retaliation for recent Ukrainian strikes on power stations and energy facilities in Russian territory.

Such attacks continued overnight with power being cut off temporarily in the city of Sevastopol in Russian-occupied Crimea.

Ahead of the Nato meeting, Zelensky urged allies to not delay on supplies of long-range missiles to be used against Russia.

He wrote on X: “Any delay with missiles for our air defense… means the loss of lives, and it encourages Russia to continue the war.”

Zelensky has also appealed to the US to grant Ukraine licences to manufacture Patriot defence missiles.

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‘Jaws’ is the movie of the Fourth of July, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

July is another month absolutely packed with essential repertory screenings at venues all over Los Angeles. It’s genuinely impossible to attend everything that feels like a must-see. Joshua Rothkopf and I compiled a list of the 10 movies you need to see in L.A. this month to help in making some tough decisions.

On Monday at the Academy Museum will be a 30th anniversary screening of Wes Anderson’s debut feature, “Bottle Rocket,” which introduced the world to his still-evolving mix of whimsy and melancholy with an unmistakably specific sense of style. Anderson will make a rare Los Angeles appearance at the event, along with actor Luke Wilson and producer James L. Brooks.

The New Beverly will have a double bill on July 9 and 10 of Paul Brickman’s “Risky Business” and Steve De Jarnatt’s “Miracle Mile,” two neon-drenched artifacts of the 1980s that both feature scores by the German electronic group Tangerine Dream. (Be sure to also note the screening of “Sorcerer,” featuring another of their pulsing scores, below.)

A man with an ear monitor stands in front of an American flag.

John Travolta in Brian De Palma’s 1981 thriller “Blow Out.”

(Criterion Collection)

On July 10 there will be a 35mm screening at the Academy Museum of Brian De Palma’s paranoid 1981 thriller “Blow Out,” starring John Travolta as a sound recordist who accidentally captures a political assassination. Anyone who still hasn’t gotten enough from the Fourth of July will want to see this for the thrilling fireworks display as part of its finale.

On July 12 at the American Cinematheque’s Los Feliz Theatre will be a screening of Alexander Mackendrick’s show-biz noir Sweet Smell of Success” in 35mm with an introduction from filmmaker Shane Black, who presumably learned a thing or two about snappy, acid-drenched dialogue from the film. Black will also be appearing at the Culver Theater on July 22 for a 10th anniversary screening of his crime comedy “The Nice Guys.”

As part of the American Cinematheque’s ongoing 70mm festival, on the 22nd there will be a screening of Damien Chazelle’s 2022 “Babylon,” a bold and ambitious look at the early days of Hollywood starring Margot Robbie and Brad Pitt. It was a box office disaster when it came out but has already seen a passionate fan base grow around it.

Have a killer holiday

Three men on a boat pursue a great white shark.

Richard Dreyfuss, left, Roy Scheider and Robert Shaw in the 1975 movie “Jaws.”

(Universal Pictures)

There is something rather wholesome about the fact that Steven Spielberg’s 1975 seaside horror-thriller “Jaws” has become the official unofficial movie of the Fourth of July. Set amid a beach community suddenly beset by a great white shark as the town prepares for the holiday, the movie is a mix of ’70s-style ramshackle, good-natured ease and precison-tooled action that prefigures the blockbuster era of the ’80s. Even now at more than 50 years old, there is something undeniable about the movie’s ability to entertain, delight and terrify an audience.

This weekend “Jaws” is playing at venues all over the city, including the Frida Cinema and the Academy Museum, as well as Vidiots, the Gardena Cinema and other theaters.

An underground masterpiece

A strange cat costume is worn by a woman in front of an iron gate.

An image from Ken Jacobs’ 2004 movie “Star Spangled to Death.”

(Los Angeles Filmforum)

When acclaimed avant-garde filmmaker Ken Jacobs died last year at age 92, the world lost one of its most singular voices. In tribute to Jacobs and as a celebration of the 250th anniversary of America, on Sunday at 2220 Arts + Archives, Los Angeles Filmforum will show his “Star Spangled to Death,” a six-and-a-half-hour masterpiece that took decades to complete.

Beginning work on the project in the 1950s, Jacobs would eventually premiere the film in 2004. It is an epic compilation of his own imagery, some of it of his longtime friend and colleague Jack Smith, along with found footage that coalesces into a grand statement on nothing less than the state of the nation. Jacobs himself described the film as a portrait of “a stolen and dangerously sold-out America, allowing examples of popular culture to self-indict.”

A tribute to Marjane Satrapi

A girl is frowned upon by women in traditional chadors.

An image from the 2007 movie “Persepolis,” directed by Marjane Satrapi and Vincent Paronnaud.

(Sony Pictures Classics)

In tribute to Iranian French cartoonist and filmmaker Marjane Satrapi, who died at age 56 last month, the Los Feliz 3 will have a 35mm screening of her 2007 animated film “Persepolis” on Thursday. Director Ana Lily Amirpour will introduce the movie, which was nominated for an Oscar for animated feature.

Based on Satrapi’s own autobiographical graphic novel, “Persepolis” is about a young girl coming of age during Iran’s Islamic Revolution told with bold line drawings and a belief in the freedom of the imagination.

Love, crime and sweat

Two women make plans in a gym.

Katy O’Brian, left, and Kristen Stewart in the 2024 movie “Love Lies Bleeding.”

(Anna Kooris / A24)

Some movies arrive seeming ready made as cult revival objects. Ross Glass’ 2024 “Love Lies Bleeding” was overlooked when it was first released but seems ripe for rediscovery. In a story that knowingly plays with the motifs of classic film noir and crime dramas, Kristen Stewart plays a hapless, easily manipulated loner in a small dead-end town who falls in with a mysterious and charismatic drifter played by Katy O’Brian. Their chemistry is electric and gives the film a real charge.

The film will show on Thursday at the Frida Cinema as part of its ongoing Nu-Classics series, along with a conversation between actors and online personalities Maggie Mae Fish and Abigail Thorn.

In an interview at the time of release, Glass talked about the film’s appeal, saying, “It’s people meeting each other and falling in love for the first time and those whirlwind sort of first few weeks. Going into it, I don’t think I was specifically thinking of it as horny, but I definitely knew going into it that I wanted it to feel sweaty and intense.”

Road to nowhere

A truck teeters on a rope bridge in a rainstorm in the jungle.

An image from William Friedkin’s 1977 adventure movie “Sorcerer.”

(Criterion Collection)

Though it is a movie we have talked about here before, it is always worth mentioning when there is a screening of William Friedkin’s 1977 “Sorcerer.” It will be playing tonight in the main room at the Academy Museum in a recent 4K restoration, which should be big and loud. The score by Tangerine Dream should be even more brain-rattling than usual in that venue.

The film notoriously first opened a week after “Star Wars” in 1977 and was left in the dust, though it has more recently become revered as one of Friedkin’s best — a movie of relentless, ratcheting tension. An adaptation of the novel that also inspired 1953’s “Wages of Fear,” Friedkin’s film is about a group of desperate men, each on the run from something, who must transport a truckload of nitroglycerine through a dangerous South American jungle.

New this week

  • Amy Nicholson found “Minions & Monsters” to be a “delightful dingbat homage to Tinseltown set during the transition from silents to sound.”
  • Carlos Aguilar spoke to Minions creator Pierre Coffin about all the old-school movie homages in the new film and its cameo from no less a film figure than George Lucas.
  • Katie Walsh reviews Jon Erwin’s “Young Washington,” calling it “propaganda in the form of a history lesson wrapped in a summer blockbuster.”
  • Tim Grierson reviews “Romería,” an autobiographical tale from Spanish writer-director Carla Simón starring newcomer Llúcia Garcia, noting “Simón and her star bracingly recall the electricity of youth.”

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Muhammad Ali rumbles in the jungle, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Two of my favorite movies of the year so far are opening in Los Angeles today and they both benefit from being seen with a proper audience. You will find yourself surprised by what you are laughing at, curious about what other people are laughing at and then feel the air in the room collectively shift as both films take unexpected turns toward more genuine emotional moments.

The third feature directed by Olivia Wilde, “The Invite” is a biting look at modern relationships. Wilde stars as one half of a struggling couple, unhappily married to a character played by Seth Rogen. She invites over a couple from the apartment upstairs, played by Penélope Cruz and Edward Norton, and soon all sorts of feelings start flying around.

I reviewed for the paper, noting, “It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.”

Wilde will be making appearances around L.A. over the weekend, including at the Vista, where the movie is playing in 35mm.

Also opening this weekend is “Maddie’s Secret,” the debut feature as writer-director from comedian and actor John Early, who also stars as the title character, an aspiring L.A. food influencer battling bulimia. It is a truly astonishing performance, one that walks a difficult tightrope between sincerity and parody. Early will appear for Q&As around town this weekend.

I spoke to Early about the film when it played as part of the Los Angeles Festival of Movies about its unusual tone — somehow earnest, tender and very funny all at once. Joshua Rothkopf reviewed the film, which he calls the indie arrival of the year, comparing it to movies by John Waters, Todd Haynes and Douglas Sirk.

Jack meets the maestro

A man sits at a desk in an open office.

Jack Nicholson in the 1975 movie “The Passenger.”

(Sony Pictures Classics)

One movie I feel obligated to note whenever it plays it Michelangelo Antonioni’s “The Passenger.” Jack Nicholson stars as a disaffected journalist who assumes the identity of a dead man in an attempt to start over, only to find that his new life is even more complicated than his own. It is a powerful examination of middle-aged malaise that has Antonioni’s trademark mystery but, thanks to Nicholson, also has a directness that makes it accessible to wider audiences.

Nicholson made the film in between “Chinatown” and “One Flew Over the Cuckoo’s Nest,” at the height of his fame in the 1970s, a time when going to Europe and Africa to shoot a movie with an esoteric art-house filmmaker was a huge risk. He would personally purchase the rights to the film in the early 1980s and essentially treated it like owning an art object, very rarely allowing it to be shown publicly. It reentered circulation in 2005 with a rerelease but still has a certain air of rarity around it. The film will be showing at the New Beverly in 35mm on Saturday and Sunday.

Nicholson sat for an extended interview with The Times’ Patrick Goldstein around that 2005 reissue of the film, calling the production “the most vivid filmmaking adventure I’ve ever had.” He described his relationship to Antonioni by saying, “He’s been like a father figure to me. I worked with him because I wanted to be a film director and I thought I could learn from a master. He’s one of the few people I know that I ever really listened to.”

When the Italian filmmaker died in 2007, Nicholson got on the phone with us to say, “I don’t know how to put this: He’s just a maestro, and everybody loved him. … He was a man of joy and impeccable taste. His whole life was dedicated to modestly being a brilliant artist.”

Truffaut’s humanist warmth

A glamorous woman makes a phone call while a man watches.

Delphine Seyrig and Jean-Pierre Léaud in the movie “Stolen Kisses.”

(Janus Films)

Richard Linklater’s “Nouvelle Vague” last year didn’t exactly start a renewed wave of interest in the French New Wave of the 1960s, but then again, those movies never really went away. They’ve been inspirational to generations of film fans for more than 60 years now.

But one French director who has perhaps fallen out of favor slightly is François Truffaut. Long seen as one of the quintessential New Wave filmmakers, he has become taken for granted a little of late. Which is why it is exciting to see Brain Dead Studios showing his 1968 film “Stolen Kisses” in 35mm on Sunday.

The third in the series of films Truffaut returned to throughout his career, including his 1959 breakthrough “The 400 Blows,” the film again stars Jean-Pierre Léaud as Antoine Doinel, Truffaut’s alter ego through the stages of his life. Discharged from the army, Antoine drifts through a series of jobs. His real concern is juggling his busy love life, making the film something of a male-centered rom-com while capturing Truffaut’s warm, humanist worldview.

Rohmer’s caustic cynicism

A man looks intensely at a woman's knee while she stands on a ladder.

Jean-Claude Brialy in the 1970 movie “Claire’s Knee.”

(Janus Films)

Conversely, a filmmaker of the French New Wave who has seen his stock rise during the last few years is Eric Rohmer, championed by Noah Baumbach among others. His more caustic view of the world may resonate better with more cynical modern audiences.

The American Cinematheque will begin showing Rohmer’s cycle of “Six Moral Tales” at the Los Feliz Theatre this weekend with a 35mm screening of “My Night at Maud’s and continuing with other screenings through the end of July. Other films in the series include the sultry, summertime tale “La Collectionneuse,” the ethical dilemma of “Claire’s Knee” and the tale of infidelity “Love in the Afternoon.”

Writing about “Claire’s Knee” in 1971, Charles Champlin noted, “What redeems Rohmer’s films from a defeating sameness is the quite extraordinary charm, believability and complexity of his characters and his meticulous attention to detail and his refusal to go for gross events at the expense of the subtle shadings of human relationships.”

Honestly, if a trip to France isn’t happening for you this summer, this series makes for a not-bad substitute.

Reconsidering ’90s comedy

Several people dress in matching blue button-downs and thick glasses.

An image from the 2025 documentary “We Are Pat.”

(The Film Collaborative)

Fresh off its world premiere at the recent Tribeca Film Festival, Ro Haber’s documentary “We Are Pat” will screen at Vidiots on Sunday. Haber will be there along with comedians Julia Sweeney and Harper Steele and, for good measure, Alan Cumming.

“We Are Pat” examines the afterlife of Sweeney’s character from “Saturday Night Live,” a confusingly genderless person who no one can ever quite figure out how to engage with. The way Pat has been picked up by a new generation of genderfluid comedians shows how influence and inspiration can come from the unlikeliest of places, and also how comedic ideas can transform over time.

Ali in Africa

Two boxers face off in a classic fight.

Muhammad Ali fights George Foreman in the 1996 documentary “When We Were Kings.”

(Gramercy Pictures)

Released in 1996, “When We Were Kings” depicts the 1974 boxing match in Zaire between Muhammad Ali and George Foreman known as “The Rumble in the Jungle.” Director Leon Gast was unable to complete the film at the time, so the footage languished for years until he got an assist from filmmaker Taylor Hackford in shooting contemporary interviews with the likes of Norman Mailer, George Plimpton and Spike Lee. “When We Were Kings” would go on to win the Academy Award for documentary feature. It will be screening at Vidiots on Saturday.

The core of the movie is watching the thrilling, inspiring footage of Ali training and interacting with the locals. As Kenneth Turan wrote in his original review, “Because a classic heavyweight championship fight, especially with these protagonists, epitomizes the drama inherent in sport, ‘When We Were Kings’ always compels our interest.”

New this week

  • Amy Nicholson wasn’t crazy about “Supergirl,” but reserves praise for star Milly Alcock as the “one reason to see the film.”
  • Johnny Knoxville and friends are back for another round of stunts and pranks in “Jackass: Best and Last.” Age has finally caught up with them, Amy Nicholson laments.
  • It seems a little odd that a movie starring Angelina Jolie, “Couture,” is just sort of sneaking into theaters, but that’s movie business in 2026. We spoke to Jolie at last year’s Toronto International Film Festival about the film.

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Teenager not guilty of killing nine-year-old Aria Thorpe

The jury heard he had been expelled from school for disruptive behaviour and truancy hours before Aria’s death, and that his mother had taken away his phone as a punishment.

He said that without his phone, he was unable to call 999.

Aria was found face down on the floor of her home shortly after 18:00 GMT by Ollie Sheppard, who was temporarily lodging at the house.

Sheppard described the house as being “silent” and “very eerie” when he arrived. 

”At first I thought she was messing around” he told the court, before he realised Aria’s school shirt was covered in blood.

Emergency services stopped trying to resuscitate the nine-year-old at 18:58.

Aria’s mother, Victoria Hull, said the last time she had seen her daughter alive she had been eating mini-pizzas in front of the TV in the living room.

“Aria seemed bubbly and happy because she had a good dance class,” Hull said.

The girl’s mother then headed out to work, where she was doing evening shifts to earn extra money for Christmas.

Hull said the last words which passed between them were “see you after work mummy”, to which she replied: “See you after work, love you.”

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Iranians mark first Ashura since Khamenei’s killing in the US-Iran war | Religion

NewsFeed

Thousands gathered in Tehran on the eve of Ashura, the first since the killing of Iranian supreme leader Ali Khamenei. Mourners carried flags, banners and images of Khamenei as Iran prepared to commemorate one of the most significant events in the Shia calendar.

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Spend Father’s Day with an Indiana Jones trilogy, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Recently, I don’t exactly know why, I was overtaken by a concern that because of the impending merger of Paramount and Warner Bros., Olivier Assayas’ 2022 series adaption of his own film “Irma Vep” would be removed from the HBO Max streaming platform. With no official physical release, the series — starring Alicia Vikander as a Hollywood movie star making a project in Paris — could be effectively vanished from existence.

This is sadly inevitable, though some superfans have gone to extra-legal measures to ensure otherwise (not that we would ever endorse this). Most famously it’s happened with the original “Star Wars” trilogy. Billed as the “Grindhouse Edition,” these are discs of the first three “Star Wars” films sourced from scans of original film prints before the digital fixes and polish of the more recent official releases. Reengaging with these works in this way, scratches and all, is (I’m told) a strong reminder of why they hit so hard in the first place, similar to how it might be to reread a text in the original language instead of a more recent translation.

‘Indiana Jones’ marathon

A man in a fedora smiles with a woman in a white dress.

Harrison Ford and Karen Allen on the set of 1981’s “Raiders of the Lost Ark.”

(Lucasfilm Ltd.)

The same deep understanding of genre filmmaking that went into the original “Star Wars” also went into “Raiders of the Lost Ark,” the first adventure of the character of Indiana Jones. Directed by Steven Spielberg from a script by Lawrence Kasdan and story by George Lucas and Philip Kaufman, the film is playful, thrilling and self-aware. It is made with such care, attention to detail and sense of fun that I remember how disappointed I was to discover not all movies would be like this.

There have of course been diminishing returns with the more recent run of Indiana Jones sequels, but the first three installments all have a real spark. And so the Secret Movie Club will present “Raiders,” 1984’s “Indiana Jones and the Temple of Doom” and 1989’s “Indiana Jones and the Last Crusade,” all on 35mm at the Million Dollar Theater in DTLA on Sunday in celebration of Father’s Day.

In her original review of the first film, Sheila Benson described that while watching it, she felt “a rush of gratitude which almost brought tears of contagious joy and — not to be corny about this — the strength of the film’s positive vision. If this is an era in which the heroic is lacking and the mediocre threatens us from every side, then ‘Raiders,’ which has no pretensions to importance, which is unabashedly wide-eyed and exaggerated and true blue but somehow cherishes the best in life and filmmaking — is a high-water mark.”

Plenty of jokes could be made about the movies having settled into what might be thought of as part of the dadcore canon: action-adventure movies that play well on TV and maybe you can take a short nap and not miss anything. So be it.

From one master to another

A man in shades walks down a hallway with a blond woman.

Cary Grant and Eva Marie Saint in Alfred Hitchcock’s 1959 thriller “North by Northwest.”

(Sunset Boulevard / Corbis via Getty Images)

Filmmaker Guillermo del Toro has been making waves of late for his strong public stance against the use of AI in feature filmmaking. But it is worth remembering that he is also a deep and incisive thinker about older movies, a true fan, which makes his upcoming appearances at the Academy Museum a special occasion.

Del Toro will present five films by Alfred Hitchcock — 1946’s “Notorious,” 1943’s ‘Shadow of a Doubt,” 1959’s “North by Northwest,” 1953’s “I Confess” and 1972’s “Frenzy” — along with delivering a lecture on each of them. To see one great filmmaker reflect with such depth into the work of another is just remarkable. This is some genuine only-in-L.A. type stuff.

Comedy + politics = good fun

A man in a white suit stands outside a car wash.

A scene from the 1976 movie “Car Wash.”

(Margaret Herrick Library / Academy of Motion Picture Arts and Sciences)

A raucous comedy set around the location of the title, “Car Wash” is also a sharp, politically minded satire about labor and money. Directed by Michael Schultz from a screenplay by Joel Schumacher, the film has an extended ensemble cast that includes Richard Pryor, Franklyn Ajaye, George Carlin and many others.

In his original review Charles Champlin compared “Car Wash” to films such as “American Graffiti” and “Nashville” and called it “light but not foolish. … The experience is exhilarating.”

A 50th anniversary screening at the Academy Museum on Saturday of a new 4K restoration will include a panel with Schultz and actors Bill Duke, Antonio Fargas, Melanie Mayron, Garrett Morris and Pepe Serna.

Collision report

A man looks out the window of his car while two people embrace in the back seat.

James Spader in the 1996 movie “Crash,” directed by David Cronenberg.

(Jonathan Wenk / Fine Line Features)

The controversy that surrounded David Cronenberg’s “Crash” when it premiered at Cannes in 1996 and received a U.S. release in 1997 tended to overwhelm the actual movie. Shockingly explicit, the film is about a secret underground world of people who create a sexual fetish out of car crashes. An adaptation of the novel by J.G. Ballard, Cronenberg’s movie explores the cinematic obsession with sex and violence.

Over time, “Crash” has been evolving from a seemingly cursed object dogged by scandal into something that audiences can come to appreciate and admire — even if it is not a movie you can ever exactly fully understand. Part of Cronenberg’s brilliance is how enigmatic and unknowable his work can be: strange, inviting and enveloping while refusing easy or direct analysis.

The movie is playing twice locally this week, on Saturday at Vidiots in partnership with the Cinegogue, with special giveaways and exclusive merch, and again on Monday at the Academy Museum in 4K. Who will be brave (or perverse) enough to go twice?

A different view of Rio

People dressed in drag assemble for a party.

Milton Gonçalves, center, in the 1974 movie “The Devil Queen.”

(Kino Lorber)

A drag queen (Milton Gonçalves) rules the criminal underworld of Rio de Janeiro in Antonio Carlos da Fontoura’s 1974 gangster drama “The Devil Queen,” an unlikely mix of camp aesthetics and gritty violence. Among the film’s many fans is Kleber Mendonça Filho, the filmmaker behind the recent Brazilian hit “The Secret Agent,” who referred to “The Devil Queen” as “bloody, nasty and full of personality.”

The movie is playing in a new 4K restoration at the Lumiere Cinema in Beverly Hills.

A musical melodrama returns

A man plays piano while a woman in red stands close.

Raul Julia, left, and Teri Garr in Francis Ford Coppola’s 1981 movie “One From the Heart.”

(Rialto Pictures / American Zoetrope)

We have talked before about Francis Ford Coppola’s “One From the Heart,” a movie of such delirious audacity that it nearly ruined the filmmaker‘s career. A throwback musical about two lovers who break up in search of more excitement, the film stars Teri Garr, Frederic Forrest, Nastassja Kinski and Raul Julia.

On Saturday the film will screen at the American Cinematheque’s Aero Theater in a 70mm print for the first time in L.A. since 1990. The event is being dedicated to Dean Tavoularis, Coppola’s longtime production designer, who died in April. For “One From the Heart,” Tavoularis re-created the Las Vegas Strip on a studio back lot.

New this week

  • Amy Nicholson is not a fan of the new “Toy Story 5,” writing in her review, “Pixar has continued adding shades to the same plot outline like a child with a box of 128 crayons (or a company clinging to its billion-dollar idea).”
  • Glenn Whipp cast back into the “Toy Story” universe for a highly personal ranking of his 10 favorite “Toy Story” toys.
  • Two gay teenage boys attempt to survive a supernatural entity and conversion therapy in Adrian Chiarella’s debut feature “Leviticus.” Jen Yamato spoke to the filmmaking team.
  • I spoke to writer-director Michael Sarnoski about his new “The Death of Robin Hood,” starring Hugh Jackman in a subversively revisionist telling of the last days of the medieval bandit.

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Calls for Justice Heighten Over Police Killing in South South Nigeria

“Officer, abeg! I go tell you everything. Na my friend na him deceive me. E de Sapele, I go carry you go the place. I no know anything concern. Officer!”

These were the last words of 28-year-old Oghenemine Ogidi before he was shot at close range by Usman Nuhu, an Assistant Superintendent of Police (ASP), on April 26, 2026, in Effurun, Delta State, South South Nigeria. Oghenemine died instantly from the gunshot. 

A disturbing video had captured him speaking Nigerian Pidgin while begging for mercy from the police officer with his hands and legs tied. He was said to have visited the Effurun Main Park along the Warri-Sapele Expressway to collect a waybill for a friend. However, transport union workers intercepted the parcel, which allegedly contained a Beretta pistol and ammunition. The transport workers informed the Uvwie Area Police Command.

At the park, the police, led by ASP Usman, a former member of the disbanded Special Anti-Robbery Squad (SARS), arrived in a 2010 Toyota Sienna with other officers, supposedly to intervene and arrest the suspect, who had already been restrained by the transport unionists. The police whisked him away from the scene and took him to the front of the Ekpan Police Station in the state, where Usman allegedly shot him three times, while the other officers watched. 

The horrific incident triggered a cascade of criticism against the police on the internet, with many condemning the extrajudicial operations of ASP Usman and other officers in the country. Before his death, Oghenemine was an up-and-coming musical artist and the second child in the family to have been killed by the police. The mother of the slain artist said his elder brother was also killed in 2022 by a high-handed police officer.

Human rights defenders and lawyers have condemned the incident, stressing that it betrayed Nigeria’s judicial system. Abba Hikima, a human rights lawyer, told HumAngle that it is unjust for a police officer to execute the most severe form of criminal justice without a fair trial or proper judicial process in any case. He emphasised the need for swift justice for the victim.

“If someone is found culpable or liable for the allegations against him and a judgment of a death sentence is passed, even the court has to hand that out to the executors of the judgment, which is a department of its own; even the judge cannot do that. It is the sheriffs of the court and the executors that execute the judgment of the court,” Abba said, noting that Usman’s job was to arrest, investigate, and charge the suspect in court so that justice could be administered accordingly.

Oghenemine’s murder forms a part of the troubling pattern of extrajudicial killings that have plagued Nigeria for decades, eroding public trust in law enforcement and fuelling cycles of protest and repression.  

A disturbing pattern

Many civilian lives have been lost to police extrajudicial killings, ill-treatment, and abuse of power. Oghenemine only fell victim to a policing system enmeshed in impunity and brutality. Far worse cases have occurred in the past, and disturbing incidents of police officers unleashing cruelty against civilians continue to disrupt Nigeria’s civic spaces. 

In 2005, for instance, six young traders were killed by some police officers during a supposed anti-robbery patrol. The traders were said to be returning from a nightclub in Abuja, North Central Nigeria. One of them, Augustina, had allegedly rejected the advances of a senior police officer, Danjuma Ibrahim, leading to a bitter confrontation. The angry Danjuma then told officers at a nearby police checkpoint that armed robbers were approaching. When the group arrived in their car, the police blocked them and opened fire. Four died instantly, while two survivors were taken away and left to die. The police had reportedly planted weapons on their bodies to frame them as criminals.

The killings sparked outrage across Nigeria, with widespread condemnation of police brutality and impunity. Then-President Olusegun Obasanjo ordered a panel of inquiry, which confirmed that the victims were innocent traders and not armed robbers. Findings from the panel revealed the deliberate framing of the victims and exposed the systemic abuse of power within the police force. The case became emblematic of the dangers of unchecked authority and the lack of accountability in Nigeria’s law enforcement system.

Collage of six individual portraits, showing varied expressions and poses against different backgrounds.
Image of ‘Apo six’ killed by police in 2005. Photo: Family members.

It took more than 11 years for justice to be partially served. In 2017, two of the six policemen involved, Ezekiel Acheneje and Baba Emmanuel, were sentenced to death for their roles in the killings, while others were discharged. 

The Apo Six case remains a relevant example of extrajudicial killings in Nigeria, projecting a system that harbours police misconduct and the long struggle for justice faced by victims’ families. Between 2020 and 2023 alone, 848 Nigerians were victims of extrajudicial killings, according to Global Rights’ Mass Atrocities Tracker.

During the #EndBadGovernance protests in 2024, several protesters were killed in Kano, Jigawa, Katsina, and Kaduna, with experts raising concerns over growing police brutality. In Oghenemine’s case, however, the Nigerian Police Force seems to have moved swiftly to dismiss the officers involved and hand them over for prosecution. 

“The Force does not shield officers who violate the law. No rank, no position, and no circumstance will be permitted to place any officer above accountability,” DCP Anthony Placid, the Police spokesperson, said in a statement at the time. 

On June 1, a High Court in Delta State ordered the detention of five police officers over the alleged killing. The officers – ASP Usman Nuhu, ASP Onoloko Dauroupamo, ASP Okoh Kelechi, Inspector Goodluck Kingsley, and Inspector Omonigho Ahweyevu – were arraigned before Justice Marshal Onome Umukoro under Suit No. THC/ASB/CR/M/66C/2026. The court directed that they be remanded at the Ogwashi‑Uku Correctional Centre pending legal advice from the Directorate of Public Prosecutions (DPP) and adjourned the matter until June 15, 2026, for further proceedings. 

On the scheduled hearing date, Harrison Gwamnishu, a human rights activist who has closely followed the case and was present at the High Court in Asaba, revealed that the DPP had filed the necessary information before the court. He noted that the matter is now awaiting legal advice before proceedings can continue.

Court document from Delta State, Nigeria charging multiple individuals with murder and negligent acts causing harm.
The court document. Photo: Harrison Gwamnishu. 

“The burial date has not yet been fixed, pending the conclusion of the trial,” he noted. 

The activist emphasised that the murder of Oghenemine symbolises Nigeria’s ongoing challenges with police reform, noting that this incident shows the critical need for reform, accountability, and the protection of human rights. He added that moving forward, the Nigerian police should begin to use body cameras, as they will help reduce the incidents of extrajudicial killings of suspects who are supposed to be charged in court in the country.

“Even though Nigeria stands at a crossroads, I believe that justice will be served, and the judge has ordered that some of the hearings be delivered online to avoid technicalities, even right from the correctional centre. When there is accountability, justice is possible,” the activist said.

‘Police your friend’

Nigeria’s policing system has long been associated with excessive use of force. SARS, for example, was established in 1992 as a branch of the police under the Criminal Investigation Department (CID) and was designed to find a lasting solution to violent crimes, specifically armed robbery, kidnapping, and carjacking across the country. However, it became notorious for torture, extortion, and unlawful killings. 

Despite repeated promises of reform, the culture of impunity persisted. Amnesty International, a global human rights organisation, described the promises of Nigerian leaders to reform the police as “ineffective”. In its 2016 investigation, the organisation painted a damning portrait of SARS, exposing how the unit had strayed far from its original mission of tackling violent crime. SARS officers were accused of turning torture and extortion into a profitable enterprise, routinely brutalising detainees to extract confessions or money. 

The report documented harrowing abuses, including beatings, shootings, starvation, and mock executions. Detainees were held in notorious centres such as the “Abattoir” in Abuja, where overcrowding and inhumane conditions compounded the suffering. Despite clear evidence, officers implicated in torture were rarely suspended or prosecuted; instead, they were transferred to other stations, perpetuating a cycle of impunity.

Beyond violent crimes, SARS extended its reach into civil disputes and business disagreements, exploiting its power to intimidate and extort. Victims reported theft of property, raiding of homes, and confiscation of valuables, with families describing how officers stole cars, emptied bank accounts, and looted homes during arrests. 

The #EndSARS protests of October 2020 were a watershed moment in Nigeria’s struggle against police brutality. Sparked by years of abuses by SARS officers, the protests drew thousands of young Nigerians into the streets, demanding an end to extrajudicial killings, torture, and extortion.  The movement culminated in the Lekki Toll Gate massacre, where security forces opened fire on peaceful demonstrators, killing and injuring dozens. According to Amnesty International, the government’s denial and lack of accountability deepened public mistrust. 

“These shootings clearly amount to extrajudicial executions. There must be an immediate investigation, and suspected perpetrators must be held accountable through fair trials. Authorities must ensure access to justice and effective remedies for the victims and their families,” Osai Ojigho, former country director for Amnesty International in Nigeria, said. 

The death of Oghenemine highlights the same issues that triggered the EndSARS protests: unchecked police violence, lack of accountability, and the erosion of public trust. However, extrajudicial killings are not confined to SARS alone. Regular police units, military detachments, and other security agencies have been implicated in unlawful killings during routine patrols, protests, and even minor disputes. 

For instance, in April 2026, Abdulsamad Jamiu, a youth corps member, was shot in Abuja by Guards Brigade personnel. A similar incident occurred elsewhere on January 1, when Timothy Daniel, a 13-year-old boy, was killed by a soldier in Akwa Ibom. In May 2025, Japhet Njoku, a security guard, died in police detention at Tiger Base, Imo State, after severe beatings. Experts say this systemic problem reflects weak accountability structures, inadequate training, and a justice system that rarely prosecutes officers for abuses.  

“If the lives of human beings can be taken by security personnel, whether or not they have been found guilty of any crime or not and no matter how harsh that crime is, someday somewhere, somebody may be framed for a similar offence, and his life will also be taken unjustifiably,” human rights lawyer Abba warned.

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What to Make of the US Killing of the Tren de Aragua Leader

Photo: Las Brisas del Cuyuní gold mining area, as posted by reporter Fritz Sánchez on June 10

Donald J. Trump turned back to breaking out big news on Truth Social about Venezuela on a Friday evening, like it’s a movie premiere. On June 12, he claimed US forces had killed Héctor Guerrero Flores, AKA El Niño Guerrero, who was the number 1 of the Venezuelan mega-gang Tren de Aragua, TDA. That same week, Secretary of Defense Pete Hegseth had promised that a great announcement about drug trafficking was on the way. Naturally, it was the boss who had to reveal the news on prime time. But people in Venezuela were already on alert after news broke, mid-week, that the Venezuelan armed forces, FANB, were attacking the mines near the village of Las Claritas.

Amid a rain of AI-generated fakes and videos coming from other contexts that flooded social media, we were able to see real videos from people on site, showing two Superpuma choppers shooting at targets on land, bringing support to special forces on the ground. The main hypothesis at that point was that they were raiding the compound of AKA Johan Petrica, a TDA co-founder. With Trump’s announcement on Friday, we learned that the trophy was Guerrero, whose whereabouts were unknown since Maduro agents raided the Tocorón prison where the TDA capo had his headquarters.

This is not about drugs, but gold

You may associate TDA with drugs and terrorism, but in this case drugs are secondary. Years ago, TDA turned into a big criminal organization in Venezuela by displacing other gangs or turning them into subsidiaries, by dealing in a wide array of crimes that went from drug trafficking to kidnapping, classic mafia extortion and non-violent scams. When they were able to expand from that Tocorón prison in Aragua state that Guerrero, then an inmate, turned into a fortress, they not only started to venture in the rest of the continent but fought to control the lucrative mining pole of Las Claritas, in the massive state of Bolívar, where international mining companies were expelled by Chavez’s expropriation.

Killing Guerrero is more relevant for the White House as a propaganda piece than as a real hit against drug trafficking in the Americas. It serves to justify the incursion in Venezuela and to give US voters another win amid the Iran fiasco and the lack of results in Cuba.

The military-managed Mining Arc was theoretically the legal frame. We are talking about one of the biggest reserves of gold on the planet. Just look at the numbers mentioned by Lorena Meléndez in this piece. By establishing a presence there, TDA got a cut from human trafficking, the black market of mining supplies and gas, and of course the production and export of minerals. As happened throughout the gang’s history, its involvement in the drug industry prospered because they had corrupt officials in their payroll. Until the regime’s priorities changed, Maduro ordered to raid Tocorón and impose a new Bukele-style prison regime where gangs don’t control jails. Guerrero went elsewhere, likely after reaching an agreement with chavismo that saw him leave his old turf unharmed. TDA continued taking part in the mines business in Bolivar, but sharing the place with other gangs.     

This is not law enforcement but business

The kinetic attack on Guerrero, that seems to have taken place at the start of last week, and the FANB raids that came after must be read as part of the Rodríguez interim government to comply with everything Team Trump is demanding from them. Yes, TDA is a criminal organization and Guerrero was guilty of many crimes, but what we must see here, rather than a legitimate Venezuelan government fighting crime, is an illegitimate regime clearing a terrain with the help of a foreign army to allow the return of foreign companies. We mustn’t compare this event with the killing of Pablo Escobar in Medellín in 1993. It’s not that the Venezuelan authorities made the commitment of restoring the rule of law. Actually, we haven’t seen any legal procedure here. There’s no transparency or accountability, we don’t know what happened to the civilian population or whether any rights were respected there. It’s the same level of State violence and lack of due process that the police and military have deployed in poor communities for years.

This is happening because, after US special forces removed Maduro and his wife on January 3, the remaining chavista officers met in Caracas with CIA Director John Ratcliffe (on January 16), US Interior Secretary Doug Burgum (March 4), US Southern Command commander Francis Donovan (in February and May), and more recently the highest military officer from that country, the chairman of the Joint Chiefs of Staff, Dan Caine (June 3). All of them had issued instructions to their Venezuelan counterparts and the top echelons of the chavista regime, including Delcy Rodríguez, related to the improvement of local conditions to allow US companies to invest in Venezuela. This is why the regime has been dismantling Chávez-era laws that discourage foreign investment in oil and mining, why Interior Secretary Burgum has praised Venezuela’s potential for the mining business, and why the armed forces seem to be clearing Las Claritas to take the area back to what is was when companies like Gold Reserve and Crystallex were operating there, instead of a gang ruling over thousands of semi-slaved informal miners.

Of course, taking over the mines from the gangs sounds like rule of law is being restored, but the fact is that it was done with the same opacity that has been the norm regarding this whole Washington-Caracas relationship that appeared when the smoke of January 3 dispersed in the air.  

This is not only business but also propaganda

This followed the same script of the kinetic attacks on boats that preceded the incursion of January 3: the social media post with the video, Trump taking the lion’s part of the story, followed by a more formal confirmation by the Rodríguez administration and the SouthCom. After months of repeating that everything’s fantastic in Venezuela and people like Burgum telling Trump that Venezuelans were about to raise statues of him in the cities, Trump needed to underline with a new spectacular event his old narrative of TDA as the spearhead of Maduro’s war against the US. In fact, most of Trump’s post of last Friday goes on trashing Joe Biden, as if Trump was still in the presidential campaign using the TDA trope to win the 2024 election.

The Trump government, which is testing the limits of US institutions, has attacked Venezuela to complete a story (the one about Maduro, TDA and Cartel de los Soles) and to open an investment horizon where business allies of the presidential family would have a head start.

Killing Guerrero is more relevant for the White House as a propaganda piece than as a real hit against drug trafficking in the Americas. It serves to justify the incursion in Venezuela and to give US voters another win amid the Iran fiasco and the lack of results in Cuba. For chavismo, instead, the killing of Guerrero has another meaning. The Maduro regime routinely denied that TDA existed; the Rodríguez regime, coherently, refused to mention TDA or even Guerrero in its Friday night statement. But for Delcy Rodríguez and her minister of Defense Gustavo González López, the operation is a message for three audiences that need some convincing about the case for leaving them in power: the Republican Party, the CEOs of foreign mining and oil companies, and the Venezuelan business community. For Delcy Rodriguez, those three audiences must see that the peace and order they need will come from her, not María Corina Machado.  

This isn’t a game of countries but of tight elites

The operation in Las Claritas is a clear example of the true nature of what’s happening between Venezuela and the US.

Everybody is saying that Venezuela is being controlled by the US. It’s more precise to say that the Rodríguez regime is being controlled by the Trump administration. What tends to be described as a relationship between two countries is in practice a relationship between two very specific models of power and networks of political and economic relationships. On one side, a dictatorship where an unelected president simply took the place of a dictator removed by force, but that continues to control the Venezuelan population under the same legal framework that suspended the people’s rights, and that shows flexibility in some matters (releasing some political prisoners, admitting back some exiled politicians) to generate favorable headlines in the global media. On the other side, a North American government that is testing the limits of US institutions and that attacked Venezuela to complete a story (the one about Maduro, TDA and Cartel de los Soles) and to open an investment horizon where business allies of the presidential family would have a head start. So far, Rodríguez and Trump need each other, and are making decisions on Venezuela that have improved the expectations on the economy, but so far have failed to improve the living conditions for most of the population.    

The Venezuelan armed forces seem compliant

In a continent so reluctant to allow US military presence, this operation shows the extent to which the Venezuelan armed forces—which according to the Trump administration has given sanctuary to terrorists and are led by a drug-trafficking military mafia designated as terrorist—are cooperating with the Southern Command (that narrative may be simplistic, we must say, but is not completely false). The same FANB that talked about the US as a mortal enemy during a quarter century failed to down a single drone in January 3, when their commander in chief was being captured in the main fort of the country, and now meets with the highest echelons of the US armed forces and cooperates with them in killing Venezuelans citizens on Venezuelan soil. We are not only seeing high-level officials like Defense Minister González López and Interior Minister Diosdado Cabello meeting American generals and doing, apparently, what the Americans want, even if González and Cabello are still under US sanctions, accused of several serious crimes that do not expire. Our Political Risk Report sources say that middle-rank officers are happy to cooperate with the US military.

Why? We can speculate that men under threat like Cabello are complying to avoid the fate of Maduro, hoping that they just need to wait until Trump is out of the picture and the US looks elsewhere. But, what about the many officers and soldiers who benefit from the corrupt State that Chávez and Maduro built for them, to buy their allegiance? If foreign companies are coming to Venezuela to exploit gold under contracts with the State, what will happen with the bribes those officers were collecting by allowing the gangs to operate the mines? 

How deep, sincere and stable is the US-FANB military and intelligence cooperation that made it possible to locate and kill the leader of the Tren de Aragua?

The next target will be harder to hit

Another question is who’s next. Now that a powerful message was sent with the obliteration of Guerrero’s last hideout, we must assume that the next targets will be the other Venezuelan gangs, the colectivos that ceased to be of use for chavismo, and Colombian guerrillas (ELN and FARC dissidents, all of them designated terrorists), which also have interests in the mines in other parts of the country. If Abelardo De la Espriella wins the Colombian election, military pressure from that country should increase as well on those armed actors.

The Venezuelans gangs are vulnerable. Colombian guerrillas, on the contrary, have survived for decades and know how to mix with civilians. Not even the Plan Colombia during the Uribe administrations was enough to eradicate them. However, the Trump and Rodríguez governments don’t need to push all armed actors to extinction or to make Venezuela a country free of paramilitary and gangs. For the moment, they just need to clear exploitation sites, logistical routes, ports and main cities. All the places foreign executives and their families would need for a safe relocation in Venezuela.

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‘Trainspotting’ is still peak ’90s, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

It seems odd that the biggest news of the week was the fact that tickets for a movie went on sale, but apparently Christopher Nolan’s upcoming “The Odyssey” is no typical movie. Having already made tickets available for some shows a full year in advance, Universal put more of them on sale for the July 17 opening weekend of the Oscar-winning filmmaker’s ancient epic. There were reports of long online wait times, crashing ticketing systems and the kind of problems more often associated with pop stars than movie nerds.

“The Odyssey” will be playing in a variety of formats, with the Imax 70mm screenings among the most coveted. More venues than usual have also been announced as playing the film in 70mm, including the Village Theatre in Westwood. (A handy visual guide to the different fomats is on the film’s website.) While there is a hint of the ridiculous to some of this mania — popcorn buckets in the shape of Imax cameras and movie tickets going on the resale market for hundreds of dollars — there is no denying how exciting it is to see this kind of anticipation building around any movie.

Back to a ’90s phenomenon

Four friends stand around waiting for life to happen.

Ewen Bremner, left, Ewan McGregor, Johnny Lee Miller and Robert Carlyle in the movie “Trainspotting.”

(Liam Longman / Sony Pictures Classics)

When it first came out in 1996, “Trainspotting” was an instant cultural phenomenon, capturing the vibes of the “Cool Britannia” moment with its sparkling soundtrack, inventive, high-energy style and cast that included up-and-coming talents such as Ewan McGregor and Kelly Macdonald. It was only the second feature directed by Danny Boyle, who would go on to be an Oscar winner, mount an Olympics opening ceremony and remain a reliably exciting filmmaker all the way to his recent “28 Years Later.”

“Trainspotting” is now back in theaters in a 4K restoration for its 30th anniversary, having lost none of its brash vigor. In his original review, Kenneth Turan said of the film, “Exuberant and pitiless, profane yet eloquent, flush with the ability to create laughter out of unspeakable situations, ‘Trainspotting’ is a drop-dead look at a dead-end lifestyle that has all the strength of its considerable contradictions.”

Appearing like magic

A trio of witches makes goofy expressions.

Kathy Najimy, left, Bette Midler and Sarah Jessica Parker in the 1993 comedy “Hocus Pocus.”

(Disney)

Directed by Kenny Ortega, “Hocus Pocus” is one of those movies that has seen its fanbase grow steadily over the years — it is now much more beloved than it ever was on initial release. (It even inspired a 2022 sequel.) Bette Midler, Sarah Jessica Parker and Kathy Najimi play the Sanderson sisters, 17th century witches who find themselves inadvertently brought to modern day by a group of teenagers messing around with casting spells.

The film will play Saturday at the Gardena Cinema, featuring a live commentary from cast members Omri Katz, Thora Birch, Larry Bagby, Tobias Jelinek and Vinessa Shaw followed by a Q&A. This is a rare appearance by Katz in particular, who has retired from acting. Fans of the movie should make the effort to attend.

The Gardena, the last family-owned single-screen theater in Los Angeles, suffered a blow last weekend when a burst pipe flooded the venue. Though they are operational, a campaign has been started to help them recoup repair costs.

Examining the life of the mind

An intense man in a suit and eye glasses sits on a beach.

John Turturro in the 1991 movie “Barton Fink.”

(20th Century Fox)

Ranking the films of Joel and Ethan Coen has become a cottage industry of its own. Personally, I go back-and-forth on where to place 1991’s “Barton Fink,” which won the Palme d’Or at Cannes, as well as prizes for director and actor. The movie is by turns funny, disturbing and inscrutable (all good things), with John Turturro in the title role as an intellectual New York playwright who goes to Hollywood to write screenplays — and slowly goes insane.

The movie will play Friday in 35mm at Vidiots with an introduction from Noah Segan, who directed Turturro in one of the breakout titles from this year’s Sundance, “The Only Living Pickpocket in New York.” Hopefully, this will turn into a year in which Turturro gets some long-deserved accolades.

Christmas in June

A man in a suit tenses for bad news.

Elliott Gould on the set of 1978’s “The Silent Partner.”

(Anwar Hussein / Getty Images)

There is something particularly charged about watching a Christmas movie at other times of year — an odd sense of dislocation and maybe even something a little naughty, a circuit-scrambling frisson. So it is particularly notable that as part of their salute to the independent studio Carolco Pictures (behind such films as “Basic Instinct,” “Terminator 2: Judgment Day” and “Reservoir Dogs”), the Vista will be showing 1978’s “The Silent Partner.”

Just the kind of tight and gripping thriller that people pine for all year round, “The Silent Partner” has a screenplay by Curtis Hanson, who would go on to make “L.A. Confidential.” Elliott Gould plays a Toronto bank teller who tries to rip off the thief (Christopher Plummer) who robs his branch wearing a Santa costume as a disguise. Soon they are both scheming against each other.

In his original review of the film, Kevin Thomas called it “tense and ingenious.” In a reconsideration of the film some months later, Charles Champlin called it “a stylish crime-suspense story, a cat-and-mouse game between Christopher Plummer as a clever, sadistic bank robber and Elliott Gould as a bored bank teller who sees a way out of his boredom and into riches.”

So much beauty

A woman approaches a farmhouse during twilight.

Brooke Adams and Sam Shepard in the 1978 movie “Days of Heaven.”

(Criterion Collection)

Terrence Malick’s 1978 “Days of Heaven” is still strikingly singular: a love story told with a stirring visual style. The film’s beauty — aside from its impossibly good-looking lead actors, Richard Gere and Brooke Adams — in part comes from gifted Spanish cinematographer Néstor Almendros, who made his American debut after a career in Europe that saw him working with filmmakers such as Eric Rohmer and François Truffaut. Almendros would win an Academy Award for the film.

The New Beverly will show “Days of Heaven” in 35mm Tuesday through Thursday as a double bill with Truffaut’s 1970 “The Wild Child,” shot by Almendros in black-and-white. Writing about “Days” in 1978, The Times’ Charles Champlin called it “an extraordinary and original visual experience and a movie which is thrilling in its uncompromised purity.”

Perverse fun

Two people speak in a drawing room.

Ha Jung-woo, left, and Kim Min-hee in the 2016 movie “The Handmaiden.”

(TIFF)

Korean filmmaker Park Chan-wook was just president of the Cannes jury and has become a much-beloved figure on the international circuit for his wicked sense of humor and sharp sense of style. Nowhere is that on better display than his 2016 film “The Handmaiden,” which is somehow at once a period drama, a con-man thriller and an erotic lesbian romance. Vidiots will be showing the movie Sunday.

As Justin Chang wrote when the film was released, “Without sacrificing his taste for psychosexual perversity or his flair for violent grace notes, Park has given us a teasingly witty and elegant puzzle-box of a thriller whose pleasures are rooted not in visceral shock but in narrative surprise, and which wisely opts to seduce rather than pulverize its audience.”

In an interview at the time, Park said the film’s unpredictability was part of the project’s appeal. “That’s the exact kind of fun to be had with this film and the reason why I chose to make this film. Everything becomes a game of perception. Rather than to say it’s a difficult thing to navigate, it is fun to deal with. Not only for me as a filmmaker but for the audience to see that and engage in that game.”

New this week

  • Amy Nicholson reviews the latest attempt to make a movie out of a popular Mattel toy with the lightly-tongue-in-cheek “Masters of the Universe.”
  • Amy also reviewed the revival of the satirical “Scary Movie” franchise, with original stars Anna Faris and Regina Hall returning to make fun of such recent hits as “Sinners,” “Weapons” and “The Substance.”
  • The documentary “Time and Water” looks at climate change through the life and work of Icelandic writer Andri Snaer Magnason as directed by Sara Dosa, who had a hit with her last film “Fire of Love.” Robert Abele reviews.

One last thing…

This week, our colleagues at De Los launched a podcast hosted by Fidel Martínez and Suzy Exposito. The interview-style video podcast will feature conversations with the people shaping Latino culture in the United States.

The first episode features singer and actor Leslie Grace, who talks about her experiences working on the film “In the Heights” as well as being the star of the canceled “Batgirl.”



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All inclusives are killing one of the best parts of going on holiday

When it comes to jetting away after long months of hard work and parenting, the idea of flopping down on a sunlounger in between trips to the all-inclusive buffet or bar is undeniably tempting

All-inclusive hotels and resorts are slowly killing one of the best parts about going away on holiday.

When it comes to jetting away after long months of hard work and parenting, the idea of flopping down on a sunlounger in between trips to the all-inclusive buffet or bar is undeniably tempting.

However, it’s this very action that is threatening something we all love. Food.

A recent poll of 2,000 holidaymakers found that cuisine is the main reason for choosing a holiday destination for 19 percent, with 25 percent even returning to the same place because of it. Nearly four in 10 always research restaurants and dining experiences, and 17 per cent will put together a wish list of foods they want to try.

But according to the responsible travel firm Intrepid, local delicacies, bars and restaurants are under threat because holidaymakers are increasingly staying in all-inclusive resorts run by large multinational companies, rather than exploring and spreading their cash around.

A survey of 2,000 Brits conducted on behalf of Intrepid by Censuswide found:

  • 51% won’t travel beyond their accommodation to find authentic food
  • 25% eat at a global fast-food chain within 48 hours of arrival
  • 55% of Gen Z say they find comfort in familiar brands like McDonald’s and Starbucks when travelling
  • Over two-thirds of Brits (67%) admit to packing food from home, with tea bags (32%), the most commonly packed item

Award-winning author, food and travel writer, Yasmin Khan, who collaborated on the research, told the Mirror what we risk losing if we stick to the hotel buffet.

“When a traditional dish disappears, we don’t just lose a recipe; we lose a piece of history and heritage,” she said.

Yamin believes that travellers have a responsibility to support the food cultures that make places distinctive and that “when we choose the safety of the familiar over food rooted in local tradition, we can inadvertently contribute to the loss of irreplaceable flavours, techniques and ingredients.”

“As someone who is a tired mum of a toddler, all-inclusives have their place. But I would push back on this idea that they’re the most affordable way to experience a holiday. While some have good food, the majority of the time you’re divorced from where you’re visiting. It could be anywhere. You feel disconnected,” she continued.

“So many of the local bakeries, or the lovely cake shops, the lovely tapas bars, if people aren’t leaving the hotels, they’re under threat. Some of my favourite meals abroad have been some of the spontaneous ones, you’ve eaten something you’ve not heard of before. I also make a point of asking for local recommendations.”

Intrepid has also partnered with Time Out to launch a series of immersive cookery workshops in London, giving people the chance to cook and experience a selection of the ‘endangered dishes’ firsthand. Tickets are on sale now.

Dan Saladino, author of Eating to Extinction, is concerned that less well-known dishes are being wiped out, in part due to the habits of holidaymakers.

“The research identified three primary threats including environmental loss from climate change, cultural dilution due to overtourism, and the disappearance of traditional artisanal skills. We chose dishes like the New York bagel and sushi from Japan because they are, in culinary terms, global icons, yet most people don’t realise the authentic versions of these are actually on the brink of vanishing due to modern shortcuts and mass-market pressures,” he said.

“Food is the most profound link we have to our history, our land, and our identity, yet we are currently witnessing a global collapse of culinary diversity.”

Noel Josephides, the chairman of family‑owned tour operator Sunvil, believes that all-inclusive hotels don’t just threaten food culture, but the very foundations of the sunny destinations loved by Brits.

He refuses to work with all‑inclusives “on principle” and argues that they suck money out of local communities and funnel it towards large multi‑nationals. Local, independent business owners simply can’t compete with the buying power of the big chains, which encourage holidaymakers to stay on‑site rather than going out into the community to spend their cash.

This is not only a major cause of resentment among locals, but it keeps holidaymakers from truly experiencing the destination they’re in, Mr Josephides argues.

“It’s a product that doesn’t really encourage access to local facilities. We know in places like Cyprus and Greece, restaurants have shut down because of all‑inclusives,” he told the Mirror.

“It is not the way to see a country like Greece, but it is perfect for mass‑market tourism from the company’s perspective. In Corfu, there’s a village called Dassia, which has a big all‑inclusive. If you go to that village, it’s dead. Small hoteliers in Paphos have told me, hundreds of restaurants have closed. It is not the right way to do tourism.”

Brian Carrigan has been travelling to sunny destinations such as Menorca, Grand Canaria, and Marjoca each year for the past quarter of a century. In his mind, the biggest problem is the rise of all‑inclusives.

“They starve the local economy of holiday spending. We have never done all‑inclusive due to the fact that the food is substandard and not as good as a locally prepared meal in a nice restaurant,” Brian said.

When I visited Rhodes in 2023 to see how the island was recovering from wildfires that had evacuated thousands of holidaymakers, a number of independent hoteliers and restaurateurs told me how hard times had come in the past decade. While they cited numerous factors, the biggest one in their minds was the arrival of several large all‑inclusive hotels.

The history of the wrap‑around holiday type stretches back to the 1950s, when Belgian sportsman Gerard Blitz pioneered the concept by using army surplus tents to house visitors in Majorca. He was the founder of Club Med, now one of the biggest travel brands in Europe.

The all‑inclusives of today are much more complex and provide so much more to guests than Mr Blitz’s straw hut village that opened in 1952 in Corfu. When I visited Club Med Tignes, I was amazed by not just the ski‑in, ski‑out nature of the property, but the staff on hand to get kids dressed and ready for a day on the slopes, and the incredible buffet on offer three times a day. We’re not just talking chips and pizza, we’re in the world of raclette, fresh fish, and omelets made to order as you watch on.

While Club Med may no longer be a bargain option, many brands offer such good deals that it’d be financially mad not to go all‑inclusive. At least, from the holidaymaker’s perspective.

According to Responsible Travel, all‑inclusive resorts are “usually owned by an overseas company,” and they “sequester most of the tourists’ cash, leaving little behind in the local community, which is impacted by the presence of the resorts.”

“Holidaymakers also use vast quantities of energy and water (significantly more per person than local people) and create large amounts of waste, which some feel is a high price to pay for little commercial return.”

Harold Goodwin, professor of Responsible Tourism at Manchester Metropolitan University, believes all‑inclusives can be forces for good, so long as they work alongside independents, rather than against them. That means building a loyal and skilled local workforce, reducing energy costs and waste, sourcing fresh local produce, and offering an exciting range of sensitively planned excursions.

“An impressive all-inclusive resort can provide employment for local people with a genuine chance of progression – with the right support and training – into managerial roles that are better paid. Indeed, an all-inclusive resort in a developing country could employ far more people locally than several ecolodges ever could,” he told Responsible Travel.

“Notorious for not sourcing locally, there is no reason why a responsible, sustainable all‑inclusive resort cannot support an ‘adopt a farmer’ scheme, or similar – sourcing delicious, fresh, quality produce for its catering needs at a local level.”

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Former Boko Haram Terrorists Accused of Killing Displaced Farmer in Borno

Muhammed Kaumi had just stepped out of the mosque when his phone rang on the evening of Friday, May 29. He had recently returned from Dikwa, a town in Borno State, northeastern Nigeria, and assumed the call was from a relative checking on his journey home. Instead, the voice on the other end delivered news that left him numb.

“Bulama has been killed,” the caller said. “They have killed Bulama.” Muhammed felt his chest tighten. “I instantly felt a sharp pain in my heart,” he recalled.

Bulama Ali was his cousin, a farmer, a father of five, and one of thousands, like him, who have been displaced by the Boko Haram insurgency that has scarred the region for more than a decade.

Within minutes, Muhammed was on his way to the Custom House Internally Displaced Persons’ Camp in Muna, on the outskirts of Maiduguri, where Bulama had lived with his family for nearly a decade.

As he rushed there, questions flooded his mind: “What had happened? Who had killed him? Why?”

When he arrived, residents told him that Bulama had allegedly been beaten by men they identified as “repentant Boko Haram fighters”, locally known as “Hybrids”.

For many residents of Maiduguri, the allegation struck a painful nerve.

For years, former insurgents who surrendered to authorities have passed through government rehabilitation and reintegration programmes such as Operation Safe Corridor and the Borno Model, before returning to civilian communities. However, some have bypassed both interventions completely. 

The Nigerian authorities have involved some of these deserters in security operations, where they help troops with intelligence gathering, their knowledge of terrorist-held terrain, and even operational activities. The arrangement has remained controversial among many survivors of the conflict and among security analysts. 

Now, residents in these communities say their fears have been justified. 

They brought him back dead

Bulama’s final hours began shortly before the Friday Muslim congregational prayers.

Muhammed was told by relatives and eyewitnesses that “[Bulama] was on his way to the mosque on his bicycle when he received a phone call. He stopped by the roadside [close to Muna, on the Maiduguri-Gamboru highway] to answer it.” Behind him was a vehicle carrying armed men dressed in black uniforms. “They honked at him to move,” Muhammed said. “But he was speaking on the phone and did not hear them.”

Abbas Shettima, who witnessed the incident, said the confrontation, which occurred between 1:15 p.m. and 1:30 p.m., quickly escalated. 

“We were all heading to the mosque when we saw them beating him,” Abbas recounted. According to him, the group consisted of about ten men carrying guns and sticks. “They said he was blocking their way,” he said.

Bulama tried to explain. He apologised repeatedly, but his pleas fell on deaf ears. 

“He kept begging them to spare him,” Abbas said. “He crouched down and covered his head with his hands while they beat him.” When bystanders attempted to intervene, the armed men threatened them. Residents watched helplessly. Eventually, the men forced Bulama into their vehicle and drove away.

No one knew where he had been taken.

At the time, witnesses said they believed the group were members of the Civilian Joint Task Force (CJTF) because of their uniforms.

Hours later, shortly after 3 p.m., the vehicle returned. “They brought him back severely wounded,” Abbas recounted. “He could barely move.”

Residents rushed toward him to help, but within ten minutes, he died.

The incident was immediately reported to the soldiers stationed at the camp’s entrance. According to Muhammed, the soldiers said they had seen the vehicle dropping Bulama but did not know what had transpired. “They were the ones who told us the men were Hybrids and that they had come from the Maiwa axis,” he said.

Residents later learned that Bulama had allegedly been taken to Maiwa Kura, a remote village in Mafa Local Government Area, Borno State, where the group was reportedly stationed. 

Although “Hybrids” are often perceived as operating independently, they are typically attached to military formations and work alongside security forces, according to a member of a local volunteer security outfit involved in counterterrorism operations who spoke to HumAngle.

“The commanding officer of the military base gives instructions to the ‘Hybrid’ commander attached to that formation, who then relays orders to his men,” the source explained. “During broader operations involving multiple locations, they also have a state commander from whom they receive directives.”

However, this does not necessarily imply military involvement in the attack that claimed Bulama’s life, as Hybrid patrols sometimes operate independently.

Bulama’s family subsequently reported the matter to the police. 

Muhammed said that soldiers, police officers, and members of the CJTF later travelled to Maiwa, where they arrested three suspects, including a commander. “They told us the others had travelled to Mafa for an operation,” he said.

The suspects were taken into custody and transferred to the Borno State Criminal Investigation Department for further investigation.

According to family members, the suspects claimed Bulama died after jumping from the back of a moving Hilux vehicle. But the relatives remain unconvinced. “The doctors told us he had been severely beaten,” Muhammed said. “His hands were tied, and he had internal bleeding.”

The family retrieved the body on Saturday morning and buried him later that afternoon. When the body was prepared for burial, he said, blood continued to seep from his eyes, ears, and nose. “It stained the white shroud.”

A large group of people stand in rows outdoors, appearing to observe or participate in an event under a clear sky.
Mourners at Bulama’s interment at the Custom House IDP camp. Photo: Abbas Shettima.

When HumAngle contacted the Borno State Police Public Relations Officer, Nahum Kenneth Daso, he said he was not aware of the case and would make inquiries. As of publication, no official update had been provided.

The men known as ‘Hybrids’

In many communities across Borno State, the word “Hybrid” carries different meanings depending on who defines it. 

To security officials, they are a practical asset in a war that has stretched for more than 15 years. For many residents, they are former terrorists trying to rebuild their lives. To others, especially those who lost relatives, homes, farms, and livelihoods during the conflict, they are a constant reminder of wounds that have never fully healed.

The term is commonly used to describe some former Boko Haram members who surrendered and passed through official rehabilitation and deradicalisation programmes, and later became attached to security operations in various capacities.

Since they possess intimate knowledge of terrorist operations and hierarchy, security agencies have increasingly relied on some of them to help in identifying former colleagues, navigating difficult terrain, and providing information that security forces may otherwise struggle to obtain.

For authorities, the arrangement is often viewed as a necessary component of the counterterrorism campaign. However, many civilians find it deeply unsettling.

A group of men in numbered uniforms sit on the ground, facing military personnel on an airstrip.
File: A group of former Boko Haram terrorists who were rehabilitated by Nigeria’s Operation Safe Corridor programme in northeastern Nigeria.

That is why, for some residents, the sight of former terrorists carrying weapons or working alongside security forces can be difficult to accept.

Bulama’s death has reopened those anxieties. Yet, the resentment many residents express today did not begin with his killing. It has been building for years.

In August 2021, as thousands of terrorist deserters began surrendering from the Sambisa Forest and the Lake Chad region, the Borno State Government convened a high-level stakeholders’ meeting at the Government House in Maiduguri. Government officials, security agencies, traditional rulers, religious leaders, civil society organisations, journalists, and community representatives gathered to discuss the reintegration of former insurgents into society.

At the end of the meeting, participants agreed in principle to forgive and accept these deserters back into their communities. Their acceptance, however, was not unconditional. The stakeholders insisted that surrendered terrorists must be thoroughly screened before reintegration. They also warned against the release of hardened extremists into the communities. They further called for meaningful reconciliation between victims and former terrorists.

The gathering was widely presented as a collective endorsement of reconciliation.

But beyond the conference hall, acceptance has proved far more complicated.

Many residents who had survived the violence felt they had not been part of that conversation. Some had lost parents, spouses, siblings, and/or children. Others had spent years moving between displacement camps, uncertain whether they would ever return home. For them, forgiveness was not a policy decision that could be reached through consensus among stakeholders. It was an intensely personal choice shaped by trauma, memory, and loss.

“The people making these decisions are not always the people who suffered directly,” Abba Gana told HumAngle.

Over the years, some residents have complained of harassment and intimidation by former terrorists and their families. Others say they simply feel the reintegration process has moved faster than community healing.

The debate became even more sensitive as some former terrorists began assisting security operations. To many survivors, the transformation can be difficult to reconcile: people who once arrived as attackers returning as neighbours and protectors, and in some cases, as men carrying authority.

Some government officials have repeatedly defended the reintegration policy. Recently, General Olufemi Oluyede, the Chief of Defence Staff and chairperson of the Operation Safe Corridor National Steering Committee, likened terrorist deserters to the biblical Prodigal Son, arguing that they deserve rehabilitation because they remain Nigerian citizens. 

Those concerns were further amplified by reports that not all former terrorists were passing through official rehabilitation channels. In 2025, a HumAngle investigation documented allegations that some defectors were quietly leaving the forest and reintegrating into communities without participating in formal deradicalisation programmes, raising questions about screening, accountability, and oversight.

Over the years, several incidents involving terrorist deserters have also contributed to public unease. In April, a former Boko Haram member allegedly shot and killed a CJTF member during an argument in the Mafa LGA. According to reports, the victim was rushed to the hospital but was confirmed dead on arrival, while the suspect was later arrested and handed over to the police.

People in uniforms and civilians gather on a street, with yellow tape indicating a restricted area.
File: Police officers at the scene of an explosion at the Maiduguri Monday Market in March 2026. Photo: Al’amin Umar/HumAngle. 

Two years earlier, some deserters reportedly stormed a police station in Maiduguri in an attempt to secure the release of their colleagues arrested over alleged drug-related offences. In another case that generated public outrage in 2023, a deserter was accused of killing his wife at the outskirts of Maiduguri.

Concerns about the reintegration programme are not new. As far back as 2020, Ali Ndume, the senator representing Borno South Senatorial District, publicly criticised aspects of the government’s amnesty efforts, recounting the case of a deserter whom he alleged killed his father and later absconded with his property. The senator argued that the victims and survivors’ concerns were not receiving the same level of attention as the rehabilitation of the deserters.

Taken individually, the circumstances surrounding these incidents differ significantly from Bulama’s case. Collectively, however, they have helped shape public perceptions of the reintegration programmes and deepened anxieties among some residents about the monitoring, supervision, and accountability of deserters, particularly those involved in security-related activities.

For many survivors of the conflict, such incidents reinforce a lingering fear that rehabilitation alone may not be enough. Bulama’s death has now brought those long-simmering concerns into sharper focus. 

“The community is deciding on an action,” Abbas said.

Residents gathered after Bulama’s burial to discuss possible legal steps. Some suggested pooling money to hire a lawyer. Others proposed approaching human rights organisations.

“We are thinking of contributing money and hiring a lawyer,” Abbas said.

Justice and unfinished wounds

For Muhammed, grief and anger now coexist. His cousin survived displacement and years of uncertainty. He, however, did not survive a short journey to the mosque.

When asked what justice would look like for his family and the displaced community, Muhammed replied, “The law does not play by sentiments; it follows laid-down rules. I hope they will do what is right. If it is by my sentiments, I would not want them to be free. I would want them imprisoned for life.”

He paused.

“I don’t care about compensation. I don’t care about apologies. Justice for me is their imprisonment.”

A family left devastated 

Bulama was only 30 years old. He left behind two wives and five children.

He earned a living as a farmer. And before displacement forced the family from Boboshe in 2016, his father was killed. His elderly mother remains alive and still lives with them at the displacement camp.

The survival of his family, which was Bulama’s responsibility as the breadwinner, hangs uncertainly over relatives, who are also struggling to survive. “We are not rich people,” Muhammed said. “Caring for five children in addition to our own children will be difficult.”

Around the camp where he lived for over a decade, residents gather beneath makeshift shelters to rest, but the conversations about Bulama’s death remain on their lips. 

What remains immediate is his nuclear family, and the space left by a man who left home for Friday prayers and never returned.

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Why Marilyn Monroe still matters at 100, plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Both made by 20-something directors who emerged from the world of YouTube, the horror movies “Obsession” and “Backrooms” are dominating the conversation. They could come to represent a pivotal moment for how Hollywood engages with young talent and audiences alike.

I saw Curry Barker’s “Obsession” this week at a packed holiday matinee and Kane Parsons’ “Backrooms” is on track for a huge opening weekend — maybe the largest in A24’s history. The fact that audiences are responding to these films is exciting and one has to hope that Hollywood takes the right message from their successes: to give young filmmakers the space to create the projects they want to make, rather than shoehorn them into preconceived notions of what people want. Audiences right now seem to be proving themselves to be adventuresome when given the opportunity to try something new.

Marilyn at 100

A woman in a pink dress sings about diamonds.

Marilyn Monroe in the 1953 classic “Gentlemen Prefer Blondes.”

(Academy Museum)

When Marilyn Monroe’s death was first reported in The Times on Aug. 6, 1962, the news read, “Marilyn Monroe, a troubled beauty who failed to find happiness as Hollywood’s brightest star, was discovered dead in her Brentwood home of an apparent overdose of sleeping pills.”

That intertwining of the glamour and sex appeal of her public persona with an air of doomed tragedy would permanently attach itself to her image, making her one of the most unforgettable stars Hollywood has ever created.

Monday marks the 100th anniversary of Monroe’s birth in L.A.’s Boyle Heights, where she was born Norma Jeane Mortenson. In celebration of Monroe’s centennial, the Academy Museum will open a new exhibition on Sunday, “Marilyn Monroe: Hollywood Icon,” featuring hundreds of objects including personal materials never before displayed and a number of her most memorable costumes.

The museum will also launch a 17-film series spotlighting Monroe’s remarkable career, including her versatile talent as both a comedian and a more dramatic performer. Highlights include the 1953 thriller “Niagara,” 1950’s backstage drama “All About Eve” in a new 35mm print with an introduction from journalist Lorraine Nicholson and 1955’s “The Seven Year Itch” with writer Kim Morgan introducing. Elsewhere, “Some Like It Hot” from 1959 and Monroe’s final completed film, “The Misfits,” will both show in 4K.

On Sunday, “Gentlemen Prefer Blondes” will play in the Academy’s David Geffen Theater in 4K. There are also other Monroe screenings and events around the city, including multiple shows of “Gentlemen” at the Gardena Cinema on Saturday.

A woman in a low-cut dress stands with a photographer.

Marilyn Monroe and photographer Bruno Bernard backstage at the Hollywood Bowl in 1953.

(Bernard of Hollywood Foundation Archive)

Authors Mark A. Fortin and Joshua John Miller have collaborated on a new book, “The Marilyn Monroe Century: From Norma Jeane to Icon — A Story in Photographs.” The culmination of a seven-year-long research process, the book unearths original negatives of pictures of Monroe taken by Miller’s grandfather, acclaimed photographer Bruno Bernard. Bernard, who died in 1987, shot with her before she had even adopted the name Marilyn Monroe and took the best-known images of her, standing on a subway grate with her white dress billowing up while in production on “The Seven Year Itch.”

“One of the stories I’m trying to tell with a lot of these pictures is to counter the narrative that Marilyn didn’t have agency in the creation of her persona,” says Miller in a recent Zoom call from a room at the Chateau Marmont. “The truth is she was very much instrumental in constructing her image. And Bruno was a big part of that. Photographers at that time were not only the photographer — they were the best friend, the therapist, the agent, the stylist. I think it’s really important to have context for these pictures because this kind of history gets lost.”

The book does a remarkable job of providing additional atmosphere around images that might already be familiar, giving a fuller sense of what was going on both inside and outside of the frame. The notorious subway-grate scene was actually shot twice, first in New York and again in Los Angeles.

“I think what I’ve been trying to do is not rewrite the narrative, but thread [Bruno] correctly back into the stitching of Marilyn’s mythology,” Miller says. “He is one of the only photographers who deeply knew both Norma Jeane and Marilyn. I know everyone says they know the ‘real Marilyn,’ but he was part of the construction with her to create that.”

The joy of sadness with ‘Bleak Week’

Two young men sit on a couch together.

Joseph Gordon-Levitt and Brady Corbet in the movie “Mysterious Skin.”

(Tartan Films)

“Bleak Week: Cinema of Despair” has become the signature program of the American Cinematheque, expanding beyond its L.A. footprint for editions at other theaters not just around the country but around the world. Turning sadness, depression and defeat into group activities to be enjoyed together has been an ingenious masterstroke of programming.

Now in its fifth edition, this year’s highlight will be a series with Isabelle Huppert, who will be present for screenings of such downbeat fare as “The Piano Teacher,” “Le Cérémonie,” Violètte Noziere,” “Elle,” “Time of the Wolf” and “Heaven’s Gate.”

Filmmaker Ari Aster will also be present for a complete retrospective of his four features. Other guests include Denis Villeneuve with “Incendies,” Allen Hughes with “Dead Presidents,” Al Pacino with “The Godfather Part II,” Gregg Araki with “Mysterious Skin,” Robert Englund with “Buster and Billie,” Werner Herzog with “Heart of Glass” and Theresa Russell with “Bad Timing.”

I will be introducing the U.S. theatrical premiere of a 4K restoration of Carlos Saura’s 1966 “The Hunt” and moderating Q&As with filmmaker Richard Kelly for the 20th anniversary of the Cannes cut of “Southland Tales” and actor Haley Joel Osment for a 25th anniversary 35mm screening of “A.I. Artificial Intelligence.” And The Times’ Joshua Rothkopf will moderate a Q&A with Aster for “Eddington,” while Amy Nicholson will talk to Aster for “Midsommar.

UCLA’s Festival of Preservation

A woman with an Afro deplanes.

Leslie Uggams in 1972’s “Black Girl.”

(UCLA Film & Television Archive)

The UCLA Festival of Preservation is one of the city’s most-longstanding and venerated events for film lovers, celebrating revered classics and rediscovered obscurities alike. This year’s edition, the 22nd, opens with the West Coast premiere of a new restoration of Ossie Davis’ 1972 “Black Girl,” an adaptation of J.E. Franklin’s successful play about thee generations of Black women.

Jose Luis Ruiz’s groundbreaking 1975 documentary on Latino immigrants, “The Unwanted,” will have a restoration world premiere. The restoration of Budd Boetticher’s 1955 melodrama “The Magnificent Matador,” starring Anthony Quinn and Maureen O’Hara, brings back the film’s stunning look in Cinemascope and Eastmancolor.

Andre de Toth’s 1948 thriller “Pitfall,” starring Dick Powell and Lisbeth Scott, will have a world premiere restoration. The series concludes with De Toth’s stylish romantic drama “The Other Love” from 1947 starring Barbara Stanwyck. The restoration reinstitutes the original ending of the film unseen by audiences since the 1940s.

Former Times critic Keneth Turan has made his own picks for what not to miss.

A tender coming-of-age romance

Two people flirt.

Vincent Spano and Rosanna Arquette in the movie “Baby, It’s You.”

(Paramount Pictures)

Produced by Amy Robinson and Griffin Dunne between their work on Joan Micklin Silver’s “Chilly Scenes of Winter” and Martin Scorsese’s “After Hours,” the 1983 movie “Baby It’s You” captures a number of rising talents at just the right moment. Only the third feature written and directed by John Sayles (and still his only movie made at a Hollywood studio), the film is a particularly smart take on the coming-of-age romance, with a sharp sense of time and place. It’s even shot by cinematographer Michael Ballhaus, fresh off his collaborations with Rainer Werner Fassbinder but before his long collaboration with Scorsese.

Set in late-1960s New Jersey, the story involves a good-girl high schooler preparing for college (Rosanna Arquette, who lights up the screen) who falls for a bad boy with few future prospects (Vincent Spano). The film will show on Wednesday in a 4K restoration at the Academy Museum with Arquette and Spano both scheduled to attend.

In a 1983 Times review, Shelia Benson said the film “explores questions of class and unequal opportunity with humor and tender insight,” adding that Spano and Arquette “together conjure up every improbable, love-struck couple who ever dazzled us ordinary mortals in the halls or at the senior prom.”

New this week

  • Kane Parson’s horror film “Backrooms” stars Renate Reinsve and Chiwetel Ejiofor in an adaptation of Parson’s own popular YouTube videos. As Amy Nicholson wrote, “Given that backdrop, ‘Backrooms’ would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art.”
  • Katie Walsh reviews the crime thriller “Tuner,” starring Leo Woodall as a piano tuner who gets in over his head with the wrong people. The film is the fiction feature debut from Oscar-winning documentary filmmaker Daniel Roher.
  • The latest music-themed film from Irish writer-director John Carney, “Power Ballad” is about a failed-to-launch songwriter (Paul Rudd) trying to get credit for the tune he co-wrote with a boy band star (Nick Jonas). Amy Nicholson reviews.

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Is ‘Terminator 2’ the best summer movie ever? Plus the week’s best films

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

There are, it goes without saying, a lot of movies out there. And so even for someone like myself, whose job is just to stay on top of them, sometime a title slips by. I had not taken much notice of “Is God Is” before it opened last week without playing any festivals in advance, but the reviews and conversation around it grabbed my interest. Once I realized that Tessa Thompson and Janicza Bravo were involved as producers, I made sure to carve out time to see the movie this week. And am I ever glad I did.

The debut as writer-director for Aleshea Harris (adapting her own play), “Is God Is” is among the most exciting movies released so far this year. Kara Young and Mallori Johnson are absolutely electric as twin sisters who set out to find the estranged, abusive father who abandoned them after leaving them and their mother horribly scarred in a fire. There is a volatile unpredictability to the storytelling that gives it a fresh energy. I saw it at a more-or-less empty matinee, but I’m glad I did. Catch this in theaters while you can.

35 years of ‘T2’

A woman points a gun.

Linda Hamilton in the movie “Terminator 2: Judgment Day.”

(Rialto Pictures)

As far as I’m concerned, James Cameron’s 1991 “Terminator 2: Judgment Day” is the quintessential summer movie. You can pay close attention or not, the special effects and action are amazing, the villains are sentient machines (shades of our AI-addled present) and it has a song by freaking Guns N’ Roses.

The main cast of Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Edward Furlong and Joe Morton are all perfectly tuned into the movie they are making, full of chaos, mayhem and just the right amount of thoughtfulness. (Morton and Hamilton in particular give the film an unexpected soulfulness.)

To celebrate the film’s 35th anniversary, the American Cinematheque is screening the film in 70mm, 35mm, 3D and DCP at different venues on different days. (Check carefully, as there have already been some schedule changes.) The Academy Museum will show the film on Wednesday in 4K with visual effects supervisor Dennis Muren and special effects creator Shane Mahan present. The film is also playing the Vista in 70mm June 6 and 7.

In his original 1991 review, Kenneth Turan wrote, “Most of all, what makes ‘Terminator 2’ come alive in a major way is Cameron’s intuitive understanding of the mechanics and psychology of action films. Unlike many of the wanna-bes who find themselves in charge of pictures these days, this is one director who really knows how to direct. … Cameron flamboyantly underlines, for those who may have forgotten, why the pure adrenaline rush of motion is something motion pictures can’t live for very long without.”

Lena Dunham before ‘Girls’

Two people hang out in a pipe at night.

David Call and Lena Dunham in the movie “Tiny Furniture.”

(Joe Anderson / IFC Films)

Lena Dunham recently published her second memoir, “Famesick,” a portrait of her rise to cultural prominence and media ubiquity and subsequent retreat from it, which makes this a perfect moment to revisit a key component of her initial ascent, the micro-budget 2010 feature “Tiny Furniture.” Made when Dunham was in her early 20s, the film is a deadly accurate portrait of post-collegiate ennui, shot partly in her parents’ NYC apartment, and remains fresh and startlingly insightful.

The Eastwood Performing Arts Center will be screening the film Friday and Saturday. The film is showing along with the “Welcome to Bushwick a.k.a The Crackcident” episode of Dunham’s series “Girls.”

I profiled Dunham at the time, having first encountered her at SXSW the year before when she was there with her film “Creative Nonfiction.”

“That movie is so personal,” Dunham said of “Tiny Furniture” during an interview from the New York production office of the pilot for what would become “Girls.” “It’s like I wrote it, I directed it, I star in it — if you don’t like the movie you don’t like me.”

With the lacerating self-awareness that made her a star, she added, “And I also understand there is something essentially unappealing about ‘girl makes movies about being a loser and then gets un-loserly things to happen to her.’ It’s a little absurd.”

More onscreen Bob Dylan

Three actors pose for the camera.

Rupert Everett, Fiona Flanagan and Bob Dylan in a production still for 1987’s “Hearts of Fire.”

(Skinner / Mirrorpix / Getty Images)

It was just a few weeks ago that we wrote about a program of Bob Dylan live concert footage. In honor of his 85th birthday, the American Cinematheque will be putting on another program of two oddball rarities from his long career.

Rarely screened in theaters, the 2021 film “Shadow Kingdom,” directed by Alma Har’el, was originally released to a pay-per-view streaming site. Though it purports to be a performance at the Bon Bon Club in Marseille, France, the film was actually shot on a soundstage in Santa Monica. The musicians on screen are not playing live and are not even the same musicians who played on the prerecorded tracks.

The whole thing is very confusing in a very Bob Dylan way, but also kind of incredible. With its Dust Bowl “Twin Peaks,” last-nightclub-on-Earth vibes and spare, haunting arrangements of many Dylan classics that he rarely plays at his own concerts anymore, it is a truly one-of-a-kind document.

The same could be said of the 1987 film “Hearts of Fire,” directed by Richard Marquand (who also helmed “Return of the Jedi!”) and screening in 35mm. In a rare acting turn, Dylan plays a reclusive musician who takes a young singer (Fiona) under his wing, only to have her fall for a pop star played by Rupert Everett. Let’s charitably call Dylan’s performance singular as he delivers every line as if he isn’t sure why he is in the movie. It’s still fascinating.

Kurosawa’s late masterpiece

A woman lifts a dagger.

Mieko Harada in Akira Kurosawa’s 1985 epic “Ran.”

(Rialto Pictures)

One of the highlights of the Academy Museum’s ongoing series on Japanese filmmaker Akira Kurosawa will be this weekend’s 35mm showing of 1985’s “Ran,” a retelling of Shakespeare’s “King Lear” shifted to 16th century Japan. Playing in 35mm in the big David Geffen Theater, it’s a chance to see a truly epic-scaled film under ideal conditions.

Reviewing the movie on its initial release, Kevin Thomas wrote, “‘Ran’ is a heroic saga of human destiny, a war movie with some of the greatest battle scenes in the history of the cinema, a costume drama of the utmost magnificence — and a crackling good samurai movie chock full of swordplay and palace intrigue.”

David Fincher’s secret soft heart

Two people have a conversation in front of a tree.

Gary Oldman and Amanda Seyfried in the movie “Mank.”

(Netflix)

The last couple months have been a real feast for Fincher-heads out there, with high-profile screenings of “Seven,” “Fight Club” and “Zodiac.” Now, David Fincher’s 2020 film “Mank” will be playing this weekend at the Vista. Because it came out during the pandemic (and was launched by Netflix), the film has only ever played a limited number of theaters, let alone in 35mm, which should do wonders for its black-and-white photography.

From a screenplay by Fincher’s father Jack, the film stars Gary Oldman as writer Herman J. Mankiewicz, working on the script for “Citizen Kane” with Orson Welles. Amanda Seyfried gives a vibrant performance as actor Marion Davies, who attempts to save Mankiewicz from his own worst instincts when it comes to her own paramour, mogul William Randolph Hearst.

In his review Justin Chang called the movie “very much a story about class divides and clashing egos, outsiders and insiders, striving and ambition, creation and authorship, and the thrill and loneliness of being the smartest guy in the room. … The off-kilter rhythms feel both immersive and agitated, as if Fincher were trying to both hypnotize you and jolt you awake with his lustrous Old Hollywood homage.”

New this week

A man in a purple hat makes arm gestures.

Director Boots Riley, photographed in Los Angeles in May.

(Ian Spanier / For The Times)

  • Amy Nicholson and Joshua Rothkopf finished out their time at this year’s Cannes Film Festival. (The awards will be announced over the weekend.) Amy took a look at what many have felt to be a weak program this year, while Josh spoke to Korean filmmaker Na Hong-jin, whose sci-fi action film “Hope” has a cast that includes Michael Fassbender and Alicia Vikander as space aliens.
  • I spoke to Boots Riley, a musician and political activist turned filmmaker whose new movie is “I Love Boosters.” Riley maintains a deep sense of political commitment in his work, one which he does not feel he has to betray by also making things that are entertaining and enjoyable.
  • The first new “Star Wars” movie in theaters since 2019, Jon Favreau’s “The Mandalorian and Grogu” is now playing. As Robert Abele put it in his review, “The brand is back together for ‘The Mandalorian and Grogu,’ which is a movie, a hoped-for franchise revival, a fourth season of sorts and an affable throwback. But it’s never quite riveting enough as canon or fodder to supplant anyone’s memories of [insert favorite “Star Wars” film here].”

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Russia launches hundreds more drones at Ukraine, killing three people | Russia-Ukraine war News

President Zelenskyy says rescue operations continue after Russia used ‘more than 1,560 drones’ during its overnight attacks.

Russia launched a barrage of missiles and drones targeting Ukraine’s capital Kyiv, killing at least three people and wounding 40 others, Ukrainian authorities have said.

The Ukrainian military said on Thursday that the overnight strikes hit six districts of Kyiv and another six in the surrounding areas. Deputy Prime Minister Oleksii Kuleba said attacks had targeted ports in the southern Odesa region and railways.

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In a post on X, President Volodymyr Zelenskyy said rescue operations were continuing following an attack on a nine-storey building in Kyiv after Russia launched “more than 670 attack drones and 56 missiles against Ukraine”.

“In total, since midnight yesterday, Russia has used more than 1,560 drones against our cities and communities. These are definitely not the actions of those who believe the war is coming to an end,” he wrote on Thursday.

“It is important that partners do not remain silent about this strike. And it is equally important to continue supporting the protection of our skies,” Zelenskyy added.

The mayor of Kyiv, Vitali Klitschko, said 40 people were wounded in the attacks, including two children, while Ukrainian emergency services said three people had been killed.

Reporting from Kyiv, Al Jazeera’s Audrey Macalpine said people are still feared trapped under the rubble of the building.

Macalpine said it was one of Russia’s largest attacks of the war, “in a single 36-hour period just by sheer number of drones”.

The attack comes as a setback for efforts to end the war after United States President Donald Trump raised faint hopes for peace by brokering a three-day ceasefire between Kyiv and Moscow last week, and Russian leader Vladimir Putin suggested the war could be winding down.

epa12956155 Ukrainian rescuers work at the site of a Russian strike on the nine-storey residential building in Kyiv, Ukraine, 14 May 2026, amid the Russian invasion. At least three people were killed, and ten people are missing, dozens of others (including a one-month-old baby) were injured after an overnight combined Russian attack with drones and missiles hit the Ukrainian capital, according to the State Emergency Service of Ukraine. EPA/SERGEY DOLZHENKO
Ukrainian rescuers work at the site of a Russian strike on the nine-storey residential building in Kyiv, Ukraine, 14 May 2026 [Sergey Dolzhenko/EPA]

The truce – put in place as Putin presided over a scaled-down military parade in Red Square to mark the anniversary of World War II victory – was marred by allegations of violations by both sides.

Ukraine and Russia launched long-range drone attacks immediately after it ended on Tuesday.

The Kremlin has poured cold water on the idea that Putin’s vague comments, issued Saturday, about the war “heading to an end” could mean a softening in Moscow’s position.

On Wednesday, it repeated its demand that Ukraine fully withdraw from the eastern Donbas region before a ceasefire and full-scale peace talks can take place.

Kyiv has rejected such a move as tantamount to capitulation.

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‘Our Land’ review: Lucrecia Martel unpacks a killing motivated by property

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In the fragmented mysteries of the great Argentine filmmaker Lucretia Martel, her explorations always start with sensory flashes: faces, spaces, objects, sounds in transfixing procession. The language is its own, resulting in disorienting but undiluted depictions of the worlds of modern elites (“La Ciénega,” “The Headless Woman”) and 18th century colonists (“Zama”) alike.

But now, with her first feature documentary, “Our Land (Nuestra Tierra),” Martel unravels a political crime and the larger offenses behind it with a vital clarity. The film is centered on the 2009 murder of Javier Chocobar, an Indigenous Chuchagasta man from Argentina’s northwestern Tucumán province, who was shot while defending his ancestral homeland from a thuggish incursion. The weight of the issue at hand — stolen land, territorial rights and the overdue recognition of a colonized country’s original peoples — brings out a tantalizing lucidity from the typically elusive Martel on a serious subject that requires discipline.

In one sense, she’s dealing with a rights issue too painful to be aggressively aestheticized, but she’s also exploring a blood-soaked injustice that can’t be treated conventionally. She begins, in fact, with rolling satellite images from space — as if to say: This appropriation of nature is the world’s problem, not just Argentina’s.

What follows, toggling between a courtroom and vast, contested land (filmed with dreamlike urgency by cinematographer Ernest de Carvalho), is a righteous, visually arresting swirl of fact and feeling, past and present. It’s also anchored by the stories of a community desperate to claim territory they’ve cultivated for centuries. “Our Land” is as honorable a documentary as you’re likely to encounter this year about what fighting looks like in today’s era of grab-what-you-can thievery.

First, we hear from the defendants, captured by Martel’s cameras at their 2018 trial in Buenos Aires (an unconscionable nine years after the shooting). The three accused men — a businessman and two ex-cops — flounder at positioning themselves as the true victims when their own handheld video of the incident shows otherwise: The confrontation with the Chuchagastas only escalated because they brought a gun. Their lawyers obnoxiously push a narrative of ownership versus trespassers, backed by reams of documents and tossed-around historical dates.

But as Martel patiently unfolds the Chuchagastas’ perspective — personal narratives that come to life in intimate photos, atmospheric sound design and warm home footage — we begin to understand that documents and files are a bogus battleground given their hundreds of years of careful tending. One community member distrusts dialogue to begin with, calling it a means to “give up something.”

“Our Land” is the work of a director whose attention is rigorous, whose care is genuine, but who is also conscious of her outsider’s perspective. It’s an ally’s respect. There’s no better proof of that than in her drone shots of this embattled community’s sun-soaked valley: elegant, purposeful, even awkward (a bird hits one) visitations from the air. They’re a reminder that she’s the filmmaker, surveying a story that belongs to others. Documentaries don’t get much more honest than that.

‘Our Land (Nuestra Tierra)’

In Spanish, with subtitles

Not rated

Running time: 2 hours, 3 minutes

Playing: Now playing at Laemmle Monica Film Center and Laemmle Glendale

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The weird allure of Altman’s ‘Popeye,’ plus the best films in L.A.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This newsletter is about going to the movies, of course, but it’s about writing and reading about movies, too. And so it was exciting news this week that Film Comment, the venerable but shuttered publication that helped foster cinephilia in America, would return as a quarterly online publication.

A complete archive is now available online, going all the way back to the earliest issues in 1962. Looking for landmark writings by Manny Farber, Paul Schrader, Richard Corliss, Amy Taubin, Jonathan Rosenbaum, Kent Jones or countless others? It’s all there and well worth digging into. I began my career as an intern at Film Comment, publishing some of my own earliest pieces, and still consider it a North Star for writing about movies. Its return is most welcome.

Agnès Varda’s bruising brilliance

A woman stands outdoors.

Sandrine Bonnaire in the 1985 movie “Vagabond.”

(Criterion Collection)

Though she became better known for her free-spirited, pixie-ish persona later in life, French filmmaker Agnès Varda was also capable of the bruising emotions of 1985’s “Vagabond,” arguably her greatest fiction feature and winner of the Golden Lion at Venice and the César for best actress for star Sandrine Bonnaire. Opening with the lead character found dead in a ditch, the film flashes backward to piece together her life from the memories of others, creating a fragmented portrait of an enigmatic young woman’s life.

Mezzanine will screen the film on Saturday at 2220 Arts + Archives, followed by a conversation between art critic Megan O’Grady and former Times staffer Carolina Miranda. Writing about the film in 1986, Sheila Benson said, “Just how Agnes Varda has kept ‘Vagabond’ from being a monumental downer is interesting, but she has. It is haunting. It is melancholy … but ultimately, beyond its central tragedy, it is an exhilarating film, the sort you leave burning to talk about with friends.”

A cartoon comes to life

A man with a corncob pipe speaks to a very thin woman.

Robin Williams and Shelley Duvall in the 1980 movie “Popeye.”

(Paramount Pictures / Getty Images)

It is one of the most deranged credit blocks imaginable: an adaptation of “Popeye” directed by Robert Altman, produced by Robert Evans, with a screenplay by Jules Feiffer, music by Harry Nilsson and starring Robin Williams and Shelley Duvall. When it was first released in December 1980, it was seen as too weird for kids and too naive for adults, but it has since been reconsidered as a unique snapshot of intersecting talents — a strange, wonderful, one-of-a-kind movie.

Vidiots will screen the film on Saturday afternoon with actors Paul Dooley and Donovan Scott, who played J. Wellington Wimpy and Castor Oyl. In our original 1980 review that is more positive than one might expect, Charles Champlin wrote, “Its difficulties arise not from a lack of ambition and innovation but from excesses of them.”

Neil Young + Devo = gloriously weird

A man in a striped shirt smiles next to a statue of a Native American.

Neil Young in the 1982 movie “Human Highway.”

(Shakey Pictures)

Neil Young’s place as a singer-songwriter and musician is unassailable — he’s an irascible, restless troubadour. But his sidebar work as a filmmaker, typically under the name Bernard Shakey, has had more sporadic and unpredictable output.

Young’s 1982 film “Human Highway” is probably the pinnacle of his work as a director, starring Young himself in an offbeat story of a small community in the shadow of a nuclear power plant. Dennis Hopper, Dean Stockwell, Devo and even former Times music critic Robert Hilburn all appear. Now Instant Image Hall will be screening the film on Saturday and Sunday along with a selection of Devo music videos in celebration of an exhibition at the MutMuz gallery.

After Young premiered a new cut of “Human Highway” a decade or so ago, I somehow found myself sitting across from him at a diner on a rainy midnight in downtown Toronto. (This job does have its moments.)

“My films are not super commercial, but they mean something to me,” Young said.

An Oscar-winning debut

Three people stand in front of a suburban house.

Shirley MacLaine, Debra Winger and Jack Nicholson in the 1983 movie “Terms of Endearment.”

(Paramount Pictures)

Part tearjerker, part family drama and part comedy, 1983’s “Terms of Endearment” trademarks a certain bittersweet tone that is still just pure magic. The story of a mother (Shirley MacLaine) and daughter (Debra Winger) across many years of ups and downs in their relationship, the film was the feature debut for James L. Brooks as writer-director and won five Oscars, including three for Brooks. The Academy Museum will play the film in a new 35mm print on Sunday afternoon.

When the movie came out on 4K disc in 2023, I spoke to Brooks about it. He talked about how even though it does have moments of great emotional weight, it was intended to play with a lighter tone overall.

“The whole thing was to make it as a comedy,” Brooks said. “The whole thing was to clock laughs. You had to, in order to do it right. And of course, once the audience leaves and it has its afterlife, it’s a drama because people are watching it alone. But I swear to you, in the theaters it was a comedy.”

A ’90s noir ripe for rediscovery

Three people sit tensely around a table.

Jason Patric, left, Bruce Dern and Rachel Ward in the 1990 movie “After Dark, My Sweet.”

(Kino Lorber)

Set in the Coachella Valley with the woozy feel of a day drunk and a sense of uneasy menace, 1990’s “After Dark, My Sweet” is an adaptation of the novel by pulp icon Jim Thompson, directed by James Foley.

Jason Patric, then only 23, stars as Kevin Collins, known as Collie, a former boxer who escapes from a mental institution and is now just drifting. He falls in with Fay (Rachel Ward), an enigmatic, lonely alcoholic widow, who in turn introduces Collie to a shady man known as Uncle Bud (a delightfully sleazy Bruce Dern). Soon Collie is ensnared in a plot to kidnap a sickly rich boy that immediately goes off the rails.

On Tuesday at Vidiots, there will be a screening of Patric’s personal 35mm print of the film — a gift he received some 20 years ago and has never watched before. (It is said to be in pristine shape.) Along with a video introduction from actor and filmmaker Alex Winter, there will be a Q&A afterward with Patric moderated by critic and scholar Travis Woods, who contributed a commentary track to a recent Australian Blu-ray release of the film.

Patric organized the screening as a tribute to director Foley, who died in May 2025 at age 71. “After Dark” landed in between Foley making “Who’s That Girl” with Madonna and the David Mamet adaptation “Glengarry Glen Ross.” Among his other credits are “At Close Range,” “Fear” and the last two “Fifty Shades” movies.

“He was a good friend of mine at the time,” says Patric on a recent phone call from Santa Monica. “I know this was his favorite movie and it was closest to him. It’s the only movie that he had actually written that he directed. And I thought the best way to do that is just to show the movie.”

Patric, who says Collie is his favorite character in a career that also includes “The Lost Boys,” “Rush” and “Your Friends & Neighbors,” was first given the script and in turn gave it to Foley; developed it further together, trying to retain the language of Thompson’s novel. (The screenplay is credited to Foley and Robert Redlin.)

“It’s really a subjective piece of filmmaking,” says Patric. “So as Collie’s figuring things out, the audience is figuring things out.”

In her original review of the film, Sheila Benson wrote that “Collie is one of those roles actors lust after, the damaged dreamer, maybe dumb, maybe dangerous, and Patric demolishes the conventions of the role with breathtaking skill.”

“After Dark, My Sweet” landed just ahead of the Tarantino-inspired crime movie boom of the mid-’90s, alongside such noir-influenced precursors as Dennis Hopper’s “The Hot Spot,” John Dahl’s “Kill Me Again” and Stephen Frears’ Thompson adaptation “The Grifters.”

“This is just such an exciting film to want to reintroduce to audiences,” said Woods in a call. “And to get the opportunity to see this film on the big screen, which most people haven’t had that opportunity for 36 years, it’s just one of those really cool, really only in Los Angeles cinematic moments.”

New this week

A woman stands in front of a leafy backdrop.

Argentinian director Lucrecia Martel, photographed at the Sunset Marquis in April.

(Jason Armond / Los Angeles Times)

  • The unlikely duo of James Cameron and Billie Eilish co-directed a 3D concert film drawn from Eilish’s 2025 tour, “Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D).” Film critic Amy Nicholson and pop music critic Mikael Wood traded their thoughts on the movie.
  • Argentinian director Lucrecia Martel is among the world’s most accomplished filmmakers and the true crime tale “Our Land (Nuestra Tierra)” is her first documentary. Carlos Aguilar spoke to Martel about it.
  • “Mad Bills to Pay” expands to multiple Laemmle venues after a weekend run in the Vidiots microcinema. Carlos Aguilar spoke to director Joel Alfonso Vargas about portraying the Dominican American community in the Bronx.

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