90s movie actress Ashley Judd looks worlds away from her Hollywood days as she rings in her birthday and sings into a hairbush.
The iconic star celebrated her 58th birthday in May and took to Instagram to share a note with her fans.
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90s movie star Ashley Judd looks worlds away from Hollywood as she sang into a hairbrushCredit: InstagramThe actress turned 58 last monthCredit: Instagram
She was one of the most popular actresses in the 90s and has a strong filmography of work to prove it.
Ashley shared a video of herself singing into a hairbrush as she danced away in her garden with loved ones on her special day.
She popped her grey locks into ponytails as wore a navy plaid dress and went make-up free.
The actress also posted snaps of herself sat in front of a birthday cake as well as being serenaded by a group of musicians who played their instruments for her.
These days Ashley spends her time working as an activist and humanitarian and is an ambassador for UNFPA (United Nations Population Fund), which is a sexual and reproductive health agency.
She isn’t the only famous person in her family as she’s the daughter of country music singer Naomi Judd.
Her half sister Wynonna also forayed into the country music world.
Maybe you can use a laugh this morning. Maybe you’re still deep in your feelings, thinking about the “Hacks” series finale and that shot of Hannah Einbinder looking at Jean Smart on the dance floor, grief seeping into her eyes. Maybe you’re lamenting the chaos at our treasured national parks. Hell … maybe you took out a loan to buy a tomato over the weekend.
If you’re feeling down, Gary Oldman would like a word. And that word is: Hufflepuff.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few weeks as we navigate our way through Emmy season.
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Digital cover story: The world according to Gary
(Jennifer McCord / For The Times)
Gary Oldman is a Hufflepuff.
Never mind that the 68-year-old actor, who played the rebellious, impulsive wizard Sirius Black in the Harry Potter film franchise, couldn’t tell you the difference between a Hufflepuff and, say, a Gryffindor.
When journalist Josh Horowitz reads a list of core personality qualities — loyalty, hard work, patience, fairness, dedication — and asks Oldman if that describes him, he nods his head.
You’re a Hufflepuff.
“I’m a Hufflepuff?” Oldman says, trying the word on for size. He likes it. “I’m a Hufflepuff!”
This video clip is a favorite of mine, one I could watch on a loop for the sheer delight Oldman takes in pronouncing the word Hufflepuff.
It’s easy to see why Oldman takes such pleasure in being a granddad these days, one of the things we talked about at length not long ago for an Envelope digital cover story. He can access his silly side with ease.
I asked Oldman about the upcoming HBO “Harry Potter” television series, a decade-spanning endeavor that will spend a season adapting each of J.K. Rowling’s seven fantasy books.
“I’ve seen a trailer for it, and I think it’s a great idea,” Oldman says. “They’re doing the whole book, which I love, because there were a lot of wonderful things, fabric and character detail, we had to lose for the sake of telling the story in two hours.”
Would Oldman be keen to don a distressed velvet overcoat again and participate in the reboot?
“I don’t think they want any of us from the movies contaminating or muddying the waters,” Oldman says, pleasantly. “Besides, I’m too old.”
But with AI, is anyone too old now? Oldman could drop into “Harry Potter and the Prisoner of Azkaban” and look like he hasn’t aged a day since the movie was released 22 years ago.
“I don’t know where we’re going with it because it seems to advance every week,” Oldman says. He ponders the advances made since Martin Scorsese used digital deaging in his 2019 film “The Irishman.”
“I think that was the least successful thing about it,” Oldman says of the technology, “and I’ve been a huge Martin Scorsese fan forever. Ultimately, I don’t know why they wanted to make [Robert] De Niro’s eyes blue.” He pauses, considering the change and why it bothered him. “I guess it’s a blue-eyed Irishman. If I had one negative takeaway, it would be that.”
Oldman prefers directors like Christopher Nolan, whom he worked with on the “Dark Knight” movies and “Oppenheimer,” who think technology should be used sparingly to enhance the storytelling.
“Otherwise it leaves me a bit cold,” he says. “You’re just looking at ones and zeroes.”
“I don’t want to be replaced entirely,” Oldman continues, shaking his head. “I don’t think anyone does.”
Not every summer movie needs to be a mystery that unfolds hallway after hallway, with a creature hiding around every corner ready to pop out. But maybe the best one is: “Backrooms,” opening May 29 and directed by 20-year-old phenom Kane Parsons. We chatted with him about how he got to make his big debut for A24. Apart from that inspiring story, what can we hope for at the multiplex? We asked our staffers for their dreamiest expectations and they didn’t hold back: space epics, Matt Damon in a helmet and, yes, a “Jackass” movie. Read on and let this be your guide.
‘The Mandalorian and Grogu’
(May 22)
Pedro Pascal, left, and Sigourney Weaver in the movie “The Mandalorian and Grogu.”
(Lucasfilm)
TV’s “The Mandalorian” premiered in 2019 and was the first live-action series in “Star Wars” history. Now, the next adventure of the fierce bounty hunter and his adorable young charge will be the franchise’s first big-screen installment since the sequel trilogy wrapped with “Episode IX — The Rise of Skywalker.” I, for one, am excited that Grogu, with all his snackish charm, has been promoted to title-character status along with Pedro Pascal’s more stoic Din Djarin. The movie will also introduce Sigourney Weaver as Col. Ward, a former Rebellion pilot turned New Republic leader, and Jeremy Allen White as grown-up Rotta the Hutt, Jabba’s son, who debuted as an infant in the animated “Star Wars: The Clone Wars.” — Tracy Brown
‘Masters of the Universe’
(June 5)
Nicholas Galitzine in the movie “Masters of the Universe.”
(Giles Keyte / Amazon MGM Studios)
Our opinions of Hollywood’s dip into the nostalgia well may vary, but it’s easy to want to feel the kind of joy that a game or toy brought us when the world felt less complicated. He-Man’s best stories so far may have been on animated TV, but I have enough childhood memories of smashing the character’s action figure against others that I’m curious about how he’ll play in the big-screen sandbox. Starring Nicholas Galitzine as a wayward Prince Adam trapped on Earth, “Masters of the Universe” adds a contemporary twist and some modern sensibilities to the lore. With Laika Studios vet and “Bumblebee” director Travis Knight at the helm, I’m expecting a sweet balance of humor and heart. — Tracy Brown
‘Disclosure Day’
(June 12)
Emily Blunt in the movie “Disclosure Day.”
(Niko Tavernise / Universal)
Nearly half a century after “Close Encounters of the Third Kind” and decades on from “E.T.” and “War of the Worlds,” Steven Spielberg is still looking to the skies — and we still want to know whether to be excited or terrified by what he sees. His latest brings extraterrestrial life into the realm of ’70s conspiracy thrillers. (Screenwriter David Koepp has compared it to paranoia pieces like “Three Days of the Condor.”) Emily Blunt plays a Kansas City meteorologist who begins receiving a signal from beyond Earth, while Josh O’Connor is a government employee on the run with information that powerful people are trying to keep hidden. If Spielberg’s earlier UFO movies gave us awe, comfort and catastrophe, this one feels like an encounter of a fourth kind: What happens when the cover story breaks? — Josh Rottenberg
‘The Death of Robin Hood’
(June 19)
Hugh Jackman in the movie “The Death of Robin Hood.”
(A24)
Go to the beginnings of Hollywood and there are Robin Hood movies: Douglas Fairbanks, Errol Flynn, some shorts from even earlier. And it’s a safe bet that, as long as there’s pull to the idea of stealing from the rich and giving to the poor, there will be more to come. Quietly, writer-director Michael Sarnoski has made a niche for himself as a storyteller of regrets, of roads not taken. His 2021 restaurant memory drama “Pig” gave Nicolas Cage his subtlest dialogue in years, while “A Quiet Place: Day One” had no business being as believably haunted as it was. Sarnoski is the perfect person to do a retelling tilted toward the end of a rampager’s life. Hugh Jackman embodies the role with a rough dignity. — Joshua Rothkopf
‘Leviticus’
(June 19)
Stacy Clausen, left, and Joe Bird in the move “Leviticus.”
(Neon)
Unlike many tales of demonic possession, Adrian Chiarella’s feature debut lingers in the mind for being so recognizably close to home; it doesn’t need to crab-walk into the room, spin its head 360 degrees and announce itself as evil. In a small, backwards Australian community, coming of age and coming out evince fear in the Christian townsfolk. Two teenage boys (Stacy Clausen and “Talk to Me’s” writhing standout Joe Bird) keep their attraction to themselves. Even so, a violent curse bedevils them, a sophisticated feat of careful writing and directorial sensitivity that sets Chiarella apart from the gorehounds. Let’s also cheer the return of Mia Wasikowska, stepping back confidently. — Joshua Rothkopf
‘Maddie’s Secret’
(June 19)
John Early in the movie “Maddie’s Secret.”
(Magnolia Pictures)
An affectionate throwback to overly earnest TV movies (and a knowing send-up of over-the-top bad-girl flicks), this film marks the feature debut as writer-director for comedian John Early, who also stars. With a cast drawn from comedy-scene friends such as Kate Berlant and Conner O’Malley all tuned into a very specific wavelength, the movie somehow surpasses conventional notions of camp and irony to exist in a genuinely unique space all its own. As Maddie, an aspiring L.A. food influencer battling a secret eating disorder, Early’s performance will undoubtedly remain one of the most distinctive and original of the year, by equal turns outrageously funny and tenderly vulnerable, often in the same moment. — Mark Olsen
‘The Invite’
June 26
Olivia Wilde, Seth Rogen, Penélope Cruz and Edward Norton in the movie “The Invite.”
(A24)
Olivia Wilde’s dinner-party dramedy made good on its considerable promise when it premiered at Sundance in January, earning a standing ovation and tears (of relief? joy?) from Wilde as she took the stage. Wilde and Seth Rogen play longtime marrieds harboring a laundry list of resentments who host their upstairs neighbors (Penélope Cruz, Edward Norton) for an evening of fun. At least it starts off that way, but of course, the gathering quickly sours, leaving us rubbernecking the damage. Wilde navigates the tonal shifts with authority, delivering surprises along the way, including an ending that somehow delivers hope for the institution of wedlock. Am I overselling it? Would I cry Woolf to you? — Glenn Whipp
‘Jackass: Best and Last’
(June 26)
Johnny Knoxville, right, in the movie “Jackass: Best and Last.”
(Paramount Pictures)
Johnny Knoxville and his band of professional bad decision-makers are calling this one their final hurrah and, really, can you blame them? The original “Jackass” crew are now in their 50s, long past the point when being shot out of cannons and zapped with tasers seems like a sensible career plan. Knoxville himself was hospitalized with a brain injury after being flipped by a bull during the filming of 2022’s “Jackass Forever” and has said he can’t risk another concussion. This send-off mixes new stunts with archival footage, promising the usual outlandish pranks and blunt-force impacts to sensitive bodily regions. If this really is the end for the franchise, it’s hard to argue they didn’t push it as far as it would go. — Josh Rottenberg
‘Supergirl’
(June 26)
Milly Alcock in the movie “Supergirl.”
(Warner Bros.)
No diss to last summer’s charmingly square “Superman,” but the funniest scene in the movie was Milly Alcock’s 45-second cameo as Kal-El’s cousin Kara, who stumbled into his Fortress of Solitude to collect her dog Krypto still hungover from an outer-space bender. (“This is why he has behavioral issues,” Superman said with a sigh.) Now, she and the mutt have their own movie and zero pressure to represent truth, justice and a better tomorrow. Ana Nogueira’s script appears to be a riff on the 2021 comic-book miniseries “Supergirl: Woman of Tomorrow,” in which the blond‘s birthday bacchanal takes a U-turn after Kara aligns with an alien child (young Eve Ridley from “3 Body Problem”). It’s basically an intergalactic “True Grit.” My one concern is that director Craig Gillespie made the too-squishy “Cruella.” Here’s hoping “Supergirl’s” tone is more sour than sweet. — Amy Nicholson
‘The Odyssey’
(July 17)
Matt Damon in the movie “The Odyssey.”
(Melinda Sue Gordon / Universal Pictures)
As the follow-up to his “Oppenheimer” — which won Oscars and made nearly $1 billion — Christopher Nolan has gone from an ambitious story about the creation of the nuclear bomb to an even more ambitious story rooted in the origins of literature. Adapting Homer’s ancient Greek saga, Nolan has created an epic to end all epics: the tale of a king struggling to return home after years away at war. With an absolutely stacked cast and told at a massive scale, “The Odyssey” indicates that Nolan seems to trust that modern audiences will respond to a 3,000-year-old tale, and that some aspects of the human experience truly are eternal. — Mark Olsen
‘I Want Your Sex’
(July 31)
Cooper Hoffman and Olivia Wilde in the movie “I Want Your Sex.”
(Lacey Terrell / Magnolia Pictures)
A new Gregg Araki movie loaded with sex and bad choices? What a rare and wonderful summer treat. (It’s the indie provocateur’s first feature in more than a decade.) An unhinged Olivia Wilde as the ultimate bad boss — an art star hoping to recapture some edge — gets you in the door. But Araki has shaded in the margins masterfully, with vivid supporting turns by Chase Sui Wonders, Daveed Diggs and the now-ubiquitous Charli XCX. And it’s Cooper Hoffman, in a performance as flustered as his impresario in “Licorice Pizza” was confident, who commands the movie, topping from the bottom. Araki’s sensibility is, if anything, wiser now, though he’d probably flinch at the word. Brace for inappropriateness. — Joshua Rothkopf
‘Spider-Man: Brand New Day’
(July 31)
An image from the movie “Spider-Man: Brand New Day.”
(Sony Pictures)
It’s been five years since our friendly neighborhood webslinger’s last big-screen adventure and a lot has changed in the Marvel Cinematic Universe. But it appears things have pretty much stayed the same for Peter Parker (Tom Holland). His last adventure involved him staving off a multiversal crisis by making everyone in the world forget him, including his best friends MJ (Zendaya) and Ned (Jacob Batalon). “Spider-Man: Brand New Day” picks up a few years later, with Peter still protecting the streets of New York as a masked superhero while his friends continue to live their lives unaware of what he once meant to them. Can some mutating DNA be the catalyst for a happy reunion? I hope so. — Tracy Brown
‘One Night Only’
(Aug. 7)
Monica Barbaro and Callum Turner in the movie “One Night Only.”
(Nicole Rivelli / Universal Pictures)
“The Purge”… but hot? That’s the pitch behind Will Gluck’s high-concept romantic comedy in which singles are eager to hook up on the one night a year when premarital sex is legal. The original story by Travis Braun was ranked No. 1 on the 2024 Black List of the best unproduced screenplays. While “that Gluck magic” doesn’t have quite the flow of the “Lubitsch touch,” he’s already directed one of the best modern rom-coms (“Easy A”) and one of the most lucrative (“Anyone but You”). Those films crowned Emma Stone and Sydney Sweeney as official movie stars. I’d love to see this film’s ingenue, Monica Barbaro, ascend to their ranks. Barbaro excelled in the Bob Dylan biopic “A Complete Unknown,” where her hard-to-impress Joan Baez earned her an Oscar nod for supporting actress. This is her chance to seduce the audience as well as her onscreen co-star Callum Turner. I’m eager to commit. — Amy Nicholson
‘Teenage Sex and Death at Camp Miasma’
(Aug. 7)
Hannah Einbinder, left, and Gillian Anderson in the movie “Teenage Sex and Death at Camp Miasma.”
(Ryan Plummer / Mubi)
Jane Schoenbrun has become one of the freshest new voices in American independent filmmaking with 2021’s “We’re All Going to the World’s Fair” and 2024’s “I Saw the TV Glow,” transforming pop-culture obsessions into emotional explorations of identity and self-discovery. Promising to turn the summer camp slasher movie inside-out, their latest effort is about an up-and-coming director (“Hacks” star Hannah Einbinder) who entreats a faded scream queen (Gillian Anderson) to return to the horror franchise that once made her a star. Einbinder and Anderson locked into a psychosexual transference story already feels plenty potent. Put that setup in the anything-goes hands of Schoenbrun and it should make for a combustible combination of genre, persona, desire and fun. — Mark Olsen
‘The End of Oak Street’
(Aug. 14)
From left, Ewan McGregor, Christian Convery, Maisy Stella and Anne Hathaway in the movie “The End of Oak Street.”
(Warner Bros. Pictures)
Do you ever look out your window and, tired of the same old view, long that you could just pick up and live somewhere else? I don’t know if Anne Hathaway’s character in David Robert Mitchell’s “The End of Oak Street” has ached for that kind of change, but it sure seems to have found her and her family in this tale of a suburbia transported to … prehistoric times? To another dimension, a dimension of sound, a dimension of sight, a dimension of mind? I do not know. I do not want to know. I do know that there is a dinosaur giving chase. And Ewan McGregor looks alarmed. And Mitchell is the weirdo writer-director behind “It Follows” and “Under the Silver Lake.” That’s all I need. — Glenn Whipp
‘The Dog Stars’
(Aug. 28)
Jacob Elordi in the movie “The Dog Stars.”
(Fabio Lovino / 20th Century Studios)
Director Ridley Scott long ago secured his place in film history with “Alien,” “Blade Runner” and “Gladiator.” The fact that he’s still at it at 88 makes each new film feel like an event. His latest adapts Peter Heller’s 2012 novel set in the aftermath of a pandemic that’s nearly wiped out humanity. Jacob Elordi, hot off “Frankenstein,” plays Hig, one of the few immune survivors, a pilot living at an abandoned airfield with his dog and a heavily armed survivalist (Josh Brolin). Hig’s days are spent flying perimeter patrols, scanning for signs of life — or trouble — until he encounters Margaret Qualley’s Cima, a medic guarding her own small foothold in the ruined world. Scott has called the film hopeful, which may be the most intriguing part: a post-apocalyptic story about why anyone bothers to keep going. — Josh Rottenberg
“Pressure,” the new World War II movie from director Anthony Maras and writer David Haig, is a hyperfocused look at the days leading up to D-day with a special focus on the weather. It’s a one-setting thriller that unspools in the pressure-cooker environment of General Dwight D. Eisenhower’s war room at an English country estate. The movie works backward from a famous 1961 Eisenhower quip to JFK that attributed his success in Normandy, France, to the Allies having “better meteorologists than the Germans.”
If you’re skeptical about how exciting a movie about the weather on D-day might be, “Pressure” takes that as a creative challenge, an argumentative stance from which to start. For the next hour and 40 minutes, Maras and co-writer Haig, who also wrote the 2014 play from which the film is adapted, explain to us exactly how important the meteorologists of D-day were, beginning with the disastrous D-day rehearsal Exercise Tiger.
With the weather app at our fingertips these days, it can be hard to imagine just how difficult it was to forecast the weather in the 1940s, especially in Northern Europe. That was the predicament facing Eisenhower (Brendan Fraser) just 72 hours before the planned D-day launch of June 5, 1944. But we know that D-day happened on June 6, so the arrival at that date is part of the film’s narrative intrigue.
After a devastating glimpse of Exercise Tiger, red blood mixing with blue ocean waves and white sandy beaches, we’re quickly introduced to our protagonist, Group Capt. Chief Meteorologist James Stagg (Andrew Scott), in his cozy home with his pregnant wife before he’s swept into critical war planning.
He’s stern, terse and no-nonsense. Stagg is the kind of person who wants to be correct more than he wants to be liked and he insists on a careful collection of live data, using weather balloons, phone calls and mathematical charting. His foil is Col. Irving Krick (Chris Messina), a charming American meteorologist and Eisenhower’s chosen weather guru, a yes man who relies on selective historical data and a persuasive speaker whose approach rankles the fastidious Stagg. Eisenhower instructs the two men to come to an agreement and “Pressure” follows the ups and downs of their working relationship over the course of several days.
The movie becomes a two-hander between Scott’s Stagg and Fraser’s Eisenhower, the former convinced that a storm on June 5 will make conditions less than ideal, the latter raging at the uncertainty while simultaneously attempting to placate a phalanx of military personnel. The troops are requisitioned, the destroyers in place, the full moon just right, the secrecy of the invasion delicate. Fraser’s explosive performance underlines the immensity of the stakes, balancing every precarious element of this enormous mission.
Maras, who is known for another terrific one-setting thriller based on a true story, 2018’s “Hotel Mumbai,” both directs and edits and his films are put together like precision clockwork: propulsive and relentless, the pace italicized by Volker Bertelmann’s scores. “Pressure” is skillfully directed, sweeping us into this world with a kind of addictive immediacy, and is also beautifully lensed by cinematographer Jamie Ramsay. Maras and Ramsay make the wise choice to shoot the film with richly saturated color instead of the usual grayish, desaturated look often assigned to period pieces set in this era. It’s not gritty and harsh, but rather stunning and lovely — an eerie contrast to the terror and bloodshed of the day itself.
While Fraser delivers an external performance as the tough American general, Scott offers a restrained, mostly tamped-down depiction of the repressed and methodical Stagg. But when he finally bursts with a cathartic eleventh-hour speech about the inaccuracy of Krick’s historical forecast, Eisenhower listens. Scott, as seen in “All of Us Strangers” and “Blue Moon,” is so good at this kind of acting, processing every emotion internally but allowing just enough to show to let the audience into his character’s emotional state. It’s wildly compelling to watch.
In a quiet conversation with Eisenhower’s close confidant and aide, Kay Summersby (Kerry Condon), she jokes that weathermen are boring. Stagg reminds her that the weather itself isn’t. Weather feeds us, it can destroy us — it rules our existence, he says. “People ask, ‘When will the wind stop blowing?’ No one ever asks, ‘Why does the wind blow? What is the wind?,’ ” revealing himself as a sort of philosophical poet of the weather. His forecast was the crucial edge in D-day and the volatility of the weather is increasingly relevant in our lives, especially with our changing climate.
Boring? Never. Thrilling and history-making? Indeed.
Katie Walsh is a Tribune News Service film critic.
‘Pressure’
Rated: PG-13, for war violence, bloody images, some strong language, and smoking
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
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.
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’
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
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.
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.
Cary Elwes may not have been born in Los Angeles, but it’s probably fair to consider the native Brit an honorary Angeleno. The “Princess Bride” star was born in and spent his formative years kicking around London; he moved to L.A. in 1990, on his brother’s recommendation. He met his wife, photographer Lisa Marie Kurbikoff, at a cookoff in Malibu about a year later and the two married in 2000. A daughter, Dominique, arrived in 2007.
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Elwes has spent his years in California not just establishing his family life, but also further enmeshing himself in Hollywood. He’s appeared in everything from “Saw” to “Ella Enchanted,” and played a corrupt government agent in a couple of “Mission Impossible” movies. His latest role is as a former cop turned private detective in Peacock’s new crime thriller, “M.I.A.,” streaming now.
“I’ve been out here for quite a bit now and while [2025’s] fires were pretty devastating — changing a lot of the landscape and people’s lives in ways that none of us could have imagined — I’m hopeful,” Elwes says. “I feel like we’re going to build back stronger and better. Things can seem dark sometimes, but I still have a spark of hope in my heart.”
Here’s how Elwes would spend his perfect, hopeful Sunday in Los Angeles.
This interview has been edited for length and clarity.
10 a.m.: Coffee and a chat
We wake up around 10 a.m., which is kind of late for me. Then we’ll have our coffee. I tend to lean toward Gelson’s beans, which I find have a particular flavor I tend to like. I do like my coffee. It’s probably the only addiction I really have.
Anyway, after I finish up my coffee, I’ll typically ask my wife and daughter what they’d like to do for the day. My daughter is 19, and she’s terrific. I always tell my wife she’s the best production we’ll ever do together.
Noon: Leisurely lunch
My wife is very fond of this Italian restaurant in Woodland Hills called Casaléna. It’s right off Ventura Boulevard and it’s terrific. Even their salads are extraordinary. It’s fairly new, too, but it’s always booked out solid so you really have to make a reservation in advance. Luckily, my wife and daughter are organized, so if they want to go there, they’ll have planned ahead.
2 p.m.: Head to the movies
We like to go see movies at the Imax at Universal CityWalk. The quality of that theater is very, very good and seeing films on the biggest screen possible is important to us.
My wife and I went on a date to see “Michael” in Imax, which was sold out and it was phenomenal. Antoine Fuqua did a great job and our friend Colman [Domingo] was honestly transformative as Joe Jackson. And Jaafar Jackson, who’s Michael’s nephew, is remarkable. It’s an extraordinary film, but sold out with people cheering and dancing? That made it a phenomenon. People were interacting with the movie as it played and it was remarkable.
If we’re not interested in whatever’s playing at the time, we might go for a hike in Tapia Park. I grew up watching “MASH” as a kid and when I realized they filmed there, I thought “How blessed am I to be living just a few miles from where such an iconic series was made?”
It’s a really beautiful park too. If you take a long hike, you’ll see waterfalls and lots of wildlife. On a nice afternoon, taking the dog out there for a walk? You can’t beat it.
There’s so much rich history here. I remember going on the Universal Studio Tour for the first time when I visited L.A. as a kid. They had a thing where they’d pick a couple of tour guests and the guide would put you on camera in front of a blue screen and you’d reenact a scene from a movie. The tour also took you by the “Jaws” shark coming out of the water and through an old western town, and I found out years later that a director friend of mine had been making westerns there when I was a kid and I didn’t even know it.
That tour was fantastic. With parting the sea for “The Ten Commandments” and then the boulders coming down the hill during the rockslide? Absolutely magnificent.
5 p.m.: Pick a Getty, any Getty
Depending on what time our movie ends or if we just end up going for a walk instead, we might go over to the Getty Center. We love it there. Usually we’ll go in the afternoon — maybe we’ll have a late lunch up there — and sometimes we’ll go to the Getty Villa instead, which luckily survived the Palisades fire.
We just love being around art. We’ll walk through the entire collection, plus whatever exhibit they have on at the time. We’ll go to LACMA sometimes, too, or even the Academy Museum to see whatever new exhibits they have.
Culturally, we really try to keep busy. Sometimes we’ll want to sit at home and play Spite and Malice or watch a show on TV, but mostly I try to go out and encourage my family to do the same, especially because we live in such a wonderfully diverse, cultural city.
7 p.m.: Taco time
I always leave meal decisions up to the girls, and sometimes they like to go out and get tacos. We like the fish tacos at Escuela. It’s pretty close to Quentin Tarantino’s movie theater, the New Beverly Cinema, which we like to go to as well. I took my daughter to see “Jaws” there, in fact, which she loved.
9 p.m.: More movies
I’m trying to educate my daughter in the films and TV shows that I watched growing up. She’s taking a film history class in school. She wants to be an actor as well, so I want her to have an understanding of the history of film and history of performance, so I show her the great performances that inspired me as a kid and encourage her in that way.
When I grew up in England, we literally had two channels, both in black and white. Young people can’t quite wrap their heads around that now, but it really did make you pay attention because you had to be sitting in front of the television to catch a show or movie you wanted to watch.
I remember that the BBC, particularly on weekends, would have matinee screenings of movies. We actually had pretty good quality TV in England growing up, but they’d also heavily focus on British films from the ‘40s all the way through to the ‘60s so I got my education from that particular style of films, like the postwar films, ‘50s films, and the Ealing comedies. David Lean and Laurence Olivier, Ralph Richardson … a lot of the films they were in or directed really helped shape who I am today.
Alec Guinness and Peter Sellers had a very strong influence on me as a kid, too, so I really want to try to share with my daughter why these films meant so much to me.
10:30 p.m.: Books in bed
I’m not really a late-night person anymore. I used to be when I was a kid, but now, unless we’re out on a date, my wife and I are homebodies.
After a nearly seven-year absence from theaters, Star Wars proved it still has the Force, as the latest installment, “The Mandalorian and Grogu,” is on track to earn an estimated $102 million in the U.S. and Canada for the Memorial Day weekend.
Globally, the film was on track to pull in $165 million for the four-day holiday weekend.
Director Jon Favreau’s “The Mandalorian and Grogu” now ranks as the year’s third-highest grossing domestic opening, based on its Friday-Sunday ticket sales of $82 million, according to ticket tracker Comscore.
The results are likely a relief to Walt Disney Co.-owned Lucasfilm, which had not released a theatrical Star Wars film since 2019’s “Star Wars: Episode IX — The Rise of Skywalker.”
Since then, the San Francisco-based studio has largely focused on its Star Wars streaming shows, which have included both live-action and animated series. Some of those shows received mixed reviews, though “The Mandalorian” and “Rogue One” spin-off “Andor” were breakout hits, praised by critics and largely revered by fans.
The movie — starring Pedro Pascal, Sigourney Weaver and Jeremy Allen White — benefited from positive reviews from moviegoers, but it stopped short of shattering expectations. Its initial financial performance was on par with the disappointing 2018 opening weekend for “Solo: A Star Wars Story.” That film notched $103 million in its opening weekend.
Box office revenue for “The Mandalorian and Grogu,” which played in 4,300 theaters, will be just one indicator of the movie’s success.
The Burbank entertainment giant is counting on the film to boost other parts of its business, including views of Star Wars shows on the Disney+ streaming service, its gaming collaboration with Fortnite and its all-important theme parks sector. The main characters are present in the Star Wars: Galaxy’s Edge-themed land, and the Millennium Falcon: Smugglers Run ride has been overlaid with a new “Mandalorian and Grogu” storyline at Disney parks in Anaheim and Orlando.
The weekend ticket sales underscore the enduring appeal of Star Wars, which remains among Disney’s top five franchises, producing more than $1 billion in annual retail sales.
Reception for the film was seen as critical to keeping the franchise fresh in moviegoers’ minds, particularly as Disney prepares for the upcoming 50th anniversary of Star Wars and a new movie starring Ryan Gosling set for next year.
Locally, “The Mandalorian and Grogu” is the first Star Wars movie to be made entirely in Los Angeles.
The film received a state tax credit to film in the Golden State, Favreau said at the premiere last week.
“The Mandalorian and Grogu” faced little new competition at the box office this Memorial Day weekend. Rival studios largely stayed on the sidelines, with no other potential blockbuster debuting at the same time.
Focus Films’ horror hit “Obsession” came in second at the box office with $22.4 million for its three-day total, according to Comscore.
Lionsgate’s blockbuster Michael Jackson documentary, “Michael,” snared $20 million, bringing its total to $314 million. “The Devil Wears Prada 2” came in fourth with $12.6 million, bringing its purse to $196 million since it opened earlier this month.
Amazon’s MGM studio’s “The Sheep Detectives” rounded out the top five with nearly $9 million.
The deadpan comedian sailed through to the Season 2 finale, outlasting the show’s returning champion, Bob Mortimer. He went toe-to-toe with David Mitchell in the final episode, with neither comedian breaking as they fed each other buffet food.
It resulted in an unprecedented tie-breaker in which the person who made the most people laugh over the course of the series was awarded the crown, meaning David scooped the win while Sam was awarded the runner-up title.
Sam is set to return to TV screens again in just a few days with his brand new comedy series, but what is it about, when is it released, and who is in it? Here’s everything you need to know.
What is Make That Movie about?
The six-part Channel 4 comedy series follows a director called Sam (played by Sam Campbell) who attempts to make feature films based on the weird and wonderful ideas of everyday people. He goes on a trip around the country seeking out people to share their ideas with him, before attempting to make their movies in just three days.
While Sam appears to play himself, the series is a scripted comedy show and not real life. Alongside Sam in the cast are Michell and Webb Are Not Helping star Lara Ricote as runner Jess, and Am I Being Unreasonable’s Helen Bauer, who plays sound engineer Pat.
Meanwhile Aaron Chen (Fisk) plays intimacy coordinator Sebastian and This Country’s David Hargreaves takes on the role of cinematographer Winnie.
The series is directed and co-written by Joe Pelling who may already be known to some as the director of nightmarish comedy-horror puppet show, Don’t Hug Me I’m Scared.
Make That Movie’s release date and time
The very first 30-minute episode will air on Channel 4 on Thursday, May 28 at 10pm. The second episode will be broadcast immediately after at 10.30pm.
Announcing its release date, Sam posted: “This show is on channel 4. 28th of May ~ so pretty soon in fact. We hope it wets so many people’s whistles. Hopefully not a dry whistle left in the whole world. Hopefully. Please watch.”
A flurry of excited fans were quick to comment, with one penning: “I don’t understand any of this but that’s okay, I trust Sam,” in reference to Sam’s surreal comedy style.
“Nathan Fielder has been real quite since this dropped,” joked another. “Can’t wait for this dynamite series!” a third fan remarked.
Make That Movie begins on Channel 4 on May 28 at 10pm.
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’
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’
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
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
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
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
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].”
In a squeaker race for Cannes’ top prize, Romanian director Cristian Mungiu prevailed on Saturday, taking the Palme d’Or for his tense community drama “Fjord.”
The movie, a widely admired conversation-starter at the festival, stars Sebastian Stan and Renate Reinsve as religious parents who come into conflict with the child protection services of their tiny Norwegian town where they have relocated with their family.
Mungiu, a previous winner of the Palme for his controversial 2007 abortion drama “4 Months, 3 Weeks and 2 Days,” now joins an exclusive group of 10 filmmakers who have won the Palme twice — an achievement shared by Francis Ford Coppola (1974’s “The Conversation” and 1979’s “Apocalypse Now”) and Ruben Östlund (2017’s “The Square” and 2022’s “Triangle of Sadness”), among others. No one has ever won a third Palme d’Or.
Neon will release “Fjord” in the fall, with an extensive awards campaign to follow.
This year’s nine-member main competition jury, led by Korean director Park Chan-wook and studded with notables including “The Substance” star Demi Moore, Stellan Skarsgård and “Hamnet” director Chloé Zhao, seemed intent on spreading the wealth among as many winners as possible. There were three ties at Saturday’s awards ceremony.
The award for actress was shared by Virginie Efira and Tao Okamoto, co-stars of Ryusuke Hamaguchi’s “All of a Sudden,” a movie pegged by many to potentially go all the way. Similarly, the prize for actor was bestowed on both Emmanuel Macchia and Valentin Campagne, co-stars of Lukas Dhont’s World War I romantic drama “Coward.”
The prize for directing went to three people — and two movies — with a joint win for Javier Calvo and Javier Ambrossi (better known as Los Javis) for their century-spanning queer historical drama “The Black Ball,” as well as to director Paweł Pawlikowski for his exquisite post-World War II psychodrama “Fatherland.” (Pawlikowski half-joked at the podium, “This was a disastrous piece of mise-en-scène” after the awkward award presentation had him waiting in the wings.)
Claiming this year’s Grand Prize (essentially second place) was “Minotaur,” the rapturously received comeback film of Andrey Zvyagintsev, a Russian director who had been sidelined with a near-fatal bout of long COVID that put him in a coma. His new movie, about a wealthy Moscow family, is both an erotic thriller and an indictment of amoral oligarchy detached from the war with Ukraine.
The festival’s third-place Jury Prize went to the borderland German drama “The Dreamed Adventure,” directed by Valeska Grisebach.
Media company Run-A-Muck has announced that it is developing “Courtside,” a sports romantic comedy set in the world of professional basketball. WNBA All-Star Gabby Williams, two-time WNBA champion Sydney Colson and 2022 WNBA champion Theresa Plaisance are among those set to appear in the movie, according to Deadline.
“If you like ‘Love & Basketball’ and ‘Bend It Like Beckham’ and ‘Bring It On’ but you found yourself wondering, ‘Could this maybe be a little bit gayer?’ We have great news for you,” Colson said in a Thursday Instagram post. “The answer is yeah, you could always make it gayer.”
Colson, a Texas A&M standout who was drafted to the WNBA in 2011, is also one of the executive producers on “Courtside.”
Written by “Abbott Elementary” writer-producer Brittani Nichols and directed by Carly Usdin, the movie will follow an injury-plagued women’s basketball superstar with championship ambitions who is thrown for a loop when she falls for a teammate.
“Making a movie like this is super exciting to me because I grew up playing basketball,” Colson added. “I would have loved as a young person to see my story depicted … on screen so to see a team of people who want to ensure that others can see characters and storylines that feel personal and familiar to them. I’m so excited about it.”
Colsen and Plaisance, who won a championship together as teammates on the Las Vegas Aces in 2022, share a podcast and also starred in the unscripted buddy comedy “The Syd + TP Show” together. Williams, who plays for France in international competition, currently plays on the Golden State Valkyries.
“It feels like I’ve been waiting my whole life for this kind of excitement to surround women’s basketball, and I’m excited to blend my love of sports, lesbian tension, and comedy into one project,” Nichols told Deadline. According to the outlet, Run-A-Muck co-founder and “The L Word” star Jennifer Beals is also slated to appear in the project.
At this year’s festival to unveil our inaugural Cannes issue, I had to opportunity to sit down with Sony Pictures Classics co-founders and co-presidents Michael Barker and Tom Bernard and EVP of Acquisitions, Production and Business Affairs Dylan Leiner on the Main Stage at the Marché du Film to discuss the company’s festival strategy, bidding wars, artificial intelligence and more. Watch the full conversation and read edited excerpts below.
How much does the festival reception of a movie, the reviews coming out of a festival, the buzz around it, shape decisions that you’re making? Or is it just confirming what your gut already knows?
Leiner: I want to tell one story that speaks to that, which was at the first Berlin Film Festival we attended after COVID. I remember, in the same day, I ran into three international distributors who all asked if we had seen “The Teacher’s Lounge.” And I didn’t even know what the film was. It wasn’t on our radar, it wasn’t in competition. So we quickly saw “Teacher’s Lounge” and we acquired the film [which went on to be nominated for the 2024 international feature Oscar]. And that was one of the great values of an in-person festival, the ability very quickly to communicate with distributors, with tastemakers, with critics from around the world and get that kind of information. Gut, personal taste… It plays into it a lot, but then we need reassurance. And being at a festival and being in this fishbowl environment is really helpful for that.
For a lot of people, myself included, the mystique of a festival is often around the bidding war narratives: Who’s going to pick up what and what are they going to pay? I’m curious for your take on the first big acquisition of this year’s Cannes, A24 buying “Club Kid” for a reported $17 million.
Bernard: Throughout the years, there were companies [that would] maybe overpay, or they were going to bid to get this movie no matter what, because they were the headline in all the newspapers covering this festival. So in terms of a company that’s branding — which, A24 is one of the best in branding — I think that that had to do with a little bit of the cash that went up. … There’s a branding aspect in a lot of festivals for a movie that’s a hot movie that the press has decided to seize on.
Barker: Here’s a key to how we have survived. It’s different from the way you talk about it. When we acquire a movie, whether anyone else has offers, we try to block it out. And we have trained ourselves to not let that noise bother us. What is it worth to us? What do we think it’s going to do? Dylan runs these incredible models of what it’ll do on the low end, what it will do on the high end. And then you decide where you want to be.
Bernard: Or we think we can make it work.
Barker: But at no point do we sit around and worry about who else has a higher offer for the movie. Because I have to say, in very few instances, on the movies we buy, are we the higher offer. We just do the best we can, and if we lose it, we lose it.
Bernard: [French film producer] Serge Silberman, a sage of the past, he always said, “You never lose money on a movie you didn’t buy.”
That brings up a question that I had about “Nuremberg,” which was a real success.What you’re saying is,it performed in alignment with your expectations. Were there any lessons that you took away from that in terms of future projects that might come along?
Leiner: Yes, it performed in accordance with our expectations. What’s interesting about that film, we acquired it here last year. Nobody else was really interested in the movie. … So our challenge basically was to figure out how to convince the filmmaking team that, because it was a very expensive film, that we were the right company to acquire the film on the terms that we could afford and that we could make it work. And it was a very intense series of phone conversations, in-person meetings.
Bernard: We felt like we were auditioning to get married to somebody. We were never going to be able to pay to make their money back. It was a $40-million movie, and they were really sort of out there without anybody really looking at it. And we said, “Listen, sell it to us. We think it’s going to be a great success. We’ll make your movie way more valuable over the test of time.”
Barker: There are two types of movies that are being made and distributed. One are the big tentpole studio movies. It’s about winning the weekend theatrically. These are the theatrical-driven movies. And it’s all about making that huge budget back very quickly. But the other kind of film, which is why we are in business, is the evergreen. Every one of our films, we open it with the best marketing push we can. Yes, we try to get the highest box office. But what we know will happen, even if the box office ends up being less, we believe in these films as long-term players. And these films have really long tails. You look at movies like “Run Lola Run” or “Call Me By Your Name” or even “Living” … They have generated revenues to the filmmakers and to us that’s way beyond what the box office would have portended when it opened.
I would be curious, what areas of the filmmaking process or the film distribution process do you think AI is appropriate for use, that you’ve experimented with it, that you’re excited about its prospects? And where are your red lines, if you have any?
Barker: One of the people on our staff — we really love our young staff. One of them was writing a screenplay with AI, and told me they got certain rules on AI. And I’m listening to all these rules. You can’t have your main character die in a first scene. You can’t have your romantic female lead be totally unlikable, people aren’t going to go. I’m listening to this, and I said, “Have you ever seen ‘Sunset Boulevard?’” And she goes, “No, what is that?” I said, “Go watch that movie.” She came back and she was like, “Holy cow.” I said, “Billy Wilder sat down and made that up based on what he observed.” AI is not going to be able to do that.
The race is dominated by just-under-the-wire releases, with three of the seven projected nominees dropping this month (the end of the eligibility window is May 31).
Matt Roush says, “Star-powered late arrivals ‘Remarkably Bright Creatures’ (with Sally Field, Lewis Pullman and the voice of Alfred Molina — as an octopus!) and ‘Miss You, Love You’ (with Allison Janney and Andrew Rannells) suddenly make this category a bit more interesting than usual.”
Trey Mangum says of the runaway No. 1 pick, “Dropping just in time is Netflix’s ‘Remarkably Bright Creatures,’ anchored by Sally Field and an absolute shoo-in.”
While several panelists continue to plead ignorance as to what, exactly, makes a movie debuting on television a TV movie or not a TV movie, some find titles to champion.
“This category continually confounds me, but I have to admit I still love a good, weird, chaotic stoner comedy despite having aged out of that demo,” says a somewhat responsible-sounding Tracy Brown, definitely not typing her comment at a Taco Bell. “All that is to say, I was charmed by ‘Pizza Movie,’ my dark horse pick.”
“Expect to see ‘Deep Cover,’ ‘Miss You, Love You,’ ‘Remarkably Bright Creatures,’ ‘Straw’ and ‘Swiped’ in the running. And what qualifies as a TV movie in 2026, when TV and film mediums are beyond fluid? No idea. I’m just here to blurb.”
“Vince Vaughn’s lightweight culinary comedy, ‘Nonnas,’ managed to earn a nomination for Netflix in 2025. Does that mean voters will be twice as likely to put Hulu’s ‘Mike & Nick & Nick & Alice’ — in which the actor plays two versions of the titular Nick — on their ballot?”
Los Angeles Times
Tracy Brown
1. “Remarkably Bright Creatures” 2. “Miss You, Love You” 3. “Deep Cover” 4. “Jack Ryan Ghost War” 5. “Pizza Movie”
“This category continually confounds me, but I have to admit I still love a good, weird, chaotic stoner comedy despite having aged out of that demo. All that is to say, I was charmed by ‘Pizza Movie,’ my dark horse pick. ‘Remarkably Bright Creatures’ is the likely front–runner but I wouldn’t count ‘Deep Cover’ out.”
Blavity
Trey Mangum
1. “Heads of State” 2. “Deep Cover” 3. “Remarkably Bright Creatures” 4. “Swiped” 5. “People We Meet on Vacation”
“Dropping just in time is Netflix’s ‘Remarkably Bright Creatures,’ anchored by Sally Field and an absolute shoo-in. Then there’s last year’s ‘Deep Cover,’ which is buoyed by the likes of Orlando Bloom and Bryce Dallas Howard.”
TV Insider
Matt Roush
1. “Remarkably Bright Creatures” 2. “Miss You, Love You” 3. “Jack Ryan Ghost War” 4. “Deep Cover” 5. “The Best You Can”
“Star-powered late arrivals ‘Remarkably Bright Creatures’ (with Sally Field, Lewis Pullman and the voice of Alfred Molina — as an octopus!) and ‘Miss You, Love You’ (with Allison Janney and Andrew Rannells) suddenly make this category a bit more interesting than usual. A ‘Jack Ryan’ movie gets in by name recognition.”
Los Angeles Times
Glenn Whipp
1. “Remarkably Bright Creatures” 2. “Swiped” 3. “Deep Cover” 4. “Miss You, Love You” 5. “People We Meet on Vacation”
“Six years after ‘My Octopus Teacher,’ we find there’s still much to learn from eight-limbed marine mollusks in ‘Remarkably Bright Creatures.’ Shameless, yes, but also sweet.”
The two-time Emmy winner is developing a film about the animated icon and will star as the doe-eyed flapper, The Times confirmed on Wednesday. The “Abbott Elementary” star and creator’s production company Fifth Chance Productions will team with cartoonist Max Fleischer’s grandson Mark Fleischer and their Fleischer Studios for the film. Variety first reported the news.
Brunson, in a news release shared with The Times, praised Betty Boop as one of the nation’s “most beloved cartoon characters” and said she realized “there was a much deeper story to tell” after she and Fifth Chance head of creative affairs Erin Wehrenberg met with the younger Fleischer. According to the release, the movie will chronicle the cartoon character’s origin and evolution through Max Fleischer’s perspective and will examine the “relationship between the artist and his creation as he navigates the creative and commercial pressures of building one of the world’s first animated icons, particularly as that icon begins to take on a life of its own.”
Betty Boop, designed by late cartoonist Myron (Grim) Natwick, first appeared in Max and Dave Fleischer‘s 1930 cartoon “Dizzy Dishes” as part of Fleischer Studio’s “Talkartoons” series. The Fleischer brothers asked Natwick to draft up a woman character for the popular song by Helen Kane, “Boop-Boop-A-Doop.” Natwick initially designed Betty as a dog’s head on the curvaceous figure of a woman and modeled her flapper hairdo on Kane’s own coif. As Betty Boop became more popular, Natwick revised his design to swap the character’s floppy dog’s ears for bangle earrings and shrinking her nose. Her curvaceous figure, flapper ‘do and large eyes remained.
Mae Questel, who provided the loopy, child-like voice of cartoon characters Betty Boop and Olive Oyl, poses in 1978 with a poster of Betty Boop.
(Associated Press)
Kane unsuccessfully sued Fleischer Studios and Paramount in 1932, alleging Betty Boop ripped off her voice, likeness and scat-singing. The performing community challenged that notion, tracing the scat-singing and gesticulations to earlier artists including Black jazz performer Baby Esther Jones and cabaret entertainer Florence Mills. The judge who oversaw the legal battle ruled against Kane.
Betty Boop was primarily featured in theatrical cartoons from 1930 to 1939 — voiced by Mae Questel — but her sex symbol status and general fabulousness made her an intergenerational icon. Earlier this year, the preliminary design of Betty Boop featured in “Dizzy Dishes” entered public domain.
“Quinta so embodies Betty’s love of life, intelligence, humor, sassiness and compassion that the relationship between her as Betty and Max burst into life at its mere mention,” Mark Fleischer said in a news release.
Brunson, though best known for the ABC comedy “Abbott Elementary,” first gained popularity in the 2010s for her viral social media comedy clips and her work on Buzzfeed. She appeared on TV series “A Black Lady Sketch Show” and “iZombie” before “Abbott Elementary,” about a group of educators at an underfunded Philadelphia elementary school, became a breakout hit in 2021.
“Abbott Elementary” has collected four Emmy Awards and was renewed in March for its sixth season at ABC.
Nearly 50 years on from “Star Wars” and the launch of a media empire (large or small “e”? You decide), the fandom has become its own galaxy of warring planets. But based on the success of the streaming series “The Mandalorian,” set around the title bounty hunter, we can all agree that his charge Grogu — green, wrinkled, big-eyed Baby You-Know-Who — is still adorable. Of the many “Star Wars” offshoots, this seems to be the sturdiest.
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].
The expectations game was never going to help series creator Jon Favreau’s big-screen version, written with Dave Filoni and Noah Kloor. Granted, this upscaled, agreeably rangy treatment of an adventure storyline that wouldn’t have been out of place on the show could have attempted more. Especially when it puts sci-fi icon Sigourney Weaver in an X-wing pilot uniform as a veteran of the Rebellion, but barely gives her anything to do besides secure Mando a job and keep tabs on his progress. (Gang, try harder. It’s Sigourney Weaver.)
Aimed squarely at kids of all sizes, “Star Wars” has become a glorified tour of a billionaire’s expanding playworld and “The Mandalorian and Grogu” wants the track well-oiled, not bumpy. The simple pleasures here of good vs evil, IMAX hugeness and composer Ludwig Göransson’s space-opera-hits-the-club score, go down easy enough to not be aggravating. It’s a lot.
But it’s not this reviewer’s position to tell you what “a lot” is — loose lips spoil scripts. When the moment comes at an appropriately dangerous time for our heroes, we sense the kind of thing that only movies can do well when they’re myths writ large: slow things down, shift momentum away from the tyranny of exposition and let emotion, humor, wonder and character co-exist. “The Mandalorian and Grogu” takes the series’ thematic underpinnings — what parenting looks like between a masked human loner and an otherworldly toddler — and deepens them.
The movie takes place in wonderfully detailed environments that evoke the earlier, beloved films. You’re not being pandered to, however; the payoff is a lovely echo. Elsewhere, the action set pieces are serviceably handled by Favreau. (One of them plays like, of all things, an homage to “The French Connection.”)
Otherwise, this is another hunt-and-retrieve narrative for the bounty hunter voiced by Pedro Pascal, physically embodied in armor by Brendan Wayne and, in combat, by fight choreographer Lateef Crowder. Still independent but New Republic-curious, Mando is tasked by Weaver’s Col. Ward to find a wayward scion of the slimy gangster Hutt clan, Rotta (voiced by Jeremy Allen White), whose return will unlock some important information. Of course, things don’t go as planned, which for a while is interesting — are the Hutts like the Corleones, perhaps? — until it’s not, because then the dialogue would need to rise above the level of a middle-school play.
That being said, one of the movie’s strong points, absent its story deficiencies, is that, across its many wordless scenes, it’s at heart a solidly rousing, delightfully icky creature feature, in the vein of a supercharged Ray Harryhausen-meets-Guillermo del Toro joint. “It’s a hard world for little things,” Lillian Gish famously says in “The Night of the Hunter,” a movie nobody will ever confuse with “The Mandalorian and Grogu.” But we all know summer fare like this is only ever as enjoyable as the monsters conjured up for conquering.
CANNES, France — The movies of Na Hong-jin aren’t hard to love — they’re as obsession-worthy as the stylish rigor with which they are made. His 2008 debut, “The Chaser,” found new febrility in the post-Fincher serial killer thriller. “The Wailing” somehow added ghosts, demon-possessed children and inky black crows to the mix with a near-crazed sense of showmanship.
That was 10 years ago. Na, 51, now sits on the other side of a project that has consumed him for years, a sci-fi action film called “Hope” that arrives with expensive CGI, a pair of A-list stars (Michael Fassbender and Oscar-winner Alicia Vikander) and James Cameron-sized franchise ambitions. It will undoubtedly make Na’s gallows-humor-inflected brand more global, even if it lifts him out of the cult niche that’s nourished him to date.
Cannes is an unlikely place to launch “Hope.” That could be seen as a sign that the festival’s increasing accommodation of blockbuster bigness doesn’t need Hollywood. Na sits in the corner of a Côte d’Azur waterfront lounge on a glorious midday, the sky an almost abstract blue. He tugs at his goatee distractedly. His world premiere is tonight.
Neon, the distributor currently enjoying a six-year Palme d’Or winning streak, will release “Hope” in America sometime after its summer bow in Na’s native South Korea. The following conversation has been edited for length and clarity. It also contains significant spoilers.
A scene from the movie “Hope,” directed by Na Hong-jin.
(Neon)
When did you realize that you had a big sci-fi alien monster movie in you?
The idea came to me in 2017 in Seoul. The premise started off with somebody watching news in a diner or a small restaurant. It was that image that I had in my head. So I started developing that initial image in more detail. By 2018, I was able to write my first draft.
“Hope” brings to mind several genre classics, from “Jaws” and John Carpenter movies like “The Thing,” to something more homegrown such as Bong Joon Ho’s “The Host.” Were those inspiring to you?
I must have looked all the genre films that I could find, including the ones you mention, before I went into filming. And, as I hope you noticed, I was looking more at films from before 2000 and I tried to reflect that look.
It seems like you’re using Cannes as a moment to pivot or reinvent yourself. Is that intentional?
I didn’t intend for this to be a turning point in terms of style or direction going forward. I never thought of it that way. What I really dwelled on was thinking about how to tell this story in a way that was approachable and entertaining for people.
Why did you set the story in the demilitarized zone?
If you look at it from a universal perspective, what happens in this very shabby, humble, small, insignificant space potentially creates an impact that can go on infinitely. I think none of the characters in the film do anything with any malice. I guess the underlying story I want to tell is that there is no reason for evil intention behind anything, but innocent acts can build up to something tragic.
Michael Fassbender and Alicia Vikander are wonderful surprises in the movie as some rather dignified aliens. What led you to them?
When I was casting the alien roles, I had a bigger story in mind. I don’t know whether there’ll be a sequel after this one, but if so, that sequel is going to be centered around them. So picking the right actors was very important for me. We asked them to learn this invented alien language, which they prepared and came onto set knowing.
How important to you is comedy and releasing tension with laughs?
Very. I try to really think it through and if it comes out the way I intended, that gives me such a thrill. I tried to incorporate it in many places.
A lot of the movie feels like a virtuoso chase sequence, people barreling down the road, guns blazing. But it took me a minute to realize that the more interesting question is: Who’s doing the chasing? Is “Hope” meant to make us examine our own violence?
Yes, very much so. And two of the major chase scenes were designed so that what starts off as righteous somehow tilts toward being unjust. I wanted the action to bring up that transition in perspective.
You’ve premiered at Cannes before but, in a way, it feels like the wrong festival for a movie like this. You’re laughing because I think you agree with me.
It goes without saying. I’m incredibly nervous. And I feel so grateful that you’re treating me so nicely and gently.
A scene from the movie “Hope,” directed by Na Hong-jin.
(Neon)
Why did it take you 10 years to make this film?
There was a pandemic in the middle of that. But except for the pandemic where everything stopped, I was working my ass off before and after. It still took this long. I’m a little concerned myself, like: How did this happen?
With “Hope,” are you saying goodbye to the filmmaker you once were?
Not at all. Throughout the entire process of making this film, I was bloodthirsty. I was thirsting for blood. I have another script written already.
And maybe now it’ll go faster because there won’t be a pandemic. Are you hoping that this movie is going to have an impact on the Korean film industry?
It’s not my place to say that. I’m not sure. I want things to be freer.
Would it be a mistake to read this film as an allegory for what’s happening now in the world? Is it a plea for understanding?
I don’t regard it as a plea for understanding. Rather, let’s hope people will be able to relate to it and be empathetic about the story and realize for themselves, understand for themselves. Maybe there’s something more to it, but you take away what you will from that.
Your dark humor flares on occasion. Did you make it a point to try to preserve that?
Well, you can’t just do something like this without having that. It’s not fun.
This doesn’t feel like an “Avatar”-style film. There’s an openness to it, a sense of exploration. Do you believe in heroes?
I do believe in heroes, but, as I tell in the story, anyone can be a hero.
OFF the coast of Northumberland is a remote, tidal island that you’ll have to time right to visit – as it is cut off from the mainland twice a day.
Called Lindisfarne, or by its other name, Holy Island, it might be familiar to fans of horror movies.
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The tidal island of Lindisfarne is cut off from the mainland twice a dayCredit: GettyThe island was used a backdrop for the movie 28 Years LaterCredit: Shutterstock Editorial
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The island off the coast of Northumberland was used to film post-apocalyptic film, 28 Years Later, which came out just last year.
The 2025 movie was about a group of survivors of the rage virus living on a small island starring actors like Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes.
Filming spots included the tidal causeway and Lindisfarne Castle which attracts thousands of visitors every year.
The National Trust took over the property in 1944 and it has been open to the public ever since.
Inside the castle, visitors can explore the different rooms, including a dining room, a kitchen, and bedrooms, as well as the upper battery, which has panoramic sea views.
The island has been the backdrop for ITV’s Vera tooCredit: Alamy
In addition to exploring the interior of the castle, there are plenty of other things to see.
Entry to the castle is £14.30 for adults and £7.20 for children (between 5-17).
The island is also referred to as Holy Island, and it got its nickname after becoming the centre of Anglo-Saxon Christianity in the 7th century.
It was home to saints and it’s considered a very religious place.
But for those who want to move away from its history, there’s plenty to do on the island, like visit its coffee roastery, Pilgrims Coffee.
The business first set up in a yurt, but now even has a cosy cafe on the island too serving up caffeine hits and homemade cakes.
St Aidan’s Winery is where locals can try locally made Lindisfarne MeadCredit: Alamy
Another spot to visit is St Aidan’s Winery, where Lindisfarne Mead is made, and visitors to the island can pop in for tastings and browse the shop that sells its wine and beer.
The island has around 160 permanent residents, but it does have places for visitors to stay from hotels to holiday lets.
For seal spotting, head to the harbour or the sand flats around Lindisfarne National Nature Reserve where there are thousands of grey seals especially between February and October.
To get to Lindisfarne, you have to cross the causeway from the mainland which is only accessible at low tide from the town of Beal.
While the tides can be predicted, holidaymakers will need to check the crossings on the day on the Northumberland County Council website.
It’s not merely trendy psychologizing to salute the qualities of a sturdy tree: a humbling reminder of time’s immensity, but also a living embodiment of shelter, change and growth. Leave it, then, to a massive gingko on the grounds of a medieval German town’s college to cosmically center the three-pronged, multi-generational character study “Silent Friend” from Hungarian filmmaker Ildikó Enyedi.
Enyedi, from her mesmeric, calling-card period lark “My Twentieth Century” to the eccentric love story “On Body and Soul,” has always been preoccupied with that realm in which the everyday meets the all-seeing and possibility is awakened. So it shouldn’t surprise anyone that she’d give a starring role to a 200-year-old tree, which just may inspire the needed answers. And why not? Our living, “breathing,” sky-reaching neighbors have considerable communication skills with each other.
Our entryway is a modern day neuroscientist played by Tony Leung Chiu-wai (and called Tony), who arrives at the University of Marburg as a visiting professor ready to further his groundbreaking research into the mysteries of infant brain development. The gig becomes a lonely endeavor, however, when the pandemic hits and he’s confined to a depopulated campus, sent unwillingly into a kind of monkhood.
It’s as if the nearby natural world, photographed by Gergely Pálos and edited by Károly Szalai, was just waiting for such a solitary moment to draw Tony’s undivided attention into the prospect of green intelligence.
In tandem, Enyedi transports us to 1908 to meet aspiring botanist Grete (Luna Wedler), the university’s first female student, subjected to cruelly patronizing treatment by smug male elders, yet driven to see plants anew when introduced to the light-capturing rigor of photography. The movie’s third woven-in protagonist is a wide-eyed, resourceful farm boy, Hannes (Enzo Brumm), in 1972. While his fellow students spark to the winds of political change and sexual freedom, he becomes fixated on what a lone geranium, imaginatively monitored on its windowsill, might have to convey if given the chance.
The fluid, idiosyncratic charm of “Silent Friend” — which never feels like two and a half hours — is in Enyedi’s heartfelt belief that curiosity is simply a garden that grows progress. It doesn’t hurt, of course, that this veteran dreamweaver’s key cast are entrancing, inviting specimens themselves, led by an inner glow of compassion in Leung that feels like its own natural energy source. When his character contacts Léa Seydoux’s French plant expert, it becomes almost too much rapturously intelligent star wattage for one quietly poetic movie, even if these god-tier actors are just zooming and talking shop.
Hardly anything is overdone here and, in one essential way, Enyedi is also making the case for movies themselves as phenomena to protect and treasure: ecosystems of light, texture, wonder and nourishment. Visually, the film toggles between intimate 35mm black-and-white, grainy 16mm color and multi-purpose digital cameras that visually represent distinct eras. Needless to say, that gingko tree is sublime and majestic in all of them.
‘Silent Friend’
In German and English, with subtitles
Not rated
Running time: 2 hours, 27 minutes
Playing: Opens Friday, May 15 at Laemmle Royal and AMC Burbank Town Center 8
Tucked inside the downtown skyline, four floors and 50 feet above Olive Street, the Rooftop Cinema Club is hosting daily summer showings of cult classics, blockbusters and an occasional art-house piece. Each ticket holder is provided a pair of wireless headphones, and sunglasses are recommended for earlier showtimes.
Cost: $21 to $27 for patio chairs. $32 to $36 for cushioned loveseat. Parking rates below the building range from $10 to $12.
Next film: “Saved!” on May 14, 8:15 p.m.
Other films: “Twilight,” “Josie and the Pussycats,” “Past Lives,” “10 Things I Hate About You.”
Food options: Outside food and drinks are not allowed. Concession stands carry popcorn, nachos, pretzels and other snacks. Full bar with cocktails, beer and wine.
Dog-friendly? Pets not allowed.
Things to note: Bring-your-own-blanket policy for cold nights. Age requirements vary; most showings are 16+, but select films are 18+ and 21+. If weather conditions become too extreme, showings may be canceled.
Donald Gibb, the actor who played the hulking fraternity bro Ogre in “Revenge of the Nerds” and Ray “Tiny” Jackson in “Bloodsport,” has died. He was 71.
Gibb’s son Travis confirmed his father’s death to TMZ on Tuesday evening after he died earlier that day at home in Texas surrounded by family. Gibb, a former professional wrestler under the name “Don Gibb,” succumbed to “health complications,” according to his son.
A statement from the family, provided to People, described Gibb as a father, grandfather, great-grandfather, brother, uncle, friend and actor.
“Known for his larger-than-life presence on screen and his kindness off screen, he brought joy, laughter, and unforgettable memories to countless people throughout his life and career,” the statement said.
“Above all else, Donald treasured his faith and the people he loved,” it continued. “His strength, generosity, and spirit will never be forgotten by those who had the privilege of knowing him personally and by the many fans whose lives he touched over the years.”
“Bloodsport” star Jean-Claude Van Damme remembered Gibb in an Instagram story, posting a photo from 1986 and writing “Rest in peace, my brother.” He also reposted a reel showing himself and Gibb in the 1988 movie.
“Whether he was the lovable brute Ogre in Revenge of the Nerds or the fearless Ray Jackson in Bloodsport, Donald brought a heart as big as his frame to every role,” the caption on the reposted reel said. “Watching him alongside Jean-Claude Van Damme was the ultimate display of brotherhood on screen. In the clip, JCVD asks, ‘What took you so long?’ It’s a bitter-sweet reminder that while he’s gone too soon, his legacy in the martial arts and 80s cinema world is timeless. ‘Anytime, anyplace, anywhere.’”
A representative for Gibb didn’t respond immediately Wednesday to The Times’ request for comment.
Gibb had about 100 credits, including the sequels “Bloodsport” and the movie and TV sequels to “Nerds.”
Born Aug. 4, 1954, Gibb started his career in the early 1980s with uncredited roles in “Any Which Way You Can,” “Stripes” and “Conan the Barbarian.” His TV credits included episodes of “Cheers,” “MacGyver” and “The Young and the Restless.”
He acted into 2011, then tagged on one last credit, for the 2026 movie release “Hands.” According to IMDb, that filmed sometime in 2023 or 2024.
Two-thousand, four-hundred and forty-eight miles. That was the span of Route 66 when highway officials stitched it together to link Chicago, Los Angeles and countless cities and towns in between. But as an enduring American symbol, this highway reaches much further than that, inspiring books, songs, movies and countless road trips.
It turns 100 this year, so with summer coming, we drove it all.
Across eight states, we scouted out vintage motels, new businesses, neon signs, friendly Muffler Men, road food, vivid characters and 20th century ruins. We also kept our eyes open for hints of the road’s evolution, from the Dust Bowl years, segregation and the postwar boom to the freeway-era slump and the reemergence of Route 66 as a long, winding and living historic landmark.
Now we’re taking you along for the ride. If you’ve ever daydreamed about covering some part of the famous roadway, hop on in and let’s get our kicks, shall we?
The most recent death on Mt. Wilson claimed the life of a man identified as New Zealand-born, L.A.-based composer Mark Smythe. Following the tragedy, his colleagues and family poured out their hearts as they remembered a man they called smart, funny and a true supporter of his peers.
Smythe died Saturday at 53 after suffering a cardiac emergency on a hiking trail, according to the coroner’s online database. His cause of death was atherosclerotic cardiovascular disease, in which plaque builds up in arterial walls and can lead to a heart attack.
The Sierra Madre Police Department said Saturday that a man — at that point unidentified — died after having a medical emergency on the trail and that no foul play was suspected. First responders arrived at the site around 10 a.m. and administered aid but were unable to save his life.
Smythe had been head of the department of Composing for Visual Media at Los Angeles Music College since last summer, according to his website. Among other honors, he was nominated for a 2023 Society of Composers and Lyricists Award for his work scoring the movie “The Reef: Stalked.”
Kate Ward-Smythe, the composer’s sister, acknowledged his death late Sunday on Facebook.
“It is a comfort to know that he was doing one of the things he loved, hiking in the hills, and we are grateful to his wonderful friends (and emergency service responders) who tried so hard to resuscitate him,” she wrote.
“Mark was a strong larger than life connector in LA, as a professor, composer, musician, and loyal friend. He was also fiercely talented, and an absolute cheerleader for music performance and recording across multiple genres.. he was only just getting started and had so much more to give .. We are heartbroken and trying to process this tragedy, as are all Mark’s friends and family.”
Bear McCreary, known for scoring TV series including “Outlander,” “The Walking Dead,” “Black Sails” and “Snowpiercer” and movies including “Happy Death Day,” “Godzilla: King of the Monsters” and Blumhouse’s “Fantasy Island,” called news of Smythe’s death “awful and surreal,” saying they had just been chatting at a mutual friend’s party a few weeks ago.
“Mark’s enthusiasm and humor were off the charts,” McCreary wrote Sunday on Instagram. “He brought a shark with a bowtie to the red carpet of an SCL awards ceremony when he was nominated for his work on a shark movie – hilarious! When he found out I was writing a metal album, he curated his favorite German folk metal bands for me (turning me on to his favorite band, Finsterforst).”
Having said he always thought he would get to know Smythe better one day, McCreary called his death “a stark reminder to spend time with the people you care about while you can.”
John Massari, who has more than 150 music credits stretching back to “Little House on the Prairie” and contributed music to TV series including “Dancing With the Stars,” “Pawn Stars” and “It’s Always Sunny in Philadelphia,” said in comments that “Mark was a bright light and a refreshing spirit in our community. He is greatly missed.”
“I’m so deeply sad to lose my friend. Mark, I miss you and love you. Thank you for your love, passion, humor, and joy and for always making me feel loved and valued,” singer Baraka May, whose voice can be heard in “Avatar: Fire and Ash,” “Wicked: For Good” and “Beavis and Butt-Head,” wrote Monday on Instagram.
“He was funny and snarky and whip-smart, yet when we collaborated, he just melted into the music and gushed like a fan with child-like wonder. What a tremendous heart and mind!” the vocalist wrote. “I had the honor of collaborating with him on three of his beautiful pieces as a conductor, and I loved his boyish, genuine joy and excitement even in our rehearsals. He wrote and voiced his music beautifully, which often felt haunting, romantic, deep, and sensitive, and his bass playing was so beautiful and thoughtful. He was such a vivid, enthusiastic music lover, and I was very much looking forward to making more music with him.”
The Los Angeles Film Conducting Intensive also mourned the loss, saying online that “Mark was a brilliant talent and a genuine friend to all, a true pillar in our scoring community.
“During the pandemic, Mark generously joined our 2020 New Music Project to support new repertoire for our music community during a time of great uncertainty and when most traditional pieces could not be performed.”
The Hollywood Music in Media Awards remembered Smythe winning a career-propelling prize at the organization’s 2013 ceremony, soon after he arrived in L.A. from New Zealand.
“He quickly built a distinguished body of work for film, shorts, and television, earned multiple HMMA nominations, served as COO of the Society of Composers & Lyricists, and returned to present at the 2018 HMMA Gala,” the organization wrote. “Mark’s talent and generosity enriched our community — he will be greatly missed.”
Smythe’s death was the second this month on Mt. Wilson. On May 3, a man identified as John McIntyre, 66, was declared dead on the same trail after falling down a ravine at Mt. Wilson Road and the Little Santa Anita fire break in Sierra Madre. His cause of death was blunt force injuries.
