movie

For my 50th birthday, I bought a Toyota Corolla. Wait. Is my midlife crisis car really a Corolla, the best selling and most boring model of all time?

Well, yes. And no.

I have “modded” it, or in layman’s terms, modified the stock components and tuned the engine. This is not your aunt’s Corolla. When I hit the gas, the car pulls hard and the engine buzzes as if it’s powered by a hive of killer bees.

I get thumbs-ups from Mustang drivers and cool head nods from Challenger owners. My favorite is when kids at red lights ask me to rev the engine like I’m F1 driver Lewis Hamilton.

Probably a lot of my drive-by admirers are fans of the movie “The Fast and the Furious,” which was released 25 years ago this month. Fans of modified Japanese import cars, like me, have a love-hate relationship with the $7 billion “Fast and Furious” franchise. On one hand, the movies helped popularize modified Japanese cars. People all over the world fell in love with them and the import car culture they publicized.

On the other hand, the movies left out so, so much of the story.

In Southern California in the mid-1990s and early 2000s, people lived, for the most part, phone-free. The internet was nascent — a repository for flyers and ’zines — and most websites looked like Tetris.

The fashion was baggy everything for guys and short shorts, midriffs and little backpacks for girls. The hair was outrageous. And the cars, especially Japanese import cars, had reached the pinnacle of automotive engineering.

During this era, I was in college at UCLA. I saved up and bought a red 1989 Honda CRX Si. It also had a slick five-speed manual transmission, peppy engine and nimble steering. That car got me to work and through college, and from the mountains of California to the border of Oregon. It probably helped me get girlfriends. It consoled me through breakups. It helped me move to the San Francisco Bay Area for my first grown-up job.

And then, stupidly, I sold it, and all the precious memories it carried.

Now when I hit a loopy freeway interchange at night and my GR Corolla carves through the turns, it’s 1996 and I’m cruising in my CRX, getting pho in San Gabriel or rushing to a flyer party at Naga in Long Beach. That’s the magic of certain cars. A regular car takes you from place to place. A special car takes you back in time.

To be completely honest, I bought the CRX to fit in.

The ’90s import car scene was as diverse as Southern California. But there’s no doubt it started with Asian Americans (specifically Japanese Americans in the South Bay city of Gardena) who were influenced by modified car culture in Japan. Soon, Asian American kids all over the region were taking their inexpensive, underpowered four-cylinder, front-wheel-drive Honda Civics (our parents preferred Japanese reliability over American muscle) and turning them into street rockets.

Not only were they building race cars from scratch, they were also building one of my first experiences with a collective Asian American identity: one that wasn’t overtly about politics and activism, or immigration and assimilation. It was about Asian American joy. It was Chinese, Japanese, Korean, Filipino and Vietnamese Americans building cool-looking, fast cars. It was kids stereotyped as nerds going to parties where the awful stereotype of Long Duk Dong from “Sixteen Candles” was shredded into rubber and obliterated by exhaust blasts.

At the time, the Asian Americans we saw in the mainstream media were negligible or offensive, especially for Vietnamese Americans like me. But in import car culture, I saw, for maybe the first time, Asian guys and Asian girls in a centered and even glamorous light.

We made our own cars and our own car shows. We raced each other and then got fast (with turbos, superchargers and nitrous oxide) and raced others. And we won. We published our own magazines, built our own automotive businesses and, for good and bad, promoted our own outlaw street racer image and our own beauty standard. In those 1990s clubs and car shows, you could see and feel that Asian Americans weren’t assimilating culture. We were creating it.

“The Fast and the Furious” picked up on that. Based on a 1998 Vibe magazine article about street racing import cars in New York, the film was transplanted to Southern California. But it got so many details glaringly wrong. Its street races looked like street raves on major, four-wide roads packed with pedestrians. The races of our scene were clandestine, underground events in industrial, under-policed areas, where cars faced off two at a time.

But the most egregious and inexcusable Hollywood crime to me is that “The Fast and the Furious” whitewashed Asian Americans, the creators of this world, out of starring roles. The Korean American actor Rick Yune appears in the movie, sure — but he plays the villain, Johnny Tran, a guy who hates Vin Diesel’s Dominic Toretto for a crime deal gone bad (understandable) and for sleeping with his sister (ditto). Of course, in a tradition that goes back to “Madame Butterfly” and “Miss Saigon,” Tran dies at the end, shot dead by the blond-haired, blue-eyed hero, Paul Walker’s Brian O’Conner.

A few months ago, seeking a mechanic to mod my Corolla, I was referred to an auto shop in Garden Grove aka Little Saigon. The guy who sent me asked me, “Do you even know who’s working on your car?”

“No,” I replied.

He told me the name, and I Googled it.

Apparently, back in the ’90s, this Vietnamese American mechanic from Orange County had one of the fastest Honda Civics in the world. A true OG of the import car scene modified my car with his own hands. What an honor, and what a connection to the past.

This import car story ends in a full poetic justice circle. As a pioneer and legend of the real-life import car scene, my mechanic wasn’t the villain. He was the hero. He was the fastest, and his car was the most furious.

That’s the heart of my GR Corolla journey. Asian Americans created import car culture. We all deserve to be the hero of our own story.

Ky-Phong Tran is a Vietnamese American writer from Long Beach. He is a professional artist fellow with the Arts Council for Long Beach. This article was produced in partnership with Zócalo Public Square.

In Australian writer-director Adrian Chiarella’s knotty roller coaster of a feature debut “Leviticus,” about a demon tormenting a pair of queer teenage boys, the fear is more insidious than the external threat of a violent bigot or shunning parent.

In an abandoned mill in their blighted industrial town, quiet new kid Naim (Joe Bird) and brash hunk Ryan (Stacy Clausen) allow a friendly, mischievous connection to turn into something more. But when Naim later secretly observes his new crush fiercely locking lips with another classmate, Hunter (Jeremy Blewitt), son of a leader in the tight-knit church that Naim’s single mom (Mia Wasikowska) just joined, hurt gets the better of Naim’s instincts and he secretly informs on the pair.

The church’s punishment, however, delivered in front of the congregants, is an eerie ritual performed by a gaunt, severe visitor (Nicholas Hope). Called a “deliverance healer,” his fire-and-brimstone method — making incarnate the title’s Biblical book, regularly used to justify anti-LGBTQ viewpoints — leave Ryan and Hunter writhing in agony. Afterward, Naim, sensing he might have unwittingly set into motion something awful, notices bizarre behavior in the stricken-looking Ryan. When they try to furtively rekindle their passion, it becomes violently clear they are not alone. Or even, it seems, themselves.

The feeling that nowhere is safe is a durable horror concept, the backbone behind such classics as “Nightmare on Elm Street” and “It Follows.” In “Leviticus,” which is expertly paced by editor Nick Fenton, it comes with a flair for open-space unease and unexpected claustrophobia that puts director Chiarella in a long line of savvy Australian mood-setters like Peter Weir and Fred Schepisi. These filmmakers knew how to fold tactile dread into a worthy narrative, rather than treat genre as if it were a kit with instructions.

But most urgently and bleakly, Chiarella is giving religious-based conversion therapy its devilish due as a warping of the soul designed to sow distrust in one’s own desires. He’s careful, however, not to tell a tale that would speak to homophobes. As distressing as their circumstance is, Naim and Ryan are unmistakably positioned as heroic lovers, not victims-to-be. Chiarella takes time between bouts of danger to show affection and intimacy that, in defiance of teen-slasher formula, isn’t immediately penalized with sadism. But their fraught relationship will decidedly keep you nervous, so score one for multilayered storytelling.

Points, too, for the solid casting, from the leads’ tricky pivoting from openness to caginess, to the criminally underseen Wasikowska, who navigates maternal complexities of worry and compassion that confound easy pigeonholing. If anything, the movie could have used more of her, although it’s better overall that “Leviticus” prioritizes Naim and Ryan as queer protagonists caught in a chilling loop of escape and reunion. We already know what’s out there, ready to do harm. This movie’s nail-biting, sorrowful power comes from what internalized destruction looks like.

TUCKED away in the Tuscan countryside is a tiny town called Pienza – and it is about to get a lot more famous.

The small town was the used to film Netflix movie You, Me and Tuscany.

It features in the scene where Anna (Halle Bailey) first meets Michael (Regé-Jean Page).

Anna accuses him of stealing the sandwich which she travelled more than 4,000 miles to eat – and it was filmed outside a shop in Pienza dressed to look like a deli.

It’s apt that a romantic comedy was filmed in Pienza as the town is known for having love-themed street names.

A few are Via dell’Amore which translates into ‘love street’ and Via del Bacio which is ‘kiss street’.

Pienza sits within the Val d’Orcia valley which is known for its rolling green fields and has been described as “a charming little town” by visitors.

One of the most impressive buildings within the town is Piccolomini Palace which was built in 1459.

The impressive Renaissance building has a beautiful garden with views of Val d’Orcia, later becoming a summer residence for Pope Pius II.

Now, most of the property is open to visitors as it is mostly a museum.

When it comes to food, the town has plenty to offer and is known for having high quality cured meats and fresh truffles.

The town is particularly famous for Cacio di Pienza, or Pecorino cheese – usually grated over pasta or eaten on a cheese board.

To celebrate its cheese, the town even holds a festival dedicated to it on the first Sunday in September that includes a cheese-rolling competition.

For those who want to stay in Pienza, you’ll mainly find holiday rentals over hotels.

One that is popular is Casa Olivieri, with the one-bedroom apartment starting from £90.

The closest airport that has direct UK flights is in Florence – from there it’s a one hour and 40-minute drive.

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

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

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

‘Indiana Jones’ marathon

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

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

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

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

From one master to another

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

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

Comedy + politics = good fun

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

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

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

Collision report

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

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

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

A different view of Rio

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

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

A musical melodrama returns

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

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

New this week

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

What is the angriest acting performance you’ve ever seen?

Maybe it’s Joe Pesci in “Goodfellas.” (“Funny how? Do I amuse you?”) Perhaps it’s James Caan kicking the stuffing out of his ne’er-do-well brother-in-law Carlo in “The Godfather.” John Goodman enforcing the rules of bowling in “The Big Lebowski”? It’s in the conversation.

Did Ben Kingsley in “Gandhi” cross your mind? Probably not.

The 82-year-old Oscar winner thinks it should.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Don Logan or Mahatma Gandhi? The answer isn’t as plain as you might think.

Not long ago, I spoke with Kingsley just before an Emmy FYC event for “Wonder Man,” the enjoyable new Marvel TV series that finds him revisiting Trevor Slattery, the washed-up, drug-addled actor he first played in 2013’s “Iron Man 3.”

“Wonder Man” follows struggling actor Simon Williams (Yahya Abdul-Mateen II), trying to land a big break in Hollywood while keeping his superpowers hidden. Trevor befriends Simon. Initially he has ulterior motives, but soon becomes Simon’s mentor, turning the series into a look at the indignities that actors face while pursuing their profession.

Taking notes while watching the show’s eight episodes, I wrote, “Ben Kingsley’s seething anger is everything.”

You may remember Kingsley’s bullying and badgering and swaggering menace playing the underworld sociopath in Jonathan Glazer’s 2000 crime-thriller “Sexy Beast,” still my favorite Kingsley performance, one that earned him a supporting actor Oscar nomination. (He lost to Jim Broadbent in “Iris.”)

Is that kind of boiling rage as fun to play as it is to watch?

“If the expression of rage or indignation is completely dramatically justified and that expression of indignation is of enormous benefit to the tribe, yes,” Kingsley answers.

Kingsley says Itzhak Stern, Oskar Schindler’s loyal aide and factory manager in “Schindler’s List,” was, “bless him,” all about “contained rage.”

“And a colleague of mine who saw ‘Gandhi’ said, ‘That’s the angriest performance I’ve ever seen on screen,’” Kingsley continues. “That righteous indignation propelled him, and it can be expressed in many ways. Sometimes the safety valve is efficient enough to allow it to come through language and gesture, and sometimes the safety valve can’t hold it.

“That was Don Logan in ‘Sexy Beast.’ No safety valve.”

Let’s circle back to that thought of how rage can help the “tribe.” In “Wonder Man,” Trevor proclaims that “acting is not a job. It’s a calling, the single most consequential thing anyone could ever do with their life.”

“I would broaden the definition and refine it back to its origins,” Kingsley says when I ask if he shares Trevor’s view on acting. “There are images, thoughts and threads that I find nourishing and sustaining, and I treasure them. The tribal storyteller is a very consequential figure in the tribe, and if the mantle of the tribal storyteller falls upon that person’s shoulders, that is the single most consequential thing that person can do in their lives.”

“Trevor expresses it quite differently, and that’s fine,” Kingsley says. “That’s in the script. I honor the lines. But for me personally, as a rather convoluted answer, the tribal storyteller is the hand I hold and the baton I want passed on to me. Maybe it has. I hope I’m worthy, but it’s …” Kingsley widens his eyes and whispers, “Wow.”

“It is the single most consequential thing I can do with my life.”

Patton Oswalt is an avid reader. When he thinks about his ideal Sunday in the Valley, where he has lived for more than a decade, bookstores come up more than a few times, particularly ones like the neighborhood staple the Iliad, which encourages patrons to sit and read for hours.

Currently, the 57-year-old comedian says he is rereading Mo Daviau’s 2016 time-travel/rock-nerd novel “Every Anxious Wave,” the plot to which he “truly can’t describe,” adding: “It’s about, especially for me, how does Gen X grow old? And how do they try to dodge growing old? It’s pretty f— brilliant. Imagine a day just killing two or three hours in the Iliad just reading it. Oh, it’s the best.”

Not that Oswalt always has time to sprawl out with a novel. Like any touring comedian of his caliber, he admits that his schedule is constantly in flux. Not only did he spend last summer and fall promoting his 10th stand-up hour, “Black Coffee and Ice Water” (out now on Audible), but he is constantly at work on new material. On June 9, he’s launching “Tea & Scotch” on YouTube, which delves into more observational comedy subjects such as ghost-seeing cats, AI paranoia and parenting a teenager. (Oswalt tells The Times that his daughter usually does her own thing on weekends, but sometimes they’ll journey to Burbank and hit the vintage shops on Magnolia, followed by poke for lunch.)

When he’s not earmarking time in his perfect Sunday for reading, Oswalt also delights in frequenting Valley small businesses that fully embrace the indie and oddball. “I like where the Valley’s going. I like how its residents are aging,” says Oswalt. “Because they’re aging into weirdness rather than safety, which is what I will always go for. Instead of just, ‘I want the nice, reliable chain restaurant, the nice, big book chain,’ I prefer smaller shops that take risks. They’re more quirky, an actual person works here, and the imperfections are what makes it amazing.”

Below, Oswalt shares his ideal Sunday in L.A., which sometimes begins later than he’d like it to.

7 a.m.: Enjoy a quiet breakfast at home

I try to be an early riser. Today I got up at 8:30, but a great day for me is getting up at 7, because I have that hour of quiet to have my breakfast, sip some tea, do some reading, and then start my day.

But it’s hard to have a lot of those mornings in a row, because unfortunately, I also have those nights where I’m just, like, lying awake thinking. I have those crash-out days where I’m like, “Sleep until noon today! Need it! Gotta catch up.” Anyone who says that they consistently wake up at 7 a.m., for the most part, they’re probably lying.

9 a.m.: Morning coffee with a side of people watching

What’s critical about the Valley, especially Studio City, is a lot of hipsters who have aged out of Los Feliz and Silver Lake have all moved here, and they brought the good sushi, the good bookstores and the good coffee with them. So, my perfect Sunday starts at the Studio City Farmers Market. You do this kind of roaming breakfast. Where they do the farmers market, there’s an amazing tamale stand that does these chicken and green chile tamales. You get one of those, and then you go over to Joan’s on Third, and you get yourself a really strong cup of coffee, because Joan’s is right there, part of the farmers market.

It’s almost like Joan’s is the motor on a sailboat. If you can’t find the food that you like roaming around the farmers market, you can hop into Joan’s and grab something, but that’s where the good coffee is. Then you get a thing of berries from one of the sellers, and you sit. There are musicians everywhere, and it is a really good opportunity to not start your day looking at a screen and instead actually look at beautiful and flawed and imperfect and awesome people moving around and interacting. For a comedian or writer, that is gold.

11 a.m.: Worm into a book

From there, I would go up to the Last Bookstore, which just opened a location on Lankershim Boulevard in NoHo. It’s a work in progress; you can see the beginnings of the cool building that they’re doing on the interior. It’s almost like when you watch the Talking Heads’ “Stop Making Sense” and you see them assemble the stage as the concert goes on. It’s kind of amazing. So I always drop by there and spend way too much money on a book.

1 p.m.: Catch a matinee (and a matcha)

One of my favorite things is to see a movie in the afternoon. The Laemmle NoHo 7 on Lankershim is my little ’90s throwback Sunset 5, but in the Valley. They show very cool first-run indie movies, and then they will just randomly throw in [a classic], “Oh yeah, we’re showing ‘Jules and Jim.’” I just check my Fandango, to see what they’re showing in the afternoon, then I go see a movie.

I don’t really eat lunch these days, but across the street from the NoHo 7 is a place called Horror Vibes Coffee. It’s all based around horror movies. It’s weirdly popular. All these goth kids go in there, and they make really good matchas. So I’ll go in there, I’ll get a matcha, and then take that into the movie theater, see a flick. The Laemmle NoHo 7 does make really good chicken nuggets, and they do make a really, really bad for you — but delicious — bagel dog. Listen, a bagel dog with a recent indie movie? That’s mwah. [Gestures a chef’s kiss.]

4 p.m.: Head back to the bookstore

When I’m done at the movies, I will take whatever book I’ve gotten and go back down to the Last Bookstore and just sit and read. Or if you really want to go goblin-mode reading, you go to the Iliad Bookshop on Cahuenga. They encourage you just to go in there, sit, read. There are store cats everywhere that are hanging around, and the store kitties are very friendly. The Iliad has these big, overstuffed couches and chairs with blown springs. You are encouraged to sit and lounge and read. They have no problem with you doing that. A big thing for me now is having two to three uninterrupted hours of just reading. No phone, no nothing. Don’t gotta go anywhere. Don’t do anything. [Editor’s note: The Iliad is closed Sundays.]

6 p.m.: Sit down for some sushi

I’m very spoiled living in the Valley, because I live near amazing sushi. If I really want to splurge out and have what I think is the best sushi in the Valley, then I visit Sushi Tomoki, which is on Cahuenga. I just cannot rave about this place enough. They have a black cod sushi, and the black cod is slightly seared. It’s not cold, but it’s not totally cooked. There is something about cold rice and then this slightly seared, slightly burned black cod. The flavor is so perfect, I love it.

Right now, in the Valley, I’m kind of spoiled for good restaurants. There’s OyBar on Moorpark that I could go to. I go there right at 5. Otherwise there’s a line. I go right when they open. And then there’s a place called Wood & Water, further up Ventura, kind of closer to Sherman Oaks. That place is just solid, good. Everything on the menu is great, great wine list, you know. But the word is out — it’s getting crowded. Not to be a snot rag, but I go to Wood & Water so much that they kind of know me there, and they can usually get me a table. Not that I’m a big celeb, it’s just I go there a lot because their food is so good.

Once you’re my age, when I hear, “You gotta wait in line”… like, that’s why I’ve never been to Sqirl. Because I know I can’t do that, man. If I’m gonna stand in line, I’m gonna go to All Time, but I’ll just get there when they open. I can’t do lines anymore. You can do it when you’re 20, but I just want my g— breakfast.

8 p.m.: Take an outdoor stroll, then return to your book

After dinner, if it’s summertime in the Valley, I just walk through my neighborhood. There’s really good hills and stuff to go for, like, a nice nighttime walk after dinner. Or, because I’m such a freaking bookworm, I go home and sit on my big, comfy couch and just read some more until I fall asleep. There’s nothing wrong with double-dipping — you don’t have to read just once during the day. You can go back and forth.

The classic Chicano film “Zoot Suit” is celebrating its 45th anniversary this year in style.

The Golden Globe-nominated movie, featuring a lead performance by Edward James Olmos, was based on a stage play penned by legendary screenwriter and director Luis Valdez, who drew inspiration from a pamphlet about the 1942 Sleepy Lagoon murder case and the riots that it sparked.

On Thursday it was announced that the flick will be screened at The Ford amphitheater on July 8 to honor its notable benchmark and enduring legacy. The special screening will include a conversation with Valdez, Olmos and actor-educator Cristina Frías, who will discuss the movie’s production, influence and place in the L.A. film canon.

“‘Zoot Suit’ changed the way our stories could be seen on screen,” Olmos said in a statement. “It gave voice to a history that many people had never been taught and showed the beauty, strength and complexity of the Chicano experience. Forty-five years later, the film continues to inspire because it is about more than one moment in time. It is about identity, dignity and the responsibility we have to remember where we come from.”

The screening will also feature a vintage car show put on by the Pachuco Car Club, which will showcase the rides reminiscent of the time period shown in the movie.

In June 1943, L.A. was engulfed in the lawlessness and violence that became known as the Zoot Suit Riots. The name is misleading because it suggests that the zoot suiters — the young Mexican, Black and Filipino men and boys who wore the flamboyant outfits — were the perpetrators.

In fact, they were the victims.

The attacks by servicemen and white Angelenos on zoot suiters, derided as “gamin dandies” in The Times, were driven by prejudice and the anti-immigrant attitudes of the era. The roots of the unrest can be traced to events that occurred more than a year earlier — such as the incarceration of Japanese Americans after Pearl Harbor, as well as the murder of a young man, which was later known as the Sleepy Lagoon murder case.

In his 1981 review of the film, The Times’ former film critic Kevin Thomas praised Valdez’s direction and the strength of the cast.

“Valdez has captured well many of the elements of the era that contributed to the fate of the Sleepy Lagoon defendants — the sensationalist press, the feverish patriotism of wartime and the rampant bigotry directed at all minorities,” Thomas wrote. “At the same time, Valdez makes clear that various people outside the Mexican-American community helped in the struggle to mount an appeal for the Sleepy Lagoon defendants. And he questions the entire validity of the switch-bladed, cynical pachuco mystique as [Daniel Valdez’s] Henry comes to realize that El Pachuco [Olmos] is at once his best friend — and worst enemy.”

The original 1979 Broadway run of the “Zoot Suit” play catapulted Olmos to the national stage and led to him getting a Tony nomination for best featured actor in a play.

“It was a monumental moment in time, and we captured lightning in a bottle,” Olmos told The Times in 2023. “Not only did it change the course of Latinos in theater but it touched the very soul of the culture. It was catching the voice of the pachuco.”

In this week’s episode of “The De Los Podcast,” hosts Fidel Martinez and Suzy Exposito sat down with actor Xolo Maridueña to chat about his East L.A. upbringing, the importance of Latino representation in his career and a litany of projects he has in the works.

Born and raised in El Sereno, Maridueña was exposed to the arts at a very young age through local community arts hubs Casa 0101 and the Boyle Heights Art Conservatory, where his mother, Carmelita Ramírez-Sánchez, now serves as executive director.

The 25-year-old actor credited his mom, who also previously worked as a radio DJ for decades in L.A., for encouraging him to explore a creative career.

“She was in the music world at a time when that wasn’t really a thing as a Latina woman,” Maridueña said. “She met so many roadblocks and overcame those that when it came time to for her to eventually raise her own family, she understood the want to try something that was outside of what the education system would deem successful. As a Latina, she also instilled these values of remaining curious, questioning certain traditions and the ways our experiences are affected by some systems that are larger than ourselves.”

He also touched on what it was like being the first Latino lead in a live-action superhero film in “Blue Beetle” — and the importance of continued Latino representation in Hollywood.

“It was such a wild ride doing something like ‘Blue Beetle,’ that was the first in a lot of categories… But once the movie came out, it was so heartwarming to see that there were already like 10 other Latino superheroes that were making their debuts on the screen,” Maridueña said. “[Filming the movie] was the first time I had witnessed some much of the crew being Latino, or just being diverse — there were a lot of women and queer folks on that set.”

Having worked on hit series like “Parenthood” and the Netflix phenomenon “Cobra Kai” in addition to his theatrical roles, Maridueña wants to help provide an avenue for fellow Latino artists to succeed.

“I just hope [that] with this body of work, I can help open the door and prop it open for everyone else,” he said.

The conversation with Maridueña wrapped with him discussing the litany of projects he has coming out in the near future, including a leading role in the film “Dog Years” alongside Xochitl Gomez, a part in the Al Pacino-led movie “Killing Castro” and a spot in the upcoming season of Netflix’s live-action adaptation of “One Piece.”

He will also feature alongside Sandra Bullock and Nicole Kidman in the upcoming sequel to the witchy 1998 film “Practical Magic,” which is set for release Sept. 11.

“It’s been a blessing to expand not only the types of people I’ve gotten to work with, but [also] the genres and types of characters I’ve gotten to bring on to the screen,” said Maridueña. “Projects like ‘One Piece’ are so wonderful for the reach and then movies like ‘Dog Years’ and ‘Killing Castro’ are just as fulfilling in the sense that because they get to be smaller productions, the cast and crew have a bit more ownership of what they’re doing.”

Before the lights dim and the trailers roll, moviegoers will start to see microdrama ads in movie theaters.

National CineMedia (NCM), the company responsible for the pre-show programming on the big screen, announced a new partnership with AI-native microseries studio aTwist on Wednesday. The company will begin advertising aTwist’s upcoming slate of vertical series in theaters later this summer.

“Movie theaters have always been where people go to lose themselves in storytelling,” Mike Rosen, NCM’s chief revenue officer, said in a statement. “This partnership brings new, exciting content to the pre-show experience, and gives brands the opportunity to speak more authentically to an audience that is naturally drawn to compelling, innovative content.”

The partnership was first reported by the Hollywood Reporter.

The deal will feature brand-sponsored series, previews of aTwist originals and a QR code that will take viewers directly to the aTwist platform.

These advertisements will be integrated into NCM’s regular programming, which spans more than 18,500 screens in over 1,650 theaters nationwide. The advertiser works with major movie chains such as AMC, Cinemark and Regal, across 185 markets. NCM was founded in 2002 and is best known for its “Noovie” preshow hosted by Maria Menounos.

ATwist is set to launch later this summer. The Los Angeles-based company, founded by former Hollywood executives Jana Winograde, Susan Rovner and Lloyd Braun, is entering an increasingly competitive format.

Microdramas, which originated in China, have continued to gain traction in the U.S. Some of the industry’s major players include ReelShort and DramaBox. The short-form content, engineered for a vertical phone screen, has drawn comparisons to a new addictive form of soap opera. The vertical video market is expected to generate around $150 billion in revenue this year, according to media consulting firm Owl & Co.

Brands such as Marc Jacobs and Crocs have already positioned the storytelling format as a way to advertise new products and reach new audiences.

By advertising to moviegoers, aTwist is hoping to distinguish itself among its competitors.

“We built aTwist around the belief that great storytelling should meet audiences wherever they are,” Winograde, aTwist’s chief executive officer, said in a statement.

“There is no better partner than NCM to introduce microseries to moviegoers and bring our storytelling into one of the most immersive entertainment environments.”

The Scream movie series is one of horror’s most successful franchises and has seven films under its belt

A star from the horror film franchise Scream has revealed the surprising amount he still earns from one of the movies.

Back in 1996, the Scream series kicked off with its first instalment. Directed by Wes Craven, the film followed Sidney Prescott and her friends being targeted by a sadistic killer who donned a black cloak and white mask: Ghostface.

Due to the first film’s success, several more movies followed including a sequel in 1997, and a third instalment in 2000. Then, after 11 years Scream 4 was released in 2011.

And more recently, the slasher franchise was brought back in 2022 for a fifth movie and 2023 for a sixth. This year, a seventh film was released which became the highest-grossing film of the series so far.

The satirical whodunnit was a huge hit thanks to a clever script penned by Kevin Williamson and Wes Craven’s direction, while the characters’ awareness and acknowledgement of horror film clichés was uncommon at the time. Scream helped to revive interest in the teen slasher genre.

And this week, a star from Scream 2 revealed his residual pay from the film 29 years after its release. Actor and comedian Craig Shoemaker appeared in the sequel, Scream 2 – which made $172 million at the box office.

Craig played the role of ‘Artsy Teacher’ in the instalment. Taking to his Instagram, he shared a photo of his residuals cheque which revealed he made a total of $34.09.

He captioned the post: “In 1999 | was cast in the role of the film professor in the sequel of the original Scream movie, Scream 2, where I lead a conversation in class about film sequels. The residuals keep rolling in, baby! What should I buy with my 34 bucks?”

The latest Scream movie, Scream 7, was released earlier this year. The film shifted the focus back to the original final girl, Sidney Prescott – played by Neve Campbell and her teenage daughter Tatum, played by Isabel May.

Neve didn’t appear in the sixth Scream film in 2024, which starred Jenna Ortega and Melissa Barrera as sisters who discover a serious connection to one of the original Ghostface killers, Billy Loomis.

Neve announced she would be stepping away from the 2024 Scream film after a dispute over pay. She said in a statement: “Sadly, I won’t be making the next Scream film. As a woman I have had to work extremely hard in my career to establish my value, especially when it comes to Scream.

“I felt the offer that was presented to me did not equate to the value I have brought to the franchise. It’s been a very difficult decision to move on,” Neve added.

She continued: “To all my Scream fans, I love you. You’ve always been so incredibly supportive to me. I’m forever grateful to you and to what this franchise has given me over the past 25 years.”

There are more than 100 Emmy categories, and if you scroll through each and every one of them on the Television Academy’s website, you’re probably one of those people who read the terms and conditions on a document before signing your name.

This hasn’t been the greatest year for television, which has had the converse effect of prompting me to sample more shows than ever in a quest to unearth that one hidden gem that merits a place on my mock Emmy ballot. Truth be told, I’m still looking. I’m sure I’ve missed something. And I’m sure you’ll let me know.

In the meantime, here are my picks for the top 15 categories — five each for comedy, drama and limited series — along with a brief line of reasoning for each. And if it’s predictions you’re after, you can find our full BuzzMeter panel’s choices here. Emmy nominations will be announced July 8.

Comedy series

“Abbott Elementary”
“The Bear”
“The Comeback”
“Hacks”
“The Lowdown”
“Margo’s Got Money Troubles”
“The Fall and Rise of Reggie Dinkins”
“Shrinking”

Sterlin Harjo’s “The Lowdown” feels like it’s on the same trajectory as his last series, “Reservation Dogs,” an under-the-radar charmer that grows in estimation as its audience builds. Noir crime stories don’t come more delightful.

Comedy actress

Quinta Brunson, “Abbott Elementary”
Rose Byrne, “Platonic”
Ayo Edebiri, “The Bear”
Elle Fanning, “Margo’s Got Money Troubles”
Lisa Kudrow, “The Comeback”
Jean Smart, “Hacks”

“Platonic” heightened the chaos and conflict in its second season, affording the gifted Byrne additional room to flex her comic chops. How do you sleep on a show starring a newly minted Oscar nominee?

Comedy actor

Yahya Abdul-Mateen II, “Wonder Man”
Ethan Hawke, “The Lowdown”
Tracy Morgan, “The Fall and Rise of Reggie Dinkins”
Jason Segel, “Shrinking”
Martin Short, “Only Murders in the Building”
Jeremy Allen White, “The Bear”

Morgan acting oblivious is one of the funniest things ever.

Comedy supporting actress

Hannah Einbinder, “Hacks”
Janelle James, “Abbott Elementary”
Ashley Padilla, “Saturday Night Live”
Michelle Pfeiffer, “Margo’s Got Money Troubles”
Sheryl Lee Ralph, “Abbott Elementary”
Jeanne Tripplehorn, “The Lowdown”
Jessica Williams, “Shrinking”

The Padilla Pause is one reason I’m watching “Saturday Night Live” again.

Comedy supporting actor

Harrison Ford, “Shrinking”
Marcello Hernández, “Saturday Night Live”
Ben Kingsley, “Wonder Man”
Ebon Moss-Bachrach, “The Bear”
Nick Offerman, “Margo’s Got Money Troubles”
Stephen Root, “Widow’s Bay”
Tyler James Williams, “Abbott Elementary”

Hernández’s charisma and physical comedy is another.

Drama series

“Industry”
“A Knight of the Seven Kingdoms”
“The Night Manager”
“Paradise”
“The Pitt”
“Pluribus”
“Slow Horses”
“Task”

How many Emmy voters finally caught up on “Industry,” the fast-paced drama about a group of cutthroat Gen Zers? Four seasons in, it’s more addictive than ever.

Drama actress

Caitriona Balfe, “Outlander”
Myha’la, “Industry”
Chase Infiniti, “The Testaments”
Michelle Pfeiffer, “The Madison”
Rhea Seehorn, “Pluribus”
Zendaya, “Euphoria”

Now that “Outlander” is over, it’s time to pour one out for Balfe. Over the course of eight seasons, she hopscotched through time, enduring and overcoming numerous assaults and kidnappings, dealing with grief and trauma and enjoying lots of emotionally grounded sex. Balfe has earned a final reward.

Drama actor

Sterling K. Brown, “Paradise”
Peter Claffey, “A Knight of the Seven Kingdoms”
Tom Hiddleston, “The Night Manager”
Gary Oldman, “Slow Horses”
Mark Ruffalo, “Task”
Noah Wyle, “The Pitt”

Claffey turned bumbling into art.

Drama supporting actress

Isa Briones, “The Pitt”
Taylor Dearden, “The Pitt”
Fiona Dourif, “The Pitt”
Supriya Ganesh, “The Pitt”
Katherine LaNasa, “The Pitt”
Sepideh Moafi, “The Pitt”
Karolina Wydra, “Pluribus”

LaNasa should have bumped herself up to lead. As Whitaker explains to Langdon in Season 2’s penultimate episode, Robby’s the Professor of the ER and LaNasa’s Dana is the Skipper. And the Skipper should be lead.

Drama supporting actor

Patrick Ball, “The Pitt”
Diego Calva, “The Night Manager”
Shawn Hatosy, “The Pitt”
Gerran Howell, “The Pitt”
Ken Leung, “Industry”
Tom Pelphrey, “Task”
Carlos-Manuel Vesga, “Pluribus”

Pelphrey has called his desperate single dad on “Task” the role of a lifetime. No argument here.

Limited series

“Bait”
“Beef”
“DTF St. Louis”
“Death by Lightning”
“Half Man”

I put off watching the finale of the punishing “Half Man” for weeks. Does that mean the show worked?

Limited series/TV movie actress

Sally Field, “Remarkably Bright Creatures”
Camila Morrone, “Something Very Bad Is Going to Happen”
Carey Mulligan, “Beef”
Sarah Pidgeon, “Love Story”
Robin Wright, “The Girlfriend”

I like her! Right now (and always), I like her!

Limited series/TV movie actor

Riz Ahmed, “Bait”
Charlie Hunnam, “Monster: The Ed Gein Story”
Matthew Macfadyen, “Death by Lightning”
Mitchell Robertson, “Half Man”
Michael Shannon, “Death by Lightning”

The young actors on “Half Man” — Robertson and Stuart Campbell — outshone their well-known counterparts.

Limited series/TV movie supporting actress

Linda Cardellini, “DTF St. Louis”
Grace Gummer, “Love Story”
Laurie Metcalf, “Monster: The Ed Gein Story”
Cailee Spaeny, “Beef”
Joy Sunday, “DTF St. Louis”
Constance Zimmer, “Love Story”

Both Cardellini and Sunday for “DTF St. Louis”? No way, José, you say? Yes way, I say. All the way!

Limited series/TV movie supporting actor

Jason Bateman, “DTF St. Louis”
Stuart Campbell, “Half Man”
Richard Gadd, “Half Man”
David Harbour, “DTF St. Louis”
Charles Melton, “Beef”
Nick Offerman, “Death by Lightning”

The mutton-chopped Chester A. Arthur joins Ron Swanson’s ’stache in television’s facial hair hall of fame.

Glenn Close is not going to be ignored this time around, as the eight-time Oscar nominee will finally receive recognition from the academy this fall.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, working up a healthy World Cup fever even if it’s just an excuse to head to Lucky Baldwin’s for a pint or two and watch Cristiano Ronaldo one last time.

But let’s circle back to American football and my digital cover story with “Beef” stars Cailee Spaeny and Charles Melton, who watched a Super Bowl together, though they were cheering for different teams.

That Super Bowl in question was Super Bowl LIX, pitting the Philadelphia Eagles against the Kansas City Chiefs. Melton hosted a watch party, and since he considers Kansas home and played football for Kansas State University, you might think he’d be rooting for the Chiefs.

Nope.

“When I was living in Germany, I fell in love with Donovan McNabb,” Melton, an army brat, tells me, name-checking the longtime Eagles quarterback.

Spaeny, it turns out, was the only Chiefs fan at the party. To enter Melton’s home, she had to step on a doormat that was fitted with a red-and-white Chiefs jersey. (“It got real dirty,” Melton says with pride.)

Melton and Spaeny enjoy a relaxed and playful give-and-take, borne from the months they spent preparing to play Austin and Ashley, a Gen-Z couple working at a Montecito country club, dreaming and scheming toward upward mobility in “Beef.”

The most memorable episode they shared found the couple in an overcrowded, ninth-circle-of-hell emergency room with Ashley, uninsured, experiencing severe ovarian torsion. Her concerns are dismissed and she begs for someone to save her.

“Unfortunately, it’s an all-too-common experience,” Spaeny says. “I probably have a conversation once a month with female friends who go to the doctor’s office and are gaslit by the system, just being made to feel like what they’re experiencing isn’t really happening or they’re making it up. It’s scary.”

Still, being “Beef,” the episode has its share of mordant humor, like the scene where a nurse asks Ashley to rate her pain, zero being pain-free and 10 being excruciating.

“Oh, I thought it was like Letterboxd,” Ashley replies, referring to the movie review social platform. “Two-and-a-half stars out of five is average.”

“My whole life I’ve been a six or seven,” Melton says, noting his own personal pain scale. “I’ll have a cold and I’ll be like, ‘Six or seven.’”

“That sounds like you,” Spaeny says.

“I can get pretty dramatic,” Melton says. “It’s really like the end of the world when I’m sick.”

Spaeny deleted her Letterboxd account because she gets anxious about anything online containing reviews.

“It takes two buttons to click on a movie that I’ve been in and see what people say about me,” Spaeny says. “So I forgot my password and left it that way.”

Melton is an enthusiastic adopter and says he has twice shared his four favorite films, a feature where actors, usually on the red carpet, list a quartet of beloved movies. (Here’s one at the “May December” premiere where Melton enthuses over “The Matrix,” “In the Mood for Love,” “Brokeback Mountain” and “Persona.”)

“I saw them at another event and they were like, ‘Charles, so good to see you.’ And I was like, ‘Do you want my four favorite films?’ And they said, ‘No, you’ve already done it enough,’” Melton laughs. “What can I say? I love movies!”

Anticipation. Rumors. Anxiously scanning the horizon, hoping that a brilliant force will leave the masses forever changed. Yes, a new Steven Spielberg movie about close encounters with extraterrestrials is landing — and misses the mark.

“Disclosure Day” is a story of truth and feared consequences. A personality-free cybersecurity expert, Daniel (Josh O’Connor), is on the run with evidence of little gray men arriving on our planet to a rude reception. The aliens are kind. Our species is barbaric. Wittily bruising us with that fact, Spielberg opens with a POV of a wrestler kicking the audience in the face. Welcome to Earth.

Elsewhere in America, a weathergirl named Margaret (Emily Blunt) breezes into her Kansas City studio, babbling up until the minute the news camera turns on, a bravura sequence that channels her restlessness, the station’s tempo and the film’s alarm that this ditz has just this morning been stricken with preternatural powers. (The cinematography and editing are by Janusz Kaminski and Sarah Broshar.) Locally, Margaret is known for announcing hailstorms with a sexy shimmy. Suddenly, she’s fluent in Russian, Korean and telepathy. Although she and her boyfriend, Jackson (Wyatt Russell), are a bad match, she’s giving everyone else life advice like an intergalactic Dear Abby.

When Margaret starts spouting alien-ese — spasms of gutteral clicks — on live TV, she and Jackson rush to the hospital for a brain scan followed by several suspicious men who claim to be with the FBI. Russell’s befuddled Jackson is as useless as a traffic cone but Blunt’s Margaret is a gas before the movie makes her go all glassy-eyed and solemn. Yet, the movie is less inspired by why she was chosen or how she feels about it than in dragging us back in time to the moment when it happened, which isn’t that interesting except for its resemblance to a Disney princess having a psychotic break. The CG animals and aliens look stiff, other than a nifty close-up of an eyeball. (Later, I did like how one alien appears to be wearing sportswear.)

Chasing both Daniel and Margaret around the Midwest is a deep-state company called Wardex that wants to steal back the proof in Daniel’s backpack, a heap of hard drives with footage of 70-plus years of extraterrestrial visitations. It’s a treat to see Spielberg enjoying staging this conspiratorial gossip in different film stocks, from the black-and-white noir of 1947 Roswell to the clinical security-camera look of today. Whatever Wardex does on a day-to-day basis is unclear (we just see video screens and lab equipment). But it acts all-powerful, seeming to know more about outer-space tech than its overseers at the Department of Defense.

The script is by David Koepp of the paranoid thriller “Black Bag” and Spielberg’s 2005 version of “War of the Worlds,” yet, this plot strand about private enterprise isn’t science fiction. Last year, in the unrelated UFO documentary “The Age of Disclosure,” current Secretary of State Marco Rubio admitted that companies have a stronger institutional memory of “exotic materials” than any presidential administration: “The people in government who know where it came from originally — they’re long gone and their successors have no idea that it was there at all.” To add nationalistic insult to injury, the head of Wardex isn’t even American. He’s a Brit played by Colin Firth.

If anything, “Disclosure Day” isn’t paranoid enough. Clutching a mysterious tool the shape of a mouse coffin, Firth’s villain tracks Daniel’s location by mentally transplanting himself into another person’s body, changing the color of their pupils to his own icy blue. His gadget also makes his targets super sweaty. This laborious alien tactic leads to a few fun scenes but frankly feels old-fashioned when the omnipresent surveillance that Spielberg himself warned about nearly 25 years ago in “Minority Report” is now here with recording devices constantly tracking our faces, voices and movements just so we don’t have to dial phones, fetch sandwiches or talk to human drivers. Although his movie urged us against this 24/7 spyware future, we have since embraced the convenience.

I bring this up because “Disclosure Day’s” driving question is how humanity will react to life-altering information. (Not that the plot has much momentum — too many scenes end with the belief that ducking 10 feet out of view makes you invisible, with an antagonist simply giving up.) Daniel insists on total honesty: “People have a right to know the truth,” he says. His girlfriend Jane (Eve Hewson) doubts 8 billion people can handle his alien revelations. A Catholic, she’s alarmed that extraterrestrial intelligence could replace the concept of God, naively claiming that “religion holds society together.” Since when?

There’s some wan comedy in an early scene where these new-ish lovers debate the ethics of secrecy while revealing the skeletons they’ve been hiding from each other. Both have pasts you wouldn’t put on a Tinder profile. The script is glancingly empathetic to Jane’s moral turmoil but like Daniel, the film has made up its mind before the movie started. Narratively and logistically, Daniel’s whistleblowing escape limps along with a lack of suspense. Wardex doesn’t even bother to preemptively discredit Daniel in the public’s eye, which, given the two sentences of backstory we know about his character, would be easy.

Nattering in the background are broadcasts about the impending threat of global war at the hands of the United States, Russia and North Korea. Given that scary possibility, the risk that Daniel’s reveal could tip over the world order doesn’t seem that bad. Honestly, I’m dubious of the film’s certainty that folks even have the bandwidth to care about such news, let alone agree on what they’re seeing. The serious journalism Margaret aspires to do is splintering under our distrust of who controls the megaphones. Last month’s infodump of an Armed Forces report listing 209 sightings of unidentified objects was announced with a presidential tweet that “the people can decide for themselves.” I didn’t bother to click. Did you?

Getting information about these space invaders out leaves no time for taking the marvel of their existence in. Decades after Spielberg unveiled his signature shot — a face amazed at wonders we can’t see — he seems wearied by his awareness that today’s moment of revelation would look like a person staring down at their phone. When lens flares continually beam right at the screen, the whole movie feels like enlightenment under duress.

Where are the aliens from and why are they here? Who knows. “Disclosure Day” speeds around frantically, talking constantly and explaining little. Back in 1977, Spielberg’s “Close Encounters of the Third Kind” was a popcorn masterpiece of withheld information. Its quiet assurance that experts had a handle on flying saucers and a plan to meet them felt comforting. Here, Colman Domingo’s renegade intelligence operative also refuses to tell anyone anything, but all the unspoken beats just feel like plot holes. Mostly, his character builds what looks like a Hollywood set to reveal a truth he already suspects. That’s what Spielberg is doing too, but a film needs a sense of curiosity.

Instead, the wows come from good stagings of ordinary action: a car crash, a gripped crucifix, a hideout crowded with jostling, thrumming musical instruments. There’s a great train-track crossing sequence that’s also a vicious callback to Richard Dreyfuss’ epiphany in “Close Encounters.” Yet, I wanted to see more of the old Spielberg, the one who expressed awe in moments of silence rather than relentless motion.

That Spielberg has come full circle to his lifelong obsession with the sky had me convinced that this might be a secret sequel to “Close Encounters” beyond the droll joke that both Dreyfuss’ Roy and Blunt’s Margaret are shacked up with unsupportive blonds. They do share a universe; you’ll see a glimpse of what could pass for an outtake from Devils Tower, a.k.a. Mashed Potato Mountain, on one of Daniel’s hard drives. Still, I left underwhelmed. I didn’t need Dreyfuss to step off a spaceship gangplank and say, “I’m back.” I just needed “Disclosure Day” to have the same spark of intelligent life.

Former EastEnders star Ben Hardy is returning to screens in an Agatha Christie film that also includes a Game of Thrones actor

Former Peter Beale actor Ben Hardy is set to start filming an exciting new ‘whounnit’ based on real-life events.

The new film Eleven Missing Days will also star Vincent Cassel and Felicity Jones and tell the story of Agatha Christie’s real-life disappearance.

The novelist’s disappearance made national and international headlines during the 1920s, with famous names joining the search to find her, including leading politicians and fellow writers such as Arthur Conan Doyle, according to Deadline.

There has been a lot of speculation over what happened to the author, and now 100 years on, some details still remain a mystery.

The synopsis reads for the film: “In December 1926, at the height of her fame, Agatha Christie became front-page news when she vanished in bizarre circumstances from her home.

“In a case of life imitating art, this whodunnit explores the investigation behind her disappearance, strangely resembling an Agatha Christie novel itself, where everyone in her life became a suspect.”

A stellar cast joins Ben Hardy in the forthcoming movie, including Say Nothing star Ryan McParland, Game of Thrones’s Alfie Allen, The Brutalist’s Stacy Martin, Nicole Elizabeth Berger from He’s Watching You, and The Gorge actor Oliver Trevena.

Currently in pre-production, the picture is on course to shoot this summer in the UK.

Who did Ben Hardy play in EastEnders?

The 35-year-old found fame on the BBC soap in 2013 when he arrived in Walford as legendary character Peter Beale. He had taken over the role from Thomas Law, who had played the part between 2006 and 2010 before returning in 2023.

Ben’s version of Peter was most memorable for being caught up in the ‘Who Killed Lucy Beale?’ saga and for dating Lola Peace (Danielle Harold) before rekindling his romance with Lauren Branning (Jacqueline Jossa).

After finding out his own brother Bobby (Eliot Carrington) had killed Lucy, Peter struggled with life in Walford and moved to New Zealand to start a new life in 2015.

In an interview with The Independent, Ben said that he had “been battling it for a year, how to make things work” before ultimately deciding to leave the show.

“I have so much respect for everyone who works on that show, I felt myself getting lazy as an actor,” he explained. “I felt myself constantly going, ‘This scene doesn’t work’.”

Ben went on to say: “That laziness scared me. I said, ‘I have to get out of here’.”

He has since traded in his fruit-and-veg market stall for the bright lights of Hollywood and landed a role in the 2016 film X-Men: Apocalypse.

He also played Roger Taylor in the biopic Bohemian Rhapsody and portrayed the role of Four in the Netflix movie ‘6 Underground’ alongside Ryan Reynolds.

Ben also played Frank McCulled in the film Pixie, Seb in The Voyeurs, Simon in The Girl Before, and Tre in Tagged.

Most recently, he starred as Oliver Jones in the Netflix movie Love at First Sight (2023) and the 2025 horror movie The Conjuring: Last Rites.

EastEnders airs Monday to Thursday on BBC One and iPlayer

DC Studios co-chief James Gunn took to social media Monday to settle a debate once and for all: Of course, Supergirl can have pierced ears.

“Supergirl,” the upcoming superhero film starring Milly Alcock as the last daughter of Krypton, Kara Zor-El, has been the target of questioning from online detractors. One overblown gripe that some have mentioned on social media after zeroing in on Supergirl’s earlobes in promotional images is how a superpowered alien refugee known for her invulnerability and unbreakable skin could have any body jewelry.

“As explained in Superman, the same way she gets drunk — she goes to a planet with a red sun,” Gunn wrote on Threads. “Not to mention she was raised on a chunk of Krypton so didn’t even experience super powers until her teens.”

As the filmmaker mentions, Alcock’s iteration of Kara made her DC Universe debut in his 2025 movie, “Superman.” After the clearly inebriated Girl of Steel crashes into her cousin’s Fortress of Solitude to pick up her dog, Krypto, Superman notes that Kara “likes to go and party on other planets … with red suns.” This is because, as Superman explains, Kryptonians have enhanced power on Earth because of its yellow sun. This is also Kryptonian lore that has been established in comic books.

A recently released “Supergirl” clip also shows Superman first meeting his cousin after her pod lands on Earth. The footage shows Kara’s superpowers kicking in for the first time.

Directed by Craig Gillespie, “Supergirl” will follow the eponymous Kryptonian as she is celebrating her 23rd birthday. According to the film’s logline, Kara’s encounter with “an unexpected and ruthless adversary” leads her to “reluctantly join forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.”

The movie’s cast also includes Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet and Jason Momoa. “Supergirl” will hit theaters June 26.

The first film by Canadian filmmaker David Cronenberg to be shot partly in the U.S. is, perhaps not surprisingly, a freaky satire of Hollywood. Its take on fame has only grown more accurate in the years since its premiere in 2014. Julianne Moore, Mia Wasikowska and Robert Pattinson star in a demented tale of family, celebrity, ambition, ego and limousines. Funny and perverse, the film captures the uncanny cocktail of mean-spirited malignancy, self-obsessed delusion and just plain obliviousness that runs rampant around town. Presented by the screening series Mezzanine and the local literary magazine the Big One, the evening will be introduced by the film’s screenwriter, Bruce Wagner, a longtime chronicler of Los Angeles.

“Maps to the Stars” is playing June 14 at Brain Dead Studios. Tickets here.

With the Wayans brothers firmly back in the driver’s seat, horror parody “Scary Movie” muscled its way past He-Man for the top spot at the box office this weekend.

The reboot of the 2000s-era franchise — or “rebootiquel,” as the movie calls itself — brought in $55 million in the U.S. and Canada for a worldwide total of $105.5 million, according to studio estimates. The movie, which had a production budget of $30 million, beat studio expectations and marks the return of the Wayans brothers to “Scary Movie.”

The franchise was developed by Marlon Wayans, Shawn Wayans and Keenen Ivory Wayans. But after 2001’s “Scary Movie 2,” the Wayans got in a pay dispute with former Miramax executives Bob and Harvey Weinstein. The Wayans have said the Weinsteins did not tell them that 2003’s “Scary Movie 3” would be made without them. The franchise then continued with fourth and fifth installments.

After former MGM film executive Jonathan Glickman was named chief executive of Miramax in 2024, he reached out to Marlon Wayans to see if he’d be interested in reviving “Scary Movie.”

“Always dreamt of having this moment again,” Wayans said, while thanking Glickman and executive producer Marc Weinstock during a short speech at the movie’s premiere. “I thank you guys for having the vision to go, there’s only one way to do the next ‘Scary Movie,’ and that’s to bring the Wayans family back.”

Miramax led the production and financing of the film, while Paramount Pictures was the distributor.

Amazon MGM Studios’ “Masters of the Universe” came in second at the domestic box office with $29.3 million, in Mattel Studios’ first film in theaters since the 2023 smash hit “Barbie.” Globally, the movie made $54 million.

The action adventure movie had a production budget of about $170 million and aimed to reintroduce the ‘80s-era action hero “He-Man” to a new audience, while also driving the nostalgia of adults who played with the franchise toys or watched the original film and series. The movie is part of Mattel Inc.’s strategy to continue extending its toy brands into the entertainment arena.

Mattel Chief Executive Ynon Kreiz said last week that “Masters of the Universe” didn’t need to match the success of “Barbie” “to have a meaningful economic impact on the company.”

A24’s runaway hit “Backrooms” came in third at the box office this weekend, continuing its strong performance with a haul of $25.9 million. Focus Features’ “Obsession” ($25.6 million) and another YouTube-native property, “The Amazing Digital Circus: The Last Act,” ($12.7 million) rounded out the top five at the box office, according to Comscore data.

What was the moment from the season finale of “The Pitt” that finally broke you?

Was it the shot of the day-shift staff watching the Fourth of July fireworks from the hospital roof, the sound of “America the Beautiful” playing in the distance? Maybe it was Dr. Al-Hashimi (Sepideh Moafi) crying in her car, realizing she can’t work around the seizure disorder that makes her a liability in the ER. Or perhaps it came when Noah Wyle’s Dr. Robinavitch (a.k.a. Dr. Robby) swaddled Baby Jane Doe, telling her that “everything’s gonna be just fine,” because she has “so many wonderful things to see and so many people to love.”

But what opened the floodgates for me, after the last half-hour of the episode left me completely dazed and dumbfounded, was Drs. Santos (Isa Briones) and King (Taylor Dearden) exorcising the day’s demons by belting out Alanis Morissette’s “You Oughta Know” at a karaoke bar and demonstrating that primal scream therapy is alive and well three decades into the 21st century.

Which is all to say: “The Pitt” is the only television show I’ve watched that gives me the same feeling I have when I read a great, immersive novel. When the end is near, I’m bereft. I’m Al-Hashimi in her car, wanting to pound the dashboard. I do not want to let these characters go. They’ve given me 15 hours and I still crave more. I would devour a series of short films about odd couple Santos and Whitaker (Gerran Howell) sharing an apartment or a summer spinoff showing Dr. Abbot (Shawn Hatosy) working off-hours as a SWAT medic. Anything to fill the long, “Pitt”-less weeks between seasons.

Instead, I’ll just have to content myself with scrolling through social media, watching fan-made videos of Dr. King self-soothing her way through the day, (this one, set to Vince Guaraldi’s score from “A Charlie Brown Christmas,” is the absolute best) and taking in the compilation of the show’s cast asking, “What’s the status on Baby Jane Doe?” in their best Katherine LaNasa Pittsburgh accent.

“The Pitt” won five Emmys from 13 nominations, including best drama series, for its celebrated first season, a 15-episode run that began with Dr. Robby up on the hospital roof talking down Dr. Abbot after an intense shift. The season ended with Dr. Abbot returning the favor after Robby and his staff ground their way through a day that included a mass shooting, a child drowning and a patient assaulting LaNasa’s no-nonsense charge nurse.

How do you follow that?

For a few episodes this new season, it looked like “The Pitt” wasn’t up to the task. We watched the ER staff dealing with a series of bloody, messy (the disimpaction!) medical maladies, an avert-your-eyes spectacle that felt like the writers were trying to one-up themselves and find the worst possible affliction to make viewers double over. Worse, the thrill of discovery that kept us invested throughout the first season, the slow drip of information about the characters, wasn’t quite there. Something was missing, and it wasn’t just Dr. Robby’s motorcycle helmet.

But the luxury of having 15 episodes is that the writers can take their time laying the groundwork for the story they want to tell.

And what a story it was.

Over the course of the season, we watched Dr. Robby disintegrate, his mental health more precarious than ever because he has done nothing to address his apparent PTSD. “You need help,” Dr. Langdon (Patrick Ball) tells Robby, confronting him in the finale. “Be honest with yourself.”

Robby isn’t the only one struggling, as Dr. Abbot puts it, to “dance through the darkness.” Langdon is back, managing his sobriety. Dr. Mohan (Supriya Ganesh) is having panic attacks. Santos is still dealing with self-harm. Dana remains haunted by that Season 1 patient assault and now carries a syringe containing a heavy sedative just in case somebody emerging from that overcrowded waiting room crosses the line again.

“I’ve seen so many people die that I feel like it’s leaching something from my soul,” Robby says. “I’m tired of feeling like I’m drowning every day.”

And there you have it, the subject of Season 2 of “The Pitt.” Medical professionals are gasping for air, and the American healthcare system, with its focus on profit above all else, is failing them and the patients they treat.

Remember Orlando, the patient with severe diabetic ketoacidosis who arrives at the ER after fainting? Orlando had to ration his insulin because he lacked insurance and felt he had to cut corners. He ends up leaving the hospital early, fearing the cost of treatment. Later he returns, having fallen (jumped) from a catwalk at his construction job, fracturing his skull. But good news: He now qualifies for Medicare and Medicaid due to long-term disability.

It’s a tragedy, one of many reasons the season finale shot of the ER staff holding back tears as they watched the Fourth of July fireworks felt like a body blow. “America the Beautiful”? How can that be true when the current administration is seeking $1.5 trillion for defense spending — nearly 50% more than this year — while cutting healthcare and social safety nets? How can that be true when an act known as the “Big, Beautiful Bill” removed funding from an already frayed healthcare system and exacerbated the shortage of care in rural areas of the country?

That one scene, the culmination of hours of careful, patient storytelling, said more about the disconnect between American ideals and America’s reality than anything else I’ve read or watched this year.

Give “The Pitt” all the Emmys. It has more than earned them.

Call “Scary Movie” lazy, dumb and offensive. It would enthusiastically agree. The lowbrow horror parody thrives on shtick about weed, race and genitalia. The only thing that scares it is high expectations.

But amid the rampant stupidity of the first “Scary Movie,” released in 2000, original director Keenen Ivory Wayans discovered two major talents: Regina Hall and Anna Faris. As heroines Brenda and Cindy, respectively, Hall and Faris were daffy, dopey and committed. Alongside a cast of Playmates (Carmen Electra, Shannon Elizabeth) and family members (Wayans brothers Marlon and Shawn), they played stupid like Shakespeare. In two decades since, both gave up the Ghostface to do better things: Hall in “Girls Trip” and “One Battle After Another,” and Faris in “Smiley Face” and “The House Bunny.” (Frankly, Faris deserves to be doing more.) If a sixth “Scary Movie” is going to lure them back for what the ensemble openly frets is a rebooquel — as in a reboot-sequel, here pronounced “re-booty call” — it better be good.

Fine, good is a stretch. The latest “Scary Movie,” which simply recycles the title “Scary Movie,” is as lazy, dumb and offensive as the others. But Hall and Faris, now playing the dotty mothers of the next generation of victims, are hilarious, romping about like their Brenda and Cindy have clearly been knocked on the head too often. (Brenda, fans of the franchise know, has technically already died twice.) I laughed 10 times, which makes this “Scary Movie” the best of the bunch — a pallid compliment.

Directing duties have shuffled to Michael Tiddes, a longtime Wayans collaborator, who gets gutsy performances from three of this entry’s newbies: Olivia Rose Keegan and Savannah Lee Nassif as Cindy’s estranged daughters, a pill-popper and a Wednesday Addams clone, and Ruby Snowber, maximizing every second of her feature debut as a high school tramp.

The Wayans clan left the series early on due to a contract dispute with Harvey and Bob Weinstein. Now seven have returned. Four Wayans (Craig, Keenan Ivory, Marlon and Shawn) co-wrote the script with Rick Alvarez; three more (Kim, Damon Jr., and Gregg) act in the film alongside Marlon and Shawn, who revive their characters Shorty, a stoner with a shrill cackle, and Ray, whose only personality trait is being gay. In one of many homages to “Sinners,” Ray promises a church he’ll act straight. Then he mimes tucking his manhood between his legs and dancing like Buffalo Bill in “The Silence of the Lambs.”

Yes, Shorty and Ray were also murdered in the first movie. No, it doesn’t matter. “Scary Movie’s” one genuinely ingenious move is to resurrect actors without shame. Jon Abrahams’ bad boyfriend (stabbed), Lochlyn Munro’s lout (slit throat), and Electra’s eye candy (pierced through the breast implant) are back, too, as are a pair of erotically linked survivors, Cheri Oteri’s news anchor and Dave Sheridan’s moronic cop, whose spittle-flecked chin is the grossest thing in a film that has a mall Santa costumed like “Terrifier’s” Art the Clown gifting a child a set of severed testicles.

“The Silence of the Lambs” remains the only horror film to win best picture at the Academy Awards. This “Scary Movie” has no delusions of that. Yet in the years since the last installment, 2013’s “Scary Movie 5” — a sequel so awful that even its own director, Malcolm D. Lee, later admitted, “It’s not worth your time” — the horror genre at-large has become ambitious, with “Sinners,” “The Substance,” and “Get Out” earning Oscar nominations and “Weapons’” witchy Amy Madigan seizing the supporting actress prize.

This “Scary Movie” makes fun of all four of those newer hits, as well as the recent rebooquels of “Halloween,” which was earnest, and “Scream,” which couldn’t decide what tone to hit. Each send-up is funny for at least an entire minute, a lifetime when you’re watching Marlon’s Shorty mug for the camera. Either Shorty has the most screen time or he’s just so excruciating that it feels like it.

I cannot make the straight-faced argument that the worst “Scary Movies” were held back by their source material. Still, it’s true that when the series was at its nadir, so few vibrant horror films were being made that it was stuck lampooning the now-forgotten Jessica Chastain chiller “Mama.” Likewise, when this “Scary Movie” takes a jab at Nicolas Cage’s more-kooky-than-tedious “Longlegs,” the limp gag of the creepy Shorthand (Chris Elliot), underscores that the movie itself just isn’t that interesting.

“Scary Movie” inserts two political jokes that earn a solid gasp-giggle-groan. Yet, the most grating new addition is a self-righteous student named Dei Meeks (Sydney Park), who polices the humor. The movie relishes killing the killjoy. A whole mob does her in; it’s the one death that feels angry. I’d have been happy to see her die in her first scene. Not that I empathize with canceled comics who posture as if they’re victims under attack, but it would do this country good if it could occasionally share a laugh.

Don’t waste one brain cell trying to deduce the assassin. The answer is surprising and satisfying. While the script’s hasty nods to “KPop Demon Hunters” and the biopic “Michael” make it feel like it was written on yesterday’s Kleenex, the immediacy allows “One Battle After Another’s” Teyana Taylor to acknowledge that Madigan’s Aunt Gladys stole her Oscar. Swilling tequila shots and hollering “Viva la revolución!,” she’s hysterical in the cleverest opening slasher scene since Drew Barrymore answered the phone in the 1996 “Scream.” I’d watch six more “Scary Movies” if Taylor starred in them. But like Hall and Faris, she deserves better.

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

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

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

Back to a ’90s phenomenon

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

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

Appearing like magic

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

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

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

Examining the life of the mind

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

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

Christmas in June

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

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

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

So much beauty

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

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

Perverse fun

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

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

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

New this week

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

One last thing…

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

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

A BOND Girl has been spotted on rare outing 50 years after her sizzling scenes aired in one of the most iconic 007 movies.

Former Bond Girl Gloria Hendry, who played CIA agent Rosie Carver, was seen out and about looking amazing this week while running some errands.

50 years after starring opposite Roger Moore in the iconic flick Live and Let Die, Gloria, now 77, was spotted in Las Vegas.

The model and actress wore a casual brown and black top with some black leggings and slip on shoes for the low-key trip.

Looking youthful and content, Gloria wore her hair in a short light brunette bob, which was very different to the afro she sported in the movie.

Florida-born Gloria shot to fame in her 20s when she became 007‘s first African-American woman to become romantically involved with James Bond.

In the 1973 movie, she was fresh-faced and vibrant, showcasing a voluminous afro that framed her face.

The model-turned-actress played the part of Rosie Carver, who famously gets shot and killed in Bond’s arms.  

Her steamy scenes with Roger Moore catapulted her into the spotlight in the Ian Fleming classic.

The movie theme of Live and Let Die was famously written by Paul McCartney. 

In his memoir, 007 star Roger described how the passion between himself and Gloria impacted his marriage.

“As Bond, I make love to Rosie Carver, played by the beautiful black actress Gloria Hendry, and my wife Luisa has learned from certain Louisiana ladies that if there is a scene like that they won’t go to see the picture,” he penned.

He added: “I personally don’t give a damn, and it makes me all the more determined to play the scene.”

Before her Bond Girl fame, she was a model and spent time at the Playboy Club.

She worked as a Playboy Bunny at the New York Playboy Club from 1965 until 1972.

Her model past led to her acting debut in Sidney Poitier’s For Love of Ivy, which then led to her bagging the James Bond role.

Following her Bond Girl fame, she has maintained a relatively low profile in Hollywood.

However, she did enjoy a moment in the spotlight as the writer and director of Glamour Girls, which was showcased at the Barbara Morrison Performing Arts Center in Los Angeles in October 2011.

Away from the screen, Gloria was married to Phillip W. Wright from 1995 until his passing in 2022.

Three years ago, Mattel Inc. struck box-office gold — or rather, pink — with the billion-dollar success of “Barbie.”

In its first return to theaters since the female-forward phenomenon, the El Segundo toymaker is turning to the brawny He-Man for another box-office lift.

Its latest film, “Masters of the Universe,” opens this weekend, as Mattel looks to build on that previous success and continue extending its signature toy brands into the entertainment arena.

“The movie is very much in tune with culture,” said Mattel Chief Executive Ynon Kreiz. “Everything is much more contemporary relative to what was created more than 40 years ago, but it’s still very true to the origin story and to the DNA of the brand.”

The new film arrives at a pivotal time for Mattel, which is facing pressure from investors to grow its business. The maker of Hot Wheels, American Girl and Uno has recently confronted a challenging market for toys, beset by tariffs on goods produced overseas and weaker-than-expected demand for Barbie dolls and Fisher-Price preschool products.

Amid uncertainty in the toy market and the fallout from tariffs, Mattel’s net income dropped 25% to $398 million in 2025. And since the company announced disappointing holiday sales totals in February, its stock has dropped more than 30%, closing at $14.34 on Wednesday.

The share price slide prompted investor Southeastern Asset Management to send a letter last month to Mattel leadership suggesting the toy maker should sell itself and go private. Southeastern manages about 4% of the company’s stock on behalf of its clients.

“The frustration among investors has been the fact that if you look at the business from 2021 through 2025 and even this year … the business really hasn’t grown,” said Eric Handler, a Roth Capital senior media and entertainment analyst, referring to Mattel. “This is a company that needed something fresh in the portfolio, and there’s a wide range of investments being made, of which ‘Masters of the Universe’ is one part.”

Kreiz pushed back on the idea that the company is not growing. In the fourth quarter of 2025, net sales were up 7% to $1.8 billion, though the result was not as strong as the company expected.

Mattel has spent $1.2 billion in the last three years to buy back shares, with an additional $1.5-billion share repurchase planned for the next three years.

“We’re investing in our own stock because we believe it is undervalued,” he told The Times in an interview at his office, which has floor-to-ceiling windows that give an expansive view of El Segundo. “We absolutely agree that the share price doesn’t reflect the progress that we’ve achieved over the last few years financially, operationally, our place in culture, the strength of our brands, and the continued expansion of the business. And more importantly, the potential that we have down the road.”

“Masters of the Universe” is a key variable in that equation.

The movie, which had a budget of roughly $170 million, is expected to bring in $25 million to $35 million in the U.S. and Canada during its debut weekend. That’s a far cry from the $162-million opening haul of “Barbie,” but box-office analysts say that film captured the cultural zeitgeist in a way that’s hard to replicate.

The ‘80s-era “Masters of the Universe” is “a property that was famous with a certain group of fans, but it hasn’t had much of a pop culture presence,” said Shawn Robbins, who directs movie analytics at Fandango and founded the forecasting site Box Office Theory. The movie has notched a respectable 74% approval rating from critics on aggregator Rotten Tomatoes.

“There’s been so many callbacks to nostalgic franchises,” he said. “Some people are always on board for them, and maybe the positive reviews bring people in who were on the fence. But people are also ready for something fresh and new and exciting.”

Kreiz said he’s often asked how the company will match the success of “Barbie.”

“The answer is, we don’t need to match ‘Barbie’s’ success for movies to have a meaningful economic impact on the company,” he said. “Not every movie will be ‘Barbie.’ If we create quality content that people want to watch and create quality experiences that people are engaged with, good things happen, and these brands will resonate and will be here for years to come.”

While theatrical revenue is important, the measure of success for “Masters of the Universe” could also include its eventual reception on streaming platforms and, of course, toy sales, analysts said.

There are hundreds of products tied to the movie, from collectible action figures of Nicholas Galitzine’s He-Man and Camila Mendes’ Teela, to branded Uno decks, Legos, clothing and skateboards.

“For us, it’s a huge win already,” said Robbie Brenner, president of Mattel Studios and chief content officer, who also served as a producer on the film. “We have reinvigorated and relaunched this brand that has been around for decades … and done it in a way with just the best-in-class toys. Obviously that’s our bread and butter. And then to have made an epic, incredible movie … is a huge win.”

While Mattel does not yet have sales totals for its “Masters of the Universe” toys, executives said during an earnings call in late April that product sales were “growing double digits” amid strong customer demand, particularly from adults.

When Kreiz was named CEO in 2018, he saw the potential for Mattel to expand beyond toys. In an entertainment landscape dominated by known franchises and intellectual property, the former TV and media executive wanted to leverage the company’s IP in new ways to attract consumers.

Hence, Mattel has expanded into real-world experiences such as a Barbie pop-up at Coachella or a traveling Hot Wheels monster truck show. In February, the company fully acquired Mattel163 mobile game studio after buying out a stake held by Chinese tech firm NetEase. The studio has released games based on Uno, Skip-Bo and other Mattel intellectual property.

And on the film and television front, the Mattel Studios division now has 51 people — most of whom are based in El Segundo — focused on projects across platforms.

After “Masters of the Universe,” Mattel Studios plans to release a “Matchbox” streaming movie in October. The division has more than a dozen films in development that have been announced, including an American Girl movie with Paramount, Polly Pocket with Amazon MGM Studios, as well as a live-action Magic 8 Ball series from M. Night Shyamalan.

“The journey for the company was to evolve from being a toy manufacturer that was making items to become an IP company that is managing franchises,” Kreiz said. “It’s not that we’re not creating toys — it’s obviously a big part of our business — but the opportunity is to expand so much more than the physical product.”

“Masters of the Universe” was in development for years at several different studios before it was picked up by Amazon MGM.

That partnership stemmed from Mattel’s work on the “Barbie” movie with Courtenay Valenti, then president of production and development at Warner Bros. Pictures who is now head of film at Amazon MGM.

“Masters of the Universe” felt like a good property for Mattel to bet on because of its nostalgia factor and deep bench of colorful characters, from the green tiger Battle Cat to the heavily armored Ram Man and ever meme-able Skeletor, which the company hopes will attract new audiences, Brenner said.

The movie is directed by Travis Knight — chief executive of stop-motion studio Laika who also led the 2018 “Transformers” spin-off “Bumblebee” — who Brenner said “nailed” the narrative’s tone. (It didn’t hurt that Knight was already a fan of the franchise and had sported the He-Man haircut as a child.)

“It’s a property that’s kind of out there,” said Brenner, who grew up watching He-Man and his twin sister She-Ra. “It’s got all these crazy characters. But just riding that line between what is funny and kind of irreverent and then kind of heartfelt, that is a very hard thing to put in a blender and to get right.”