A look at two of this week’s top high school football playoff games in the Southland:
FRIDAY
Leuzinger (8-1) at Crean Lutheran (10-0), 7 p.m.
Leuzinger, the Bay League champions, has a top offensive line and an aggressive, hard-hitting defense that will try to contain Crean Lutheran’s athletic quarterback, Caden Jones, who has 29 touchdown passes. This Division 2 opener is part of a division loaded with tough first-round matchups. The pick: Leuzinger.
Can Laguna Beach deal with Notre Dame’s huge offensive line? That’s the big question in this Division 3 playoff opener. Versatile quarterback Wyatt Brown has run for 19 touchdowns. If the Knights can throw around their weight, things will look good. Laguna Beach has talented junior quarterback Jack Hurst, who has 41 touchdown passes. The pick: Notre Dame.
A historic drought in the country has culminated in a ‘100 percent drop in precipitation’ in the Tehran region.
Published On 2 Nov 20252 Nov 2025
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The main source of drinking water for residents of the Iranian capital Tehran is at risk of running dry within two weeks, according to state media, due to a historic drought plaguing the country.
The Amir Kabir Dam, one of five that provide drinking water for Tehran, “holds just 14 million cubic metres of water, which is eight percent of its capacity”, the director of the capital’s water company, Behzad Parsa, was quoted as saying by the IRNA news agency on Sunday.
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At that level, it can only continue to supply Tehran with water “for two weeks”, he warned.
The announcement comes as the country experiences its worst drought in decades. The level of rainfall in Tehran province was “nearly without precedent for a century”, a local official declared last month.
The megacity of more than 10 million people is nestled against the southern slopes of the often snow-capped Alborz Mountains, which soar as high as 5,600 metres (18,370 feet) and whose rivers feed multiple reservoirs.
A year ago, the Amir Kabir dam held back 86 million cubic metres of water, Parsa said, but there had been a “100 percent drop in precipitation” in the Tehran region.
Parsa did not provide details on the status of the other reservoirs in the system.
According to Iranian media, the population of Tehran consumes around three million cubic metres of water each day.
As a water-saving measure, supplies have reportedly been cut off to several neighbourhoods in recent days, while outages were frequent this summer.
In July and August, two public holidays were declared to save water and energy, with power cuts an almost daily occurrence amid a heatwave that saw temperatures rise beyond 40 Celsius (104 Fahrenheit) in Tehran and exceed 50C (122F) in some areas.
“The water crisis is more serious than what is being discussed today,” Iranian President Masoud Pezeshkian warned at the time.
Water scarcity is a major issue throughout Iran, particularly in arid provinces in the country’s south, with shortages blamed on mismanagement and overexploitation of underground resources, as well as the growing impact of climate change.
Iran’s neighbour Iraq is experiencing its driest year on record since 1993, as the Tigris and Euphrates Rivers, which flow into the Persian Gulf from West Asia, have seen their levels drop by up to 27 percent due to poor rainfall and upstream water restrictions, leading to a severe humanitarian crisis in the country’s south.
STRANGER Things star David Harbour admitted he has “made mistakes” over the last 10 years just WEEKS before ex-wife Lily Allen released her bombshell album.
The couple, who split after a five year marriage in February this year, have had their relationship thrust into the spotlight after Lily’s blistering attack on her marriage on new album, West End Girl.
The 14-track album was dropped last week, but shortly before the release, Harbour briefly spoke about ‘regrets’ while promoting the upcoming final season of Stranger Things.
Talking to Esquire Spain, Harbour was asked to reflect on the past decade of his life in line with how long he has played burly cop Jim Hopper on the show.
He responded by calling it a “hard question” and, while not addressing Lily specifically, he said: “I would change either everything or nothing.
“You either accept your path completely and realise that even the pain and the slip-ups and the mistakes are all part of the journey, and that there’s truth and growth, wisdom and deeper empathy and connection in all that.”
“It’s kind of like a house of cards,” he added. “The minute you try to change one thing you kind of have to change it all.”
Ultimately he said he’d change “everything” and “just make his life happy and silly”, though it would “suck” not to be an actor.
West End Girl
On West End Girl, Lily chronicles her relationship with Harbour, starting with their whirlwind relationship after meeting on Raya in 2019 and setting up their life together in New York.
However, she notes things began to unravel after she landed a part in a West End production of 2:22 A Ghost Story, which required her to come back to London.
She then accuses him of getting close to a woman she names “Madeline”, despite them having an “arrangement” for him to sleep with other people.
Mentioning her on the track ‘Tennis’, fans were abuzz with the question: “Who the f**k is Madeline?”
Lily even dressed up as Madeline for Halloween – the moniker she gave David’s other womanCredit: GettyDavid is yet to make an official statement or response to Lily’s claimsCredit: GettyDavid and Lily announced their split in February this year after five years of marriageCredit: GettyThe West End Girl album makes claims of an ‘arrangement’ between them that he brokeCredit: UnknownLily and David first met on celeb dating app Raya back in 2019Credit: Getty
The return of winter has already claimed a life on the tallest mountain in the continental United States, with the death of a hiker on slippery Mt. Whitney, according to the Inyo County Sheriff’s Department.
Over the weekend, the hiker fell in the notorious “99 Switchbacks” section of the main trail, said Lindsey Stine, Community Outreach Coordinator for the Inyo County Sheriff’s Department. The switchbacks begin just above Trail Camp at almost 12,000 feet, where many hikers spend the night before making an early morning start for the 14,500-foot summit.
In the summer, when the trail is dry, the switchbacks section is a long slog, winding back and forth up two miles, and nearly 2,000 vertical feet.
When it gets a big snow, as it did earlier this month, the trail becomes buried and the whole slope becomes perilously steep.
Wes Ostgaard, who said he has climbed Mt. Whitney four times, posted on Facebook that conditions on Saturday were so treacherous he and his climbing partners decided to turn around.
“Winds were extremely intense, and with the recent snowfall, the wind was blasting snow in our faces,” Ostgaard wrote. The snow covered the trail and, in many places, rendered it “invisible,” he wrote.
When Ostgaard and his companions were descending the switchbacks they encountered the body of another hiker who had apparently fallen above a section of steel safety cables and then slid another 70 ft, or so.
“I believe it is highly unlikely he survived,” Ostgaard wrote of the hiker. “There was a fair amount of blood from [colliding with] the cables, and a lot of blood around a rock he made contact with.”
Ostgaard used Starlink to contact his father around 12:30 p.m., who then contacted emergency services. A helicopter arrived about four hours later, Ostgaard wrote.
Another hiker that day, Kirill Novitskiy, encountered the same conditions on the switchbacks on Saturday but made the “wrong decision” to keep climbing.
He made it up with just microspikes — little metal cleats that attach to the bottom of shoes and provide winter traction on flat ground — or on gentle slopes where falling would be no big deal.
But microspikes are notoriously inadequate for winter mountaineering, when a fall could be fatal.
As so often happens in the mountains, when Novitskiy returned to the steep switchbacks after a few hours traveling on relatively flat ground to and from the summit, he discovered conditions had deteriorated so much that he was in real danger and seriously under-equipped.
“I had a couple of dangerous places where the trail became a slope full of powdery snow, and it was very easy to slip off,” Novitskiy wrote on Facebook. “The worst part on the way back were the switchbacks. Almost all the trail was covered with powdery snow brought up with the wind, it was very hard to go with just microspikes.”
Near the cables he saw a pair of trekking poles with nobody around, and then encountered a group of five hikers at the bottom of the switchbacks who told him about the accident.
Anyone attempting to climb Mt. Whitney from this point on in the winter season should bring crampons — much larger spikes that attach firmly to mountaineering boots and dig deep into snow and ice to prevent falls – and an ice axe.
Experts also advise traveling in groups, and bringing a satellite communication device to contact help if anything goes wrong.
So far, the Inyo Sheriff’s Department has not released the identity of the hiker who died.
In January this year, a hiker from Texas died after attempting to climb Mt. Whitney in bad weather. His body was found at an elevation of 12,000 feet near North Fork Lone Pine Creek Trail.
A look at this week’s top high school football games in the Southland:
FRIDAY
Garfield (6-2, 4-0) vs. Roosevelt (4-4, 3-1) at East Los Angeles College, 7:30 p.m.
Throw out the records. Close the blinds. It’s East L.A. Classic week. Garfield should be a heavy favorite with running back Ceasar Reyes coming off a school-record 420 yards rushing performance. Roosevelt, though, has won three straight Eastern League games. Jason Moreno is Roosevelt’s version of Reyes. The pick: Garfield.
King/Drew (7-1, 3-0) at Crenshaw (7-1, 3-0), 7 p.m.
King/Drew has never won the Coliseum League title. This is the Eagels’ best chance behind top athlete Jayden Mitchell. Crenshaw has continued to improve behind receiver/defensive back Deance’ Lewis and quarterback Danniel Flowers. The pick: Crenshaw.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
When news broke last weekend that Diane Keaton had died at age 79, it came as an extraordinary shock because so much of Keaton’s screen presence and persona was rooted in a vitality, a sense of of being very much alive and open to everything.
Revisiting Keaton’s Oscar-winning performance in “Annie Hall” this week, I was struck by how much humor she mined from a hyperawareness of self, often commenting on her own dialogue and behavior as she was still in the act of doing it. She brought a tremendous charge to everything she did.
Diane Keaton and Jack Nicholson in the movie “Something’s Gotta Give.”
(Bob Marshak / Columbia Pictures)
In her appreciation of Keaton, Amy Nicholson called her “the icon who feels like a friend,” adding, “The contradiction of her career is that the things we in the audience loved about her — the breezy humor, the self-deprecating charm, the iconic threads — were Keaton’s attempts to mask her own insecurities. She struggled to love herself. Even after success, Keaton remained iffy about her looks, her talent and her achievements. In interviews, she openly admitted to feeling inadequate in her signature halting, circular stammers.”
There was a very genuine wave of emotion and affection after the news of Keaton’s death. One of the most heartfelt and moving tributes came from screenwriter and director Nancy Meyers, who worked with Keaton on four films, from “Baby Boom” to “Something’s Gotta Give.”
As Meyers said, “She made everything better. Every set up, every day, in every movie, I watched her give it her all.”
Meyers added, “She was fearless. She was like nobody ever. She was born to be a movie star. Her laugh could make your day and for me, knowing her and working with her changed my life.”
AMC Theaters have already announced limited showings of both “Annie Hall” and “Something’s Gotta Give.” Other screenings will certainly happen shortly.
Crispin Glover, still doing his own thing
Crispin Glover in “No! YOU’RE WRONG. or: Spooky Action at a Distance.”
(Volcanic Eruptions)
Still best known for the eccentric screen presence he brought to movies such as “River’s Edge,” “Wild at Heart,” “Charlie’s Angels,” “Back to the Future” and countless others, Crispin Glover is also extremely dedicated to his own filmmaking practice.
“No! YOU’RE WRONG” is the third feature Glover has made himself. He began developing the screenplay in 2007, started building the sets in 2010, began shooting in 2013 and didn’t commence editing until 2018. He goes at his own pace, though Glover is self-excoriating.
“None of this is acceptable,” he tells me during a recent video call from New York City following the film’s world premiere at the Museum of Modern Art. “I’m not happy that this has taken as long as it’s taken. Every step of this film just took ridiculously long.”
While Glover enjoys talking about the film, he struggles to explain what it’s actually about. Set across five time periods — 1868, 1888, 1918, 1948 and right now — Glover shot for the first time on 35mm and, for some scenes, used a hand-cranked camera that belonged to the Czech animator Karel Zeman. The negative was hand-processed, which can alter how it looks, with some sections then colored by hand to replicate early film techniques.
“It’s almost better for me to talk about the technical aspects because by talking about the the technical aspects, it sort of reveals things about the film itself,” Glover says. “All of my films on some level deal with surrealism in one aspect or another. And part of the way surrealism operates is to have either disparate pieces of information or withholding information so that the audience can make the correlations themselves and become a participant in the art.”
Bruce Glover in the movie “No! YOU’RE WRONG. or: Spooky Action at a Distance,” directed by his son Crispin Glover.
(Volcanic Eruptions)
Aside from Glover himself, the film includes his father, character actor Bruce Glover, who died in March 2025, as well as his mother, dancer Betty Glover, who died in 2016. Following the death of his father, Glover had to make some changes.
“I don’t want to say too much,” says Glover as he catches himself starting to clarify an aspect of the story. “You’d have to see the film. It’s not good for me to talk about it because the way the film is made and layered, it’s something that people will have different interpretations of. And if I say too much, then it will sway the interpretation. They’ll think, ‘Oh, it’s wrong because the filmmaker said this,’ but it isn’t wrong. What they’re thinking is what’s right for them.”
Points of interest
Cronenberg movies at Brain Dead
Léa Seydoux, left, Viggo Mortensen and Kristen Stewart in the movie “Crimes of the Future.”
(Nikos Nikolopoulos)
Brain Dead Studios has been running a program of David Cronenberg films through October and still has a few titles left to go. And while his films may not fit everyone’s strict definition of Halloween-style spooky, they are reliably unsettling in their examinations of the darker aspects of human existence.
Friday will see a screening of 2022’s “Crimes of the Future,” starring Viggo Mortensen, Kristen Stewart and Léa Seydoux, Monday will be Cronenberg’s 1991’s adaptation of William S. Burroughs’ “Naked Lunch,” Thursday brings 1979’s low-budget horror film “The Brood” and Saturday, Oct. 25 will have 1996’s controversial “Crash.”
I spoke to Cronenberg around the release of “Crimes of the Future,” which at the time felt like something of a summation of the director’s ongoing interests in technology and the body, though he claimed it wasn’t intentional.
“It’s not a self-referential film because I’m not thinking that when I’m writing it or directing it,” Cronenberg said. “But the connections are there because my nervous system, such as it is including my brain, is the substrate of everything I’m doing. So I might even say in the Burroughsian way that all of my work and all of my life is one thing. In which case, it now makes perfect sense that there should be these connections.”
David Fincher’s ‘The Game’
Michael Douglas in the movie “The Game.”
(Tony Friedkin / Polygram Films)
David Fincher’s 1997 thriller “The Game” is somewhat easy to overlook in his filmography, landing between the provocations of “Seven” and “Fight Club” and before fully-formed works like “Zodiac” and “The Social Network.” However, the movie, in which a wealthy man (Michael Douglas) finds his life turned upside in what may be a live-action role-playing game, is strange and unpredictable and among Fincher’s most purely pleasurable movies. It plays at the New Beverly on Friday — a rare chance to catch it in a theater on 35mm.
In his review of the film, Jack Matthews wrote, “Douglas is perfectly cast. Who else can blend moneyed arrogance, power and rank narcissism with enough romantic flair, intelligence and self-deflating humor to make you enjoy his defeats and his victories? What other major star is as much fun to watch when he’s cornered?”
A look at this week’s top high school football games in the Southland:
THURSDAY
Los Alamitos (7-0) vs. Edison (5-2) at SoFi Stadium, 5 p.m.
The Alpha League begins with a terrific matchup. Los Alamitos hasn’t played since Sept. 26, so the Griffins might start slow, but their offensive line has been key for quarterback Colin Creason and running back Kamden Tillis. Edison needs a big game from quarterback Sam Thomson, who has nine touchdown passes with one interception. The pick: Los Alamitos.
FRIDAY
St. John Bosco (7-0, 2-0) vs. Santa Margarita (5-2, 2-0) at Trabuco Hills, 7 p.m.
The Trinity League title could be decided in this game. Few teams this season have been able to deal with St. John Bosco’s high-scoring offense and aggressive defense. Santa Margarita showed last week in a 7-6 win over Mater Dei that it has an elite defense. The Eagles will need offensive improvement under first-year coach Carson Palmer. The pick: St. John Bosco.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
This has turned into one of those weeks when there are just way too many movies opening. From titles that premiered earlier in the year, to films that popped up only recently, distributors have decided that today is the time to drop them in theaters. It can make for some tough calls as a moviegoer but hopefully ones with pleasant returns. Here’s some intel.
Mary Bronstein’s “If I Had Legs I’d Kick You” was a standout at Sundance in January and remains one of the most powerful films of the year. Rose Byrne gives a knockout performance as Linda, a mother struggling to hold onto her own unraveling sense of self as she cares for her ill daughter.
Rose Byrne in the movie “If I Had Legs I’d Kick You.”
(Logan White / A24)
In his review Glenn Whipp said, “Linda makes dozens of bad decisions in ‘If I Had Legs I’d Kick You,’ many of them seemingly indefensible until you realize that just how utterly isolated she feels. … Bronstein demands you pay attention to her, and with Byrne diving headfirst into the character’s harrowing panic, you will find you have no other choice.”
Speaking to Esther Zuckerman for a wide-ranging feature, Byrne said of the part: “Anything dealing with motherhood and shame around motherhood, whether it’s disappointment, failure — she’s got this line in the movie, ‘I wasn’t meant to do this’ — these are pretty radical things to say. People aren’t comfortable with that. So performance-wise, that was the hardest part because it was like a tightrope, the tightrope of this woman.”
Another Sundance premiere hitting theaters this week is director Bill Condon’s adaptation of “Kiss of the Spider Woman,” starring Diego Luna, Tonatiuh and Jennifer Lopez. Already a novel, a movie and a Broadway show, the story involves two men imprisoned in an Argentine jail for political crimes during the 1980s, with Lopez playing a fantasy film star who exists in their imaginations — a reverie to which they can escape.
Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
For our fall preview, Carlos Aguilar spoke to Tonatiuh, a native of L.A.’s Boyle Heights, whose performance is a true breakout.
“When I first met Jennifer, I was like, ‘Oh, my God — that’s Jennifer Lopez. What the hell?’ ” he recalled, with the enthusiasm of a true fan. “I must have turned left on the wrong street because now I’m standing in front of her. How did this happen? What life am I living?”
After praising both Lopez and Tonatiuh in her review of the film, Amy Nicholson wrote, “Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings.”
Robert De Niro, left, and Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”
(Apple TV+)
The American Cinematheque is celebrating filmmaker Rebecca Miller this weekend with a four-title retrospective plus a preview of her documentary series “Mr. Scorsese,” a five-part portrait of the life and career of Martin Scorsese.
Miller will introduce a Saturday screening of her 2023 rom-com “She Came to Me,” starring Anne Hathaway and Peter Dinklage, then do a Q&A for the first two episodes of the Scorsese project on Sunday. Also screening in the series will be 2016’s “Maggie’s Plan,” starring Julianne Moore, Ethan Hawke and Greta Gerwig; Miller’s 2002 Sundance grand jury prize winner “Personal Velocity”; and 2005’s “The Ballad of Jack and Rose,” starring Miller’s husband Daniel Day-Lewis, screening with an introduction from co-star Camilla Belle.
Ethan Hawke and Greta Gerwig in “Maggie’s Plan,” written and directed by Rebecca Miller.
(Sony Pictures Classics)
I spoke to Miller this week about the retrospective and her new Scorsese project, which premieres Oct. 17 on Apple TV+. Along with extensive interviews with Scorsese himself, the series includes insights from collaborators such as Robert De Niro, Paul Schrader and longtime editor Thelma Schoonmaker as well as childhood friends, Scorsese’s children, ex-wives and fellow filmmakers such as Steven Spielberg, Brian De Palma, Ari Aster, Benny Safdie and Spike Lee.
“It feels like such an honor and so weird in a way,” said Miller of the notion of having a retrospective. “You feel like you’re just in the middle of making everything, but then you realize, no, I’ve been making these films for 30 years. And it’ll be really interesting to see how the films play now for people. It’s exciting to have them still be sort of alive.”
When you look back on your own movies, what comes to mind for you?
Funnily enough, there is a connection between “Personal Velocity” and Martin Scorsese, which is that when I was about to shoot personal “Velocity,” I was in Rome, on the set of “Gangs of New York,” and I was watching the snack trolley go by and thinking my entire budget is probably the same as their snack budget. And thinking: What am I doing? What was I thinking? How am I going to do this? But talking to [“Gangs” cinematographer] Michael Ballhaus, I told him how long we had to shoot everything, and he said, “Oh, I envy you. We shot ‘The Bitter Tears of Petra von Kant’ in 10 days.” He was looking back on his days with Fassbinder as the good old days.
Then Marty gave me some advice on films with voiceovers to watch, and he ended up watching “Personal Velocity.” It was the first of my films that he saw, which then led probably to this [doc series] because he knew my films quite well. He watched them as time went on.
What interested you in Scorsese as a subject?
I knew that he was Catholic, that there was a strong spiritual element to his films. But I was interested in how that Catholicism kind of jogged with his fascination, or apparent fascination, with violence. Who is that person? How do those two things go together? And I thought that could be part of my exploration. I had a sense that all his work has a spiritual undercurrent in it, which I think it does. And I think that’s one of the things that I try to explore in the documentary. I felt I had something a little bit different to offer, for that reason.
The big questions that he’s asking: Are we essentially good? Are we essentially evil? And his immense honesty with himself about who he really is, the darkness of his own soul. I don’t think that people are usually that honest with themselves. And you realize that part of his greatness has to do with his willingness to look at himself.
Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”
(Apple TV+)
As much as we think we know about Scorsese, he seemed so candid about some of the darkest moments of his life, especially when he talks about his drug overdose and hospitalization in the late 1970s or about some of his issues with Hollywood, especially around “The Last Temptation of Christ.” Were you ever surprised that he was so willing to go there with you?
Oh, yeah, I was. I really didn’t know what to expect. I didn’t have an agenda. I had the scaffolding of the films themselves and a strong sense that this was a man that you can’t separate from the films. So the thing is like a dance, it’s like a permanent tango between those two things. You’re not going to pry them apart. I didn’t know about the addiction. I didn’t know a lot of these things. My questions are totally genuine, there’s no manipulation. It’s all me. I was very prepared in terms of the films. But in terms of the chronology and the connective tissue of his life, I was really right there discovering it.
Martin Scorsese at work on his film “Killers of the Flower Moon,” as seen in Rebecca Miller’s documenary series “Mr. Scorsese.”
(Apple TV+)
You’re catching him such a remarkable point in his life and career. He seems very happy and settled in his personal life and yet he still makes something like “Killers of the Flower Moon,” full of passion and fire. What do you make of that?
[Screenwriter] Jay [Cocks] says he’s learned that he can be selfish in his art, but he doesn’t have to be selfish in his life. Even if your outside is regular, your inside can be boiling. And I think Marty’s inside is always going to be boiling. The seas are not calm in there and never will be.
‘They Live’ and ‘Josie and the Pussycats,’ together at last
Roddy Piper in John Carpenter’s 1988 thriller “They Live.”
(Sunset Boulevard / Corbis )
There’s a real art to putting together a double bill. Sure, you can just program movies that have the same director or share the same on-screen talent. But what about deep, thematic links that might not otherwise be noticed?
The New Beverly has put together an inspired double bill playing on Friday, Saturday and Sunday of John Carpenter’s 1988 “They Live” and Deborah Kaplan and Harry Elfont’s 2001 “Josie and the Pussycats.” Though one is a rough-and-tumble sci-fi action picture and the other a satirical teen-pop fantasia, they both use the idea of subliminal messages to explore how consumer culture can be a means of control.
In “They Live,” wrestler-turned-actor “Rowdy” Roddy Piper plays a drifter who lands in Los Angeles and discovers a secret network fighting against an invasion of aliens living among us.
In Michael Wilmington’s original review, after joking the movie could be called “Invasion of the Space Yuppies,” he adds, “You can forgive the movie everything because of the sheer nasty pizzazz of its central concept. … The movie daffily mixes up the paranoia of the Red Scare monster movies of the ’50’s with a different kind of nightmare: the radical’s belief that everything is tightly controlled by a small, malicious ruling elite. Everything — the flat lighting, the crazily protracted action scenes, the monolithic beat and vamp of the score — reinforces a mood of murderous persecution mania.”
Rosario Dawson, from left, Rachael Leigh Cook and Tara Reid in the movie “Josie and the Pussycats.”
(Joseph Lederer / Universal Studios)
In “Josie and the Pussycats,” a small-town rock ‘n’ roll band (Rachael Leigh Cook, Tara Reid and Rosario Dawson) are plucked from obscurity when they are signed to a major record label and all their dreams of stardom seem to come true. But they come to realize the company’s executives (a brilliant pairing of Parker Posey and Allan Cumming) are using them for their own nefarious purposes.
Aside from some very hummable songs, the film has a truly epic amount of corporate logos and branding that appears throughout. Many reviewers at the time brought this up, including the L.A. Times’ own Kenneth Turan, who noted, “It’s a potent reminder that no matter how innocent a film may seem, there’s a Hollywood cash register behind almost every frame.” In subsequent interviews, Kaplan and Elfont confirmed these were not instances of paid product placement and, in fact, the production had to fight to get them all on-screen.
Points of interest
‘Eight Men Out’ in 35mm
Charlie Sheen, center, in a scene from the film “Eight Men Out.”
(Archive Photos / Getty Images)
Writer-director John Sayles has been so consistently good for so long that it is easy to take his work for granted. Case in point: 1988’s “Eight Men Out,” which tells the story of the infamous “Black Sox” scandal, when players from the Chicago White Sox were accused of intentionally throwing the 1919 World Series in league with underworld gamblers. The movie is playing on Sunday at Vidiots in 35mm.
The film captures much of what makes Sayles so special, particularly his unique grasp of the interplay between social and economic dynamics — a sense of how things work and why. He also fully grasps the deeper implications of the forces of greed and money setting themselves upon such an unassailable symbol of wholesome Americana as baseball. It’s also what makes the movie particularly worth a revisit now. With a phenomenal cast that includes John Cusack, David Straithairn, D.B. Sweeney, Charlie Sheen, John Mahoney, Christopher Lloyd, Michael Lerner and Sayles himself, the film was a relatively early effort from cinematographer Robert Richardson, who would go on to work repeatedly with Martin Scorsese and Quentin Tarantino.
In a review at the time, Sheila Benson wrote, “ ‘Eight Men Out’ is not a bad movie for an election year. Everything that politicians cherish as ‘old-fashioned’ and ‘American’ is here. The Grand Old Game. Idealistic little kids. Straw hats and cat’s-whisker crystal sets. And under the slogans and the platitudes, a terrifying erosion and no one to answer for it. No wonder Sayles, hardly an unpolitical animal, found it such a relevant story nearly 70 years later.”
‘The Sound of Music’ in 70mm
Julie Andrews, center, in the 1965 musical “The Sound of Music.”
(20th Century-Fox)
On Sunday the Academy Museum will screen Robert Wise’s “The Sound of Music” in 70mm, a rare opportunity to see this classic in the premium format on which it was originally released. Based on the stage musical by Rodgers and Hammerstein , the film would eventually win five Oscars, including director and best picture.
Starring Julie Andrews and Christopher Plummer, it’s the story of the singing Von Trapp family, eventually forced to flee their native Austria as the Nazis take power.
In a Times review from March 1965, Philip K. Scheuer wrote of Wise and his collaborators, “They have taken this sweet, sometimes saccharine and structurally slight story of the Von Trapp Family Singers and transformed it into close to three hours of visual and vocal broilliaance, all in the universal terms of cinema. They have invested it with new delights and even a sense of depth in human relationships — not to mention the swooning beauty of Salzburg and the Austrian Alps, which the stage, of course, could only suggest.”
Even notorious gossip columnist Hedda Hopper liked the movie, presciently writing, “The picture is superb — dramatically, musically, cinematically. Julie Andrews and Christopher Plummer were born for their roles. … All children — from 7 to 90 — wil love it. The following morning I woke up singing. Producer-director Bob Wise did a magnificent job and 20th [Century Fox] will hear nothing but the sound of money for years to come.”
REALITY TV star Olivia Bowen has wowed the crowds in a striking outfit – just weeks after giving birth.
Mum-of-two Olivia looked sensational as she posed on the red carpet ahead of a screening for her and husband Alex’s new reality TV show.
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Olivia looked striking in the black mini dress just weeks after giving birthCredit: Shutterstock Editorial
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Olivia and husband Alex Bowen looked dressed to kill at their reality TV screeningCredit: Shutterstock Editorial
The formerLove Island star dazzled in a short black dress and diamond-encrusted heels for the special occasion.
With her hair pinned up and sporting glamorous make-up, she accessorised with a black designer handbag and big smile as she posed alongside her husband.
She wrote on social media: “Not. Over. It. Our very special evening for our very special new show with @itv@itvxofficial.
“Thank you so so much to everyone who came & watched & supported our launch – we are so grateful & loved spending the evening with you all.
“And a huge thank you @angeleyemedia & our amazing sponsor @glade_uk.
“We had the most fabulous evening & are feeling so lucky – I just cannot wait for you guys to watch the first ep on Sunday.”
The mum shares three-year-old son Abel and daughter Siena, who wasborn in August,with husbandAlex.
The series will offer intimate access to the couple’s real-life journey as they grow their young family from three to four, whilst dealing with the emotional aftermath of losing one of their twins during early pregnancy.
Love Island 2016 star Alex told heatworld what to expect from the new series.
The Watch List with Rod McPhee
He said: “Before, being on Love Island, I was the serious one, and that’s really not me.
“Hopefully the new series will change people’s perception.”
He added: “When I’m on my Instagram, I’m quite serious when it comes to all my coaching and stuff and all that kind of jazz.
“I’m actually really immature and just daft. I’m quite a jokey person.”
