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07.09.2024 / 20:49

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‘Elton John: Never Too Late’ Review: The Original King of Pop Gets the Satisfying Documentary He Deserves

Owen Gleiberman Chief Film Critic There’s a moment in “Elton John: Never Too Late,” a robustly satisfying and emotional documentary about the life and career of Elton John, that captures him, in a most revealing way, in his ’70s heyday. It’s a clip from a television interview, in which Elton is explaining how he writes a song. The clip must be from 1971, and Elton, still looking like a puppy child, with rectangle-framed glasses and plenty of shaggy hair, sits at an upright piano and brings out a sheaf of lyrics — pages all written in longhand by his collaborator, Bernie Taupin.

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‘The Room Next Door’ Review: Tilda Swinton Gives a Monumental Performance as a Woman Confronting Death in Pedro Almodóvar’s First English-Language Drama

Owen Gleiberman Chief Film Critic Characters die in movies every day. Whether you’re watching a violent thriller or a death-bed tearjerker like “Steel Magnolias” or some of the more macabre meditations of Ingmar Bergman, you might say that the movies, in some grand collective way, are nothing less than a rehearsal for death. Yet it’s still rare to encounter a big-screen drama that grabs death by the horns, that looks it in the eye, that asks us to confront its daunting reality on every level the way Pedro Almodóvar’s lyrical and moving “The Room Next Door” does.

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‘The Order’ Review: Jude Law and Nicholas Hoult in an Explosive Crime Drama About the White-Supremacist Cult of the 1980s

Owen Gleiberman Chief Film Critic There’s a scene in “The Order,” a riveting and explosive docudrama about the dawn of the modern American white-supremacist movement in the 1980s, that creeps you out in a very eye-opening way. Two leaders of the movement are meeting on an isolated country road in Idaho. One of them, Richard Butler (Victor Slezak), is the white nationalist who founded the Aryan Nations, the neo-Nazi cult that has its compound nearby.

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‘Alien: Romulus’ Review: The Primal Shock and Awe Is Gone, but It’s a Good Video-Game Horror Ride

Owen Gleiberman Chief Film Critic There’s now a contradiction built into the very idea of a new “Alien” sequel. “Alien: Romulus” is the seventh entry in the franchise, and each time we line up for another one of them, even when it’s as encrusted with “mythology” as “Prometheus,” the hope is that we’ll get to experience a taste of the shock and awe that “Alien” achieved 45 years ago.

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‘Beverly Hills Cop: Axel F.’ Review: Eddie Works Hard to Act Game in a Sequel Made to Tickle Your Nostalgia Bone

Owen Gleiberman Chief Film Critic Nostalgia, when it comes to reviving an old movie series, can be axiomatic. Every so often you see a genuine great piece of nostalgia — like “Creed” or the 2009 “Star Trek” reboot or the 2014 “Godzilla.” But then there’s the kind of nostalgia represented by “Beverly Hills Cop: Axel F.” Plotted like a generic police-corruption thriller, lit with cruddy efficiency, pausing every 10 minutes or so for a “light” moment, the movie is no “Beverly Hills Cop.” But it’s better than the ballistic noise orgy that was “Beverly Hills Cop II” (1986) or the clunky retro mess of “Beverly Hills Cop III” (1994), so I guess we should be grateful.

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Would ‘Hit Man’ Be a Hit in Theaters? Netflix Doesn’t Want You to Know

Owen Gleiberman Chief Film Critic Next week, on June 7, the entertaining and highly acclaimed geek-goes-undercover-as-contract-killer screwball romantic thriller “Hit Man,” starring It Dude of the moment Glen Powell, drops on Netflix. But this weekend, in case you hadn’t noticed, the movie opened “in theaters.” How many theaters? If you use your hands and feet to count, you’ll have most of them covered. Netflix, the company that did for streaming what McDonald’s did for fast food (made it everyone’s new normal), always likes to make a big show of when it’s playing a movie “in theaters.” It has long amused me to see entertainment journalists get suckered into this public-relations gambit, for the simple reason that so many of them live in New York and L.A., where the tiny number of theaters occasionally playing a Netflix movie tend to be.

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‘Armand’ Review: An Accusation at a Primary School Results in a Drama So Convoluted It’s Claustrophobic

Owen Gleiberman Chief Film Critic There’s one very good scene in “Armand,” a movie written and directed by Halfdan Ullmann Tøndel, the grandson of Ingmar Bergman and Liv Ullmann. We’re inside a primary school in Norway. Elisabeth, the mother of a student, has been summoned to the school to appear before a panel of teachers.

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‘The Substance’ Review: Demi Moore and Margaret Qualley in a Visionary Feminist Body-Horror Film That Takes Cosmetic Enhancement to Extremes

Owen Gleiberman Chief Film Critic Shocking and resonant, disarmingly grotesque and weirdly fun, “The Substance” is a feminist body-horror film that should be shown in movie theaters all over the land. By that, I don’t mean that it’s some elegant exercise in egghead darkness like the films of David Cronenberg, or a patchy postmodern punk curio like “Titane.” Coralie Fargeat, the writer-director of “The Substance,” has a voice that’s italicized, in-your-face, garishly accessible and thrillingly extreme.

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‘Wild Diamond’ Review: Agathe Reidinger’s Drama About a 19-Year-Old Girl in Thrall to the False Gods of Social Media and Reality TV Announces the Arrival of a Major Filmmaker

Owen Gleiberman Chief Film Critic Religion, Karl Marx said, is the opiate of the masses. Today, he would likely say that the opiate of the masses is fame — the desire for it, the things you have to do to get it, the fragmentary nature of it (the old “15 minutes” is now, in many cases, more like 15 seconds), and everything it’s supposed to bring you. The new fame, the lusty fickle kind bred by social media, is at the center of “Wild Diamond,” a startlingly bold and true French drama that premiered today at Cannes.

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‘Turtles All the Way Down’ Review: A Young-Adult Romance with an Original Dramatic Obstacle: The Heroine Has OCD

Owen Gleiberman Chief Film Critic How’s this for a swoon-worthy romantic moment? Aza (Isabela Merced), darkly beautiful and shy, find herself alone with Davis (Felix Mallard), a rich-kid dreamboat, at his family’s woodside mansion. They’re having a gentle conversation; the sparks are flying. As the music swells, you feel the time arrive for them to kiss.

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‘Humane’ Review: Caitlin Cronenberg’s First Feature Is a Searing Domestic Thriller About Crimes of the Not-So-Distant Future

Owen Gleiberman Chief Film Critic There’s no rule that says that when the son or daughter of a famous filmmaker becomes a director too, he or she has to follow in their parent’s artistic footsteps. But the children of director David Cronenberg have turned out to be chips off the old shock-theater block. In movies like “Possessor” and “Infinity Pool,” the 44-year-old Brandon Cronenberg has proved himself to be a skillful purveyor of body horror and I-dare-you-not-to-look-away extremity.

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The 10 Pop-Music Documentaries I Most Wish Someone Would Make

Owen Gleiberman Chief Film Critic Music movies are having a moment — if, indeed, they ever stopped having one. Take the pop-music biopic.

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‘Exhibiting Forgiveness’ Review: An Artist Comes to Grips With His Lout of a Father in a Forceful Drama Free of Feel-Good Fakery

Owen Gleiberman Chief Film Critic There’s a moment in Titus Kaphar’s “Exhibiting Forgiveness” that speaks volumes about how trauma — racial, historical, personal — can destroy a person, even as the scene barely offers an explicit word about it. Tarrell (André Holland), an artist who paints dreamy neon-rainbow-hued suburban fantasias, has reconnected with La’Ron (John Earl Jelks), the estranged father he hasn’t seen in 15 years. La’Ron, now gray and grizzled and homeless, is a recovering addict who was rarely around and, when he was, treated his son with a ruthless indifference that edged into violence.

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