Owen Gleiberman - celebsbar.com

Owen Gleiberman Chief Film Critic I hate to be the bringer of bad news, but Donald Trump didn’t just give a better performance than Joe Biden during the first 2024 presidential debate. In terms of authority and confidence, quickness and poise, articulation and verve, Trump left Biden in the dust. Relative to his previous debate performances, Trump even came off as (God help us) presidential.

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‘Furiosa: A Mad Max Saga’ Is Now Streaming Online

Rudie Obias editor If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. Although it was just released in theaters in May, the fifth installment in the “Mad Max” movie franchise is ready to stream at home. “Furiosa: A Mad Max Saga” in 4K Ultra HD is available to buy for $29.99 or rent for $24.99 online on Prime Video, Apple TV and other video-on-demand platforms.

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Remembering Donald Sutherland: From Cool in ‘MASH’ to Sexy in ‘Don’t Look Now’ to Tragic in ‘Ordinary People,’ He Was a Chameleon, and the Most Human of Movie Stars

Owen Gleiberman Chief Film Critic It may now be hard to imagine, but in 1970, Donald Sutherland, who died Thursday at 88, was the coolest movie star on the planet. The moment I saw him in “MASH,” I knew he was the person I wanted to be, the same way that I wanted to be Mick Jagger or Steve McQueen. In 1970, Pacino and De Niro hadn’t happened yet.

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Netflix’s Family Drama ‘His Three Daughters’ With Carrie Coon, Natasha Lyonne and Elizabeth Olsen Lands Fall Release (EXCLUSIVE)

Clayton Davis Senior Awards Editor Netflix will drop acclaimed filmmaker Azazel Jacobs’ masterful “His Three Daughters,” a captivating family drama featuring the stellar talents of Natasha Lyonne, Carrie Coon and Elizabeth Olsen, in the fall movie calendar. Centering on three estranged sisters reuniting to care for their ailing father, the film will open in select theaters on Sept. 6 before hitting Netflix globally on Sept.

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‘Liza: A Truly Terrific Absolutely True Story’ Review: Liza Minnelli’s Life Proves as Radiant as Her Art in Bruce David Klein’s Scintillating Documentary

Owen Gleiberman Chief Film Critic On November 16, 1964, when she was 18, Liza Minnelli stepped onto the stage of the London Palladium to join in a concert given by her mother, Judy Garland — the first time the two of them appeared onstage together. Liza, the year before, had done an Off Broadway musical, but this performance was her entrée into the world spotlight.

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‘Wise Guy: David Chase and the Sopranos’ Review: Alex Gibney’s Sensationally Artful Documentary Explores Every Angle of TV’s Greatest Show

Owen Gleiberman Chief Film Critic Overflowing with insight; stuffed with bracing interviews and anecdotes and archival footage; as bursting with flavor as a baked ziti; and as immersive, in its way, as the show itself, “Wise Guy: David Chase and the Sopranos” is Alex Gibney’s sensationally artful and engrossing two-hour-and-40-minute documentary about the greatest show in the history of television. If you’re a fanatic for “The Sopranos” (and who isn’t?), you probably already know a fair amount about how the show came to be, and “Wise Guy,” for a while, treads familiar ground.

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‘Inside Out 2’ Review: New Feelings Propel a Pixar Sequel Enchanting Enough to Second That Emotion

Owen Gleiberman Chief Film Critic In “Inside Out 2,” Riley, the displaced tween from “Inside Out,” is now 13 years old (the voice role is taken over, with vivid nuance, by Kensington Tallman), which means that she’s on the verge of a whole new set of emotions. In the Headquarters of her brain, a siren flashes (it’s the one we saw in the earlier film marked Puberty), which means it’s time for renovation workers to bust into the place, tear down the walls, and install a new console that can accommodate Riley’s budding adolescent feelings. The original quintet of Anger (Lewis Black), Sadness (Phyllis Smith), Fear (Tony Hale), Disgust (Liza Lapira), and the beloved Joy (Amy Poehler) are still around, but they’re now “suppressed emotions,” shoved to the back of her mind.

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‘The Freshly Cut Grass’ Review: At Tribeca, a Double Drama of Adultery as Cure for the Midlife Family Blues

Owen Gleiberman Chief Film Critic In “The Freshly Cut Grass,” there’s a scene that captures how people who’ve been married for a while, and are in the thick of raising children, can snipe at each other in dog-whistle ways that mean nothing and everything. Pablo (Joaquín Furriel), a professor at an agronomy college (he basically instructs his students about dirt), says that he thinks his teaching job is “shitty.” But his wife, Carla (Romina Peluffo), has no job at all (and is up for an interview), so she takes his comment as an insult. She snaps at him, then apologizes and lays her head on his shoulder; we think their snit is over.

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‘McVeigh’ Review: A Drama About the Oklahoma City Bomber Has Low-Key Sociopathic Atmosphere to Spare

Owen Gleiberman Chief Film Critic “McVeigh,” a drama about Timothy McVeigh and the 1995 bombing of the Alfred P. Murrah Federal Building in Oklahoma City, is a movie rooted in the forlorn underbelly of small-town American rage. A car snakes its way along an empty road in the desolate dusk.

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In 1999, ‘Run Lola Run’ Saw the Future. Rereleased 25 Years Later, the Film Is More Exhilarating Than Ever

Owen Gleiberman Chief Film Critic Of all the heady-cool, matrix-of-reality, the-digital-future-is-now movies released in 1999, “Run Lola Run” may have been the 1999iest. Sure, “The Matrix” was the sci-fi landmark that bullet-timed audiences into the 21st century. But science-fiction movies have always looked ahead.

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‘Bad Boys: Ride or Die’ Review: Will Smith and Martin Lawrence Make the Franchise’s Fourth Entry Tastier Than It Has Any Right to Be

Owen Gleiberman Chief Film Critic If there are five ages of man, maybe there are four ages of “Bad Boys.” There’s the early age — the original “Bad Boys” came out in 1995 — of youthful effrontery: zappy, flashy, mouthy, decadent. There’s the age when the heroes start to say, “We’re too old for this shit!” There’s the age when they’re too old to even be saying that.

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Dev Patel’s ‘Monkey Man’ Sets June Streaming Date on Peacock

Ethan Shanfeld Dev Patel‘s action thriller “Monkey Man” will arrive on Peacock on June 14, the streamer announced. The film will also get a digital release on June 11, as well as 4K Ultra HD, Blu-ray and DVD versions on June 25.

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‘The Great Lillian Hall’ Review: Jessica Lange Is Grand as a Legendary Stage Actress Confronting Dementia

Owen Gleiberman Chief Film Critic In “The Great Lillian Hall,” Jessica Lange plays a veteran theater actress — a legend of the Broadway stage — who is always putting on airs, reciting bits from her favorite roles, and carrying on in the tradition of fabled actresses who get known for playing characters like Blanche DuBois because they’ve actually got a lot of Blanche in them. (They believe their own illusions.) Yet just because Lillian Hall is a flamboyant grand dame doesn’t mean that she’s not showing you who she is.

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‘Taking Venice’ Review: A Tasty Doc About Robert Rauschenberg Winning the 1964 Venice Biennale. But Was It a U.S. ‘Conspiracy’? Uh, No

Owen Gleiberman Chief Film Critic If you want to know how the definition of “scandal” has changed with the decades, you couldn’t do much better than to see “Taking Venice,” Amei Wallach’s highly enjoyable and revealing documentary about a legendary uproar in the art world. The film chronicles what happened at the 1964 Venice Biennale — the exhibition of contemporary art, held every two years, that culminates in the awarding of an esteemed grand prize. At the time, the Biennale was considered to be a kind of art-world equivalent of the Olympic Games.

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‘Ezra’ Review: Bobby Cannavale Lets It Rip as a Dad Who Kidnaps His Autistic Son in Tony Goldwyn’s Not-Bad Hearttugger

Owen Gleiberman Chief Film Critic Sometimes, one of the shrewdest things a movie can do is to have its hero act in a way that’s not heroic or admirable or even very likable. In “Ezra,” Max Bernal (Bobby Cannavale), a stand-up comedian with a chip on his shoulder (he used to write for late night; now he performs edgy sets in places like the Comedy Cellar), is in a state of confused fury over what to do about his son, Ezra (William A. Fitzgerald), an owlish 11-year-old who’s autistic.

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The Beach Boys and Director Frank Marshall on the Band’s Disney+ Doc: ‘We May Not Have Been Great Surfers, but We Sang About It Really Well’

Chris Willman Senior Music Writer and Chief Music Critic If Memorial Day weekend is the unofficial start of summer on most Americans’ calendars, then it makes sense that the real tentpole kicking off tent season for a lot of people is not “Furiosa” or “Garfield” but “The Beach Boys,” a streaming documentary devoted to the least wintery group of all time. The Disney+ film, co-directed by music-doc stalwarts Frank Marshall and Thom Zimny, focuses on the first decade and a half, in the 1960s and ’70s, of the career of the rock band that still might rightfully be considered America’s greatest all-time group.

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‘The Beach Boys’ Review: The New Documentary on Disney+ Captures Their Story Note for Dreamy Note

Owen Gleiberman Chief Film Critic When you sit down to watch a documentary about the Beach Boys, you know what you want: to be immersed in the California dreamin’ of the group’s early surfin’-hit days, in the jaunty beauty of songs like “I Get Around” and “Help Me Rhonda,” and in the story of how Brian Wilson began to figure out a way to turn pop songs into miniature symphonies. You want to be immersed in the recording of “Pet Sounds,” in the Beach Boys’ rivalry with the Beatles, in the derailed masterpiece that was “Smile,” and in how Brian’s mental and emotional problems began to tear himself and the group apart.

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‘The Shrouds’ Review: David Cronenberg Makes a Movie About Grief — and Body Horror, and Digital Gravestones — That in Its Somber Way Verges on Self-Parody

Owen Gleiberman Chief Film Critic “How dark do you want to go?” The man asking that is named Karsh (Vincent Cassel), and he’s seated in a minimalist art-chic restaurant having lunch with a blind date (though as she points out, how blind can a date be in the age of Google?). The one who’s really asking the question, though, is David Cronenberg, writer-director of “The Shrouds.” He’s been asking that question — to audiences — for his entire career, and to him the answer has always been the same: The darker the better.

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‘Horizon: An American Saga — Chapter 1’ Review: Sprawling Yet Thinly Spread, the First Part of Kevin Costner’s Western Epic Feels Like the Set-Up for a TV Miniseries

Owen Gleiberman Chief Film Critic Arriving in the middle of the art smorgasbord that’s the Cannes Film Festival, a three-hour Western directed by Kevin Costner sounded like it might be just the ticket for a perfect night of counterprogramming: a grandly scaled slice of neo-classical Hollywood. That, after all, describes the other two Westerns Costner has directed (“Dances with Wolves” and “Open Range”), as well as his quirky sci-fi pseudo-Western “The Postman.” There’s no question that “Horizon: An American Saga — Chapter 1,” Costner’s fourth outing as a director, gives off some of that traditional flavor.

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‘Scénarios’ Review: Cannes Premieres a Short Completed by Jean-Luc Godard the Day Before His Death, and Also a Film About the Making of It

Owen Gleiberman Chief Film Critic A year ago, the Cannes Film Festival presented the world premiere of what was widely taken to be Jean-Luc Godard’s final film. He had died by assisted suicide eight months before, and the 20-minute-long “Trailer of the Film That Will Never Exist: ‘Phony Wars'” felt, by nature, like the aestheticized version of a last will and testament. It was a collage film, and it was (surprise!) oblique, yet it offered tea leaves to read about Godard’s state of mind as he prepared to leave the world.

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‘Bird’ Review: Andrea Arnold Taps the Star Power of Barry Keoghan and Franz Rogowski but Returns to Her Bleak British Roots in a Coming-of-Age Fairy Tale

Owen Gleiberman Chief Film Critic Eight years ago, the writer-director Andrea Arnold packed up her hand-held-camera brand of kitchen-sink British austerity and took it across the pond to make “American Honey,” a movie about a wolf pack of kids in a van who seemed to incarnate the tumult of the 21st century. The movie, crafted in a style that I thought of as hip-hop Dardenne brothers, was an indie explosion that felt like a landmark. Now, though, in “Bird,” the first dramatic feature that Arnold has made since (in between, she directed episodes of “Big Little Lies” and “Transparent” and made the documentary “Cow”), she’s back to chronicling the miserablism of aimless, scroungy British young folk who experience their lives as a dead zone.

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