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variety.com

06.04.2024 / 17:27

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Molly Ringwald Felt Limited by ‘Brat Pack’ Label, But ‘The Bear’ and ‘Feud’ Roles Excite Her for What’s Next

Todd Gilchrist editor As the star of “Sixteen Candles,” “Pretty in Pink” and “The Breakfast Club,” Molly Ringwald understands why she’s still considered “the patron saint of teenagers.” Commercially successful and critically acclaimed, those films — and her performances — depicted adolescents with an emotional sophistication like few films before them. But Ringwald was bringing that complexity to the screen from her first role in Paul Mazursky’s “Tempest,” and the fact that she’s continued to do so throughout her career is why she’s set to receive the Variety Creative Vanguard Award at the Miami Film Festival on April 6.

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‘King Kong,’ ‘The Departed,’ ‘Steel Magnolias’ and the ‘Ocean’s’ Trilogy Arrive on 4K in April

Todd Gilchrist editor If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. As studios and distributors chart a path for their wares that — at least for the foreseeable future — prioritizes streaming, collecting physical media continues to become an increasingly rarified hobby.

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‘Alien: Romulus’ Trailer Revives the Franchise With Facehuggers and More Scares; Director Fede Alvarez Wanted to Restore Series’ ‘Handmade’ Roots

Todd Gilchrist editor The first teaser trailer for Fede Álvarez’ “Alien: Romulus,” released March 20, hints at a return to the same kinds of thrills that audiences experienced back in 1979 with Ridley Scott’s “Alien” — and that James Cameron delivered in the 1986 follow-up, “Aliens.” Opening with a parade of spaceships reminiscent of the Nostromo and Sulaco, the clip offers a first look at its young cast, which features Cailee Spaeny (“Priscilla”) and Isabela Merced (“Madame Web”). The crew navigates dimly-lit, hexagonal corridors, run from scurrying facehuggers, and deliver shrieks of fear that, despite the original film’s tagline (“In space, no one can hear you scream”), echo all too viscerally.

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‘Ryuichi Sakamoto: Opus’ Director Neo Sora on Filming His Father’s Final Performance

Todd Gilchrist editor Directed by Neo Sora, “Ryuichi Sakamoto: Opus” records the final performance of its namesake composer and musician prior to his death from cancer in March 2023. Per Sora, Sakamoto’s son, “Opus” is less a documentary than a concert film, capturing 20 tracks — electronic, orchestral, and everything in between — from his multifaceted career as they’re played on the piano in crisp black and white, in lighting that transitions from night to day and back to night.

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‘Doctor Jekyll’ Review: A Multiple-Personality Mystery That’s Pulled in Too Many Directions

Todd Gilchrist editor “Always be two steps ahead,” repeatedly says Rachel Hyde, the famous alter ego of the namesake character in Hammer Studios’ “Doctor Jekyll.” The film’s director, Joe Stephenson, and his screenwriter Dan Kelly-Mulhern don’t take her advice, and it’s much to the detriment of their contemporary adaptation of the 1886 Robert Louis Stevenson novella, which can’t decide singularly what Jekyll’s transformation is a metaphor for. All volunteered options are either obvious or severely undercooked.

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‘Songs From the Hole’ Review: The Mesmerizing Story of a Rap Album Created Behind Bars That Helped a Convict Find Redemption

Todd Gilchrist editor Visual albums — a bunch of videos strung together to commemorate the release of new work from a musical artist — typically either feel like shameless promotion or a vanity project. “Songs From the Hole” not only earns the label honestly, but actually takes this co-called next-level artistic endeavor to, well, another level: Chronicling the incarceration of James “JJ’88” Jacobs, who went to jail at age 15 for murder, co-writer and director Contessa Gayles combines nakedly vulnerable reflections from Jacobs with poetic recreations for a deeply affecting experience, both musically and dramatically.

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‘Andor,’ ‘Moon Knight,’ ‘Obi-Wan Kenobi’ and ‘The Falcon and The Winter Soldier’ to Bow on Blu-ray With Deleted Scenes, Featurettes

Todd Gilchrist editor On April 30, Disney Home Entertainment will release on physical media four more of its streaming series, two from Lucasfilm and two from Marvel Studios. “Star Wars: Andor — The Complete First Season,” “Star Wars: Obi-Wan Kenobi — The Complete Series,” “Marvel Studios’ Moon Knight: The Complete First Season” and “Marvel Studios’ The Falcon and the Winter Soldier: The Complete First Season” will be released individually on 4K UHD and Blu-ray in collectible packaging.

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‘The Greatest Love Story Never Told’ Review: Jennifer Lopez Learns Love’s Cost in Revelatory Making-Of Doc

Todd Gilchrist editor With her ninth album “This Is Me…Now,” Jennifer Lopez promised to be more honest and vulnerable than ever before — a bookend to 2002’s “This Is Me…Then” in which she would “tell her side” of the romances that for decades have been one-dimensionally splashed across the pages of tabloids worldwide. Even as a lifelong fan, I was skeptical just how far back she’d draw the curtain given the meticulous control she’s exerted over her career.

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Screenwriters of ‘American Fiction,’ ‘Past Lives’ and More Reveal Toughest Scenes, From the Invention of a Lie to A Sadistic Husband’s Arrival

Todd Gilchrist editor The creative process can sometimes be highly organized, and others completely ephemeral: for every story that’s been mapped out beat by beat there’s another that arrived completely intact from a writer’s fingers in a feverish outpouring of inspiration. Somewhere in between these extremes is the unglamorous, frequently tedious work of chipping away at an idea, a sequence, or line of dialogue that gets to the heart of what a scribe wants to say — or more precisely, hopes to communicate.

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‘This Is Me…Now: A Love Story’ Review: Jennifer Lopez Sells the Sizzle of Romance but Overcooks Her Personal Stake

Todd Gilchrist editor Jennifer Lopez has spent the better part of her career navigating the two halves of her public persona: Bronx-born girl next door “Jenny from the block” and Hollywood power player “J.Lo.” Though much of the tension between the two has been amplified by media coverage that spans calculated marketing campaigns and inescapable paparazzi scrutiny, Lopez has frequently seemed to capitulate to whichever of the two serves her best at the time. “This is Me…Now: A Love Story” is, on its face, the visual component of her self-funded ninth studio album, and at a reported $20 million price tag it’s easy to see it first and foremost as an advertisement.

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‘Gloria Gaynor: I Will Survive’ Review: Doc Proves the Disco Legend Still Has Life to Live

Todd Gilchrist editor From a filmmaker’s perspective, it’s always fortuitous when the name of an artist’s signature work encapsulates the journey that they made in their life and career. What else to call a film about Johnny Cash? “Walk the Line,” of course.

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Ian McShane on Playing ‘An Angel of Death’ in Gonzalo López-Gallego’s ‘American Star,’ Waiting for a ‘John Wick 5’ Call

Todd Gilchrist editor Ian McShane is 81, but you’d never know it watching him in “American Star.” Also a producer of director Gonzalo López-Gallego’s new film, the English actor plays Wilson, a seasoned assassin who visits the Canary Islands’ Fuerteventura for a job, but instead unexpectedly becomes involved in the life of a French expatriate (Nora Arnezeder) and the lonely child of a vacationing couple (Oscar Coleman). From the first scene, McShane dances across the screen with the same effortlessness of a performer a quarter of his age as his character reckons with an escalating series of disruptions to a sequence of events whose outcome is inevitable: someone dying of a bullet from his gun.

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‘Miller’s Girl’ Review: A Small-Town Teen Learns That Adult Ambition Comes at a Steep Price

Todd Gilchrist editor “Miller’s Girl,” about a relationship that develops between a wise-beyond-her-years teenager and her intellectually undernourished teacher, feels like catnip for the circular discourse of Film Twitter, but it’s hard to tell where a study of post-#MeToo power dynamics will land with moviegoers in the real world. Written, produced and directed by Jade Halley Bartlett, the film is both impressively erudite and unrelentingly self-aware, a combination it bravely attempts but doesn’t quite fully balance.

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‘Luther: Never Too Much’ Review: Doc Explores the Thick and Thin of a Soul Legend’s Legacy

Todd Gilchrist editor Although it isn’t structured any differently from dozens of other cradle-to-grave documentaries about artistic luminaries, “Luther: Never Too Much” sheds light on much more than just the life and career of R&B singer Luther Vandross. Drawn largely from interview and performance footage of Vandross over his almost 40 years in entertainment, and bolstered and contextualized by retrospective talks will collaborators and confidantes, director Dawn Porter’s film exposes some uneasy truths about the music industry and the media we may now know, but whose seeming ubiquitousness at the time he was alive may be difficult to fully comprehend.

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How ‘Ferrari’ Sourced $70 Million Vintage Cars to Create Authentic Racing Sequences

Todd Gilchrist editor Michael Mann’s 12th film, “Ferrari” was always meant to do more than catalog the achievements of a legendary racing team and its automotive parent. Even so, its story climaxes with a pivotal race in the brand’s history — the 1957 Mille Miglia — that required a tremendous amount of work, and more than a little luck to recreate.

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The Best Movie Moments of 2023

Variety staffers reflected on some of the most standout scenes from the year’s top contenders. For 2023, there’s been no shortage of imaginative and inspiring storytelling crafted by both award-winning pros and newcomers — and each one has gifted audiences memorable scenes that have left us laughing, crying, and with plenty to think about long after the credits have rolled.

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10 Essential Christmas Albums, From Phil Spector to Motown to ‘Charlie Brown’

Todd Gilchrist editor Great Christmas songs, and great versions of great Christmas songs, are as plentiful as letters to Santa Claus. It’s the holiday for which various-artists compilations were seemingly created (and why the two-disc set “Now That’s What I Call Christmas” was certified 6x platinum just three years after its 2001 release).

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How ‘Winning Time”s Rollerblade-Wearing Cameraman Helped Capture More Than L.A. Lakers Gameplay On the Court

Todd Gilchrist editor Season one of “Winning Time: The Rise of the Lakers Dynasty” ended on an appropriately triumphant note with the Los Angeles Lakers’ victory over the Boston Celtics in the 1980 NBA Championships. Not only was Jerry Buss (John C.