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      Gena Rowlands, Actress Who Brought Raw Drama to Her Roles, Dies at 94

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      Gena Rowlands, the intense, elegant dramatic actress who, often in collaboration with her husband, John Cassavetes, starred in a series of introspective independent films, has died. She was 94.The death was confirmed by the office of Daniel Greenberg, a representative for Ms. Rowlands’s son, the director Nick Cassavetes. No other details were given.In June, her family said that she had been living with Alzheimer’s disease for five years.Ms. Rowlands, who often played intoxicated, deranged or otherwise on-the-verge characters, was nominated twice for best actress Oscars in performances directed by Mr. Cassavetes. The first was the title role in “A Woman Under the Influence” (1974), in which her desperate, insecure character is institutionalized by her blue-collar husband (Peter Falk) because he doesn’t know what else to do. The critic Roger Ebert wrote in The Chicago Sun-Times that Ms. Rowlands was “so touchingly vulnerable to every kind of influence around her that we don’t want to tap her because she might fall apart.”Her second nomination was for “Gloria” (1980), in which she starred as a gangster’s moll on the run with an orphaned boy.Ms. Rowlands and John Marley in “Faces,” which Renata Adler of The New York Times called “a really important movie” about “the way things are.” Like many of her movies, it was directed by Ms. Rowland’s husband, John Cassavetes.United Archives, via Getty ImagesBut it was “Faces” (1968), in which she starred as a young prostitute opposite John Marley, that first brought the Cassavetes-Rowlands partnership to moviegoers’ attention. Critics spread the word; Renata Adler described the film in The New York Times as “a really important movie” about “the way things are,” and Mr. Ebert called it “astonishing.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Taraji P. Henson, Keke Palmer and Uzo Aduba Turn Out to Martha’s Vineyard African American Film Festival

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      Summer on the island is packed with cultural events, and for many celebrities, politicians and filmmakers, the Martha’s Vineyard African American Film Festival is a highlight.“Ready for the Supremes?” the Legendary Chris Washington called out from a D.J. booth inside the packed auditorium at Martha’s Vineyard Regional High School on a recent August evening, as he played Motown hits for the crowd.It was one of the biggest nights of the 22nd annual Martha’s Vineyard African American Film Festival, a nine-day event devoted to celebrating Black filmmakers. The festival held on Martha’s Vineyard, the quaint Massachusetts island, has drawn luminaries like the actress Jennifer Hudson, the director Spike Lee and former President Barack Obama in summers past.Wednesday night’s crowd of about 800 was there for the premiere of “The Supremes at Earl’s All-You-Can-Eat,” the director Tina Mabry’s adaptation of the best-selling novel about a trio of lifelong girlfriends who call themselves the Supremes, after the 1960s girl group. Backstage, Uzo Aduba, Aunjanue Ellis-Taylor and Sanaa Lathan, who star in the film, were posing for a row of photographers as they prepared for the debut screening.Ms. Aduba, who grew up in Massachusetts and occasionally visited the island as a child, said it was her first time attending the festival.“To see culture and art and our stories presented in this incredibly placid and elegant and green backdrop, which feels like it weds so many historic vacation moments for Black culture,” she said, “is wonderful.”Panelists at an event for female executives and influential women shared their wisdom.Gabriela Herman for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘It Ends With Us’ Soars at the Box Office

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      The film, which cost $25 million to make, is on track to earn at least $45 million in North America on its opening weekend, analysts say.Colleen Hoover’s book “It Ends With Us” has been a fixture on the best-seller list for years. And now, the movie adaptation has become a smash at the box office. The $25 million film from Sony Pictures is on track to earn at least $45 million in the United States and Canada, box office analysts say.Starring Blake Lively, the romance is based on Ms. Hoover’s most popular book — one that was initially released in 2016 but reappeared on the best-seller list in the midst of the pandemic in 2021 and has since spent some 140 weeks there. Buoyed by TikTok, the book, about a complicated love triangle with undertones of domestic violence, has sold 8 million copies and found fans worldwide.The low-budget film comes at a time when there has been little in the marketplace geared to women, in contrast with last summer when “Barbie” earned $1.4 billion worldwide and became the highest-grossing film of the year. Sony took advantage of this dearth in the marketplace with a potent social media campaign that featured Ms. Lively, guest appearances by her husband, Ryan Reynolds, and the help of her friend Taylor Swift, who contributed the song “My Tears Ricochet” to the film and the trailer.On Friday alone, the PG-13 rated film earned $24 million as audiences tuned in to see Ms. Lively play a florist with a challenging past who falls for a sexy, abusive neurosurgeon played by Justin Baldoni, who also directed the film.The film’s performance is a welcome boost for the box office, which is still down some 15 percent since last year at this time.“Pure romance is not a big performer at the box office, but occasionally the right story based on the right book comes along, and with a well-cast female lead the movie catches fire,” said David A. Gross, a film consultant who publishes a newsletter on box office numbers. “That’s happening here.”Reviews have been middling. The New York Times called it “fitfully diverting, at times touching, often ridiculous and, at 2 hours and 10 minutes, almost offensively long.” Yet audiences are giving it high marks. The Rotten Tomatoes audience score is hovering at 94 percent positive and the exit score, as recorded by tracking service CinemaScore, is A-.The film will just miss the No. 1 slot for the weekend with Mr. Reynolds’s hit, “Deadpool vs. Wolverine,” holding on for its third frame. The Marvel movie will soon cross the $500 million threshold.Things weren’t as rosy for the Lionsgate adaptation of the video game “Borderlands,” which despite the star power of Cate Blanchett, Kevin Hart and Jack Black will probably only gross in the single digits. It was a total misfire for the $115 million sci-fi comedy from the director Eli Roth. More

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      Festival Winners Crowd New York Film Festival Main Slate Lineup

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      Top titles from Cannes and Berlin, like Sean Baker’s “Anora” and Mati Diop’s “Dahomey,” join new work by Pedro Almodóvar, Steve McQueen and RaMell Ross.This fall’s New York Film Festival will feature celebrated prizewinners from Cannes and the Berlinale, organizers announced Tuesday, unveiling a main slate that will join new works from the filmmakers Pedro Almodóvar, Steve McQueen and RaMell Ross.The festival, which runs Sept. 27 to Oct. 14, will screen films from 24 countries and include two world premieres, five North American premieres and 17 American premieres.Ross’s film, “The Nickel Boys,” is an adaptation of Colson Whitehead’s Pulitzer Prize-winning 2019 novel about two Black teenagers in a Jim Crow-era Florida reform school. It’s the opening-night selection. Almodóvar’s “The Room Next Door,” about a rekindled friendship between women played by Julianne Moore and Tilda Swinton, will be the centerpiece. And the festival will close with Steve McQueen’s “Blitz,” starring Saoirse Ronan as a working-class single mother in London who gets separated from her 9-year-old son during World War II.Winners from Cannes and the Berlin Film Festival feature heavily in the festival’s main slate lineup.Cannes imports include the Palme d’Or winner “Anora,” from Sean Baker; the Grand Prix winner “All We Imagine as Light” from Payal Kapadia; best director winner Miguel Gomes’s “Grand Tour”; the two best-director winners from the Un Certain Regard section, Roberto Minervini with “The Damned” and Rungano Nyoni with “On Becoming a Guinea Fowl”; and special prize winner “The Seed of the Sacred Fig” from Mohammad Rasoulof.Berlinale veterans playing in New York include the Golden Bear prizewinner “Dahomey,” a documentary from Mati Diop about the complicated postcolonial legacy of artifacts from the former African kingdom; Philippe Lesage’s Quebecois coming-of-age drama, “Who by Fire”; and the documentary “No Other Land,” about the destruction of West Bank villages by the Israeli military, made over five years by a Palestinian-Israeli collective.Two festival mainstays, the filmmakers Hong Sang-soo and Wang Bing, will each have two films playing this fall.Hong is bringing “By the Stream,” about a former film director, and “A Traveler’s Needs,” which won the Silver Bear Grand Jury Prize at the Berlinale and stars Isabelle Huppert as an inexperienced French teacher in a Seoul suburb. (Hong also showed two films last year.)The second and third parts of Wang’s observational nonfiction “Youth” trilogy, titled “Youth (Hard Times)” and “Youth (Homecoming)” and focused on migrant textile workers in the Chinese district of Zhili, will also screen at the festival. The first part of the trilogy, “Youth (Spring),” was included in last year’s lineup.“The most notable thing about the films in the main slate — and in the other sections that we will announce in the coming weeks — is the degree to which they emphasize cinema’s relationship to reality,” the festival’s artistic director Dennis Lim said in a news release. “They are reminders that, in the hands of its most vital practitioners, film has the capacity to reckon with, intervene in and reimagine the world.” More

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      ‘Deadpool & Wolverine’ Director Shawn Levy on Those Surprise Cameos

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      Shawn Levy explains the thinking behind specific cameos, what was saved from discarded scripts and how they made that end-credits tribute to Fox.Though the director Shawn Levy has spent the last several months promoting his new blockbuster, “Deadpool & Wolverine,” there was so much he couldn’t say until now.“This conversation will be tantamount to therapy for me,” Levy joked last week as he signed on to a video call to discuss cameos and plot elements that had to be kept hidden until after the film’s juggernaut opening weekend. (Major spoilers follow.)Though trailers sold the movie as a team-up between Ryan Reynolds’s meta mercenary, Deadpool, and Hugh Jackman’s surly mutant, Wolverine, the starry supporting cast includes some big surprises, including Jennifer Garner as the assassin Elektra, Wesley Snipes as the vampire hunter Blade and Channing Tatum as the card-tossing mutant Gambit. The film’s multiverse-spanning shenanigans also allow the return of Chris Evans, who retired his Captain America character in “Avengers: Endgame” but here reprises Johnny Storm, the “Fantastic Four” character he played back when 20th Century Fox owned key pieces of the Marvel portfolio.Levy said nearly all of those surprise cameos were hatched in Reynolds’s apartment, where much of the movie was conceived amid pie-in-the-sky brainstorming. “It was the two of us acting scenes out, passing a laptop back and forth and saying, ‘Hey, what if this?’” Levy recalled. “It invariably led to one of us texting that actor and just asking.”Here are edited excerpts from our conversation.Ryan has said that you both had trouble cracking the story before Hugh agreed to come on board. Was there anything from those early, Wolverine-less versions that you kept?A few disparate elements made it all the way through, and one of the bigger ones includes this notion of Wade going through a midlife malaise and selling used cars: This was a guy who had given up on his better self and was living a life of compromise. That survived through the Wolverine iteration of this movie, as did the imperative of having Wade’s chosen family factor in. And I remember [Paul] Wernick and [Rhett] Reese, who co-wrote the first “Deadpool” movies, pitching this idea of a Chris Evans misdirect very, very early: What if we could get Chris Evans and the audience thinks it’s Cap, but he’s actually coming back as Johnny Storm? It was such an A-plus idea that it survived every iteration of the story line.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Deadpool & Wolverine’ Is the Type of of Superhero Movie the Franchise Once Mocked

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      Making fun of schlocky, overwrought superhero movies used to be the Deadpool signature. But with “Deadpool & Wolverine,” and Disney’s push into the Marvel Universe, that thread is lost.Deadpool movies might as well begin with a fun qualifier for audiences: This isn’t a typical superhero movie; in fact, all genres and tropes are ripe for mocking by this foul-mouthed mercenary hero.In the first “Deadpool,” in the midst of a fight that includes decapitation and maiming, Ryan Reynolds’s Deadpool says, “I may be super, but I am no hero. And yeah, technically this is a murder. But some of the best love stories start with a murder. And that’s exactly what this is: a love story.” In the sequel, Deadpool says, “Believe it or not, ‘Deadpool 2’ is a family film. True story,” as he creatively murders a whole warehouse of Russian criminals. Dolly Parton’s “9 to 5” plays in the background.We’ve got a violent superhero movie that’s also a low-key sendup of tender rom-coms, then another violent superhero movie that pokes fun at the loving family film. So what’s “Deadpool & Wolverine”? Nothing as exciting — just another formulaic Marvel Cinematic Universe movie with a saucier rating.This third installment of the Deadpool franchise fails to deliver on that same knowing play with genre. The jokes are mostly about leaning heavily into the rules and standards of the superhero genre as orchestrated by Marvel — a bad omen for the Deadpool brand, formerly of 20th Century Fox before Disney acquired it in 2019.The new movie picks up a thread from the previous one when Deadpool uses a time-travel device to save the love of his life, Vanessa (Morena Baccarin). It’s a blatant deus ex machina, and the film casually undercuts its own emotional arc in order to make meta jokes about whether time travel could have changed the trajectory of Reynolds’s career.“Deadpool & Wolverine” seems to have forgotten its own joke about the earnest use of cheap plot devices like that — it dives headfirst into the commercial wholesomeness, overextended plotlines and shameless fan service that have come to define the majority of the Marvel Cinematic Universe in the last few years. In the latest film, Wolverine’s back from the dead (see the end of “Logan” to catch up), thanks to the multiverse, and he and Deadpool team up to keep Deadpool’s timeline from being decimated by the Time Variance Authority (see “Loki” to catch up).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Rarely Seen David Bowie Rom-Com Gets a New Life

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      “The Linguini Incident,” a low-budget ’90s film directed by Richard Shepard and featuring Bowie and Rosanna Arquette, makes its way to Blu-ray in a director’s cut.Even David Bowie’s biggest fans might be unaware of his solitary foray into romantic comedy, and for good reason: It was barely released in 1992, and has been all but impossible to see since. Now, its director has restored, reclaimed and recut the film in question, “The Linguini Incident,” which made its Blu-ray debut this week.Richard Shepard was only 25 when he directed the quirky, New York-set indie, which was his solo feature directorial debut. (He directed an earlier film, “Cool Blue,” alongside Mark Mullin.) As was typical of the era, the low budget was gathered from multiple sources. “The whole movie was financed very weirdly,” Shepard said in a Zoom interview. “We had home video money and foreign sales money and mysterious money — a lot of mysterious money.”His first casting coup came early, when he landed Rosanna Arquette, already a star with “After Hours” and “Desperately Seeking Susan” on her résumé. So what made her take a chance on this young novice? “I loved the script,” Arquette said in a phone interview. “I just thought it was well-written and funny … and then, lo and behold, we had David Bowie, so that was really exciting.”Shepard sent the script to Bowie on a lark, with the idea that he and the fellow rock legend Mick Jagger could play the film’s flamboyant restaurateurs. “We naïvely just sent it to them, to play those small parts, with no money offered, no anything,” Shepard recalled. “We get this note back from Bowie saying, ‘I’m interested in your movie, but I don’t want to play that supporting role. I would like to play the lead.’”Shepard with Bowie, center, on the set of “The Linguini Incident.”via Richard Shepard
      Bowie wanted to play Monte, a British bartender at a hip, downtown restaurant who tries to talk one of his co-workers, the aspiring escape artist Lucy (Arquette), into a green card marriage, but is instead sidetracked into helping her rob their employers. Marlee Matlin, Eszter Balint, Buck Henry and Andre Gregory were among the cast; the future Oscar nominee Thomas Newman would compose the score, and Robert Yeoman, Wes Anderson’s go-to cinematographer, was behind the camera. The film was shot in 30 days in 1990.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why Donald Glover Is Saying Goodbye to Childish Gambino

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      “Bando Stone & the New World,” his new album due Friday, tells a story about the potential end of the world — and the conclusion of his pseudonymous musical project.Donald Glover had been walking a New York City street only a moment when a young man, perhaps in his early 20s, called out to him from several yards away.“Yo, Donald Glover, bro, I love you, man!”Glover nodded and said thank you.“I listen to Childish Gambino like every day,” he continued.“I appreciate it,” Glover replied.“You’re seriously my favorite, bro,” the man shouted, seemingly struggling for something else to say. Finally, he added, “Since I was a little kid!”Glover chuckled to himself. “A ‘little kid’?” he said, after a beat. “That doesn’t make me feel old, I just know that I am old.”Time comes for everyone. It has mostly been kind to Glover, the multiple Emmy- and Grammy-winning actor, musician, writer and director, who turned 40 last September. He has been in the public eye for nearly 20 years, since his college sketch comedy troupe, Derrick, found an audience on early YouTube in 2006. And he has been famous for 15, since starring in the hit NBC comedy series “Community.”Childish Gambino, his rap alter ego, caught the attention of the hip-hop blogosphere in 2010, making it old enough to be sent off to high school. And now, after the release of his sixth album, “Bando Stone & the New World,” on Friday, he’s officially retiring the moniker.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More