Terence Stamp, the handsome British actor who broke through with his first film, "Billy Budd" and went on to have significant career including appearances in "Superman" and "The Adventures of Priscilla, Queen of the Desert", has died on August 17th at the age of eight-seven.
Born and raised in East London, Stamp became enamored with acting when he was a child after seeing Hollywood movies. Growing up during World War II, he enduring the constant blitz in London which did leave a traumatizing effect upon him. Stamp won a scholarship to study acting at the Webber Douglas Academy of Dramatic Art and performed in many theatrical productions. During this time, he became friendly with fellow aspiring actors, Peter O'Toole and Michael Caine, who Stamp would later share a flat.
Stamp got his first major break in 1962 with actor, Peter Ustinov's fifth feature as a director, "Billy Budd" which he also wrote the screenplay and co-starred. This British historical adventure, based on the novella by Herman Melville, has Stamp playing Budd, a young sailor who is falsely accused of attempting a mutiny by the cruel master-at-arms and accidently kills him, leading to his court-martial. The film was not a big hit but did earn Stamp a Oscar nomination for Best Supporting Actor and winning him a Golden Globe for Most Promising Newcomer (Male).
He would go on to work with several notable filmmakers throughout the rest of the '60's: William Wyler with "The Collector"; John Schlesinger's adaptation of Thomas Hardy's "Far from the Madding Crowd"; Ken Loach in "Poor Cow"; Pier Paolo Pasolini's "Teorema" and co-starred in the spy comedy, "Modesty Blaise" with Monica Vitti. Stamp was even considered for replacing Sean Connery as James Bond after his departure from the role but apparently his ideas for the dashing spy character made the producers uncomfortable.
During this time, Stamp became a popular fixture of the swinging London party scene and renowned for his high-profile romances with two of the celebrated women of that era; supermodel, Jean Shrimpton and actress, Julie Christie who co-starred with Stamp in "Far from the Madding Crowd".
Stamp would make his mark again by appearing in the 1978 big-screen version of "Superman" playing the Kryptonian villain, General Zod and would play the character again in the sequel. He would also been seen in a variety of films throughout the '80's like "The Hit", "The Sicilian", "Legal Eagles", "Young Guns", and "Wall Street".
Stamp would surprise viewers with his sensitive yet hilarious turn as a transgender woman in the 1994 Aussie indie, "The Adventures of Priscilla, Queen of the Desert" by director, Stephan Elliott. This road-trip comedy on a tour bus across the Australian Outback with his two drag-queen friends (played by Hugo Weaving and Guy Pearce) would win the Oscar for the outrageous costumes and this campy farce has gone on to become a popular cult classic. Three years later, Steven Soderbergh (a fan of the actor) gave Stamp a lead role in his crime drama, "The Limey". This critically acclaimed film did poorly at the box-office upon it's initial release but has since been found by more appreciative modern audiences. Stamp's last screen appearance was in Edgar Wright's (another big fan of the actor) psychological horror drama, "Last Night in Soho" in 2021.
Stamp also found some success as a writer, having written three memoirs, a novel and co-writing a cookbook that featured alternative recipes for those who are lactose-intolerant.
Written by Dan Gregor, Doug Mand and Akiva Schaffer
Directed by Akiva Schaffer
Where & When: TCL Chinese Theatres, Hollywood, CA. August 3, 2025 5:10 PM
After David Zucker, Jim Abrahams, and Jerry Zucker had incredible success with "Airplane!", their wacky spoof on aerial disaster movies back in 1980, they moved to television with a parody on police procedurals. With Leslie Nielsen (who had a long career as a dramatic actor before his gift for deadpan comedy was revealed in "Airplane!") as Detective Frank Drebin, "Police Squad!" premiered two years later but was cancelled after only six episodes. But the comedy team still had faith in the concept and transferred the idea to the big screen. Reaching theaters in 1988, "The Naked Gun: From the Files of Police Squad!" became a huge box-office hit and spawned two equally successful sequels.
Now "The Naked Gun" has been rebooted for a continuation of the movie series directed by Akiva Schaffer, one third of the musical comedy outfit, The Lonely Island which features his childhood buddies, Andy Samberg and Jorma Taccone. Liam Neeson, the Irish actor best known for his brooding and deadly serious performances in many popular action films, is on board to let loose and make us chuckle as the son of Frank Drebin. This version certainly has the uproarious looney spirit of the previous films and there are plenty of laughs to be found. But this "Naked Gun" feels somewhat restrained compared to the other movies, too timid to really go all the way in with jokes that some might consider too outrageous and potentially offensive.
Lieutenant Frank Drebin Jr. (Neeson) may have single-handedly stopped a violent bank robbery while disguised as a little girl but his unorthodox methods puts him in hot water with the police chief (CCH Pounder) who reassigns him to less public duty. During an investigation of a fatal car crash involving a software engineer, Drebin decides it was a suicide. But Beth Davenport (Pamela Anderson), a crime novelist who is the sister of the victim, visits Drebin at the station trying to convince him that her brother was actually murdered.
This leads Drebin to Edentech, the tech company Davenport worked with and the billionaire owner, Richard Cane (Danny Huston). Connecting over the hip-hop group, the Black Eyed Peas, the two men get on well enough that Cane even gives Drebin a self-driving electric car. However, Cane is behind a secret sinister plot involving a device, P.L.O.T. (get it?) which will convert the average man back into wild, primitive state while the wealthy will be unaffected to rule over them.
What we have in between this basic plot are rapid fire jokes, comical sight gags and hilarious puns. There are moments I found myself laughing out loud, particularly during an oddball romantic interlude between Frank, Beth and an amorous snowman. But some of the jokes land with a thud and running gags (Anderson's goofy jazz scatting at a club and Drebin trapped in the racing EV that Cane uses in an attempt to kill him comes quickly to mind) go on far too long. And as the film progresses to reach the conclusion of Drebin trying to defeat Cane's plan, the pacing becomes more slack and the humor feels more forced.
Neeson and Anderson may not be fully comfortable (or skilled) with performing the broad comedy in the film yet they give it their all with exuberance and gusto. We know that what was considered funny has changed considerably since the original movie was made and there is now a much stronger desire not to offend anybody. But this film pushes just enough to create a sense of outrageously silly fun. "Naked Gun" is a very welcome return of the big-screen comedy and hopefully will spark a much needed revival of the genre.
Where & When: AMC The Americana at Brand 18, Glendale, CA. July 13, 2025 1:30 PM
Since his creation by Jerry Siegel and Joe Shuster eighty-seven years ago, Superman has endured as an iconic, super-powered, crime-fighting character that helped popularize the comic-book genre. Since 1940, he has appeared in numerous radio serials, novels, films, television shows, theater, and video games.
Now the latest film reboot, simply titled "Superman", has James Gunn behind it, the writer and director who boldly shook-up the formula of the genre (somewhat) with the "Guardians of the Galaxy" trilogy by taking us on a weird, wild ride with off-the-wall heroes and some unexpected dark humor. With this film, Gunn does mess around with our expectations of these very familiar characters. Some of these changes feels inspired while other transitions comes across as painfully awkward. But what this "Superman" has done successfully is brought a fresh excitement to this legendary hero's story and taking us on a thrilling, offbeat adventure we hadn't anticipated at all.
Assuming we are all well familiar with his backstory, the film begins with Superman (now played by David Corenswet), badly hurt and unable to make it on his own to his secret ice fortress in Antarctica, whistling. This calls for his super-powered dog, Krypto to race through the snow to help his master. We learn that Superman had lost his battle against a metahuman called the "Hammer of Boravia", who is under control by Lex Luthor (Nicholas Hoult), a wealthy tech wizard whose prime focus is to destroy the Man of Steel. After recovering with the help of his team of robotic helpers, Superman returns to Metropolis under his secret guise as Clark Kent, an unassuming reporter for the news organization, The Daily Planet. Clark might spar with his fellow reporter, Lois Lane (Rachel Brosnahan) at work but after hours, they are privately having a romantic affair with her fully aware of his true identity. Lois cares for her Superman but unsure if this relationship is really such a great idea.
Luthor is still determined to finish off Superman. After having another metahuman collaborator, The Engineer (María Gabriela de Faría) break into Superman's fortress, she discovers a message from our hero's parents (Bradley Cooper and Angela Sarafyan) that was with him when he was sent to Earth as an infant from his doomed home planet, Krypton. The end of the communication had been damaged during the journey and Luthor uses his technology to repair the message, discovering that the parents had requested a malevolent plan for their son. Luthor broadcasts this disturbing recording to the world with the public quickly turning against Superman and the government demanding that he be locked up for questioning.
After being unceremoniously dropped from Marvel/Disney over some controversial jokes he had made in the past, Gunn was hired to breathe fresh new life into the DC Universe. The recent films over the last five years ("The Suicide Squad", "Black Adam", "The Flash", "Blue Beetle", "Shazam! Fury of the Gods") have all struggled at the box-office. "Superman" is the first big step and Gunn has certainly succeeded in launching an intriguing new direction for the comic-book series. The film is a visual wonder with a spectacular-looking Metropolis and riveting battles against odd looking creatures and mutated super-beings. I was very surprised to learn that the dog, Krypto was completely a CGI creation, leaving me impressed (and a little disturbed) over the endless possibilities of this technology.
In the previous movies, there was clear distinction between good and evil with Superman being a powerfully stoic, near-perfect figure that fought against sinister forces while representing solid American values. With "Superman", the spirit here is more shades of nonpartisan gray. The heroes of the Justice Gang, Green Lantern (Nathan Fillion), Mister Terrific (Edi Gathegi) and Hawkgirl (Isabela Merced), who help Superman in his battle against Luthor, have no issues with killing anybody in their way when they feel necessary. But the noticeable difference about this Superman is that he's motivated by the unshakable belief of decency and that all life is valuable. Even that dirty squirrel deserves to be saved from a certain death.
As our latest "Superman", Corenswet, who had made supporting appearances in several films and television programs before Gunn had noticed him in Ryan Murphy's overripe Netflix series, "Hollywood", perfectly captures the classic image of our hero but his take features him as more vulnerable than he's appeared in the past. Superman is still a brave and amiable protector with midwestern values yet somewhat very naive to the self-involved mindset of this modern world. He's made to constantly question his beliefs by friend and foe, which in turn weakens him psychologically and causes him to lose in battle more than once. Luthor, Superman's longtime arch-nemesis, has been given a slight makeover that makes him an attractive, compelling presence than previously seen. Curiously modeled after Elon Musk, Hoult brings an oily charm to the vile billionaire inventor who seethes with irrational rage over the universal praise Superman receives from the public. Brosnahan's Lois Lane fares less well here. Many of the recent screen versions of Lane has made her a shrewd, fearlessly independent reporter. Brosnahan has a few opportunities to display some of this resourcefulness but she's basically on the sidelines here, given perfunctory chores to do during the attempts to save her man. And there's not much of a persuasive spark happening between this couple on screen either.
Considering the politically volatile times we're currently living in, "Superman" has managed to stir up accusations of being "woke". There is no doubt that Superman might be perceived as left-leaning yet there is no political agenda in this film beyond simply presenting this alien hero from Krypton in our present day and how he most likely would be received in it. The world has grown far less trusting of people who are considered to be "different" and the idea of a super-powered being from another planet making decisions for this entire planet would have the minds of conspiracy theorists going into manic overdrive.
But "Superman" has a warm, vibrant energy generating throughout this stylish, entertaining adventure. This is helped by Gunn effectively sticking to the core of what has made this classic comic-book star still appealing; a noble, kind-hearted hero with a strong sense of morality and justice. This is the kind of super-hero that we really need right now and anyone from any political affiliation should be able to get behind.
The latest from Paul Thomas Anderson, "One Battle After Another" has Leonardo DiCaprio starring in a black comedy thriller, taking inspiration from the novel, "Vineland" by Thomas Pynchon. This is Anderson's second adaptation of a book by Pynchon ("Inherent Vice" was first back in 2014) and the story hasn't been fully revealed but we know that DiCaprio plays a hard-living revolutionary who is trying to rescue his kidnapped daughter (played by Chase Infiniti who last appeared in the series, "Presumed Innocent"). But he struggles to remember the password that is needed to assemble his fellow radical revolutionaries to assist him in rescuing her due to his many years of substance abuse. Sean Penn, Regina Hall, Teyana Taylor, Alana Haim and Benicio del Toro also star.
I have to say that I was not a fan at all of Anderson's last feature, "Licorice Pizza". Yet I remain very optimistic about this upcoming film as I believe strongly that PTA is still one of our greatest contemporary filmmakers. "Punch-Drunk Love", "There Will Be Blood", "The Master" and "Phantom Thread" all appear on the recent NYT's "100 Best Movies of the 21st Century" (making him tied with Alfonso Cuarón and the Coen brothers for the second most films of this list at four and Christopher Nolan leading with five), revealing his outstanding ability in creating enduring, modern classics.
"One Battle After Another" is due in US theaters on September 26, 2025
The New York Times decided to make a list of the one hundred best movies from this current century. As there have only been twenty-five years to date, this task might not appear to be all that daunting. Yet when you consider such an extensive range and vast assortment of cinema created over this period, this project might be more of a challenge then it would seem. So to help decide which films were selected and ranked, five hundred filmmakers, actors, influential insiders and fans were asked to each vote for their personal top-ten favorites that were released since January 1, 2000. Then these votes were complied to create this listing of best movies which were revealed twenty at a time over five days that began on June 23rd.
Please click below for the complete list of films selected as the best of this current century:
I have seen ninety-three films from the list and below are the trailers of my ten favorites from this selection of one hundred best movies of the twenty-first century (not in ranking order). This was extremely difficult to narrow down and I never would have been able to finish if I had added some great movies that didn't actually make it on this list:
Where & When: AMC The Grove, Los Angeles, CA. June 14, 2025 3:30 PM
The filmmaker, Celine Song dazzled us with her debut feature, "Past Lives", a compelling drama lightly inspired by real events in her life which went on to be critically acclaimed and awarded, receiving two Academy Award nominations including Best Picture.
With her follow-up, "Materialists", Song has once again focused on a love triangle, this time involving a woman who struggles between the familiar comfort of her financially struggling, former boyfriend and the enticing qualities of a handsome, extremely wealthy financier. This dramatic romance offers enlightened observations on the complications in trying to find love and intimacy in today's money-driven world. Yet "Materialists" is strangely designed like a romantic-comedy without actually using the formula, leaving us puzzled by what exactly is this film trying to be?
Lucy (Dakota Johnson) is a professional matchmaker who works for the dating service, Adore. And while she's very good at her job, Lucy is perfectly content being single herself with no interest in a relationship, having decided that if she ever marries, it will be to a man with a lot of money. During the wedding of her ninth successful match, Lucy meets Harry (Pedro Pascal), the groom's brother. Rich, attractive and captivating yet still single, Lucy only sees a potential new client. But Harry wants to go on a date with her which she promptly declines. After managing to get Lucy to go out with him, Harry seduces her with his considerable charm and financial assets that leads them to a romantic connection.
Also at the wedding, Lucy runs into her ex-boyfriend, John (Chris Evans), a struggling actor who is working as a caterer at the reception. They hadn't seen each other in some time since they broke-up and as they reconnect, the attraction is still quite palpable. During their five years together, Lucy and John were both trying to be actors yet she gave up on that profession and the relationship, deciding she no longer wanted to struggle and fight about money. And while this still remains true for Lucy, she begins to consider that money might not be the only solution to a perfect partnership.
I have heard some refer to "Materialists" as a romantic-comedy yet there's not a single joke nor comedic moment to be found in the film. What I think might lead people to believe this drama could be labeled as a rom-com is "Materialists" delivers the familiar trappings of the genre; ridiculously attractive people with a vast amount of wealth who are unable to find love with the ideal match, living in a New York presented with a glossy sheen (shot by Shabier Kirchner who also filmed Song's debut feature) that anyone who has ever been to the city knows does not exist. In fact, Carrie Bradshaw and her pals would fit quite comfortably in this world. This film would have actually benefited with a few pointed laughs and greater sense of fun, with the story at times becoming overwrought and far too somber. There is one disturbing, traumatic moment that happens to one of Lucy's clients, shifting the tone enough that nearly derails the film. But "Materialists" manages to recover enough to get us back on track to it's main objective with a stern yet light-hearted examination of love connections.
I have previously expressed my thoughts on the performative abilities of Ms. Johnson but I will just say that while the actress does deliver a serviceable performance here, she does not display the magnetic presence required that would have us believe that these two men would do almost anything to win her over. Evans and Pascal have built their careers as actors who captivate with their considerable charms and they do not disappoint here, creating some sense of chemistry with the woman in the middle.
"Materialists" might be a somewhat, dark drama in rom-com clothing yet still captures the difficulties of dating and relationships in these modern times with a light hearted touch. The film offers thoughtful and thought-provoking views about the contractual nature of marriage and calling out the silly notion that monetary comfort is not that important in a relationship as long as you have love. It reveals that because men don't want to marry a woman over thirty and a woman won't even consider dating a man under six feet tall is exactly why there's so many lonely, single people out there misguided in feeling that the use a matchmaker will actually help them find a potential partner.
Film at Lincoln Center and Cinecittà have teamed-up for a special presentation to bring long overdue recognition to one of the great performers of Italian films and world cinema: Monica Vitti. A striking beauty with a magnetic presence, Vitti has been hailed as an actor who transformed the screen with a modern sensibility as film shifted from glossy spectacle to gritty realism during the 1960's.
Born in Rome in 1931 as Maria Luisa Ceciarelli, she took her mother's maiden name when deciding to become an actress, getting bit parts on stage and in films before earning a significant role in "Le dritte", directed by Mario Amendola in 1958. Two years later, Vitti met filmmaker, Michelangelo Antonioni who cast her in "L'Avventura". This film about the disappearance of a young woman during a boating trip in the Mediterranean with the woman's lover and her best friend (played by Vitti) coming together to search for her went on to win the Jury Prize at the Cannes Film Festival and would make Vitti an international movie star. From this notable success, an artistic partnership began between Antonioni and Vitti with them going on to make three more groundbreaking films together: "La Notte", "L'Eclisse" and "Il deserto rosso (Red Desert)".
This is the first North American retrospective dedicated to the remarkable career of Vitti with fourteen of her essential films to be screened, several with new 4K restorations.
Please click below for the complete list of films, to purchase tickets and additional information:
