Critic’s Pick
‘Kingdom of the Planet of the Apes’ Review: Hail, Caesar
The latest installment in an excellent series finds mythology turning into power.
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Movies
Highlights
Credit20th Century Studios - Q. and A.
How Andy Serkis Gave Owen Teague the Keys to the ‘Planet’
A conversation with Serkis, the star of the earlier films in the “Planet of the Apes” franchise, and Teague, the lead of the latest film, “Kingdom of the Planet of the Apes.”
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CreditMax Miechowski for The New York Times ‘Challengers’ and That Ending: Our Critics Have Thoughts
The tennis movie comes to an abrupt stop midmatch, so we don’t know who won. Does that matter?
By Wesley Morris and
CreditMGM ‘Aggro Dr1ft’ Review: Glow-Stick Dreams and Thermal Nightmares
Harmony Korine (“Spring Breakers”) parties too hard in this fusion of feature filmmaking and video game.
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CreditEdglrd
‘Gasoline Rainbow’ Review: We’re on a Ride to Nowhere
This semi-fictional tale of a road trip for weirdos is full of joy.
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CreditMubi/courtesy of Department of Motion Pictures Critic’s PickWhy Britain Keeps Giving Classic Movies New Ratings
As the attitudes of moviegoers evolve, so do the guidelines of the ratings board, which has reclassified dozens of films including “Mary Poppins” and “Rocky.”
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CreditDisney Dan Stevens and the Allure of Kooky Characters
Despite his “Downton Abbey” roots, the co-star of “Godzilla x Kong” and “Abigail” likes the kind of role “that makes the filmmaker smile.”
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CreditMichael Tyrone Delaney for The New York Times ‘Mother of the Bride’ Review: An Old Flame in a Tropical Locale
Brooke Shields plays a single mother who comes face to face with her college ex-boyfriend at her daughter’s destination wedding in this tired romantic comedy.
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CreditSasidis Sasisakulporn/Netflix The ‘Fall Guy’ Filmmakers Have a Cause: Give Stunts an Oscar
The academy is keeping mum about the prospect, but the movie is part of a renewed push for a new Academy Award first considered more than 30 years ago.
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Credit87 North
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The Chevy Malibu Was So Uncool It Was Cool
An unassuming car had a surprisingly large cultural footprint.
By Jim Windolf
New ‘Lord of the Rings’ Movie Will Put Gollum Center Stage
Andy Serkis, who played the creature in the trilogy, will direct and star in “The Hunt for Gollum,” an expansion of the fantasy epic scheduled for 2026.
By Emmanuel Morgan
By the BookJudi Dench’s Eyesight Keeps Her From Reading, but Not From Books
“They’re snapshots of the past: first-night gifts, holidays abroad, memories of lost friends and loved ones,” the award-winning actress says. Her latest, written with Brendan O’Hea, is “Shakespeare: The Man Who Pays the Rent.”
‘Aisha’ Review: Seeking Asylum in Ireland
The “Black Panther” star Letitia Wright shows understated vulnerability in this immigrant drama by Frank Berry. Josh O’Connor (“Challengers”) also stars.
By Lisa Kennedy
Critic’s Pick‘A Prince’ Review: Let New Passions Bloom
Sex, death and domination fuel this beautifully enigmatic pastoral drama from France, which presents the gay coming-of-age of an apprentice gardener.
By Beatrice Loayza
Disney, Hulu and Max Streaming Bundle Will Soon Become Available
The offering from Disney and Warner Bros. Discovery shows how rival companies are willing to work together to navigate an uncertain entertainment landscape.
By John Koblin
Rewind‘Time of the Heathen’: Postwar Life and Death, an American Tale
Newly excavated and restored, Peter Kass’s 1961 movie, full of trippy distortions and grim associations, gets its first New York run at Film at Lincoln Center.
By J. Hoberman
Robert Downey Jr. to Make Broadway Debut in Ayad Akhtar Play
The Oscar-winning actor will star as an A.I.-curious author in “McNeal,” starting performances in September at Lincoln Center Theater.
By Michael Paulson
Bernard Hill, Actor in ‘Titanic’ and ‘Lord of the Rings,’ Dies at 79
With a stout frame, bushy whiskers and a weathered visage, he embodied men of authority facing down danger with weary stoicism.
By Alex Traub
Laurent Cantet Is Dead at 63: His Films Explored France’s Undersides
His acclaimed “The Class” walked a provocative line between documentary and fiction. In that film and others, he explored the inescapable traps of late-stage capitalism.
By Adam Nossiter
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