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Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. 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It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid=’arts_[aside postid='arts_13936524']‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n","blocks":[],"excerpt":"Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.","status":"publish","parent":0,"modified":1728674664,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1254},"headData":{"title":"7 Horror Movies That Were Filmed in the SF Bay Area | KQED","description":"Skipping the parties for a movie marathon? Watch these locally filmed scary classics, available to stream or rent.","ogTitle":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","ogDescription":"","ogImgId":"","twTitle":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","twDescription":"","twImgId":"","socialTitle":"7 Horror Movies That Were Filmed in the SF Bay Area %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"7 Bay Area Horror Movies For Your Halloween Viewing Pleasure","datePublished":"2024-10-11T12:25:36-07:00","dateModified":"2024-10-11T12:24:24-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13904911/bay-area-horror-movies-to-stream-this-halloween","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_106535","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936524","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904911/bay-area-horror-movies-to-stream-this-halloween","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_22313"],"tags":["arts_3669","arts_928","arts_10278","arts_977","arts_1206","arts_1143","arts_3231","arts_1146","arts_2721","arts_585"],"featImg":"arts_13905395","label":"arts_140"},"arts_13966394":{"type":"posts","id":"arts_13966394","meta":{"index":"posts_1716263798","site":"arts","id":"13966394","score":null,"sort":[1728597305000]},"guestAuthors":[],"slug":"climate-just-world-new-parkway-center-cultural-power","title":"After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland","publishDate":1728597305,"format":"standard","headTitle":"After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A screening at Oakland’s New Parkway next week, \u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World\u003c/a>, isn’t alluding to some far-off future of potential climate disaster. When we connect by phone, filmmaker Shenny De Los Angeles and her family are sheltering in Kissimmee, Florida. They’re among the over 3 million households without power because of Hurricane Milton.\u003c/p>\n\u003cp>It’s the second major hurricane in two weeks to ravage De Los Angeles’ home state. At the end of September, Hurricane Helene killed over 200 people throughout the Southeastern U.S. and caused tens of billion dollars in structural damage.\u003c/p>\n\u003cp>De Los Angeles and co-director Amanda Morell will be in the Bay Area on Oct. 17 to show their new short film, \u003cem>hija de Florinda\u003c/em>, about a Dominican woman who returns to her ancestors’ lands after they were destroyed by the effects of climate change.\u003c/p>\n\u003cp>“So to be going through it in real time right now, where we had to actually prepare in case our home was taken by Hurricane Milton, speaks volumes — even though it was a fictional story, it’s real life,” says De Los Angeles, adding that she and her family are safe. “I’m navigating it in real time.”\u003c/p>\n\u003cfigure id=\"attachment_13966424\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg\" alt=\"\" width=\"1134\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-800x1422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-1020x1813.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-160x284.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-768x1365.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-864x1536.jpeg 864w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Shenny De Los Angeles and Amanda Morell on set for ‘hija de Florinda.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in black and white among the mangrove trees of the Everglades, \u003cem>hija de Florinda\u003c/em> is a poetic film in which a young woman learns about Indigenous practices of controlled burns from her grandmother, practices which are now being recognized as an essential part of the ecosystem in Florida and California alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story deals with environmental racism in a state where terms like “diversity, equity and inclusion” and “climate change” \u003ca href=\"https://www.tampabay.com/news/education/2024/07/08/florida-adds-more-textbook-restrictions-this-time-its-climate-change/\">have been struck from local laws and school textbooks\u003c/a>. It draws from Afro-Indigenous rituals, and takes inspiration from the story of Mamá Tingó, a Dominican woman who fought for the rights of rural farmers and was killed defending her land in 1974. In the film, Mamá Tingó becomes a guardian whose presence links the ideas of protecting the land and protecting future generations. [aside postid='news_12008755,news_12008028']\u003c/p>\n\u003cp>For De Los Angeles, decades-old laws that suppressed controlled burns became a metaphor for social repression. “I see my grandmother suppressed. I see my mom suppressed,” she says. “And I thought about how if nature is asking us to embrace fire, how do we as Black and brown people embrace our anger, embrace our pain? That’s part of healing.”\u003c/p>\n\u003cp>Living in harmony with fire is also a key theme in the other short film playing at Cinematic Visions of a Climate Just World, Lily Xie’s \u003cem>Remembering Our Way Forward\u003c/em>. (Xie, De Los Angeles and Morell were selected for the screening after winning the Center for Cultural Power’s Climate Woke filmmaker grant.) Xie, a Philadelphia-based animator, came to the Bay Area to capture how Movement Generation and Sogorea Te’ Land Trust returned 43 acres of land in Bay Miwok territory, or Contra Costa County, to Indigenous stewardship in 2023.\u003c/p>\n\u003cp>The stop-motion short, narrated by Movement Generation climate activists, is a storybook-like, optimistic piece about people trying to return to a reciprocal balance with the land after centuries of colonial domination. “I think artists could have a really big role in moving from more extractive relationships to land towards more regenerative relationships,” says Xie. “And a lot of that has to do with storytelling and narrative.”\u003c/p>\n\u003cfigure id=\"attachment_13966426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Xie shoots her stop-motion animation film, ‘Remembering Our Way Forward.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>East Coast hurricanes tearing apart communities, West Coast wildfires destroying towns and poisoning the air — each region of the U.S. is dealing with climate change-induced catastrophes. At Cinematic Visions of a Climate Just World, which also features panel discussions and a spoken-word performance by teenage Oakland climate activist \u003ca href=\"https://oaklandside.org/2024/09/18/oakland-teen-climate-activist-youth-vs-apocalypse/\">Aniya Butler\u003c/a>, there’s an opportunity to leave our regional silos and strategize around a global problem.\u003c/p>\n\u003cp>“There’s a lot of intersecting identities and dynamics that play with climate,” says Xie. “It’s often communities of color that are living in ‘sacrifice zones’ that are already at higher climate risk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World: A Climate Woke Special Screening\u003c/a>’ takes place at the New Parkway in Oakland on Oct. 17. Free with RSVP.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Shenny De Los Angeles joins a climate justice discussion and screening at the New Parkway on Oct. 17.","status":"publish","parent":0,"modified":1728601057,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":778},"headData":{"title":"Climate Justice, Land Back Films at the New Parkway | KQED","description":"Shenny De Los Angeles joins a climate justice discussion and screening at the New Parkway on Oct. 17.","ogTitle":"After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland","ogDescription":"","ogImgId":"","twTitle":"After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland","twDescription":"","twImgId":"","socialTitle":"Climate Justice, Land Back Films at the New Parkway %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland","datePublished":"2024-10-10T14:55:05-07:00","dateModified":"2024-10-10T15:57:37-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13966394","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13966394/climate-just-world-new-parkway-center-cultural-power","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A screening at Oakland’s New Parkway next week, \u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World\u003c/a>, isn’t alluding to some far-off future of potential climate disaster. When we connect by phone, filmmaker Shenny De Los Angeles and her family are sheltering in Kissimmee, Florida. They’re among the over 3 million households without power because of Hurricane Milton.\u003c/p>\n\u003cp>It’s the second major hurricane in two weeks to ravage De Los Angeles’ home state. At the end of September, Hurricane Helene killed over 200 people throughout the Southeastern U.S. and caused tens of billion dollars in structural damage.\u003c/p>\n\u003cp>De Los Angeles and co-director Amanda Morell will be in the Bay Area on Oct. 17 to show their new short film, \u003cem>hija de Florinda\u003c/em>, about a Dominican woman who returns to her ancestors’ lands after they were destroyed by the effects of climate change.\u003c/p>\n\u003cp>“So to be going through it in real time right now, where we had to actually prepare in case our home was taken by Hurricane Milton, speaks volumes — even though it was a fictional story, it’s real life,” says De Los Angeles, adding that she and her family are safe. “I’m navigating it in real time.”\u003c/p>\n\u003cfigure id=\"attachment_13966424\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg\" alt=\"\" width=\"1134\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-800x1422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-1020x1813.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-160x284.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-768x1365.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-864x1536.jpeg 864w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Shenny De Los Angeles and Amanda Morell on set for ‘hija de Florinda.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in black and white among the mangrove trees of the Everglades, \u003cem>hija de Florinda\u003c/em> is a poetic film in which a young woman learns about Indigenous practices of controlled burns from her grandmother, practices which are now being recognized as an essential part of the ecosystem in Florida and California alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story deals with environmental racism in a state where terms like “diversity, equity and inclusion” and “climate change” \u003ca href=\"https://www.tampabay.com/news/education/2024/07/08/florida-adds-more-textbook-restrictions-this-time-its-climate-change/\">have been struck from local laws and school textbooks\u003c/a>. It draws from Afro-Indigenous rituals, and takes inspiration from the story of Mamá Tingó, a Dominican woman who fought for the rights of rural farmers and was killed defending her land in 1974. In the film, Mamá Tingó becomes a guardian whose presence links the ideas of protecting the land and protecting future generations. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_12008755,news_12008028","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For De Los Angeles, decades-old laws that suppressed controlled burns became a metaphor for social repression. “I see my grandmother suppressed. I see my mom suppressed,” she says. “And I thought about how if nature is asking us to embrace fire, how do we as Black and brown people embrace our anger, embrace our pain? That’s part of healing.”\u003c/p>\n\u003cp>Living in harmony with fire is also a key theme in the other short film playing at Cinematic Visions of a Climate Just World, Lily Xie’s \u003cem>Remembering Our Way Forward\u003c/em>. (Xie, De Los Angeles and Morell were selected for the screening after winning the Center for Cultural Power’s Climate Woke filmmaker grant.) Xie, a Philadelphia-based animator, came to the Bay Area to capture how Movement Generation and Sogorea Te’ Land Trust returned 43 acres of land in Bay Miwok territory, or Contra Costa County, to Indigenous stewardship in 2023.\u003c/p>\n\u003cp>The stop-motion short, narrated by Movement Generation climate activists, is a storybook-like, optimistic piece about people trying to return to a reciprocal balance with the land after centuries of colonial domination. “I think artists could have a really big role in moving from more extractive relationships to land towards more regenerative relationships,” says Xie. “And a lot of that has to do with storytelling and narrative.”\u003c/p>\n\u003cfigure id=\"attachment_13966426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Xie shoots her stop-motion animation film, ‘Remembering Our Way Forward.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>East Coast hurricanes tearing apart communities, West Coast wildfires destroying towns and poisoning the air — each region of the U.S. is dealing with climate change-induced catastrophes. At Cinematic Visions of a Climate Just World, which also features panel discussions and a spoken-word performance by teenage Oakland climate activist \u003ca href=\"https://oaklandside.org/2024/09/18/oakland-teen-climate-activist-youth-vs-apocalypse/\">Aniya Butler\u003c/a>, there’s an opportunity to leave our regional silos and strategize around a global problem.\u003c/p>\n\u003cp>“There’s a lot of intersecting identities and dynamics that play with climate,” says Xie. “It’s often communities of color that are living in ‘sacrifice zones’ that are already at higher climate risk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World: A Climate Woke Special Screening\u003c/a>’ takes place at the New Parkway in Oakland on Oct. 17. Free with RSVP.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966394/climate-just-world-new-parkway-center-cultural-power","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_1407","arts_10278","arts_585"],"featImg":"arts_13966427","label":"arts_140"},"arts_13966358":{"type":"posts","id":"arts_13966358","meta":{"index":"posts_1716263798","site":"arts","id":"13966358","score":null,"sort":[1728510229000]},"guestAuthors":[],"slug":"ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco","title":"Ticket Alert: Cher at the Golden Gate Theatre in San Francisco","publishDate":1728510229,"format":"standard","headTitle":"Ticket Alert: Cher at the Golden Gate Theatre in San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The global superstar appears in conversation on Dec. 4 to discuss her new memoir.","status":"publish","parent":0,"modified":1728510503,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":149},"headData":{"title":"Ticket Alert: Cher at the Golden Gate Theatre in San Francisco | KQED","description":"The global superstar appears in conversation on Dec. 4 to discuss her new memoir.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Cher at the Golden Gate Theatre in San Francisco","datePublished":"2024-10-09T14:43:49-07:00","dateModified":"2024-10-09T14:48:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13966358","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13966358/ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966358/ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_74","arts_69","arts_75","arts_22313"],"tags":["arts_7032","arts_585","arts_4798"],"featImg":"arts_13966359","label":"arts_140"},"arts_13966347":{"type":"posts","id":"arts_13966347","meta":{"index":"posts_1716263798","site":"arts","id":"13966347","score":null,"sort":[1728508580000]},"guestAuthors":[],"slug":"donald-trump-roy-cohn-movie-review-the-apprentice-jeremy-strong-sebastian-stan","title":"How Did Trump Become Trump? ‘The Apprentice’ Has a Theory","publishDate":1728508580,"format":"standard","headTitle":"How Did Trump Become Trump? ‘The Apprentice’ Has a Theory | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Decades before he hosted \u003cem>The Apprentice\u003c/em>, Donald Trump was … an apprentice.\u003c/p>\n\u003cp>His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ’70s and ’80s after famously serving as a top aide to Sen. Joseph McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13966278']The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.\u003c/p>\n\u003cp>Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors — Trump supporter Dan Snyder, former owner of the Washington Commanders — saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open \u003cem>The Apprentice\u003c/em> this Friday — less than four weeks before the U.S. election.\u003c/p>\n\u003cp>So, what kind of movie do we have here?\u003c/p>\n\u003cp>Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship — and at a system that’s about winning at any cost.\u003c/p>\n\u003cp>[aside postid='arts_13966340']He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0tXEN0WNJUg\u003c/p>\n\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>[aside postid='arts_13966259']As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>[aside postid='arts_13965858']Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Sebastian Stan and Jeremy Strong are perfectly cast as Donald Trump and Roy Cohn in this controversial film.","status":"publish","parent":0,"modified":1728508580,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1046},"headData":{"title":"Movie Review: ‘The Apprentice’ Explores 1980s Trump | KQED","description":"Sebastian Stan and Jeremy Strong are perfectly cast as Donald Trump and Roy Cohn in this controversial film.","ogTitle":"How Did Trump Become Trump? ‘The Apprentice’ Has a Theory","ogDescription":"","ogImgId":"","twTitle":"How Did Trump Become Trump? ‘The Apprentice’ Has a Theory","twDescription":"","twImgId":"","socialTitle":"Movie Review: ‘The Apprentice’ Explores 1980s Trump %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Did Trump Become Trump? ‘The Apprentice’ Has a Theory","datePublished":"2024-10-09T14:16:20-07:00","dateModified":"2024-10-09T14:16:20-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","nprStoryId":"kqed-13966347","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966347/donald-trump-roy-cohn-movie-review-the-apprentice-jeremy-strong-sebastian-stan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decades before he hosted \u003cem>The Apprentice\u003c/em>, Donald Trump was … an apprentice.\u003c/p>\n\u003cp>His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ’70s and ’80s after famously serving as a top aide to Sen. Joseph McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966278","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.\u003c/p>\n\u003cp>Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors — Trump supporter Dan Snyder, former owner of the Washington Commanders — saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open \u003cem>The Apprentice\u003c/em> this Friday — less than four weeks before the U.S. election.\u003c/p>\n\u003cp>So, what kind of movie do we have here?\u003c/p>\n\u003cp>Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship — and at a system that’s about winning at any cost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966340","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0tXEN0WNJUg'\n title='//www.youtube.com/embed/0tXEN0WNJUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966259","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965858","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966347/donald-trump-roy-cohn-movie-review-the-apprentice-jeremy-strong-sebastian-stan","authors":["byline_arts_13966347"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21748","arts_769","arts_585"],"featImg":"arts_13966348","label":"arts_140"},"arts_13966340":{"type":"posts","id":"arts_13966340","meta":{"index":"posts_1716263798","site":"arts","id":"13966340","score":null,"sort":[1728506248000]},"guestAuthors":[],"slug":"we-live-in-time-movie-review-florence-pugh-andrew-garfield-realistic-romance","title":"Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’","publishDate":1728506248,"format":"standard","headTitle":"Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>[aside postid='arts_13966185']While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH02yagHaNw\u003c/p>\n\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>[aside postid='arts_13966146']The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Pugh and Garfield’s exceptional chemistry elevates this sweet story about the highs and lows of a mid-life relationship.","status":"publish","parent":0,"modified":1728506248,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":799},"headData":{"title":"Florence Pugh, Andrew Garfield Shine in ‘We Live in Time’ | KQED","description":"Pugh and Garfield’s exceptional chemistry elevates this sweet story about the highs and lows of a mid-life relationship.","ogTitle":"Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’","ogDescription":"","ogImgId":"","twTitle":"Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’","twDescription":"","twImgId":"","socialTitle":"Florence Pugh, Andrew Garfield Shine in ‘We Live in Time’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’","datePublished":"2024-10-09T13:37:28-07:00","dateModified":"2024-10-09T13:37:28-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","nprStoryId":"kqed-13966340","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966340/we-live-in-time-movie-review-florence-pugh-andrew-garfield-realistic-romance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966185","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MH02yagHaNw'\n title='//www.youtube.com/embed/MH02yagHaNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966146","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966340/we-live-in-time-movie-review-florence-pugh-andrew-garfield-realistic-romance","authors":["byline_arts_13966340"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_8905","arts_769","arts_3930","arts_585"],"featImg":"arts_13966343","label":"arts_140"},"arts_13966278":{"type":"posts","id":"arts_13966278","meta":{"index":"posts_1716263798","site":"arts","id":"13966278","score":null,"sort":[1728423889000]},"guestAuthors":[],"slug":"boots-riley-new-film-i-love-boosters-shoplifting-keke-palmer-demi-moore","title":"Boots Riley’s New Film Is About a Female Shoplifting Ring","publishDate":1728423889,"format":"standard","headTitle":"Boots Riley’s New Film Is About a Female Shoplifting Ring | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. [aside postid='arts_13939974']\u003c/p>\n\u003cp>Now, \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">Deadline\u003c/a> reports additional details about \u003cem>I Love Boosters\u003c/em>, including the rest of what is shaping up to be a dream team of an ensemble cast: In addition to Palmer (\u003ca href=\"https://www.kqed.org/arts/13916536/jordan-peele-subverts-expectations-again-with-nope\">\u003cem>Nope\u003c/em>\u003c/a>), the film will also feature \u003cem>the \u003c/em>Demi Moore, Naomi Ackie \u003cem>(I Wanna Dance With\u003c/em> \u003cem>Somebody\u003c/em>) and previous Riley collaborator LaKeith Stanfield, whose breakout role was in Riley’s 2018 debut, the anti-capitalist masterpiece \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>An activist, MC and all around multihyphenate in addition to his burgeoning film career, Riley hasn’t been shy about weighing in on what he perceives to be a “\u003ca href=\"https://www.instagram.com/p/Cxdu9v8vb6e/?img_index=5\">fake ‘crime wave’ narrative\u003c/a>” in Oakland — largely centered on a rise in “\u003ca href=\"https://www.kqed.org/news/tag/bipping\">bipping\u003c/a>” and non-violent retail theft — that has been weaponized against Black folks and other people of color.\u003c/p>\n\u003cp>Fans of Riley’s work will have to wait until the film’s release to see what insight it offers into the politicization of those narratives, but a quick listen to this 2006 song by Riley’s band, The Coup — also called “\u003ca href=\"https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\">I Love Boosters\u003c/a>!” — can give some glimpse into his sensibility:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>For some of y’all folks, this stuff might faze ya / This ain’t the way the society raised ya / But most of it was made by children in Asia / The stores make money off of very low wages / The next time you see two women running out the Gap / With arms full of clothes still strapped to the rack / Once they jump in the car, hit the gas and scat / If you have to say something, just stand and clap\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is set to begin filming later this fall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\u003c/p>\n\n","blocks":[],"excerpt":"'I Love Boosters,' starring Keke Palmer, LaKeith Stanfield and Demi Moore, is set to begin shooting this fall.","status":"publish","parent":0,"modified":1728497603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":391},"headData":{"title":"New Boots Riley’s Movie 'I Love Boosters' Stars Keke Palmer | KQED","description":"'I Love Boosters,' starring Keke Palmer, LaKeith Stanfield and Demi Moore, is set to begin shooting this fall.","ogTitle":"Boots Riley’s New Film Is About a Female Shoplifting Ring","ogDescription":"","ogImgId":"","twTitle":"Boots Riley’s New Film Is About a Female Shoplifting Ring","twDescription":"","twImgId":"","socialTitle":"New Boots Riley’s Movie 'I Love Boosters' Stars Keke Palmer %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Boots Riley’s New Film Is About a Female Shoplifting Ring","datePublished":"2024-10-08T14:44:49-07:00","dateModified":"2024-10-09T11:13:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13966278","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13966278/boots-riley-new-film-i-love-boosters-shoplifting-keke-palmer-demi-moore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939974","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">Deadline\u003c/a> reports additional details about \u003cem>I Love Boosters\u003c/em>, including the rest of what is shaping up to be a dream team of an ensemble cast: In addition to Palmer (\u003ca href=\"https://www.kqed.org/arts/13916536/jordan-peele-subverts-expectations-again-with-nope\">\u003cem>Nope\u003c/em>\u003c/a>), the film will also feature \u003cem>the \u003c/em>Demi Moore, Naomi Ackie \u003cem>(I Wanna Dance With\u003c/em> \u003cem>Somebody\u003c/em>) and previous Riley collaborator LaKeith Stanfield, whose breakout role was in Riley’s 2018 debut, the anti-capitalist masterpiece \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>An activist, MC and all around multihyphenate in addition to his burgeoning film career, Riley hasn’t been shy about weighing in on what he perceives to be a “\u003ca href=\"https://www.instagram.com/p/Cxdu9v8vb6e/?img_index=5\">fake ‘crime wave’ narrative\u003c/a>” in Oakland — largely centered on a rise in “\u003ca href=\"https://www.kqed.org/news/tag/bipping\">bipping\u003c/a>” and non-violent retail theft — that has been weaponized against Black folks and other people of color.\u003c/p>\n\u003cp>Fans of Riley’s work will have to wait until the film’s release to see what insight it offers into the politicization of those narratives, but a quick listen to this 2006 song by Riley’s band, The Coup — also called “\u003ca href=\"https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\">I Love Boosters\u003c/a>!” — can give some glimpse into his sensibility:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>For some of y’all folks, this stuff might faze ya / This ain’t the way the society raised ya / But most of it was made by children in Asia / The stores make money off of very low wages / The next time you see two women running out the Gap / With arms full of clothes still strapped to the rack / Once they jump in the car, hit the gas and scat / If you have to say something, just stand and clap\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is set to begin filming later this fall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/geY-ydeYb4M'\n title='//www.youtube.com/embed/geY-ydeYb4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966278/boots-riley-new-film-i-love-boosters-shoplifting-keke-palmer-demi-moore","authors":["11743"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_1998","arts_10001","arts_3465"],"featImg":"arts_13957584","label":"arts"},"arts_13966259":{"type":"posts","id":"arts_13966259","meta":{"index":"posts_1716263798","site":"arts","id":"13966259","score":null,"sort":[1728411775000]},"guestAuthors":[],"slug":"this-horror-genre-is-scary-as-folk-and-perfect-october-viewing","title":"This Horror Genre Is Scary as Folk – and Perfect October Viewing","publishDate":1728411775,"format":"aside","headTitle":"This Horror Genre Is Scary as Folk – and Perfect October Viewing | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>[aside postid='arts_13962878']For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a-tDnavDCwI\u003c/p>\n\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iQXmlf3Sefg\u003c/p>\n\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>[aside postid='arts_13964075']It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA1WCp8hGB0\u003c/p>\n\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>[aside postid='arts_13962666']You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Vnghdsjmd0\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Folk horror is set in remote, isolated areas where local superstitions hold sway. Think: ‘The Wicker Man’ and ‘Midsommar.’","status":"publish","parent":0,"modified":1728677536,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1144},"headData":{"title":"Folk Horror Movies to Get You in the Mood for Halloween | KQED","description":"Folk horror is set in remote, isolated areas where local superstitions hold sway. Think: ‘The Wicker Man’ and ‘Midsommar.’","ogTitle":"This Horror Genre Is Scary as Folk – and Perfect October Viewing","ogDescription":"","ogImgId":"","twTitle":"This Horror Genre Is Scary as Folk – and Perfect October Viewing","twDescription":"","twImgId":"","socialTitle":"Folk Horror Movies to Get You in the Mood for Halloween %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Horror Genre Is Scary as Folk – and Perfect October Viewing","datePublished":"2024-10-08T11:22:55-07:00","dateModified":"2024-10-11T13:12:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Glen Weldon, NPR","nprStoryId":"nx-s1-5138373","nprHtmlLink":"https://www.npr.org/2024/10/04/nx-s1-5138373/folk-horror-movies-the-wicker-man-midsommar-hereditary","nprRetrievedStory":"1","nprPubDate":"2024-10-05T07:01:00-04:00","nprStoryDate":"2024-10-05T07:01:00-04:00","nprLastModifiedDate":"2024-10-05T07:01:05.102-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966259/this-horror-genre-is-scary-as-folk-and-perfect-october-viewing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962878","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a-tDnavDCwI'\n title='//www.youtube.com/embed/a-tDnavDCwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iQXmlf3Sefg'\n title='//www.youtube.com/embed/iQXmlf3Sefg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13964075","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QA1WCp8hGB0'\n title='//www.youtube.com/embed/QA1WCp8hGB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962666","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966259/this-horror-genre-is-scary-as-folk-and-perfect-october-viewing","authors":["byline_arts_13966259"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_1206","arts_5087"],"affiliates":["arts_137"],"featImg":"arts_13966269","label":"arts_137"},"arts_13966185":{"type":"posts","id":"arts_13966185","meta":{"index":"posts_1716263798","site":"arts","id":"13966185","score":null,"sort":[1728332201000]},"guestAuthors":[],"slug":"pharrell-williams-documentary-review-piece-by-piece-lego","title":"‘Piece by Piece,’ a Very Odd Lego Doc About Pharrell Williams Snaps Together Somehow","publishDate":1728332201,"format":"standard","headTitle":"‘Piece by Piece,’ a Very Odd Lego Doc About Pharrell Williams Snaps Together Somehow | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>[aside postid='arts_13966146']Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc&t=59s\u003c/p>\n\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>[aside postid='arts_13965858']There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Lego, while seemingly a restrictive medium — everyone’s walking is robotic — can also, apparently, in the right hands soar.","status":"publish","parent":0,"modified":1728332201,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":801},"headData":{"title":"Pharrell Williams’ Lego Documentary Is a Happy, Good Time | KQED","description":"Lego, while seemingly a restrictive medium — everyone’s walking is robotic — can also, apparently, in the right hands soar.","ogTitle":"‘Piece by Piece,’ an Odd Lego Doc About Pharrell Williams Snaps Together Somehow","ogDescription":"","ogImgId":"","twTitle":"‘Piece by Piece,’ an Odd Lego Doc About Pharrell Williams Snaps Together Somehow","twDescription":"","twImgId":"","socialTitle":"Pharrell Williams’ Lego Documentary Is a Happy, Good Time%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Piece by Piece,’ a Very Odd Lego Doc About Pharrell Williams Snaps Together Somehow","datePublished":"2024-10-07T13:16:41-07:00","dateModified":"2024-10-07T13:16:41-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","nprStoryId":"kqed-13966185","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966185/pharrell-williams-documentary-review-piece-by-piece-lego","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966146","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965858","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966185/pharrell-williams-documentary-review-piece-by-piece-lego","authors":["byline_arts_13966185"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69","arts_75"],"tags":["arts_13672","arts_21958","arts_769","arts_585"],"featImg":"arts_13966194","label":"arts_140"},"arts_13966146":{"type":"posts","id":"arts_13966146","meta":{"index":"posts_1716263798","site":"arts","id":"13966146","score":null,"sort":[1728083067000]},"guestAuthors":[],"slug":"wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney","title":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","publishDate":1728083067,"format":"standard","headTitle":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>[aside postid='arts_13966048']The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13965877']And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>[aside postid='arts_13965858']What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Pitt and Clooney play competing Hollywood ‘fixers’ in this low-key Apple TV+ film.","status":"publish","parent":0,"modified":1728083067,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":831},"headData":{"title":"Movie Review: George Clooney and Brad Pitt Carry ‘Wolfs’ | KQED","description":"Pitt and Clooney play competing Hollywood ‘fixers’ in this low-key Apple TV+ film.","ogTitle":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","ogDescription":"","ogImgId":"","twTitle":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","twDescription":"","twImgId":"","socialTitle":"Movie Review: George Clooney and Brad Pitt Carry ‘Wolfs’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","datePublished":"2024-10-04T16:04:27-07:00","dateModified":"2024-10-04T16:04:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"John Powers, NPR","nprStoryId":"nx-s1-5140162","nprHtmlLink":"https://www.npr.org/2024/10/04/nx-s1-5140162/wolfs-review-brad-pitt-george-clooney","nprRetrievedStory":"1","nprPubDate":"2024-10-04T13:05:10.979-04:00","nprStoryDate":"2024-10-04T13:05:10.979-04:00","nprLastModifiedDate":"2024-10-04T17:10:14.727-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/10/20241004_fa_3ff4cc76-0a1f-4244-bd65-d39166a27d61.mp3?d=385349&e=nx-s1-5140162","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966146/wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/10/20241004_fa_3ff4cc76-0a1f-4244-bd65-d39166a27d61.mp3?d=385349&e=nx-s1-5140162","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966048","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965858","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966146/wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney","authors":["byline_arts_13966146"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_22313"],"tags":["arts_9222","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13966147","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. 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