Denzel Washington

Highest 2 Lowest is the summer’s best movie

Surely it is a sign of these hard cinematic times that an auteur-helmed remake of a midcentury international cinema classic is also the most exciting, engaging movie of the summer. Before Apple Original Films removes it from theaters for its future life on streaming, Spike Lee’s Highest 2 Lowest appears in US cinemas amid the usual summer commotion: comic-book movies and assorted remakes or sequels. As noted, Highest 2 Lowest is a remake too, but a remake of a work so remote from the cultural consciousness of most 21st-century moviegoers (Akira Kurosawa’s 1963 masterpiece High and Low) that it feels fresh.

The Tony Awards were surprisingly safe and unexciting

So, in the end, it wasn’t so much Oh, Mary! as it was Not Tonight, Mary! Cole Escola’s out-there, queer-as-they-come farce, revolving around the strained relationship between the “foul and hateful” Mary Lincoln, a dipsomaniac with ambitions to be a cabaret singer, and honest Abe, here presented as a pitiful figure so deep in the closet he may as well be in Narnia, was widely regarded as the play to beat at this year’s Tonys. There hasn’t been an out-and-out comedy that’s won the major awards for a considerable time, let alone one that emerged from off-Broadway, and it’s testament to Escola’s prowess (as well as some of the most laudatory reviews in recent memory), that it was front-runner for Best Play.

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This month in culture: November 2024

Here In theaters November 1 What happens when the director, writer and stars of Forrest Gump get together in 2024? A goosebump-inducing story of family, time, space, home and the enduring nature of love. The “Here” in question is taken from the graphic novel by Richard McGuire, which tells the story of a location through generations and eras, transcending time. Director Robert Zemeckis plays on the panel-frames of graphic literature by employing a fixed camera angle throughout the film. AI de-aging technology is used to depict the actors from teenagerhood through their eighties. Tom Hanks, Robin Wright, Paul Bettany, Kelly Reilly and Michelle Dockery star.

Culture

Can Gladiator II save a genre — and a studio?

The trailer for Ridley Scott’s new epic, Gladiator II, is undeniably impressive, but then it rather had to be. Rumors that its already massive budget had ballooned to as much as $310 million — which would mean it would have to be one of 2024’s highest-grossing movies just to break even, never mind making a profit — may have suggested that the film was in trouble, but an early screening of the preview at the CinemaCon convention in Las Vegas reassured exhibitors and studios alike, with the few journalists who had seen the footage rushing to extol its scale and grandeur. Now it’s been released online, and viewers have a chance to judge for themselves. (Its cinematic debut will come with Deadpool vs Wolverine.) Does it look like a worthy follow-up to Gladiator? https://www.

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Edward Zwick on his hits — and his misses

It is both disappointing and unsurprising that A-list filmmakers don’t use social media more often. Disappointing, because the opportunity to share candid insights into their craft would be of enormous interest to those who have watched, and often loved, their films; unsurprising, because the vast majority of these men and women wish to make more pictures in the future, and know that the chances of excommunication for excessive candor do not justify entertaining the curious and prurient with some well-chosen putdowns of actors, producers and other creatures of ego.

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Witches brew

Since its initial publication in the legendary 1623 First Folio, Shakespeare’s Macbeth — one of the Bard’s late tragedies, and among his greatest — has been reimagined in countless ways. By the late seventeenth century, it had already been updated by Sir William Davenant to meet changing tastes. It was supposedly restored (though still thoroughly altered) by David Garrick in the eighteenth; and it was further “cleaned up” by Thomas Bowdler (which gave us the term ‘bowdlerized’) for his Family Shakespeare collection in the nineteenth century, an era that also brought us Verdi’s enthralling operatic version.

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