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An AI judge, a time-traveling 10-year-old and more in theaters

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An AI judge, a time-traveling 10-year-old and more in theaters

Chris Pratt stars as detective Chris Raven in Mercy.

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Contradictions abound in movie theaters right now: one of the screen’s most athletic leading men spends his entire thriller strapped to a chair; one of its most articulate (in English) leading ladies spends hers speaking French, an optimistic kid-flick with a rainbow theme depicts a world literally on fire … and more.

Haunting international features, an Oscar-nominated Kate Hudson and a table tennis thriller are still playing, too.

Mercy

In theaters now 

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The year is 2029, and an artificial intelligence entity called Mercy sits as judge, jury and executioner over certain Los Angeles criminal proceedings in director Timur Bekmambetov’s thriller. Detective Raven (Chris Pratt), an alcoholic and also apparently a poster boy for LA law enforcement, after having brought in Mercy’s first conviction, awakens at the film’s start, hungover and shackled to the “Mercy Chair” which will kill him if he’s found guilty. Facing him on screen is Judge Maddox (Rebecca Ferguson), an AI jurist who icily informs him that he has 90 minutes (cue on-screen timer) to prove he didn’t kill his wife, an event of which he has no memory. He’s to do this by availing himself of the city’s vast archive of surveillance and bodycam footage, drones, phone records and the like. He can also make a few calls to family and colleagues.

So, not RoboCop, but RoboCourt — kind of a nifty premise, except that no one involved seems terribly intent on interrogating the central notion of AI fallibility. “Human or AI,” says Raven in a spectacularly unpersuasive copout, “we all make mistakes.” Still, the setup allows Bekmambetov to indulge his fondness for storytelling with doorbell cams, iPhone screen grabs and computer searches, all edited frantically to make the use of so much low-res footage less annoying. A smartly choreographed chase sequence finally widens the focus and turns the last act of Mercy mercifully brisk. But the overall effect is derivative and secondhand — almost literally Minority Report, conceived not by the director of the 2012 film Lincoln, but by the director of Abraham Lincoln: Vampire Hunter.

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The Testament of Ann Lee

Now in wide release 

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Ambitious, stylized, intense, and thoroughly unorthodox, Mona Fastvold’s religious biopic tells the story of Shakers founder Ann Lee (a wild-eyed, fiercely committed Amanda Seyfried) as a full-scale musical drama. That’s not to say there are finger-snapping tunes. The score adapts 18th century Shaker spirituals, and the choreography involves the thrusting limbs and clawing fingers of the seizure-like dancing that earned this puritan sect of “Shaking” Quakers their nickname.

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We meet Ann as a pious youngster more interested in spiritual matters than matters of the flesh. Marriage to a man who enjoys inflicting pain during sex, and the deaths of her four children in infancy lead Ann to the conclusion that lifelong celibacy is among the keys to salvation. With the help of her younger brother (Lewis Pullman), she finds adherents to a religious philosophy that also emphasizes gender equality and simple living, and leads them to found a utopian, crafts-based community in America. Director Fastvold and her co-writer Brady Corbet (the couple flipped roles from last year’s The Brutalist) serve up Ann’s spiritual journey in ecstatically musical terms, which is at once distancing and … well, ecstatic, though it pales a bit over the course of two-and-a-quarter hours.

Arco

In limited theaters

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A little boy travels from a distant future where humans live in the clouds to a more recognizable, droid-filled 21st-century future in Ugo Bienvenu’s charmingly cautionary debut feature. The director and co-writer, a graphic novelist, imagines the distant future in utopian terms — families living in colonies that look like arboretums atop giant artificial trees, from which they leap to travel through time on the leading edge of rainbows. Children under 12 aren’t allowed to time-travel, a restriction that strikes our 10-year-old title character as arbitrary, so little Arco swipes his sister’s rainbow-patterned cape and takes his first leap, which doesn’t go quite as planned. He ends up in 2075, where droids perform many functions — teaching in schools, policing the streets, delivering packages — and whole neighborhoods have been outfitted with clear glass domes as protection against out-of-control wildfires and extreme rainstorms. Iris, who is about Arco’s age, follows a rainbow and discovers Arco has crash-landed in the woods. She takes him home and they bond, though there’s still the problem of getting him back to his home.

The story is action-packed and, especially when a wildfire rages nearby, decently suspenseful. Though the film incorporates a pretty dark vision of where the planet is headed ecologically, it leans heavily into solutions (those domes), so the story seems unlikely to seriously scare kids, its target audience. It’s also uncommonly beautiful, with animation that suggests the work of Hayao Miyazaki, with a slightly harder, more realistic edge.

Sound of Falling

In limited theaters 

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Eerie, and not always signposted in ways that make its connections comprehensible, director and co-writer Mascha Schilinski’s dark portrait of a German family farm and the women who inhabit it across four generations could be described as a cinematic poem of yearning and guilt. It includes tales of Fritz, a boy of draft age during World War I who loses a leg, and the sterilization and abuse of female servants. There’s also a girl’s erotic fixation on Fritz some years later, a disco-loving young woman abused by an uncle in 1980s East Germany as his son pines for her, and a friendship between a tween from the family in modern reunified Germany and an intense stranger whose mother has died. One little girl participates in the family’s odd tradition of “death photos” — posed post-mortem photos with loved ones — then sees a photo that appears to foretell her own death. Not cheerful, in short. Also, not always coherent, but beautifully shot, and compellingly acted.

A Private Life 

In limited theaters 

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Jodie Foster, elegantly bilingual as Lilian, a French psychiatrist, is the most compelling reason to see director and co-writer Rebecca Zlotowski’s decorous but mildly idiotic psychological mystery. Receiving word that her patient Paula (Virginie Efira), appears to have taken her own life, Lilian attends a memorial service and has odd enough interactions with Paula’s daughter (Luàna Bajrami), and husband (Mathieu Amalric) that she begins to suspect foul play. She contacts her ex-husband, who’s also her ophthalmologist (Daniel Auteuil) because she can’t stop tearing up — her tears spatter a man’s hand on the subway. She then contacts a medium (Sophie Guillemin) who hypnotizes her and successfully stops the tears, but also allows her to access a dream state in which she and Paula were violinists and lovers playing in a Paris orchestra during the Nazi occupation, with Lilian’s estranged son (Vincent Lacoste) among the Nazi militiamen.

None of this makes any more sense in the film than it does as I’m describing it, nor does the crime-solving odyssey she and her ex embark on (which would almost certainly result in both of them losing their medical licenses). Foster is sublime, and she has such easy chemistry with Auteuil that their scenes together make temporary sense of unlikely plot detours. If all of this were being played for laughs it might have had a Hitchcock-meets-Only-Murders-in-the-Building vibe, but it isn’t, and it doesn’t.

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Jeanette Marantos, L.A. Times plants reporter, dies at 70

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Jeanette Marantos, L.A. Times plants reporter, dies at 70

Jeanette Marantos, a stalwart Features reporter for the Los Angeles Times, died Saturday following an emergency heart issue. She was 70.

Marantos was key to the success of The Times’ plants coverage, making waterwise native plants a cornerstone of her reporting as drought and climate change worsened in California. She spotlighted people turning their yards into native plant oases and beautifying public spaces. She also wrote about people saving native flora and fauna, from mountain lions in need of a freeway crossing to endangered butterflies and tiny native bees. Her last assignment Friday was covering the California Native Plant Society’s conference in Riverside.

“She was the most loving person I ever met, probably to a fault in some cases. If she knew you and you were a part of her life, she was fiercely loyal always,” said her son, Sascha Smith.

His brother, Dimitri Smith, echoed his sentiment, recalling when he was in school that his mother would offer rides home to other students when they didn’t have one. “Above all else, she was genuinely the most caring person I’ve ever met in my life,” Dimitri Smith said.

Marantos, who was born on March 13, 1955, grew up in Riverside and remembered her parents doting on their 3,000-square-foot lawn. As California’s water crisis worsened, recalling the constant swish of sprinklers throughout her childhood piqued her interest in native plants.

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“That was the California landscape of my youth. In retrospect, it feels like a pipe dream, given the reality of this region’s limited water and propensity for drought … a lovely memory that is no longer sustainable today,” she wrote.

Marantos also covered the effects of last year’s L.A. County wildfires on soil and gardens, the fate of Altadena’s Christmas Tree Lane after the Eaton fire, the construction of the Wallis Annenberg Wildlife Crossing, a project that kicked off with a hyperlocal nursery, how L.A. gardeners were reacting to immigration raids, and the rise of human composting. Known formally as natural organic reduction, Marantos’ remains will undergo this process to become soil, her sons said.

Jeanette Marantos appears at the L.A. Times Plants booth at the paper’s Festival of Books on April 21, 2024.

(Maryanne Pittman)

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In her role at work, she wrote the beloved L.A. Times Plants newsletter, her latest focusing on the resiliency of plants in burn areas. She also launched the popular L.A. Times Plants booth at the paper’s Festival of Books, working with the Theodore Payne Foundation, a nonprofit education center and nursery focused on native plants, and the California Native Plant Society to educate visitors about native plants. She drove the initiative to give away sunflower seed packets at last year’s booth because the sturdy plants are known to extract lead, an idea that came to her as she tested contaminated soil in burn zones.

She “was a one-of-a-kind voice for plants and the people who care about them. Through her writing, she imbued others with her infectious enthusiasm for the natural world — a gift to all of us that will continue to resonate,” according to a statement from the Theodore Payne Foundation. “Her visits to the nursery, her thoughtful conversations, and her wholehearted engagement brought laughter and insight into every interaction.”

Marantos was a dedicated reporter — she’d drive 60 miles to get an answer when no one was picking up the phone — but also devoted to her family. She cared for her husband, Steven B. Smith, who was diagnosed with Alzheimer’s disease in 2011 and died in 2021, providing readers with tips from their experiences. She spoke often of her sons and grandchildren and her dogs. She opened her December Plants newsletter, about a mother-son duo’s seed bomb project, by sharing that she had recently welcomed another “perfect” granddaughter.

“Plus I got to listen to my other perfect granddaughter read her first book and help her plant her first sunflower,” she wrote.

Sascha Smith recalled one of the last things Marantos said before going into emergency surgery Friday was sorry to his daughter Naomi, 6, for missing her birthday Sunday.

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Gardens full of buckwheat, sage, vegetables, roses and treasured sweet peas surround her Ventura home. Her father, an Air Force veteran and son of Greek immigrants, introduced her to “the miracle of seeds” and to the delicious perfume of sweet peas. She remembered trailing behind her grandmother cutting roses in her garden, lugging bucketfuls of flowers and inhaling the sweetness. She added native plants to her garden because yes, they helped save water, butterflies and bees, but also because she loved their fragrance.

“These lean, scrappy plants are rarely as showy as their ornamental cousins, but when it comes to fragrance, they win every award, hands down,” she wrote.

It wasn’t just aesthetics and aroma that inspired Marantos to garden. It was the acts of digging, weeding, watching something grow and sharing the abundance with others. “On my worst days, my garden was a reason to get out of bed in the morning, and the one thing that made me smile,” she wrote.

Jeanette Marantos appears on 'Los Angeles Times Today' with host Lisa McRee.

Jeanette Marantos appears on “Los Angeles Times Today” in June 2024 with host Lisa McRee.

(L.A. Times Today)

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Marantos tended to her garden like she tended to her friends. She often brought her friends along on reporting trips, from hiking up Los Angeles’ steepest staircases and visiting wildflower viewing areas to convincing one who flew in to Los Angeles from Washington state to spend a weekend volunteering at The Times’ Plants booth at the Festival of Books.

Marantos lived in central Washington for more than 20 years, working as a reporter at the Wenatchee World Newspaper and as a teacher at Wenatchee High School. She also worked for a program focused on getting at-risk middle school youth into college. “So many students … the trajectory of their lives is very different because she believed in them,” Dimitri Smith said.

Working as a community volunteer, she was also integral in developing a sculpture garden in downtown Wenatchee, Dimitri Smith said. “Growing up, I didn’t know how special that was. I didn’t know how unique that was. She wanted to be engaged in the community and make a difference always,” he said.

Marantos wrote personal finance stories for The Times from 1999 to 2002. She moved from Washington back to Southern California in her 50s to restart her journalism career, at one point interning with KPCC, now known as LAist, Dimitri Smith said. In 2015, she returned to The Times to write for the Homicide Report. A year later she started contributing to the Saturday section’s gardening coverage, which she would work on full time in 2020 when it relaunched as L.A. Times Plants. She described the two disparate beats as a way of staying balanced, her yin and yang.

Jeanette Marantos, circa 1975, trying to grow her first garden

Jeanette Marantos, shown around 1975, tries to grow her first garden.

(Steven B. Smith)

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“Going from homicide to gardening might seem unusual, or maybe even a step away from the action. But not for Jeanette. First off, she personally loved gardening. … So the assignment was kinda like telling a kid to cover the candy beat,” said Rene Lynch, a former Times editor who hired Marantos on the plants beat. “But also, Jeanette was a true journalist, which means she had an innate curiosity about everything.”

Learning to garden took dedication. Marantos described her first attempt in her 20s as disastrous; her tomato plants grew more leaves than fruit, her sunflowers were sad, not hearty. She thought of her explainers on various plant topics as her ongoing education.

“Our family is completely grief-stricken and shocked over her loss. We’re going to have a very, very difficult time living without her,” said her brother, Tom Marantos.

She is survived by her son Sascha Smith and his daughter Naomi Smith; son Dimitri Smith, his wife Molly Smith and their daughter Charlie Smith; her brother Tom Marantos and his partner Rafael Lopez; her sisters Lisa and Alexis Marantos; and her best friends, who were like family, Leslie Marshall and Theresa Samuelsen.

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We unpack Bad Bunny’s Super Bowl halftime show : Pop Culture Happy Hour

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We unpack Bad Bunny’s Super Bowl halftime show : Pop Culture Happy Hour

Bad Bunny performs onstage during the Super Bowl halftime show at Levi’s Stadium.

Kevin C. Cox/Getty Images


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At the Super Bowl halftime show, Bad Bunny put on an endlessly rewatchable performance. It featured Lady Gaga, Ricky Martin, and a real wedding. But it didn’t shy away from this political moment, and Bad Bunny’s place in the culture wars.

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Rep. Lauren Underwood Says She’d Perform Well on ‘Survivor’

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Rep. Lauren Underwood Says She’d Perform Well on ‘Survivor’

Rep. Lauren Underwood
I’m A Capitol Hill Survivor …
And I’d Survive the Show, Too!!!

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