Lifestyle
Timothée Chalamet, a Neil Diamond tribute band and more in theaters for Christmas
Timothée Chalamet in Marty Supreme.
A24
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A24
A ping pong hustler for the ages, a Neil Diamond interpreter for the ’80s, choral music both comic and spiritual, plus tormented teens, twisted families, and a giant snake on the loose. It’s quite the jolly holiday at your local cineplex.
They join a new Avatar sequel, a Bradley Cooper-directed drama, and more in theaters.
Marty Supreme
In theaters Thursday
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I feel as if I should tell you to speed-read this review, preferably with Fats Domino’s “The Fat Man” blaring in your ear. Josh Safdie’s adrenaline-fueled, screwball comedy about a table tennis hustler who dreams of world domination — in a sport that hasn’t registered yet with the American public — is a mesmerizing cinematic tour de force. Timothée Chalamet plays Marty Mauser (loosely based on real-life 1940s and ’50s U.S. ping pong champ and petty criminal Marty Reisman), graduating from determined kid-with-a-passion to aggrieved also-ran-in-full-melt-down mode, attracting and then alienating everyone he comes across. We meet him as a New York shoe salesman having storeroom trysts with his married childhood sweetheart (Odessa A’zion) and prepping for a bout in England for which he can’t even afford plane fare.
Marty establishes with a series of heists and scams that he’s got no problem cheating or stealing to get there, then regales the press with a pugnacious racist routine that lands him on front pages before his first serve. Chalamet’s live-wire approach is neatly countered by a serenely sensual turn by Gwyneth Paltrow as an aging movie star who finds Marty amusing and alarming in about equal measure. And the film’s just getting started at that point, careening towards a championship in Japan with the propulsive, harrowing, rush-to-judgment feel of Safdie’s Uncut Gems mixed up with dizzying comedy. It’s a thrill ride, pure and simple. — Bob Mondello
Song Sung Blue
In theaters Thursday
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Mike and Claire Sardina, the real-life, blue-collar Milwaukee couple who formed a Neil Diamond tribute act in the 1980s, get the sequin-and-spangle treatment in this Hugh Jackman and Kate Hudson love-fest. Writer and director Craig Brewer keeps the music central and the sentiment tolerable as the couple meets cute, bonds quick, and forms a musical act known professionally as Lightning and Thunder. The stars are well-matched and appealing — Hudson does a winning Patsy Cline impersonation, and Jackman completely nails Neil Diamond’s sound and bearing. The couple’s story, which has more downs than ups, doesn’t quite match the mood of a movie determined to be ever-and-always-up. Still, the stars are engaging, the supporting cast great fun, and the music rousing. — Bob Mondello
Anaconda
In theaters Thursday
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The original Anaconda movie came out almost 30 years ago, sending an assortment of ’90s movie stars down the Amazon, where they were menaced and occasionally crushed and/or devoured by giant deadly snakes. That film, starring Jennifer Lopez and Ice Cube, was a hit that spawned a handful of lightly regarded sequels.
Heavy on meta references to the original film, the new Anaconda is not quite a reboot, it’s not quite a sequel, and it’s played for laughs. Jack Black and Paul Rudd star as lifelong friends who grew up wanting to be filmmakers. But they’ve followed different career paths — Paul Rudd’s character is a struggling actor whose biggest role was a bit part on the TV show S.W.A.T., while Jack Black’s character makes wedding videos while yearning to shoot something more creative. They gather their old friends and collaborators — played by Thandiwe Newton and Steve Zahn — and head to the Amazon to shoot a meta reimagining of Anaconda. As you can imagine, this proves harder than it sounds. — Stephen Thompson
The Plague
In limited theaters Wednesday
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The first image is an eerie, underwater shot — sun-dappled blues, greens, and greys — its peace suddenly exploded as bodies plunge into the pool. Middle school boys, limbs all akimbo, almost literally at sea, as they struggle for equilibrium. It’s an apt beginning for the story of a youngster trying to figure out where he fits in among the cliques at a summer water polo camp. Ben (Everett Blunck) is the camp newbie, Jake (Kayo Martin) its smirking cool kid who picks up on his fellow campers’ idiosyncrasies and exploits them.
He tells Ben that Eli (Kenny Rasmussen), a withdrawn boy with a rash, has the “plague” and must be avoided. Ben, seeing the obvious pain the outcast is in, can’t square that with his own sense of decency, but also doesn’t want to be ostracized, and his attempt to split the difference leads the film into Lord of the Flies territory. Charlie Polinger’s directorial debut looks breathtaking, feels unnerving, and traffics cleverly in body-horror tropes as it basically establishes that 12-year-old boys are savages who should never be without adult supervision. — Bob Mondello
Father Mother Sister Brother
In limited theaters Wednesday
YouTube
You might expect Jim Jarmusch to look at family relationships with a certain eccentricity, but not necessarily in the elegantly framed way he does in this triptych about adult children and the parents they don’t begin to understand. The Father segment casts Adam Driver and Mayim Bialik as siblings who are stiff with each other, and even less comfortable with their garrulous con man of a dad (Tom Waits). Driver’s come with provisions and cash, Bialik’s come armed with an arched eyebrow, and Waits is ready for them both.
The second part, Mother, finds a sublimely chilly Charlotte Rampling hosting an awkward once-a-year tea for her daughters, one primly nervous (Cate Blanchett), the other pink-haired and boisterous (Vicky Krieps). And the final third, Sister Brother, finds Indya Moore and Luka Sabbat bonding in their recently deceased parents’ now-empty Paris apartment. This segment seems less about estrangement, until you realize how little they actually know about their dear departed folks. There are running jokes about Rolexes, the expression “Bob’s your uncle,” and toasts to tie things together, along with a sweet, reflective tone that makes this one of the year’s most compassionate films. — Bob Mondello
The Choral
In limited theaters Thursday
YouTube
Director Nicholas Hytner and screenwriter Alan Bennett, who previously teamed up on The Madness of King George, The History Boys, and The Lady in the Van, are plumbing shallower depths in this gentle dramedy about an amateur chorus in 1916. When their choirmaster leaves to fight in World War I, grieving mill owner Roger Allam, who funds the chorus, reluctantly hires Dr. Guthrie (Ralph Fiennes), a gifted choirmaster but a divisive choice in this intensely nationalistic moment — because he’s spent the last few years in Germany. He also exhibits “peculiarities” (code for being gay) but this seems less important to the locals.
Fiennes is briskly dismissive of local traditions, snippy about English appreciation for the arts, and celebrated enough in music circles to persuade composer Edward Elgar (Simon Russell Beale) to let them perform his oratorio “The Dream of Gerontius.” Elgar is less thrilled when he discovers the chorus is turning the oratorio into a story about the war, casting its elderly hero as a young soldier and generally making it what later generations would call “relevant.” It’s all sweet and sentimental, and though it’s being released during awards seasons, feels as if it really wants to be considered for best picture of 1933. — Bob Mondello
No Other Choice
In select theaters Thursday
YouTube
“I’ve got it all,” says paper factory supervisor Man-su as he hugs his family at a barbecue in the backyard of his elegant Korean home. He’s grilling some eels given to him by the paper company’s new American owners, secure in the knowledge that this must mean they value him. This being a social satire by director Park Chan-wook, it’s reasonable to expect he will shortly be dealt a blow, and one day later, he’s been axed. (The film is based on Donald E. Westlake’s 1997 horror-thriller novel The Ax). He’s distraught but can’t express, or even really understand, that he feels he has lost his manhood, his mojo, and his reason for being.
On top of that, his industry is consolidating, so finding another job before his severance pay runs out and he loses his house (his childhood home) will be tricky. Asked if he’d consider a job outside the paper industry, Man-su (Lee Byung-hun) says that for him there is “no other choice,” echoing the words his American bosses uttered about bringing down costs as they did layoffs. But with the end of severance payments looming, he hatches a plan to knock off his job market competition one by one. Isn’t this mass murder? Well, he has “no other choice.”
At first it seems as if we’re in serial-killer comedy territory, but the filmmaker widens the frame to include narrative side trips — a stepson who’s stealing cellphones, a daughter who’s a cello prodigy, a wife who’s working for a dentist that Man-su suspects has designs on her. Oh, and pig-farm trauma from his youth, and a passion for greenhouse gardening. Director Park has a lot going on, and a final paper-plant-mechanization sequence suggests that all these stabs at human agency may just have been humanity’s last gasp. — Bob Mondello
The Testament of Ann Lee
In limited theaters Thursday
YouTube
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.
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. — Bob Mondello
David Bowie debuted his Ziggy Stardust persona and released The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972 — the last year humans went to the moon.
Evening Standard/Getty Images/Hulton Archive
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Evening Standard/Getty Images/Hulton Archive
The Artemis II rocket launched on Wednesday, carrying astronauts to the moon for the first time in over half a century.
The four-person crew is headed on a 10-day, 230,000-mile journey around the moon and back — a pivotal test of the Orion spacecraft that NASA hopes will bring future astronauts to the lunar surface as soon as 2028 and Mars after that.
The last time humans went to the moon was the Apollo 17 mission in December 1972.
The final Apollo mission involved three astronauts: Command module pilot Ronald Evans orbited above as Eugene Cernan and Harrison “Jack” Schmitt — a professional geologist, in a notable first — touched down on the moon’s Taurus-Littrow valley.
The pair spent just over three days on the lunar surface, collecting some 250 pounds of moon rock and soil samples. They set multiple records, including the longest stay on the moon (75 hours), the most lunar samples collected and the longest mission duration at 12 days, 14 hours.
NASA astronaut Eugene Cernan, commander of the Apollo 17 lunar mission, is welcomed back to Earth after splashing down in the Pacific Ocean on Dec. 19, 1972.
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NASA/Getty Images/Hulton Archive
The crew knew they would be the last to visit the moon at least for the foreseeable future, as NASA had decided two years earlier to cancel the remaining Apollo missions, primarily due to budget cuts.
Cernan became the last human to walk on the moon on Dec. 14, 1972. He acknowledged the significance of the moment out loud as he stepped off the lunar surface, seemingly nodding to Neil Armstrong’s infamous words from the 1969 moon landing.
“As we leave the moon and Taurus-Littrow, we leave as we came — and God willing as we shall return: with peace, and in hope, for all mankind,” said Cernan, who died in 2023.
A lot has changed in the 53 years since. Here’s what life was like the last time astronauts launched to the moon.
A banner year for geopolitics, pop culture and technology
Richard Nixon became the first U.S. president to visit China in February 1972.
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The year 1972 is in many ways synonymous with upheaval: the uncovering of the Watergate scandal, “Bloody Sunday” in Northern Ireland, the “Munich massacre” at the 1972 Olympics, North Vietnam’s “Easter Offensive” in the final years of the Vietnam War — and antiwar protests at college campuses and political conventions.
That was the year President Nixon announced that no more draftees would be sent to Vietnam, and the year he visited China in a presidential first.
The Volkswagen Beetle officially surpassed the Ford Model T as the most popular — and most-produced — car in the world. And a gallon of regular gasoline cost 36 cents, or the equivalent of $2.53 a gallon today, according to the AARP.
Herbie, the anthropomorphic Volkswagen Beetle featured in the 1969 Disney film The Love Bug, terrorizes a young woman at a car show in Berlin in June 1972.
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Keystone/Getty Images/Hulton Archive
1972 was also a major year for still-beloved cultural creations. It marked the debut of David Bowie’s alter ego Ziggy Stardust, the formation of ABBA, the opening of Grease on Broadway. The top-selling album of the year was Neil Young’s Harvest, and the biggest box office hit was The Godfather, which came out in March.
Fashion was dominated by bold colors and patterns, bell-bottoms, shawls, platform shoes and synthetic fabrics, as part of “the Polyester Decade.” Style icons included Bianca Jagger, Jane Birkin and Diana Ross.
Mick Jagger and Bianca Jagger, pictured in 1972, were among the style icons of the era.
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Central Press/Getty Images/Hulton Archive
There was a lot of news, but fewer ways to consume it. Some 95 percent of U.S. households owned televisions, according to Census data, and just three commercial broadcast networks dominated the airwaves: ABC, CBS and NBC. Total print newspaper circulation reached a record 62.5 million, before it began to drop.
And of course, it was a time of innovation — and not just in space. The digital watch made its debut. Atari published “Pong,” the first commercially successful arcade video game. Other key inventions from that year include the floppy disk, the first handheld scientific calculator (the HP-35) and the Hacky Sack. McDonald’s Egg McMuffin entered test markets, and Shrinky Dinks were on the brink of creation.
According to Merriam Webster, some of the words recorded in print for the first time in 1972 include: animatronic, beer pong, bird flu, habanero, garage band, glam rock, lowrider, page-turner, sound bite, spaghetti strap, veggie burger, women’s studies and yard sale. Far out!
As far as wellness trends go, small talk isn’t sexy. The same with participating in civic government or helping a neighbor carry their groceries. But connecting with others might be the ultimate form of self-care, according to psychiatrist Joanna Cheek.
Shelf Help is a wellness column where we interview researchers, thinkers and writers about their latest books — all with the aim of learning how to live a more complete life.
In her book, “It’s Not You, It’s the World: A Mental Health Survival Guide for Us All,” published in February, the University of British Columbia professor makes a case for the health benefits of collective care. For example, Cheek cites research that connects altruistic behavior and a sense of purpose with reduced inflammation, as opposed to hedonistic pursuits, which can worsen inflammation.
Perhaps most importantly, Cheek warns how individual solutions aren’t enough to protect and heal us. “Emotional alarms” such as fear, guilt, shame and anger are healthy signals that help us avoid obstacles and find rewards, she says. When it comes to poverty, discrimination, isolation and other systemic problems, a sense of “moral distress” warns us away from harm and toward a more just, equitable society. And taking small steps to connect with others — even as simple as engaging in idle chitchat with a stranger — can be an impetus for broader change.
Portrait of author Joanna Cheek.
(Tegan McMartin)
“I’m constantly trying to think about socializing in the same way I think about exercise or physical activity,” says Cheek. “In the same way I eat a certain amount of vegetables or have a certain amount of quiet time to meditate, I think, ‘Have I had enough social contact today?’”
People obsessively track their steps. They might want to count their social interactions, too, she says. Those moments can build confidence and trust, until the momentum transforms us and the communities we call home.
This interview has been edited for length and clarity.
In the book, you quote the renowned psychiatrist Viktor Frankl, who wrote, “Happiness cannot be pursued. It must ensue.” Why should we focus on cultivating purpose instead of pursuing happiness?
There are a lot of studies that show that cultivating any emotional state — happiness in particular, but also calmness or lack of anxiety — actually backfires. The more we try to feel a certain way, we inevitably won’t, because we don’t have much control over how we feel and then we’ll compare it to some standard of how we should feel, which will only magnify our suffering.
Rather than chase an emotion, which is futile because our emotions are constantly shifting, we can chase purpose, which gives us a lasting sense of accomplishment, because we’re living in line with our values. That’s true wellness.
“It’s Not You. It’s The World” book cover bo Joanna Cheek, MD.
(Hachette Book Group)
How can people who feel isolated take steps toward cultivating purpose with others?
There was a large study that reviewed studies on loneliness. It showed it posed the same risk as smoking 15 cigarettes a day. I was utterly shocked when I read that, and started a deep dive and met [author and professor of psychology at the University of Sussex] Gillian Sandstrom. Her research shows that connections don’t need to be with the love of our life, a tight-knit family or best friends. When we have contact with a barista at the coffee shop, someone delivering the mail or just say hello to a neighbor who’s walking their dog past you, these weak ties actually have similar benefits to having really deep, personal connections. She ran a study with students at her university and found even if they had no friends in class, if they talked to strangers, they felt better and had more wellness indicators.
When we’re separated from others, we haven’t really evolved that fast, so it sets off alarms in our bodies. When you talk to someone at the grocery store, it’s like, “Oh, I’m not alone, I’m OK, I belong to something.” It silences those alarms so they don’t keep going off.
So it’s beneficial for us to have social interactions. How does it help our communities?
The more that we’re connecting with each other, the more we’re talking across differences, the more that we speak with people of different lived experiences, different politics, different cultural backgrounds, different ages, different levels of health and abilities and needs, then we can have more empathy and really take care for each other and make decisions that are based on the truth that we’re all connected.
Building community can start with weak ties. It can be really scary to join a new group in person. When we talk about anxiety, we talk about graduated exposure, where we don’t expose ourselves to the scariest things right away. So sometimes baby steps can help us get comfortable with weak ties. Then, with time, we can move toward deeper contact.
I just had knee surgery this summer, and I ended up doing a lot of water walking in the pool for rehab, and I was amazed at this community pool. There were all these people who were either retired or injured there during the day and I would have so many conversations. And so often we think that these connections don’t matter because we’re not building a friendship that might continue on. What is the point? The point is that through each interaction, we’re building a sense of community for everybody. And it doesn’t have to be more than one interaction. It helps create a sense that we can trust each other and we can learn from each other. It feels good to be in connection and that makes us want to care for one another.
(Maggie Chiang / For The Times)
You mention the term McMindfulness in the book. Could you describe what that means and why it can be damaging?
Yeah, there are a lot of concerns about quick fixes for mental health. I speak a lot about how mental health is really about the health of our entire systems. When we sit with that, it can be overwhelming to recognize that we can’t be well until our systems are well. We can practice wellness, we can do the best we can, but feeling better in a sick world isn’t going to fix us. We need to fix the world. McMindfulness is taking people in a toxic workplace and giving them mindfulness classes and not changing the toxic structures of the workplace. We should ask, “Why are they having these symptoms? And how do we make this workplace healthy so that our workers aren’t constantly falling sick?”
People need a sense of agency to thrive. But examining big problems through a systemic lens can create the impression we don’t have control over our lives. How do you reconcile the two?
Every connection we have, every time we live in a way with care and kindness, when we’re offering mutual aid or caring for our neighbors, those little things become contagious. Day to day, we can choose if we’re going to share our resources, whether that be our time, our care, our inclusiveness. Every time we choose to care for others, it’s contagious. It creates a culture. And every little connection like that matters. So while stress and dysfunction can ripple outward, I think our kindness and our unity and our caring can also ripple outward.
TAKEAWAYS
From “It’s Not You, It’s the World: A Mental Health Survival Guide for Us All”
That sounds wonderfully optimistic.
I think a lot about hope and I think hope has to be active. I think we can’t just passively wish for a brighter future. And so I like to think about what agency I have today. It doesn’t have to be becoming the next world leader or finding a cure for cancer. What matters is every little decision I make to make the world a little bit brighter.
Lifestyle
‘The Super Mario Galaxy Movie’ remembers every Nintendo moment ever : Pop Culture Happy Hour
Mario (Chris Pratt) in The Super Mario Galaxy Movie.
Universal Pictures
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Universal Pictures
The Super Mario Galaxy Movie is the ultimate piece of Nintendo fan service. Mario (Chris Pratt), Luigi (Charlie Day), Princess Peach (Anya Taylor-Joy) are on an outer space adventure to save Princess Rosalina (Brie Larson). The film features other beloved Nintendo characters like Bowser (Jack Black) and Yoshi (Donald Glover) – and a few surprises. It’s a sequel to The Super Mario Bros. Movie, which made more than a billion dollars worldwide.
Follow Pop Culture Happy Hour on Letterboxd at letterboxd.com/nprpopculture
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