BEFORE THE PANDEMIC, IT WAS A CLASSIC, time-honored pastime, particularly among women: over 60 movie lovers, retired and with time to kill, would head out for an early discount show at the multiplex and spend the day sneaking into the other movies on offer. This is how, not so long ago, your tracksuit-and-sneaker-wearing grandmother or aunt might have started the day with a mainstream crowd-pleaser like The Post and ended it having seen at least parts of, say, Blade Runner 2049 or Get Out. Bad for the movie industry, but good for the soul. And proof that people with a lifelong moviegoing habit are also likely to have curiosity in their bones, an eagerness to check out new things even if they’re not the target audience.
That was the world then. Now, we know that fewer middle-aged and older adults are going to the movies—according to some estimates in early 2022, frequent attendance was down by roughly half— some out of not-unfounded health fears but perhaps many more out of habit. It’s easier just to stream at home, especially now that the big studios seem to be catering mostly to teenagers and comic-book fans. This is the landscape into which 80 for Brady— a comedy starring veteran performers Jane Fonda, Lily Tomlin, Rita Moreno, and Sally Field—is dropping. Book Club: The Next Chapter, a sequel to the 2018 hit which earned 104 million and also featured over-60 actors), is due this spring. The obvious question is whether movies like these, designed to draw out an audience of senior and younger women alike, stand a chance at the box office. But beneath that question floats a more metaphysical one: What have we lost if they fail?
Diese Geschichte stammt aus der February 13 - 20, 2023 (Double Issue)-Ausgabe von Time.
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Diese Geschichte stammt aus der February 13 - 20, 2023 (Double Issue)-Ausgabe von Time.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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