‘Adolescence's' new star: Owen Cooper
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Stephen Graham and Christine Tremarco sing the praises of teenage newcomer Owen Cooper, who plays a boy accused of murder in new Netflix series 'Adolescence' — a four part drama with each episode shot in one continuous take.
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Tom's Guide
31 minutes ago
- Tom's Guide
I didn't expect Netflix's new romantic sci-fi movie to be this charming — it's a time travel story worth adding to your watchlist
Netflix's top 10 movies list is showing a wide mix of genres right now, with Gerard Butler's action-thriller holding the No. 1 spot, a shocking documentary about the OceanGate disaster, and, quite randomly, the meme-heavy 'Bee Movie' creeping its way up. But amid the usual action flicks and thrillers, a Mexican romantic sci-fi movie caught my attention and it's one I didn't expect to be so charming. 'Our Times' tells the story of a 1960s couple who accidentally time travel to 2025, and the whole premise might sound a bit cheesy (to be honest, it is). But what surprised me most was how relatable and genuine it felt, even with the sci-fi trappings. While the setting revolves around time travel, the story is about how two people from a very different era try to make sense of a future that's completely alien to them. Since its release on June 11, it's been steadily climbing Netflix's U.S. charts, cracking the top 10 and holding its ground in the No. 8 spot. So if you're looking for something a little different that still tugs at the heartstrings, this time travel romance might be exactly what you need on your watchlist. Here's everything to know about 'Our Times' on Netflix. 'Our Times' follows Nora (Lucero) and Héctor (Benny Ibarra), a married couple of physicists from 1966 who invent a time machine. When their experiment doesn't go as planned, they find themselves unexpectedly transported decades into the future — the year 2025. Thrown into a world completely unfamiliar to them, they must navigate modern technology and the challenges of adapting to a time far beyond their own. As they explore this new era, both Nora and Héctor find their relationship being tested in ways they never anticipated. The story follows their journey as they try to make sense of their situation. With the help of people from the future, they work toward finding a way back to their original time, and then deciding if that's even what they truly want. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. Time travel movies usually center around characters trying to fix something (whether it's a personal heartbreak or a full-blown global disaster) by changing the past, but 'Our Times' flips that idea on its head. Instead of going backward, the characters are thrust into the future, and the story becomes less about rewriting history and more about how they adjust and live in the now. This is what makes the premiere quite refreshing, and I'm glad the movie doesn't want time getting into the meat of the story. We're first introduced to a brilliant scientist couple from the 1960s who are just as devoted to each other as they are to their work. But when their groundbreaking invention accidentally launches them into the year 2025, their bond is truly tested when one of them begins to thrive in the future, and the other can't wait to get back to the past. As you can probably guess, this sets up some juicy conflict. Lucero and Ibarra bring a fun, lighthearted energy to their roles as they try to make sense of life in the 2020s. They have some humorous, awkward moments, like struggling to use modern tech or reacting with suspicion to today's fashion trends. But beneath the comedy, there's a more serious undertone: they're both especially struck by how much attitudes around gender roles and sexuality have evolved. It's then that 'Our Times' starts to peel back the layers of its premise, digging into how people evolve when everything they once knew is upended. And for most of the movie's 90-minute runtime, this messaging works. The only thing that made this sci-fi flick less effective was the third act. It felt a little hurried and uneven to me, with an ending that didn't quite land emotionally especially after how strong and engaging everything leading up to it was. 'Our Times' could've benefited from being slightly longer to go beyond surface level. Still, if you can tolerate the weak ending and some occasionally muddled messaging, 'Our Times' is enjoyable enough that it never feels like a chore to watch or like time you'll regret spending. If you love time travel movies like 'About Time' and 'The Time Traveler's Wife' then you'll probably find something to enjoy in 'Our Times.' This new Netflix movie turned out to be a surprisingly charming watch. Lucero and Benny Ibarra share a natural, believable chemistry that makes their relationship easy to invest in right from the start. Across the board, the cast delivers strong performances, all backed by detailed sets, convincing effects, and props that really sell the time period. 'Our Times' shows a lot of promise as a new take on the rom-com, but it definitely could have benefited from a stronger script and a more polished storyline (mainly to fix that ending). Regardless, it stands as a bittersweet reflection on how we grow and how relationships evolve when life throws us curveballs. You can stream 'Our Times' on Netflix now. For more streaming recommendations, see what else is new on Netflix in June 2025.
Los Angeles Times
an hour ago
- Los Angeles Times
‘Overcompensating,' ‘Big Mouth' and 4 other series to watch during Pride Month
Whether a protest or a parade — and these days, they more likely need to be both — Pride Month has long served as a time to highlight the sheer expansiveness of the LGBTQ+ community. And while many of us celebrate queer folks year-round, it's become customary for June to be the month when streamers and networks alike premiere shows that reflect and speak to this most fabulous community. There's no denying that there's something exciting about being able to enjoy the work of so many talented creators and performers in this community over the month, but to help you wade through the noise, here are six shows recently released or upcoming that make for perfect Pride watches. They range from a seasoned comedy giving its final raunchy bow to a reality competition bringing a new kind of drag art to the mainstream. There is truly something for everyone. Benito Skinner made the jump from viral content creator to comedy series creator with this offbeat look at a millennial college-set coming out tale scored by era-defining tracks from Charli xcx, Britney Spears and even My Chemical Romance. (Streaming on Prime Video. Read our review.) Few shows have been so loudly queer positive as this animated, raunchy sex-ed coming-of-age series about what happens when a group of middle schoolers finally hit puberty and come face-to-face with their hormone … monsters. I mean, where else can you find Andrew Rannells singing about 'Mouthful of Manhood'? The eighth and final season is out now. (Streaming on Netflix.) If you're looking for a cozier (read: more British) offering, look no further than this new eight-episode BBC drama. Lennie James plays Barrington Jedidiah Walker, a 70-something-year-old whose marriage collapses after a decades-long secret is revealed: Barry has been cheating on his wife of 50 years with his best friend (Ariyon Bakare). The shocking revelation forces this Antiguan-born Londoner to reassess the life he's been leading and the life he wants to make for himself now, especially as it pushes him to rethink how he's long conceptualized his sexuality ('I ain't no homosexual,' he insists, 'I'm a Barrysexual'). A touching look at love and acceptance, no matter one's age, 'Mr. Loverman' is finally making it stateside after a successful run in the U.K., where both James and Bakare picked up BAFTA awards for their lead and supporting performances, respectively. (Streaming on BritBox.) Edith Wharton's unfinished novel of the same name about five wealthy American women during the Gilded Age got the prestige TV treatment with this Katherine Jakeways-created drama. The series hinges on marriage proposals, romantic ideals, the pressure of status and the perils and promises of money. But no subplot made it more exciting than the budding romance between Mabel Elmsworth (Josie Totah) and Honoria Marable (Mia Threapleton). Season 2 looks at what happens after Nan (Kristine Froseth) says, 'I do,' pushing the story past a supposed happily ever after. And thankfully, Mabel and Honoria are set up here to be out and proud of their love: 'The most important person in our lives,' Mabel tells her lover, 'is each other.' It's as beautiful and radical a sentiment in the 1870s as it is in 2025. (Streaming on Apple TV+; Season 2 premieres June 18. Read our review.) After more than a decade of drag queens taking over the mainstream, the LGBTQ+-driven network Revry is giving drag kings their time in the spotlight. Donning muscled attire and wearing painted facial hair to go with their over-the-top masc looks, these drag kings are here to show that there's just as much artistry in their butch creations as the superstars minted in that other drag show. Hosted by Murray Hill ('Somebody Somewhere'), this reality TV competition is set on giving viewers a front row seat to what these queer performers can do when given this kind of platform, opening the doors for a whole new generation of queer artists to get their due. Special guest judges include 'Drag Race' vets like Sasha Velour, Carmen Carrera and Gottmik; they'll be joined by Lisa Rinna, Bridget Everett, Paul Feig and even recent Tony winner Cole Escola. (Premieres June 22 on Revry.) Those of us who got hooked on this reality dating show hosted by JoAnna Garcia Swisher in its first outing can finally get some more juicy drama. The concept of the show is simple: Six couples (made up of women and nonbinary people) have to grapple with the path their relationships are on, where one of them is ready for marriage and the other maybe not so much. That tension — rooted in past trauma, family obligations and even some unresolved interpersonal drama — drives the storyline. But the show's title is as much a promise as it is a threat. As one participant puts it, 'You either marry me, or I move on.' In just over eight weeks, each couple will have to decide if staying together and tying the knot is the right call, or if they're willing to dream up a new future for themselves with new potential partners they get to date for three weeks. (Streaming on Netflix; Season 2 premieres June 25.)
Los Angeles Times
an hour ago
- Los Angeles Times
How TV tapped the power of the ‘oner'
It used to be that a 'one shot,' or 'oner,' was only associated with movies. But the combination of prestige television and advanced technology has made it more common for the small screen to showcase the ballet of direction, cinematography, acting and more required to make it feel like an episode or scene is filmed in one continuous take. The shootout gone awry in the first season of HBO's 'True Detective' garnered Emmys for cinematographer Adam Arkapaw and director Cary Joji Fukunaga and is still talked about in cinephile circles with a hushed reverence. The technique is also what made the long-winded 'walk-and-talk' scenes of NBC's 'The West Wing' so memorable, and what kept the adrenaline flowing for 'Review,' the Season 1 episode of Hulu's 'The Bear' that garnered Emmys for director Christopher Storer and the show's sound mixing and editing team members. This season, though, Emmy contenders are taking it up a notch. Oners are omnipresent, used for grueling fight scenes (HBO's 'House of the Dragon' and Disney+'s 'Daredevil: Born Again'); trippy mind warps (Apple TV+'s 'Severance'); documentary-style realism (Max's 'The Pitt') and brutal examinations of crime and its repercussions (Netflix's 'Adolescence' and 'Monsters: The Lyle and Erik Menendez Story'). In comedies, Apple TV+'s 'The Studio' is filled with oners, including an episode-length example about a film production's quest to achieve a perfect one shot at sunset. (The episode is, of course, called 'The Oner.') 'We call it a dance with the actors,' 'The Pitt's' director of photography, Johanna Coelho, says of the series' immersive style. 'We have two camera operators, and they both really learn to know how the actors move. But the actors learn to see how they move with the camera.' The series' camera crew is in the actors' faces so much that they have to wear medical scrubs, lest they get caught in a background shot. And Coelho says production designer Nina Ruscio tested about 50 shades of white paint for the set's hospital walls to find one that would balance everyone's skin tones because the scenes flow so automatically into each other that the lighting couldn't always be adjusted. The increasing use of oners also reflects rapid technological transformation. 'Adolescence' director Philip Barantini says he would have struggled to film his four-part limited series in episode-length one shots as recently as three years ago. The crew shot with a Ronin 4D, an affordable and lightweight camera that could easily be handed to different operators. (Director of photography Matt Lewis became such a fan that he bought one for himself.) The key to using the oner successfully — and avoiding accusations of gimmickry — is to ensure the style doesn't outshine the story, says Barantini, who also used the technique for his restaurant drama 'Boiling Point.' Indeed, though the oner is frequently associated with a fast pace, it also can slow things down, making it hard for audiences to look away. For instance, 'The Hurt Man,' the fifth episode of 'Monsters,' is the shortest of the season at just 36 minutes. But director Michael Uppendahl uses that entire time to zoom methodically in on actor Cooper Koch's Erik Menendez as he details horrifying stories about his family. Working with showrunners Ian Brennan, who wrote the episode, and Ryan Murphy, as well as cinematographer Jason McCormick, Uppendahl brought in a large crane that could push the camera in so slowly that audiences wouldn't immediately notice. It also could tilt the camera and recalibrate if speed or sound were off. 'It does take a certain kind of actor to be able to maintain that kind of stillness without constricting performance,' Uppendahl says of Koch, adding, 'He's a young performer, and I didn't know if he was able to do that.' They got the scene in 10 takes. 'The Studio' co-creator Evan Goldberg, who also co-directed every episode with series star Seth Rogen, notes the technique dictates that the plot can follow only a single storyline. Once they decided to film episodes this way, he says, 'We had to rewrite every single scene of every single episode to accommodate it. 'We knew we were going to film it that way before we wrote it,' Goldberg explains. 'But then once we hit the ground on production and actually looked at the scripts, we realized that we had to make the jokes end when they leave a room and … if there's someone upstairs and downstairs yelling at each other, are we actually gonna be able to do that?' A filming error also means a much bigger scene reset than a normal shot. 'Daredevil' director Aaron Moorhead has what he calls the Filmmaker's Prayer: 'May the camera, the script and the actors all want to do the same thing. Amen.' Moorhead and directing partner Justin Benson filmed three episodes of the action drama's first season, including the premiere episode, which features a oner of a fight scene down a narrow hallway. This helped establish the camera's language for the show and how it would move. He says it's 'not exactly harder' to film a oner; 'it's just a very different skill set.' 'Almost every time we've ever tried a oner it succeeds,' Moorhead says, adding, 'The thing that's the most challenging about it is you have to commit to everything.'
