Latest news with #Sinners
Gulf Today
11 hours ago
- Entertainment
- Gulf Today
Raphael Saadiq talks about his upcoming one-man show tour
Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories. Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced on Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq's life and music, weaving never-before-told stories with performances spanning Tony! Toni! Toné!, Lucy Pearl and his solo catalog. The tour kicks off in Sacramento on Sept. 7 that's expected to run into mid-October. It'll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland. It's been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé's 'Cowboy Carter,' wrote 'I Lied to You' for Ryan Coogler's 'Sinners ' and is preparing the rerelease of his 2004 solo album 'Ray Ray' through his Vinyl Club, a membership that reissues his catalog. In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the Super Bowl halftime show and how he's honoring the legacy of his late brother, D'Wayne Wiggins, who died in March. Is doing the one-man show feel like your taking a risk or more of a spiritual enlightenment? I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I'm totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I've always wanted to do that. What inspired you? I was really inspired by Mike Tyson's 'Undisputed Truth.' I watched Mike's show. It wasn't like I looked at it and said 'I could do it if Mike Tyson did it.' Mike Tyson's one-man show made it look difficult, but it was so good. It pulled me into Mike's life. Then that's when I said 'I want to do a one-man show.' It took this long, so it was therapy to do it. What stood out to you about Beyoncé being such a hard worker? I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too. You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That's what I always wanted to do. How did the death of your brother D'Wayne shift the focus of your music? It didn't really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie ... and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren't together. What did you learn from your brother personally and professionally that you are carrying forward? One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I'm blazing it for them. But now they blazing it for me. My nephew (Dylan Wiggins) is working with Frank Ocean, The Weeknd. Associated Press
Tom's Guide
2 days ago
- Entertainment
- Tom's Guide
HBO Max top 10 movies — here's the 3 worth watching right now
Hope y'all are surviving this heat wave alright. As for me, I've been hiding out in my air-conditioned living room, catching up on what's new on the best streaming service. But figuring out what to watch next can quickly turn into a headache with so many new movies coming and going all the time. That's why we regularly comb through Max's top 10 list of most-watched movies to see what's got everyone buzzing, but there's bound to be some duds that don't live up to the hype. So we're highlighting the best of the bunch to help you put your precious streaming time to good use. Leading the pack this week is Ryan Coogler's must-watch vampire thriller, a blockbuster video game adaptation that kids everywhere are obsessed with, and a powerful documentary from one of TV's greatest detectives. So without further ado, let's dive into the best three movies in HBO Max's top 10 list. I'll admit, I was late to the "Sinners" train. But I'm happy to report it's every bit as good as everyone says. Director Ryan Coogler's vampire horror blockbuster feels more like church than a movie; its sound design is so spell-binding and stunningly electric, you can't help but get swept up in the fever. Honestly, maybe it's for the best that I didn't catch this movie in theaters. I'd have been shoutin' down the aisles. Set in 1930s Mississippi, "Sinners" tells the story of twin brothers (both played by long-time Coogler collaborator Michael B. Jordan), who return to their hometown to convert an abandoned sawmill into a lively juke joint. Opening night is a roaring success, until a gang of vampires crashes the party hellbent on siphoning the talents and vitality of their community. Blending horror and thrills with a cinematic flair and a haunting score, "Sinners" is an absolute must-watch for horror and music fans alike. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. Watch it now on Max Mariska Hargitay is one of television's most beloved detectives, and as it turns out, she's also a gifted storyteller behind the camera. In a deeply personal and emotional documentary, Hargitay turns the lens on her own past, sharing the story of her mother, Hollywood star Jayne Mansfield, who died in a car crash when Hargitay was just three years old. The film traces Hargitay's journey as she finally confronts a legacy she was once told to avoid, and reclaims her mother's story on her own terms. As she unpacks the carefully crafted image of Mansfield's Hollywood persona, Hargitay shines a light on how the "dumb blonde" facade was a carefully calculated performance. She also uncovers long-buried truths, including revelations about her biological father. The result is a poignant and powerful film, where the honesty and vulnerability of Hargitay and her family resonate with heartbreaking clarity. Watch it now on Max Surprising no one, "A Minecraft Movie" is still holding strong in the Max top 10 after Minecraft fever swept the world this summer. Packed with meme-worthy moments, vibrant visuals, and over-the-top characters, this sugar rush of a film could prove delightful or tooth-achingly annoying depending on your tastes. This chaotic adventure follows a misfit crew (Jason Momoa, Danielle Brooks, Emma Myers, and Sebastian Hansen) who stumble through a portal into the blocky, unpredictable Minecraft Overworld. To get home, they'll need to join forces with Steve (Jack Black), a seasoned crafter with a few screws loose who's been stuck there for decades, and put their imagination to the test. Watch it now on Max HBO Max: Starts at $9.99/monthOur favorite streaming service combines quality and quantity. Its library contains HBO prestige shows like "House of the Dragon" and "White Lotus," blockbuster movies from Warner Bros. and DC, plus reality TV and true crime docs from Discovery's family of networks.
Elle
3 days ago
- Entertainment
- Elle
‘Superman' Is Soaring Into Theaters—Here's When You Can Stream It
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Superman is officially back. James Gunn's highly anticipated take on the classic film premieres in theaters today, kicking off the next chapter of the DC Universe and introducing a new leading man: David Corenswet. The actor stars as Clark Kent, a Kryptonian raised in Kansas who now navigates dual identities as a Daily Planet reporter and the world's most recognizable hero. Joining Corenswet is Rachel Brosnahan as Lois Lane and Nicholas Hoult as Lex Luthor, with supporting roles from Edi Gathegi, Nathan Fillion, Isabela Merced, and Anthony Carrigan. In classic Superman fashion, the story tackles a range of global threats—think robots, kaiju monsters, and political unrest—while keeping its focus grounded in themes of morality, idealism, and human connection. Director Gunn called the project deeply personal. 'Superman is the story of America,' he told The Times. 'An immigrant that came from other places and populated the country, but for me it is mostly a story that says basic human kindness is a value and is something we have lost.' His version of Clark is more of an optimist trying to hold onto his humanity—even when the world around him questions it. Corenswet, a Juilliard-trained actor previously known for his role in The Politician, called the role a 'solemn responsibility.' In his GQ Hype cover story, he admitted he considered turning it down before asking himself a single question: 'If this is the only role I get to play for the rest of my life, and that means whether I get to play it once or get to play it 10 times, would I still say yes? And the answer was yes.' Warner Bros. has yet to announce an official streaming date for Superman, but the film is expected to land on HBO Max later this year. Recent titles like Sinners followed a similar rollout. Until then, you can catch the film in theaters. Get Tickets
Time Out
3 days ago
- Entertainment
- Time Out
A24 is about to release the biggest animated movie in history in American cinemas – and you've never heard of it
What's the biggest movie of 2025 so far? It's not Sinners, Jurassic World Rebirth, Lilo & Stitch or A Minecraft Movie. In fact, American audiences probably haven't even heard of it. It's called Ne Zha 2, a Chinese animated film that is dominating the global box office almost entirely from within its home country. Released in January, it has made over $2 billion, overtaking 2024's Inside Out 2 for the highest grossing animation of all-time. And now, it's coming to North America. A24 will collaborate with China's state-sponsored CMC Pictures to bring Ne Zha 2 to theaters in the United States and Canada, as well as Australia and New Zealand, on Aug. 22. The English-language dub will feature Academy Award winner Michelle Yeoh in the voice cast. A sequel to 2019's Ne Zha, the film, by director Yang Yu, aka Jiaozi, is based on the 16th century novel Investiture of the Gods. It follows the title character, a demigod with a rebellious nature, as he learns to wield his incredible powers and protect humanity from forces of evil. In a statement, Yeoh said she is 'honored to be part of Ne Zha 2, a landmark in Chinese animation and a powerful reminder of how universal our stories can be.' The rest of the English voice cast has not yet been announced.
Time Magazine
3 days ago
- Entertainment
- Time Magazine
What Superman's End‑Credits Mean Amid Franchise Fatigue
Warning: This post contains spoilers for the endings of Superman, Sinners, and 28 Years Later. Let's get this out of the way. Does Superman have an end-credits scene? Yes. In fact it has two. Do they matter? They do not. One involves Superman cuddling his dog Krypto—cute but not exactly offering up anything in the way of plot development. In another he banters with Mister Terrific, a superhero who helped save the world by closing up a portal to another dimension, about the imperfect alignment of the two halves of Metropolis that got ripped apart in that cataclysmic incident. Again, funny, but offers no hint as to the future of Superman or his various friends and foes in the DC Comics film adaptations. The lack of substance in these two scenes may come as a surprise to many moviegoers. We've come to expect our summer blockbusters to conclude with a sequence buried in the credits that sets up the sequel or spinoff or next chapter in the superhero saga we just watched. The Marvel Cinematic Universe didn't invent the end-credits scene: '80s comedies like Airplane! and Ferris Bueller's Day Off wrote stingers for laughs. But the MCU jumpstarted the modern trend way back in 2008 when Samuel L. Jackson's Nick Fury showed up to recruit Robert Downey Jr.'s Iron Man into a new supergroup. (Spoiler alert: They're called the Avengers.) Nearly every Marvel movie since has tacked on a scene or two during the credits teasing the upcoming movies in the franchise. Other cinematic universes—the DCEU, Fast & Furious, Pirates of the Caribbean, John Wick—followed suit, training audiences to stay put in their seats, just in case. Superman is launching the brand new DCU (the DC Universe, rebranded from the old DCEU or DC Extended Universe). So one would expect Superman director and co-creative mastemind of the DCU, James Gunn, to seize the opportunity to tease one of the DC projects coming out next year like the Supergirl movie, the horror film Clayface, or even the HBO show Lanterns. But he opted for a more comedic direction instead. Some fans might welcome the Superman stingers as refreshingly light diversions. After all, audiences seem to have rebelled against the amount of homework they've been asked to do to keep up with superhero films and series these days, a frustration that has manifested in cratering box-office returns and depressed streaming numbers. Others might wonder why they sat through a long string of credits only to be rewarded with style over substance. In theory, the answer might be the immeasurable value of learning the names of the many, many stunt performers and CGI programmers who worked on this film. But let's be real, you were probably scrolling your phone during the credits, weren't you? It begs the question, what are post-credits scenes for these days, anyway? Three of this year's biggest movies—Superman, Sinners, and 28 Years Later—take three notably different approaches to their ending scenes. The evolution of the stringer suggests that directors are eager to evolve the rote end-credits scene into something more innovative or, let us hope, entertaining. Sinners puts a crucial scene in the credits On the opposite side of the post-credits scene conundrum from Gunn's Superman sits Ryan Coogler's Sinners: The horror film's mid-credits scene serves as an essential coda to the story. Before my press screening of that film, a docent was sent into the theater to instruct journalists to remain seated through the credits, despite the fact that by Coogler's own assertion, Sinners is a stand-alone work, not the first in a burgeoning vampire universe. Good thing he did, because without the heads-up, I would have missed a key moment of closure to the story. The movie, set during the Jim Crow era, flashes forward to the 1990s. First comes a bit of stunt casting: Legendary blues musician Buddy Guy plays an aged version of the main character Sammie (portrayed in the rest of the movie by Miles Caton). He has grown from aspiring singer to successful musician playing a club in Chicago. Then, a moment of surprise: Vampire versions of Miles' family members, Michael B. Jordan's Stack and Hailee Steinfeld's Mary, have survived the epic battle at the end of the film and come to chat with Sammie. Coogler elicits a chuckle from the audience with Jordan's and Steinfeld's period-accurate, completely over-the-top '90s getups. But the heart of the scene is the moment of closure for Sammie. Sammie once abandoned his priest father and religion to pursue the blues in a metaphorical deal with the devil. He found happiness in doing so, despite carrying the scars of the night when he summoned demons with his angelic voice. When Stack arrives at the night club, he tells Sammie that the old musician will die soon and offers to make him immortal. Sammie turns Stack down. Sammie has lived a full life but also seen the ills of the Earth and will be ready to depart. He admits that while the night he fought vampires and lost nearly everyone he loved still haunts him, the preceding day setting up the juke joint that Stack opened with his twin brother Smoke was the best of Sammie's life. In a movie that wrangles with the complexities of religion and the vampiric state of a predominantly white-run music business that feeds on the creativity Black artists, among other themes, Sammie's happy ending—and, seemingly those of Stack and Mary—hold real power. The film is not complete without this conversation and Sammie's decision to forge his own path rather than the one laid out for him by the metaphorical devils and angels on his shoulder. As I left the theater, I wondered aloud to a colleague why Coogler would have inserted that scene mid-way through the credits rather than simply ending the film on that moment. I worried that some audience members would walk out without seeing a crucial piece of Coogler's story, and when I saw the film again a few weeks later, at least a handful of people did. That's a loss. According to Coogler himself, "The whole script was about that moment." Coogler, like Gunn, was forged in the fires of the Marvel Cinematic Universe, the former having helmed two Black Panther movies, the latter three volumes of Guardians of the Galaxy. They seem to have come away from the experience with different lessons. Marvel has recently developed a reputation for introducing character and plot points in post-credits scenes that never manifest in future films. There was the Guardians of the Galaxy Vol. 2 spinoff super-team involving Sylvester Stallone and Michelle Yeoh that disappeared from the MCU. Charlize Theron popped up in the stinger for Doctor Strange in the Multiverse of Madness, never to be seen again. Brett Goldstein made his debut as Hercules in a Thor: Love and Thunder end-credits scene that seems to be headed nowhere. And remember when Eternals previewed three different superheroes—Mahershala Ali as Blade, Kit Harington as Black Knight, and none other than Harry Styles as Eros— never to speak of those character again? Gunn, newly minted as the head of a competing cinematic universe, might be wary of overpromising and underdelivering. Fair enough. But Coogler finds himself embracing what is, perhaps, inevitable: Movies of a certain size may always contain these scenes. And he decides to deliver poignancy and character development instead of that mild hit of serotonin we get from hearing a new superhero name dropped onscreen. 28 Years Later teases a trilogy pre-credits That's all well and good if, like Coogler, you're determined to escape franchise filmmaking and direct movies that feel holistic and complete: The writer-director has said he has no plans to film a Sinners sequel. But what to do if you're helming one movie as part of a series and don't want to fall into the teaser trap? The latest entry in the 28 Days Later zombie franchise, 28 Years Later, offers yet another answer. The new zombie film, directed by Danny Boyle, is the first in a planned trilogy. Nia DaCosta will direct a 28 Years Later sequel called The Bone Temple, and then Boyle plans to return for a third and final movie. Rather than relying on a post-credits scene to set up DaCosta's film, Boyle opted instead for a tonally jarring final act to his movie. The bleak but moving film—whose third act brings the death of the main character Spike's mother and the birth of a miraculously uninfected baby from an pregnant infected—takes a major zag as Spike sets off from his old sequestered home to find his way alone on the dangerous mainland. A character named Jimmy, who appears as a young boy at the beginning of the film, returns as a full grown man. Flanked by a tracksuit-clad group of parkour enthusiasts, Jimmy rescues Spike from a horde of zombies. The fighters call themselves the Jimmys and dress like Jimmy Savile, the British television presenter who was accused after his death of committing hundreds of instances of sexual abuse, many involving children. (In this universe, the zombie outbreak happened before Savile was outed as an alleged abuser.) Much of the film deals with icons of British culture—images of the queen, clips from Shakespeare adaptations, quotes from Rudyard Kipling—so a group of young boys' pop culture obsessions crystalizing when the infection took hold of the U.K. only for those young men to end up worshipping a monster does fit thematically in the film. Still, the allusion to a serial abuser has already stirred controversy. Whatever the actual influences behind the finale, it seems a prime candidate for a post-credits scene because of its major tonal shift, its clear agenda to set up a sequel, and its distracting reference to a disgraced television personality. And yet Boyle eschewed the convention, perhaps a sign that directors are trying, in different ways, to free themselves from the tyranny of the end-credits. Don't ring the death knell for the end-credits scene yet. It won't disappear. But it is evolving. Perhaps it's a sign that we have entered an era of post-MCU dominance. Captain America: Brave New World and Thunderbolts will probably end the year in the top 10 highest grossing films, but they were beaten out at the international box office by A Minecraft Movie, the latest Mission: Impossible, and a handful of children's films: Superhero movies are not the assured home run they used to be. As audience expectations shift in search of something more original that doesn't strictly follow the MCU playbook, we can expect more freedom and experimentation. That's always a good thing. The next time you're watching a summer blockbuster in the movie theater, you might as well stay until the very end, just in case. You may see something unexpected. If nothing else, you may catch the names of a few hardworking grips and makeup artists.
