‘Bottoms’ Review: Emma Seligman’s Wild Ride of a High School Comedy Is a Gonzo Gay ‘Fight Club’ Meets ‘Heathers’

Owen Gleiberman Chief Film Critic “Murder Mystery,” a cheeky pasteboard detective thriller-meets-middle-aged-romance that became a huge hit for Netflix four years ago, had the inspiration to team Adam Sandler and Jennifer Aniston as Nick and Audrey Spitz, a dweeby-sweet New York couple — he was a cop trying, and failing, to get promoted to detective; she was a hairdresser — whose marriage-on-auto-pilot needed a dose of shock therapy. They got it when they went on the European getaway that Nick, a compulsive cheapskate, had been promising Audrey for 15 years. The two wound up on a yacht, at a geezer aristocrat’s party, which turned out to be his death sentence as the moment he cut everyone there out of his will.

can literally change who you’re attracted to.” It’s an attention-grabbing statement—and one that’s appeared in  on the app that have racked up thousands, , of views. The videos always tout the same general message, that horomonal birth control could make you less sexually attracted to the person you’re sleeping with, though the nuances differ.

A high school has been downgraded from ‘good’ to ‘inadequate’ after a snap inspection found many pupils ‘do not feel safe’ and discriminatory language is part of ‘everyday life’.

Owen Gleiberman Chief Film Critic Imagine an on-the-road concert documentary shot in the anything-goes days of 1970 — a hurly-burly vérité jamboree like “Mad Dogs & Englishmen” or “Elvis on Tour.” It’s about the biggest rock band in the world. It encompasses 11 shows in 26 days, with headlines and controversies and a film crew out to capture it all. We see the band members backstage, on planes, in their nightly lodgings, and onstage. The crowds are rapturous. “What the Hell Happened to Blood, Sweat & Tears?” is, in a way, that movie. The band that’s on tour, the mighty but fraught Blood, Sweat & Tears, was full of great musicians who most people didn’t know by name. Yet as fronted by the intoxicating huskiness of lead singer David Clayton-Thomas, they emerged from the embers of the counterculture to become one of the first true supergroups. By the time their 1970 tour arrived, Blood, Sweat & Tears were the most popular rock band in America, with a number-one album and a trio of hit singles that remain iconic: “And When I Die,” “You’ve Made Me So Very Happy,” and the joyfully bombastic and lurchy ear worm that was “Spinning Wheel.”

Two former Castle Douglas High School pupils are on the trip of a lifetime in Africa.

Owen Gleiberman Chief Film Critic The drama of addiction and recovery, as it takes place in the movies, tends to come at us like a series of rituals. There’s the rule-by-rule, day-by-day protocol of 12-step programs (the meetings, the showing up, the sharing, the calls to sponsors); a lot of us may feel we know it well from movies, even if we’ve never personally undergone the experience. There are the deeply engraved patterns of addiction itself: the highs, the lows, the cravings, the exploitation of friends and family members, the descent to the bottom, the grasping for the drink or the pill or the fix (or the one that isn’t there) and, in some cases, the criminal behavior. The reaching out to save oneself is also a kind of ritual — one that some addicts would say God built into us.

Naman Ramachandran New York-based film and TV studio and streaming network FilmRise has acquired North American distribution rights to true-crime documentary feature film “The Thief Collector.” Directed by Emmy winner Allison Otto (“The Love Bugs”), the film follows one of the most audacious and puzzling art thefts of a generation. In 1985, Willem de Kooning’s seminal work, “Woman-Ochre,” was sliced from its frame and stolen off the walls of the University of Arizona Museum of Art, disappearing into the desert. Over 30 years later, in a remote town in New Mexico, the $160 million dollar painting was rediscovered in the unlikeliest of places – the home of an eccentric married couple, both schoolteachers, with a keen eye for great works but a very unconventional method of collecting them. The film features Glenn Howerton co-creator, director, writer and star of “It’s Always Sunny in Philadelphia.”

The Federal Reserve is expected to raise interest rates again on Wednesday, continuing its year-long push to curb inflation. But that balance is more elusive than ever given the failures of Silicon Valley Bank and Signature Bank and subsequent meltdowns tied to the new rate environment.

Joy Ride is definitely one of our most anticipated movies of the year!

Owen Gleiberman Chief Film Critic “You Can Call Me Bill” is the latest documentary from director Alexandre O. Philippe, who specializes in plucking tasty subjects out of the pop cosmos and doing deep-dive meditations on them. Philippe often leans into horror (“Memory: The Origins of Alien,” “Doc of the Dead,” and his greatest film, “78/52: Hitchcock’s Shower Scene”), but even with other subjects (“The People vs. George Lucas,” “Lynch/Oz”), what he’s always looking for is the heady ineffable curveball insight. So if you go into his new movie, which is all about William Shatner, presuming that it’s going to be something other than a conventional portrait of William Shatner, you’d be quite correct. The movie is built around an interview with the legendary 91-year-old actor, still vigorous and voluble, with a seize-the-day cornball glow to him. In “You Can Call Me Bill,” Shatner sits under the hot lights, with the camera close to his face, talking, talking, and talking — about life, death, acting, fame, love, desolation, and trees.

Owen Gleiberman Chief Film Critic Why did they give Zachary Levi a haircut for “Shazam! Fury of the Gods”? Four years ago, in the first “Shazam,” Levi played a kid in a superhero’s body, and the movie was smart and witty enough to be a caped version of “Big.” Levi’s look was a major part of it. Shazam, with that cheesy lightning bolt and gold belt and white Italian-restaurant tablecloth of a cape, didn’t resemble other recent comic-book-film heroes; he was more like something out of the ’40s. And Levi sealed the deal was his big popping eyes and ingenuous gee-whiz grin (he was, after all, playing a 14-year-old inside), as well as the hair that topped off his boyish spirit. It was dark and shiny and stood up an inch-and-a-half from his head — a ‘do as superhero stylized, in its way, as the old Superman’s.

Owen Gleiberman Chief Film Critic Sometimes, when a documentary has a great subject, it can explore that subject with an intimacy that’s arresting, only to treat other aspects of the story with a kind of cavalier casualness. “Love to Love You Donna Summer” is that kind of documentary. Co-directed by Roger Ross Williams and Brooklyn Sudano (who is Summer’s daughter), it’s full of home movies and photographs and archival footage of Donna Summer, and it creates an eye-opening portrait of the ambitious yet deeply disconsolate woman she was. We see her when she was growing up in Boston, where she sang gospel in church and felt a gift passing through her, knowing that she was going to be famous, or when she moved to Munich in 1968, at 19, to be in the German production of “Hair” (there’s a startling clip of her onstage, in long dark pigtails, singing “Aquarius” in German), or later on, after she’d become a pop star, at home with her daughters, lost in the empty mirror of fame.

Owen Gleiberman Chief Film Critic In “John Wick: Chapter 4,” the epic culmination of the flamboyantly brutal death-wish-meets-video-game-meets-the-zen-of-Keanu-Reeves action series, our hero finds himself in a Berlin nightclub that resembles a pulsating Bauhaus Eurodisco by way of “Fellini Satyricon.” The place is like a concrete cathedral, with giant mosh pits of dancers throwing their arms up to the heavens as waterfalls cascade down the side walls (it almost looks like it’s raining). But Reeves’ John Wick, as he makes his way through the neon wetness, isn’t dancing. He’s getting ready to start shooting — which, for him, is more or less the same thing. As he skulks forward, oily hair hanging down the sides of his face, the camera glides just ahead of him, framing him like the renegade action demigod he is. We might be in the middle of the world’s most cutting-edge cologne commercial.

Owen Gleiberman Chief Film Critic Just as the Coca-Cola company, after smudging a perfect product in 1985 with the New Coke, brought that product back and called it Coca-Cola Classic, the 95th Academy Awards telecast made a game attempt to rectify the mishaps of the past few years — the ratings slippage, the pared-down-like-a-skeleton-in-a-train-station 2021 edition, the debacle of The Slap — by bringing back something that we might call Oscar Classic. It was safe, it was familiar, it was tasteful, it was reassuring. It didn’t rock the boat, it didn’t overstay its welcome (actually, that marks sort of a break from Oscar Classic), and it left you feeling that the world’s preeminent awards show, all doom-saying punditry to the contrary, is still, on balance, a very good thing.

The filmmaker's reunion with "Shiva" star Rachel Sennott is a much broader and sillier affair.

Directed by Emma Seligman and written by Seligman and Rachel Sennott, Bottoms, is a coming of age story about two horny teenage girls kicking, punching, and slamming their way to getting laid. The film has a stacked cast including Sennott, Ayo Edebiri, Havana Rose Liu, Kaia Gerber, Ruby Cruz, and Miles Fowler. This comedic journey of its young protagonist is not without its issues, but it’s unapologetic in its execution and filled with memorable moments.

Owen Gleiberman Chief Film Critic Introducing “Dungeons & Dragons: Honor Among Thieves,” the lavish hyperkinetic popcorn fairy tale that kicked off SXSW this evening, the film’s co-directors, John Francis Daley and Jonathan Goldstein, told the audience that they had designed the movie to appeal to hardcore D&D players — and also to those who know absolutely nothing about the game. This came as a relief to me, since what I know about Dungeons & Dragons you could put on the head of a…well, I know so little that I can’t even come up with a proper D&D reference with which to spin that cliché. The filmmakers were being honest. “Honor Among Thieves” is built on the edifice of D&D lore, packed with totems and characters and Easter eggs that fans of the legendary role-playing game will drink in with a connoisseur’s delight. But for those, like me, who have spent their lives avoiding anything to do with Dungeons & Dragons, the film is eminently comprehensible and, in its you’ve-seen-it-before-but-not-quite-this-way fashion, a lot of fun.

Bret Michaels celebrated his youngest daughter’s high school graduation Friday, telling the 17-year-old to "rock on!!!" "Jorja, I'm so proud of you on your graduation," the Poison frontman wrote on his Instagram along with a photo of Jorja in her cap and gown. "You rocked with an Unbroken loving spirit.

Snoop Dogg and Wiz Khalifa have announced a massive joint tour titled ‘High School Reunion’ across North America.Snoop announced the 33-date run via a poster on Instagram on March 7. The tour will kick off on July 7 in Vancouver before wrapping up the run in Irvine, California on August 27.

Owen Gleiberman Chief Film Critic More often than not, an internationally known freedom fighter will have a personality and temperament as heroic as the actions that made him famous. Just look at Nelson Mandela, Alexei Navalny, Volodymyr Zelenskyy, or — as controversial a figure as he remains — Edward Snowden, who for 10 years has conducted himself as a profile in courage. But there are times when the personal and the political don’t sit so easily in the same person. Julian Assange is one of those people. From the moment he launched WikiLeaks, the renegade website that provided an anonymous home for journalists and whistleblowers to spill the secrets and dump the documents of global power, there was an air of absolutism about him, a bombs-away belief in the rightness of his actions that teetered, at times, into anarchistic recklessness. Assange, like Snowden, exposed important revelations about how governments, in particular the government of the United States, operate: the corruptions and cover-ups and collateral damage. Unlike Snowdown, he served up his exposés in an aggressive, indiscriminate way that seemed designed to place himself at the center of the conversation.