‘Let the Canary Sing’ Review: A Cyndi Lauper Documentary Captures Her Cracked Pop Joy, but It’s Too Celebratory to Dig Into the Drama

Owen Gleiberman Chief Film Critic “Sound of Freedom” is being sold as a “conservative” thriller. It’s based on the true story of Tim Ballard, the former Homeland Security Special Agent who has devoted himself to fighting child sex trafficking, and who took his crusade private when he founded Operation Underground Railroad, with backing from Glenn Beck. The movie stars Jim Caviezel, who ever since he took on the title role of Mel Gibson’s “The Passion of the Christ,” 19 years ago, has been a go-to actor for the kind of faith-based projects that the vast majority of Hollywood stars steer clear of. Wearing a trim dark beard and coppery blond hair, Caviezel plays Ballard as a beatific G.I. Joe meets George C. Scott in “Hardcore” meets an avenging Jesus.

J. Kim Murphy Indiana Jones has begun his last box office crusade, with the fifth franchise entry earning $24 million on its opening day from 4,600 theaters. It’s a figure that includes $7.2 million in previews in Thursday previews. The action-adventure film from Disney and Lucasfilm is expected to debut near the bottom of projections, projecting a three-day opening of $60 million or so. It’ll be more than enough for the Harrison Ford finale to land in the top spot on domestic charts, setting itself up to draw crowds through the Fourth of July holiday — but it’s not exactly the victorious tone-setter for one of the 20 or so most expensive blockbusters ever made. With a whopping $295 million production budget, “Indiana Jones 5” faces quite the trek to theatrical profitability.

The Chemical Brothers have released a new single ‘Live Again’, and shared details of their first book Paused In Cosmic Reflection.Announced earlier today (June 28), the single is described as the “perfect Chemical Brothers track”, and harnesses the same signature elements the group captured in fan favourites including ‘Hey Boy Hey Girl’ and ‘Galvanise’.“‘Live Again’ begins simply with a descending, filtered riff and a pair of contrasting vocal lines – one razor spliced to pieces and reconstructed, the other an angel’s sigh,” reads the press description of the single. “And then it all kicks off.

Owen Gleiberman Chief Film Critic “Carlos” has one of the best openings I’ve ever seen — or heard — in a music documentary. We hear Carlos Santana, waxing philosophical and wise (as he’s prone to do). Intercut with his words, at throbbing intervals of about 20 seconds (and at top volume), are the iconic organ-and-bass notes — BOM BOM!…BOM BOM! — that open “Oye Como Va,” the 1971 hit by Santana. I’ll confess that “Oye Como Va” is one of those classic-rock radio staples I feel like I’ve heard more times in my life than I ever need to. (Sort of like “Moondance” and “Tempted” and “Won’t Get Fooled Again.”) Yet “Carlos,” instead of assaulting you with the song, severs those four notes from it (BOM BOM!…BOM BOM!) and blows them up into a piece of pop art, like a Warhol sound painting. It asks us to hear the magic of what Carlos Santana did by reveling in the sonic texture, the Latin-gone-psychedelic moxie of those notes.

Owen Gleiberman Chief Film Critic A movie, good, bad or indifferent, is always “about” something. But some movies are about more things than others, and as you watch “Desperate Souls, Dark City and the Legend of Midnight Cowboy,” Nancy Buirski’s rapt, incisive, and beautifully exploratory making-of-a-movie documentary, what comes into focus is that “Midnight Cowboy” was about so many things that audiences could sink into the film as if it were a piece of their own lives. The movie was about loneliness. It was about dreams, sunny yet broken. It was about gay male sexuality and the shock of really seeing it, for the first time, in a major motion picture. It was about the crush and alienation of New York City: the godless concrete carnival wasteland, which had never been captured onscreen with the telephoto authenticity it had here. The movie was also about the larger sexual revolution — what the scuzziness of “free love” really looked like, and the overlap between the homoerotic and hetero gaze. It was about money and poverty and class and how they could tear your soul apart. It was about how the war in Vietnam was tearing the soul of America apart. It was about a new kind of acting, built on the realism of Brando, that also went beyond it.

Chris Willman Senior Music Writer and Chief Music Critic Musical tag-teaming doesn’t have results much more fruitful than what came about when the showrunners of “A Small Light” picked Ariel Marx to compose the score for the limited series and Este Haim to serve as executive music producer. Neither Haim nor Marx was in a position to take anything about the job lightly, given that the eight-episode series for National Geographic and Disney+ tells the story of a Dutch woman, Miep Gies, who helped hide Anne Frank and her family from the Nazis. Yet, in their very separate roles, both found ways to bring musical light or even levity into a drama that inevitably skews toward tension. Este Haim took on the EMP job for the first time with “A Small Light” after previously scoring or co-composing “Maid” and “Cha Cha Smooth” — on top of her day job as one-third of the rocking sister trio Haim. For “A Small Light,” she produced episode-ending covers of songs from the first half of the 20th century, performed by Angel Olsen, Moses Sumney, Kamasi Washington, Sharon Van Etten with Michael Imperioli, Remi Wolf, Weyes Blood, duet partners Orville Peck and King Princess, and her sister Danielle.

Owen Gleiberman Chief Film Critic In recent years, as the romantic comedy has done a slow fade-out from the big screen, it often seems to have taken sex right along with it. Maybe that accounts for the extraordinary interest sparked by the trailer for — and media coverage of — “No Hard Feelings,” a sort of romantic comedy about a 32-year-old out-of-work Uber driver, played by Jennifer Lawrence, who gets involved with a gawky 19-year-old virgin geek who’s about to enter Princeton. There’s been some moralistic pearl-clutching over the trailer, though probably for the very same reason that the movie could connect: It looks a little pervy. Yet when you see “No Hard Feelings,” you realize that the film’s promise of risky business is little more than a big tease.

Taylor Swift has announced a load more dates for her The Eras Tour, including UK shows in June next year, and some extra London dates in August 2024 as well.“Excuse me, hi, I have something to say”, she posted on Twitter yesterday. “I can’t wait to see so many of you on The Eras Tour next year at these new international dates!”In addition to shows in Latin America later this year, Swift will also play Japan, Australia and Singapore in early 2024, before arriving in Europe in May with a couple of dates in Paris.Fans were urged in the tweet to visit Swift’s website for “more information on your registrations, pre-sales and on-sales!” Ah yes, registrations and pre-sales for a Taylor Swift tour, what could possibly go wrong with that? Nothing, nothing can go wrong.

tourist submersible on an expedition to the wreckage “has the potential to be a major tragedy.”“No matter what you may read in the coming hours, all that is truly known at this time is that communications with the submersible have been lost and that is unusual enough to warrant the most serious consideration,” Stephenson wrote in a Facebook post Monday.“I am most concerned about the souls aboard, whose identities have not yet been made public,” he added at the time, though the five passengers have since been identified. Stephenson and Cameron, 68, journeyed over 2 miles beneath the ocean surface to the wreckage of the Titanic in 2005.

Owen Gleiberman Chief Film Critic “Superhero fatigue” is a phrase that tends to make devoted movie lovers swoon with rapture. If you’re someone who cares about movies, who cares about cinema, the very prospect of superhero fatigue inspires you to think: Yes! There’s hope! People will get tired of this shit! But let’s be honest — that’s probably wishful thinking. In the last 20 years, led by Marvel but by no means limited to Marvel, comic book movies have infiltrated our culture and our consciousness to the point that they’re now part of who we are. If you ask any number of people, especially dudes of a certain generation, to name their favorite film, they will look at you and say “Star Wars,” often with a smirk that’s really saying, “’Star Wars,’ of course!” These aren’t just “Star Wars” fans. They’re “Star Wars” fundamentalists, who built the seedbeds of their imaginations on the original trilogy.

Owen Gleiberman Chief Film Critic I’ve always been shy when it comes to writing about Wes Anderson, because he’s a filmmaker I rarely connect with. When I watch one of his movies, I can’t help but see his talent (the visual wizardry, the debonair lapidary cleverness), but I feel like I’m experiencing something that was made on a different planet from the one I live on. I have felt that way from his very first feature, “Bottle Rocket” (1996), and I really felt it at the Toronto Film Festival in 1998 when I saw “Rushmore” — because everyone there did a backflip of ecstasy, already hailing Anderson as the filmmaker of his generation, and I didn’t get it. I mean, I kind of saw what people were talking about: that “Rushmore” was like “The Graduate” for the new millennium, that the Jason Schwartzman hero had a formidable Holden Caulfield-gone-meta-deadpan attitude that was equal parts devious and desperate, that the Bill Murray character seemed the apotheosis of Bill Murray, and other things. But the bottom line for me is that “Rushmore,” on some essential chemical cinematic level, was too flip, too ironic, too whimsical, too in love with its cheeky postmodern self, and (yes, let’s use the word! How could we not?) too twee.   

Cyndi Lauper revealed that she initially objected to recording "Girls Just Want To Have Fun" because the song was written by a man. The 69-year-old singer's iconic 1983 hit was originally written and recorded as a demo by musician Robert Hazard in 1979. In the new documentary "Let the Canary Sing," which chronicles Lauper's life and career, she recalled that her producer Rick Chertoff took her to see Hazard perform "Girls Just Want To Have Fun" live.

There’s likely a logical and emotional reason that both Princess Catherine (aka Kate Middleton) and Queen Camilla were spotted out wearing nearly identical green dresses this week.

Owen Gleiberman Chief Film Critic “The Blackening” is a slasher movie that’s also a slapdash enjoyable social satire. That the satire turns out to be sharper than the scares isn’t a problem — it’s all part of the film’s slovenly demonic party atmosphere. The set-up, which feels like a “Friday the 13th” sequel by way of “Bodies Bodies Bodies,” reunites nine old college chums to celebrate Juneteenth weekend in a big roomy house they’ve rented near the woods. (Yes, it’s a cabin-in-the-woods movie, but “cabin” doesn’t describe this place.) As Tina Turner’s cover of “I Can’t Stand the Rain” spins on the turntable, the first two to arrive, Morgan (Yvonne Orji) and Shawn (Jay Pharaoh), find their way to the basement game room, which has shelves of old board games, an ancient TV set, a Ouija board, and a prominently displayed game called The Blackening. Taking the box cover off, they discover, to their horror, that there’s a plastic Sambo head in the middle of the board, which asks questions like “What’s the first Black character to survive a horror movie?” For a few minutes, we’re in the terrain of “Scream” by way of “Get Out.”

What better way to come to know a public figure than to discover them in their own words, or, better yet, their own singing voice? Filmmaker Allison Ellwood seems drawn to that notion because she let it guide her as she crafted the smart and sentimental “Let The Canary Sing.” The new documentary is a colorful force of nature underscored by the fierce soundtrack of life, embodying the best parts of its subject in the name of nostalgic exploration. After all, music can tell beautiful stories, and this journey is no exception.“Let The Canary Sing” chronicles the rise of legendary 1980s rock star Cyndi Lauper and the complications that came for her career along the way.

Matthew Broderick couldn't be happier to be a dad.The celebrated actor walked the red carpet at the 2023 Father of the Year Awards at the Sheraton New York Times Square Hotel on Thursday, where he was joined by his 20-year-old son, James Wilkie Broderick, who presented him with the special honor at the event.ET spoke with the father-son duo ahead of the gala, and Matthew, 61, said that out of all the things he's done, being a father «is my favorite.»Reflecting on the unexpected nature of fatherhood, Matthew explained, «It just happens, you know? You don't really know how to do it, and then suddenly you're a dad. But I'm very happy that that happened.»«I didn't really choose for him to be my dad either, in the same fashion,» James chimed in with a laugh. «But I'm extremely happy.»Matthew and his wife, Sarah Jessica Parker, welcomed James in 2002.

Cyndi Lauper’s debut solo single, “Girls Just Want to Have Fun,” was flopping so badly that her record company had given up on it.But the singer and her then-manager and boyfriend, David Wolff, still believed in what would become her signature song. Given only two weeks to make the single a hit, Wolff came up with the idea for her to partner with wrestling legend Captain Lou Albano — who played Lauper’s father in the “Girls” video — to promote her music via the World Wrestling Federation, the precursor to today’s World Wrestling Enterprises.

J. Kim Murphy Robert Gottlieb, an editor extraordinaire who worked with writers as varied as Toni Morrison, John le Carré, Michael Crichton, Robert Caro and Bill Clinton, died Wednesday at a hospital in Manhattan. He was 92. Gottlieb’s death was confirmed to the New York Times by his wife, actor Maria Tucci. Working at publishers Simon & Schuster and Alfred A. Knopf, Gottlieb’s impressive record of shepherding manuscripts into well-regarded, sometimes bestselling and award-winning works earned him a towering reputation among literary elite. John Cheever, Joseph Heller, Doris Lessing, Chaim Potok and Ray Bradbury were among his clients, along with Katharine Graham, the once publisher of the Washington Post.

Cheryl is reportedly set to make a huge career comeback which is said to have sparked a showbiz bidding war - although she's expected to take her career in a different direction from pop music. The Geordie singer first found fame in TV contest Popstars: The Rivals in 2002, winning a place in Girls Aloud and going on to rack up a string of hits with her group and also in her solo career.

Daniel Albaladejo Robles Growing up on the island of Tenerife at a time when pursuing a career in animation and film was out of bounds, Albaladejo moved to Madrid to study both subjects at the Madrid Film School. His first jobs were on children’s series “Jelly Jamm,” “Pocoyo” and “The Amazing World of Gumball.” His VFX credits include “Game of Thrones” and “A Monster Calls” at El Ranchito in Madrid. “For the past few years, I have focused on storyboarding or animation, working as a freelancer for various studios, including Las Palmas-based Amuse,” he says. He recently worked on animated docu pic, “Mariposas Negras,” and is now collaborating on a U.K. series under wraps. AMDLF