‘Past Lives,’ Lily Gladstone Win at Gotham Awards 

Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)
Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)
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‘Past Lives,’ Lily Gladstone Win at Gotham Awards 

Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)
Janae Collins, Cara Jade Myers, Tantoo Cardinal, Yancey Red Corn, Leonardo DiCaprio, Robert De Niro, Lily Gladstone, William Belleau, Jillian Dion and Talee Redcorn pose with awards at the 33rd annual Gotham Film Awards in New York City, U.S., November 27, 2023. (Reuters)

Celine Song’s wistful romance "Past Lives" earned top honors at the Gotham Awards on Monday evening at an award-season kickoff where the night's biggest drama came in a political speech by Robert De Niro that the actor claimed had been edited without his permission.

"Past Lives," a breakout at the Sundance Film Festival in January and an arthouse hit in June for A24, may be poised to be an Oscar sleeper this year after winning best feature film at the Gothams. Affection is strong for Song’s directorial debut, starring Greta Lee as a woman born in Seoul who, after marrying an American (John Magaro), reconnects with a childhood friend from South Korea (Teo Yoo).

"This is the first film I've ever made and a very personal film about an extraordinary feeling I had in an ordinary bar in the East Village, not too many blocks away from here," said Song, accepting the award. "As this film has been shared with the world, it has taught me — and taught us — that you're never alone in that extraordinary feeling."

"Past Lives" was expected to win, but the ceremony went off-script when De Niro, co-star in Martin Scorsese's "Killers of the Flower Moon," took the podium to present a tribute award to the film. While giving his remarks, De Niro noticed a section had been omitted on the teleprompter. After attempting to scroll back through, he completed his speech before returning to read from his phone.

"The beginning of my speech was edited, cut out," De Niro said. "I didn’t know about it."

De Niro, known for his fiery rhetoric against former President Donald Trump, then expanded on what he called America's "post-truth society" and chided Hollywood — specifically John Wayne — for earlier depictions of Native Americans.

"The former president lied to us more than 30,000 times during his four years in office, and he’s keeping up the pace with his current campaign of retribution," De Niro said. "With all of his lies, he can’t hide his soul. He attacks the weak, destroys the gifts of nature and shows his disrespect for example using Pocahontas as a slur."

De Niro seemed to blame Apple, which produced "Killers of the Flower Moon," for the changes to his speech.

"So, I’m going to say these things — to Apple and thank them, all that. Gothams. Blah blah blah. Apple. But I don’t really feel like thanking them at all for what they did," said De Niro. "How dare they do that, actually."

Apple didn't immediately respond to requests for comment late Monday evening.

It was still a big night for Scorsese's epic, about the Osage murders in the early 20th century, even though Scorsese unexpectedly wasn't in attendance. Lily Gladstone, who stars in the film opposite Leonardo DiCaprio, won for best lead performance — though not for that performance.

Gladstone won for a lesser-known film released earlier in 2023: "The Unknown Country," in which stars as a woman embarking on a road trip though the Midwest. In each of her speeches — for "Killers of the Flower Moon" and "The Unknown Country" — Gladstone praised the filmmakers for prioritizing Native perspectives.

"I challenge everybody in this room who makes films: Invest. When you have a budget, invest it in the people," said Gladstone. "Invest in the people that you’re telling your story about. Your film will be better for it. Your lives will be better for it."

The Gotham Awards, now in their 33rd year, leapfrog most of the major ceremonies that lead up to the Academy Awards. But over time, they’ve established themselves as the first big party of the season, and an early hint at some of the favorites.

Put on by the Gotham Film & Media Institute and held annually at Cipriani Wall Street, the Gothams have some quirks that make them different than other awards. Prizes are chosen by small committees of film professionals, critics and journalists. Their acting categories are also gender neutral, with 10 actors nominated for lead performance, and another 10 up for supporting performances.

This year, one of the most competitive categories was best international film. There, Justine Triet's Palme d'Or winning courtroom drama "Anatomy of a Fall" triumphed over the likes of "Poor Things,All of Us Strangers" and "The Zone of Interest." Triet's film also won for best screenplay.

Andrew Haigh’s tender metaphysical drama "All of Us Strangers," starring Andrew Scott and Paul Mescal, had come into the Gothams as the lead nominee with four nods, but went home without a trophy.

The Gothams this year removed a $35 million budget cap for nominees, but many big-budget films still opted not to submit themselves. The monthslong Screen Actors Guild strike meant awards season got off to a slower start, but one of the early questions is if anything can rival those diametrically opposed summer sensations of "Barbie" and "Oppenheimer."

Greta Gerwig and Margot Robbie of "Barbie" were among the numerous tribute awards. In their joint speech, Gerwig said her partner, Noah Baumbach, found out he was co-writing the movie with her from a Variety article that cited them both. He sent the article to Gerwig with just a question mark, she said.

"Then he wrote back: ‘It’s OK, we'll make each other laugh,’" added Gerwig.

Best supporting performance went to Charles Melton of Todd Haynes' "May December." He plays a young father who first began his relationship with his wife (Julianne Moore) when he was a minor.

A.V. Rockwell, whose directorial debut "A Thousand and One" stars Teyana Taylor as a single mother, won for breakthrough director. She noted all of her fellow nominees were women. "It's a fight just to get here," she said.

"Just to be frank, it is very hard to tell a culturally specific story when you look like this," said Rockwell.

Best documentary went to Kaouther Ben Hania’s Tunisian film "Four Daughters," a true story about a Tunisian women with two daughters who became radicalized. The film reconstructs their disappearance.

In the TV categories, the Netflix series "Beef," starring Steven Yeun and Ali Wong as a pair locked in a feud after a road rage incident, won for both breakthrough series under 40 minutes and for Wong's performance.

"If you haven't seen ‘Beef’ yet, I swear it’s more than me and Steven crying," Wong said.

Tribute awards ensured that some star power hit the Gothams stage. They were given to: Bradley Cooper, the director, star and co-writer of "Maestro"; Ben Affleck, the director and co-star of "Air"; George C. Wolfe, the director of "Rustin"; and Michael Mann, the director of "Ferrari."

Affleck, however, wasn't in attendance. The film's screenwriter, Alex Convery, instead accepted the award.

"Well, you thought you were getting Ben Affleck," said Convery. "Sorry."

The Gothams have a checkered history of forecasting future awards glory. Last year, it was the first win in what became a runaway Oscar campaign for "Everything Everywhere All at Once," and where Ke Huy Quan’s supporting-actor bid got its start. The year before that, Gotham winner "The Lost Daughter" faded on the campaign trail, but 2020-winner "Nomadland" went the distance to the Academy Awards.



Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”


Nicki Minaj Surprises Conservatives with Praise for Trump, Vance at Arizona Event

CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)
CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)
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Nicki Minaj Surprises Conservatives with Praise for Trump, Vance at Arizona Event

CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)
CEO and Chair of the Board of Turning Point USA Erika Kirk (L) listens to US rapper Nicki Minaj speak during Turning Point's annual AmericaFest conference in Phoenix, Arizona on December 21, 2025. (Photo by Olivier Touron / AFP)

Rapper Nicki Minaj on Sunday made a surprise appearance at a gathering of conservatives in Arizona that was memorializing late activist Charlie Kirk, and used her time on stage to praise President Donald Trump and Vice President JD Vance, calling them “role models” for young men.

The rap star was interviewed at Turning Point USA’s AmericaFest convention by Erika Kirk, the widow of Charlie Kirk, about her newly found support for Trump — someone she had condemned in the past — and about her actions denouncing violence against Christians in Nigeria.

The Grammy-nominated rapper's recent alignment with the Make America Great Again movement has caught some interest because of her past criticism of Trump even when the artist's own political ideology had been difficult to pin down. But her appearance Sunday at the flagship event for the powerful conservative youth organization may shore up her status as a MAGA acolyte.

Minaj mocked California Gov. Gavin Newsom, referring to him as New-scum, a nickname Trump gave him. Newsom, a Democrat, has 2028 prospects. Minaj expressed admiration for the Republican president and Vance, who received an endorsement from Erika Kirk despite the fact he has not said whether he will run for president. Kirk took over as leader of Turning Point.

“This administration is full of people with heart and soul, and they make me proud of them. Our vice president, he makes me ... well, I love both of them,” The Associated Press quoted Minaj as saying. “Both of them have a very uncanny ability to be someone that you relate to.”

Minaj’s appearance included an awkward moment when, in an attempt to praise Vance’s political skills, she described him as an “assassin.”

She paused, seemingly regretting her word choice, and after Kirk appeared to wipe a tear from one of her eyes, the artist put her hand over her mouth while the crowd murmured.

“If the internet wants to clip it, who cares? I love this woman,” said Erika Kirk, who became a widow when Charlie Kirk was assassinated in September.

Last month, the rapper shared a message posted by Trump on his Truth Social network about potential actions to sanction Nigeria saying the government is failing to rein in the persecution of Christians in the West African country. Experts and residents say the violence that has long plagued Nigeria isn’t so simply explained.

“Reading this made me feel a deep sense of gratitude. We live in a country where we can freely worship God,” Minaj shared on X. She was then invited to speak at a panel at the US mission to the United Nations along with US Ambassador Mike Waltz and faith leaders.

Minaj said she was tired of being “pushed around,” and she said that speaking your mind with different ideas is controversial because “people are no longer using their minds.” Kirk thanked Minaj for being “courageous,” despite the backlash she is receiving from the entertainment industry for expressing support for Trump.

“I didn’t notice,” Minaj said. “We don’t even think about them.” Kirk then said “we don’t have time to. We’re too busy building, right?”

“We’re the cool kids,” Minaj said.

The Trinidadian-born rapper is best known for her hits “Super Freaky Girl,” “Anaconda” and “Starships.” She has been nominated for 12 Grammy Awards over the course of her career.

In 2018, Minaj was one of several celebrities condemning Trump’s zero-tolerance immigration policy that split more than 5,000 children from their families at the Mexico border. Back then, she shared her own story of arriving to the country at 5 years old, describing herself as an “illegal immigrant.”

“This is so scary to me. Please stop this. Can you try to imagine the terror & panic these kids feel right now?” she posted then on Instagram.

On Sunday on stage with Erika Kirk, Minaj said, “it’s OK to change your mind.”


'Avatar: Fire and Ash' Launches With $88Mn Domestically, $345Mn Worldwide

 This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)
This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)
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'Avatar: Fire and Ash' Launches With $88Mn Domestically, $345Mn Worldwide

 This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)
This image released by 20th Century Studios shows Kiri, performed by Sigourney Weaver, in a scene from "Avatar: Fire and Ash." (20th Century Studios via AP)

“Avatar: Fire and Ash” opened with $345 million in worldwide sales, according to studio estimates Sunday, notching the second-best global debut of the year and potentially putting James Cameron on course to set yet more blockbuster records.

Sixteen years into the “Avatar” saga, Pandora is still abundant in box-office riches. “Fire and Ash,” the third film in Cameron’s science-fiction franchise, launched with $88 million domestically and $257 million internationally. The only film to open bigger in 2025 was “Zootopia 2” ($497.2 million over three days). In the coming weeks, “Fire and Ash” will have the significant benefit of the highly lucrative holiday moviegoing corridor.

But there was a tad less fanfare to this “Avatar” film, coming three years after “Avatar: The Way of Water.” That film launched in 2022 with a massive $435 million globally and $134 million in North America. Domestically, “Fire and Ash” fell a hefty 35% from the previous installment. Reviews for “Fire and Ash” were also more mixed, scoring a series-low 68% “fresh” score on Rotten Tomatoes.

Yet those quibbles are only a product of the lofty standards of “Avatar.” The first two films rank as two of the three biggest box-office films of all time. To reach those heights, the “Avatar” films have depended on legs more than huge openings.

“Avatar” (2009), opened with $77 million domestically but held the top spot for seven weeks. It ultimately grossed $2.92 billion worldwide. “The Way of Water” also held strong to eventually tally $2.3 billion globally.

“The openings are not what the ‘Avatar’ movies are about,” said David A. Gross, a film consultant who publishes a newsletter on box office numbers. “It’s what they do after they open that made them the #2 and #3 biggest films of all time.”

Should “Fire and Ash” follow in those footsteps, “Avatar” would become the only movie franchise with three $2 billion installments. Working in its favor so far: strong word-of-mouth. Audiences gave it an “A” CinemaScore.

In interviews, Cameron has repeatedly said “Fire and Ash” needs to perform well for there to be subsequent “Avatar” films. (Four and five are already written but not greenlit.) These are exceptionally expensive movies to make. With a production budget of at least $400 million, “Fire and Ash” is one of the costliest films ever made.

“Fire and Ash” was especially boosted by premium format showings, which accounted for 66% of its opening weekend. A narrow majority of moviegoers (56%) chose to watch it in 3D.

The “Avatar” films have always been especially popular overseas. “Fire and Ash” was strongest in China, where its $57.6 million opening weekend surpassed the two previous movies.

“Fire and Ash” didn’t have the weekend entirely to itself. A trio of other new wide releases made it into theaters in hopes of offering some counterprogramming: Lionsgate’s “The Housemaid,” Angel Studios’ “David” and Paramount Pictures’ “The SpongeBob Movie: Search for SquarePants.”

In the race for second place, “David” came out on top. The animated tale of David and Goliath collected $22 million from 3,118 theaters, notching the best opening weekend for Angel Studios.

“The Housemaid,” Paul Feig’s twisty psychological thriller starring Sydney Sweeney and Amanda Seyfried, opened with $19 million 3,015 theaters. The Lionsgate release, which cost about $35 million to make, is set up well to be one of the top R-rated options in theaters over the holidays. Based on Freida McFadden’s bestselling novel, it stars Sweeney as a woman with a troubled past who becomes a live-in maid for a wealthy family.

Trailing the pack was “The SpongeBob Movie: Search for SquarePants,” which collected $16 million from 3,557 theaters. The G-rated film, based on the Nickelodeon TV series, is the first “SpongeBob” theatrical movie since 2015’s “The SpongeBob Movie: Sponge Out of Water.”

All of this weekend’s new films will hope the ticket sales keep rolling in over the upcoming Christmas break. Starting Dec. 25, they’ll need to contend with some new wide releases, including A24’s “Marty Supreme,” with Timothée Chalamet; Focus Features’ “Song Sung Blue,” with Hugh Jackman and Kate Hudson; and Sony’s “Anaconda,” with Jack Black and Paul Rudd.

Before expanding on Christmas, “Marty Supreme” opened in six theaters over the weekend, grossing $875,000 or $145,000 per theater. That was good enough for not only the best per-theater average of the year, but the best since 2016 and a new high mark for A24. The film, directed by Josh Safdie and starring Chalamet as an aspiring table tennis player in 1950s New York, is the most expensive ever for A24.