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Brains before bridgesThis article was originally published in 2018 and has been updated to include the actor’s most recent work, including Gladiator II. Of all A-list stars, Denzel Washington’s career may be the most enviable. Although he has a well-established onscreen persona, it’s mutable enough to allow him to move from R-rated action films ( The Book of Eli ) to serious dramas ( Philadelphia ) to passion projects with frequent collaborators (like Spike Lee). Tied to no franchise — seriously, until The Equalizer 2 , he’d never made a sequel — he puts asses in seats, but not in such huge amounts that there’s any worry of Denzel fatigue setting in. (Consider: He’s been in only six movies that have made more than $100 million domestically, his biggest hit being the relatively modest $130 million of American Gangster .) Almost alone among consistent box-office draws, Washington himself is the selling point: Even when he does a remake ( The Magnificent Seven , The Taking of Pelham 1 2 3 ), you’re going because of him . Many well-respected actors have worked their way up the Hollywood food chain, trading their Oscar cachet for big paydays and embarrassing themselves in the process. Happily, Washington’s career has not worked that way. Unlike a Nicolas Cage , he has kept from becoming a self-parody, focusing on gritty genre pictures for a few years before throwing us a curveball and doing something deeply moving like a Flight or Fences . But which performance is his best? Here are all of Denzel Washington’s movie roles, ranked. From the Department of Very Bad Ideas, this theoretical “comedy” stars Bob Hoskins as a racist cop — the movie is so open about his racism that he regularly uses the word “spook” — who receives a heart transplant from a black lawyer (Washington) he despised in life but whose murder he now has to solve. This is as groaning a comedy as it sounds. Even though Washington is as graceful as always, and funnier than usual, you occasionally can catch a peek of him glancing offscreen, knowing better things are coming and eager to get out of this. (He made two Spike Lee movies in the next years.) In Washington’s debut film, he plays the long-lost son of George Segal, a lawyer so concerned about appearances that he hides that he’s Jewish from his anti-Semitic boss; Segal has to decide whether he’ll accept his sudden son or side with the racist jerks at his law firm. Take a guess. Washington is fun and cocksure, but what you really need to know is that the actual tag line on the actual poster — featuring a befuddled Segal looking terrified that he is standing next to a black person — is “Any resemblance between Father and Son is purely hysterical.” Washington plays a loving father whose son needs a heart transplant and, because his insurance won’t pay for it, takes a hospital hostage. The movie is a message movie about Our Health Care Crisis, and it’s as subtle as a defibrillator. Washington makes some speeches, we learn Something Has to Be Done, and the movie has the narrative propulsion of a morgue. This is one of those movies in which every character is an idiot — and Denzel does not play “idiot” well. Denzel wasn’t making it through the ‘90s as a superstar without making at least one terrible “cyber” movie, so here’s his. He’s chasing yet another serial killer in this one, except this time it’s a computer-program killer who looks and talks a lot like Russell Crowe. These sorts of movies never dates well, but this one is particularly moldy. But Crowe does get this delicious bit of robot dialogue: “Just because I’m carrying around the joy of killing your family inside me doesn’t mean we can’t be friends.” A Tony Scott joint, but a vastly overstuffed one that tries to be a cop thriller, a time-travel science-fiction jaunt, and a commentary on post-Katrina New Orleans... and it goes as well as you’d expect for a movie trying to cram all those things into a single Hollywood movie. There’s a non-terrible idea here, but it’s buried. Sure, it’s a hoot to watch Washington kick back and let his bulletproof swagger do most of the heavy lifting, but 2 Guns isn’t nearly as cool as its star, who teams with Mark Wahlberg to play smartass undercover cops up against the cartel. Their odd-couple pairing has its pleasures, but this is the type of so-so movie Washington does while he’s waiting around for some better material. Here’s one his many Se7en knockoffs, this one based on a series of novels about a quadriplegic cop, played by Washington, who teams with a rookie cop (Angelina Jolie) to take down a serial killer. Washington tries to give his detective some desperation — he’s devastated by no longer being able to walk — but the movie is too absurd and sloppy to dig much into it. It was supposed to set off a series of films about this detective team. It did not. This earnest, sweetly dumb family comedy is a remake of The Bishop’s Wife , and stars Washington as an angel from heaven sent to help a preacher (Courtney B. Vance, two decades before he played Johnny Cochran) and his good-hearted wife (Whitney Houston). The movie sets up a love triangle but never really follows through on it: It mostly just wants to give Houston opportunities to sing. She does so, singing like only Whitney Houston could, and viewers end up unchallenged and completely unable to recollect anything else that happened in the movie. ... In which director Antoine Fuqua does the seemingly impossible and makes Washington seem kinda boring onscreen. As the leader of a ragtag group of hombres out to defend a helpless community from a violent sociopath (Peter Sarsgaard) , Denzel shoots for the strong, silent type but winds up somewhere between dull and bored. This is even more troubling in a sluggish remake that has a tough time justifying its existence in the first place. A remake of the 1974 subway-hijack thriller is inferior in just about every way, particularly with its villain, played by a way-too-jacked-up John Travolta. Washington’s a little too, well, Denzel Washington to be believable as a nerdy subway dispatcher pushed into an impossible situation; you know he’s going to end up saving the day because, jeez, he’s Denzel Washington. You can’t nerd up Denzel just by giving him glasses. Here’s Washington’s postapocalyptic thriller, and it’s not a particularly inspired one. Denzel is still the tough guy, but he’s not unhinged enough to make a world like this one feel quite alive or real. The upside: There’s a conversation between Denzel Washington and Tom Waits in this movie, and we’re just glad to live on a planet where that could happen. Another one of those Se7en knockoffs Washington found himself in, this is among the sillier entries, with a serial-killer mystery that ends up involving Hell itself. Washington does his best to keep this film grounded, but you can’t help but wonder if the insanity of this movie should’ve been leaned into a little more. A perfectly fine remake that features a perfectly fine performance from Washington as a former soldier who starts to think that he and his buddies (including Liev Schreiber) were brainwashed for nefarious purposes. It’s fun to see the Oscar winner in paranoid-thriller mode — as always, he’s the consummate badass you underestimate at your peril — but this Manchurian Candidate doesn’t require any real stretching on his part. Washington’s earliest junk thriller, and a sort of fun one: He’s a former cop turned district attorney who has to team with childhood friend-turned-drug dealer Ice-T to stop a crazed serial killer (John Lithgow). If anything, this movie is a showcase for Lithgow, who chews everything in sight; Washington’s hero is a little more down and dirty than he would be in later films Denzel takes on an English accent as Reuben, a former British soldier who returns home after several years of fighting only to discover that his country sees him less as a war hero and more as a black man during Thatcherism. After a series of setbacks and confrontations with a system stacked against him, Reuben strikes back at the police and government that forgot him. Washington’s ability to get you to instantly root for him helps out a ton here, and his performance is the perfect mix of rage and vulnerability. And yes: He nails the accent. The Washington movie you’re most likely to wrongly assume was directed by frequent collaborator Tony Scott, Safe House finds the actor playing a brilliant, lethal CIA operative who went rogue, with Ryan Reynolds’s wet-behind-the-ears agent escorting him back to the U.S. to face punishment. The film has that Scott-ian sleekness (but is really directed by Swedish filmmaker Daniel Espinosa in his Hollywood debut), and Washington rules with his super-chill cockiness. Still, it’s nobody’s favorite Denzel movie, and you might be forgiven for forgetting it ever existed. This is a daunting role — that of an uptight lawyer confronting his own homophobia while defending a gay man (Tom Hanks) — but Washington does a fine job transforming the character from a life-lesson surrogate for the audience into a person with actual dimensions. Philadelphia didn’t net him an Oscar nomination, but it was one of the last times he’d play a supporting role in a movie. Washington’s second film as director is less successful that his first ( Antwone Fisher ) but still occasionally stirring. Washington plays Melvin Tolson, the debate coach at Wiley College who puts together a team — including The Birth of a Nation filmmaker and star Nate Parker, in an early role — that eventually takes on Harvard. It’s essentially a sports movie, and it’s produced by Oprah, which adds to its This Movie Is Good For You vibe. It has its moments, but can’t hold up to Fisher ’s power. This mostly forgotten Sidney Lumet film attempts to be a Big Statement about the Way We Live Now, but mostly it gets caught up in plot mechanics and actorly indulgence. Richard Gere plays a media consultant who gets in over his head, but it’s Washington who shines as a PR expert who’s onto Gere’s nefariousness and begins to mess with his mind. The movie’s eyes are bigger than its stomach: By the end, it falls apart, but Washington remains the lone takeaway. Playing past-his-prime cop Deke Deacon, Washington doesn’t have to do much to convey the character’s tarnished greatness and stubborn brilliance other than simply ... be Denzel Washington. Indeed, The Little Things goes a long way on the actor’s authoritative, no-nonsense persona, especially when Deke is paired up with Rami Malek’s hotshot detective, who recruits the old guy to help him figure out who’s killing women across Los Angeles in the same sadistic manner. Much of the pleasure of John Lee Hancock’s marginal thriller comes in the familiar sight of Washington outsmarting those around him and projecting a weary grandeur that suggests all the horrors this man has seen on the job. He’s such an imposing force that neither Malek nor Jared Leto (as their likely suspect) can measure up, which probably explains why they give such self-consciously mannered performances. They can’t hope to match his effortless, lived-in swagger. A movie that’s probably best known in the culture for that great 30 Rock episode that parodied it, The Pelican Brief is an important pivot for Washington, who was transitioning from acclaimed actor to mainstream star. In John Grisham’s original novel the dogged journalist character Gray Grantham was white, but, reportedly, co-star Julia Roberts insisted that Washington be cast in the role. Charismatic and coolly intelligent, Gray was a perfect early platform for Washington’s leading-man chops. Soon, he’d be anchoring every film in which he appeared. Washington reunited with Glory director Edward Zwick to make this Gulf War drama, in which a lieutenant colonel (Washington) haunted by a mistake he made in the field must investigate whether a female soldier (Meg Ryan) should receive the Medal of Honor for her heroism. Courage Under Fire ’s Rashomon -like investigation and gender politics aren’t particularly riveting, but Washington’s steady righteousness is nicely undercut by the character’s inability to forgive himself for his own sins. Few actors make self-torture feel like a kind of heroism. If you didn’t know any better, this would look like just another junky early ‘00s Washington thriller; I mean, Dean Cain is in this movie. But give it another glance. Directed by Carl Franklin, Out of Time is a dark, funny, sexy offering about an alcoholic Florida cop who stumbles into a series of messes and has to maneuver himself out. The movie is overplotted, over-the-top, and overheated, but it’s still a blast, and Washington seems to get the movie’s odd-angle vibe: Take a step back, and it’s almost a more conventional test run for Inherent Vice , except in Florida and with rum rather than weed. Here’s Denzel in crowd-pleaser mode. Yeah, Remember the Titans is hokey, but when you have somebody so damn compelling in the lead role, who cares? Based on a true story of a football coach who tries to unite a racially integrated team in 1971, the film is anchored by Washington’s unfussy decency and his belief that he can make any inspirational speech feel like resonant truth. If you were on his team, you’d be willing to run through a brick wall for the guy. “I’ve never acted as silly in a movie as I am in this one.” That’s how Washington described his portrayal of Don Pedro in Kenneth Branagh’s sunny adaptation, and the big smile on his face in the interview suggests how much he enjoyed the change of pace. Much Ado About Nothing doesn’t suggest the actor missed his calling as an interpreter of Shakespeare — he’s not entirely comfortable in the role — but he is enormously charismatic, flashing the sex appeal and good humor he usually puts aside in favor of dark gravitas. The profile of this Zwick-directed drama increased after 9/11, when its story of a New York City under martial law after a series of Islamist terrorist attacks became newly urgent and relevant. The movie’s politics are still in the right place – it ends with a passionate Washington speech about ideals in the face of terrorism – but it suffers from a clunky narrative, ham-fisted earnestness, and an oddly off performance from Bruce Willis. Still, Denzel’s speech resonates almost two decades later. Washington made his directorial debut with this story of a young man (Derek Luke) who struggles with feelings of rage and fear and attempts to discover their source with his therapist (Washington). Inspired by the true story of a security guard on the Sony Pictures lot, this is Good Will Hunting but a lot better and more lived-in. It’s also a lot rawer at points, thanks largely to Luke’s powerful performance and Washington’s unflinching direction. This is a much stronger film than you remember. A violent, nasty role based on a forgotten ‘80s TV show — and yet, Washington makes it work through sheer force of stardom. His black-ops vigilante is among his most pitiless characters, and although he never quite asks you to like the guy, The Equalizer is an underrated marvel of kicking ass with ruthless, amoral efficiency. Washington was about to turn 60 when the first of these thrillers came out, but there’s no sign of slowdown in the guy: If anything, age has only solidified his imposing air. His final collaboration with director Tony Scott, who took his life two years later, Unstoppable is an old-fashioned, man-versus-train thriller, and as such provides a latter-day example of just how fantastic Washington can be when he plays smart, no-nonsense men. While he’s clearly the star, Washington’s also an excellent duet partner, working seamlessly with then-newcomer Chris Pine as they battle to stay alive while corralling a runaway locomotive. What a simple premise — and look how Washington makes it sing. If we were ranking Washington’s performances based solely on their cold-bloodedness, American Gangster ’s Frank Lucas would be near the top. This Harlem gangster operates by a strict moral code — don’t they all? — but the ferocity of Washington’s portrayal is enhanced by the character’s racial resentment. As admired and feared as Lucas may be, he’s also a black man living in White America, and he carries that chip on his shoulder with a perpetual anger that suggests that no amount of power will ever remove it. Washington earned his ninth Oscar nomination — and sixth Best Actor nod — for his peculiar, utterly fascinating portrait of the title character, an aggressively principled defense attorney who faces an ethical crisis of his own making. Roman J. Israel, Esq. is a profoundly odd character drama — Nightcrawler writer-director Dan Gilroy tries to graft a thriller subplot onto the story near the end — and it’s driven by Roman’s idealistic, combative attitude. This aging champion for the little guy yearns for a fight at every occasion, not aware that his stubbornness and ego have proved to be his undoing, and Washington responds with a harried, vulnerable performance. For fans who have gotten used to the actor’s more swaggering portrayals, Roman J. Israel, Esq. represents a bracing change of pace, as Washington shows us the flop sweat and desperation of a righteous man coming to terms with the fact that his years of activism have done little to change the world. Washington was featured in most of the movie’s advertising, but he’s actually a supporting character in this adaptation of Charles Fuller’s Pulitzer Prize–winning play about a black officer (Howard Rollins) investigating the murder of a black sergeant in Louisiana toward the end of World War II. Denzel plays the earnest private with a secret with a smart, eager-to-please manner that disguises the cunning and danger underneath. It’s a terrific performance, and even with all the other fine actors onscreen, you keep waiting for Washington to come back. One of Washington’s big breakthrough roles was as slain activist Stephen Biko, who was killed trying to end apartheid in South Africa. Here, as was the case in so many movies like this in the ‘80s, we’re given a white character (a journalist played by Kevin Kline) to interpret all the black character’s ideas, but at least Kline and Washington play strongly off each other, and otherwise Kline stays out of his way. The movie’s failings aside, Washington kills the accent and hits his big courtroom speech out of the park. The title does a lot of the work here: Denzel gets to play a man of righteous and furious vengeance. He’s a former CIA operative who finds redemption in a 9-year-old girl (Dakota Fanning) he’s sworn to protect ... until she’s kidnapped and he has to go save her. This is a terrific template for all those Liam Neeson action-thrillers that were coming, and Washington basically comes across as the last guy in the world you’d want coming after you. Plus, he gets a killer of a final scene (above). Among his most impressive achievements is the way Washington can take potentially awards-bait roles and transcend them. His performance as Rubin Carter, the boxer jailed for murders he didn’t commit, couldn’t be more suited to courting Oscar voters — and indeed, he received a Best Actor nod — but he’s consistently convincing as a man who had his life taken away from him. It’s an emotional turn that Washington elevates with his decency, allowing you to feel Carter’s outage and helplessness. Roger Ebert said this was “one of those roles that creates a movie star overnight,” and wow, was he ever right. This isn’t the best movie Washington has ever been in, and it might not be his best performance, but it could be his most purely charismatic: Every move he makes wafts off the screen. He plays a Caribbean cop trying to save a childhood friend (Robert Townsend) from doing time for a crime he didn’t commit, but this is really just about Denzel being the most charming man on the planet. Seriously, watch him play the piano above. It’s almost unfair. After working together on three films that dealt with race and class, Washington and Spike Lee made a straightforward crime thriller that, naturally, was the biggest hit of the bunch. But that shouldn’t diminish how terrific Inside Man is — or the greatness of Washington’s suave hostage negotiator as he squares off against Clive Owen’s equally unflappable bank thief. Washington always brings a little extra crackle when he’s in a Lee joint, and he gives this street-savvy character a jazzlike improvisational flair that’s both compelling and exciting. It’s very possible Washington won his first Oscar solely on the strength of Glory ’s whipping scene (above), which highlighted the actor’s ability to meld defiance and vulnerability. Because Glory is yet another white-savior drama, it’s tempting to underrate the movie or his performance, but Washington’s Trip is a vibrant, cocky character that’s lost none of his spark almost 30 years later. Here’s where the actor demonstrated that he was among the most commanding presences onscreen — a star in the making. When Flight hit theaters, Washington had mostly put aside challenging roles for punch-the-clock thrillers. But this Robert Zemeckis drama reminded viewers that Washington could still deliver layered performances. He’s exceptional as a hero-pilot who’s trying to stay one step ahead of the addiction problems that threaten to destroy him. The Oscar winner often plays badasses or righteous heroes, but here he portrays a pathetic, small man, and the change of pace makes it all the more gripping. Washington’s take on Macbeth was unencumbered by memories of other actors who have tackled the role over the years: He had never seen a production of Shakespeare’s tragedy, and he wasn’t about to check out earlier film adaptations. (“I’d watch a couple of minutes: ‘No, no, no, I don’t want that to affect me,’” he said in 2022 .) Unsurprisingly, then, his Macbeth (while perhaps not definitive) is very much him. Washington plays the doomed thane as a proud warrior full of intensity and serious intent, a man whose every thought and worry register on that gloriously weathered face. Intriguingly, director Joel Coen cast his Tragedy of Macbeth stars older, allowing Washington and Frances McDormand to portray a longtime couple who know each other inside out, their scheming being the by-product of a marriage between two survivors. You feel the ambition and the anguish in Washington’s burning performance, which is only accentuated by Coen’s striking, minimalist black-and-white images. Mira Nair now makes big Disney movies ( Queen of Katwe) and even ambitious biopics ( Amelia ), but she was never better than here, her follow-up to Salaam Bombay! She tells the story of an Indian-American woman (Sarita Choudhury) who falls in love with a carpet cleaner (Washington) in Mississippi, and how much trouble each of their families have with the coupling. The movie doesn’t shy away from darker issues and has an underlying sadness, but to focus on that would deny just how sexy this movie is, and how the chemistry between Washington and Choudhury is sometimes overwhelming. The movie is unfairly forgotten now, but it deserves another look. Working from August Wilson’s Pulitzer Prize-winning play, Washington delivers his strongest directorial effort and, in the process, gives a performance that straddles the different categories we’ve laid out for him. As Troy Maxson, a former ballplayer who works in sanitation in 1950s Pittsburgh, he’s funny and charming as hell while also projecting the patriarchal moral force who’s trying to be a role model for righteous living. In many ways, Troy is the Denzel audiences love most: He’s the superhero as regular guy, balancing that 1,000-watt smile with the weary gravitas that’s been the hallmark of his later years. But just when we think we know this noble salt-of-the-earth character, Fences sets us up for its dark twist, which forces us to see Troy not as a man of quiet dignity but, rather, a conceited, angry heel whose troubles have largely been self-inflicted. Washington has played monsters before, but never one who seemed quite so achingly human. Mo’ Better Blues opened just a few months after Washington won his first Oscar, beginning a fruitful partnership with Lee. Washington plays the trumpeter Bleek, a flashy, jazz-loving young man whose talent is always running neck and neck with his penchant for self-sabotage. On paper, that’s a cliché, but the actor puts real feeling into the role, making Bleek a guy you want to love even when you’re constantly frustrated by how he fouls up his life. Crimson Tide is from a time when Washington was the brash up-and-comer and Gene Hackman was the warhorse veteran. (How the baton gets passed: In recent films like Safe House and Unstoppable , Washington has taken up the mantle of revered elder statesmen to younger stars.) But he’s not intimidated at all by Hackman’s superior officer, making this one of the 1990s’ best mano-a-mano character-driven thrillers: never hammy, consistently tense, and a perfect platform for two ace actors. A box-office disappointment, this adaptation of the Walter Mosley novel actually got more attention for then-newcomer Don Cheadle’s scene-stealing turn as a lunatic associate of Washington’s main character, the cool, calculating private eye Easy Rawlins. Still, it’s Washington who provides Devil in a Blue Dress with its swaggering stride by delivering a deft, edgy character portrait that resonates with the racism of postwar L.A. Washington was never more heartbreaking than in Lee’s He Got Game , which concerns a convicted murderer (Washington) who’s let out of prison for a week by the governor in exchange for convincing his talented basketball-playing son (Ray Allen) to sign with the governor’s alma mater. This is a story about redemption, but Washington’s uneducated, wary character makes that personal transformation seem unlikely — which only makes it more moving. It’s a performance full of thwarted male pride, and the actor brings poignancy to this strained father-son bond, playing a bad man who has to finally learn how to be the good guy At first, this looks like just another mismatched cop thriller, with Denzel as the street-smart veteran teaching young pup Ethan Hawke a few tricks. But slowly it’s revealed that Detective Alonzo Harris is more corrupt, and more pathetic, and much more dangerous, than it first appeared. Washington won an Oscar for this performance, and boy, did he deserve it: He took a genre thriller and turned it into something scary and funny and sexy and at times terrifying. Washington had mostly been playing a series of noble but dull heroes before Training Day , and you can see him relishing the chance to play a bit of a monster, albeit one he can’t help but make human. It’s a thunderous performance that’s impossible to turn off whenever it shows up on a random Saturday afternoon on cable. He should really play more bad guys. This wasn’t the first time Denzel Washington played the slain civil-rights leader — in the early 1980s, the actor portrayed him on the stage in When the Chickens Came Home to Roost . So he was prepared when he signed up for Spike Lee’s most ambitious film, although he still took a year off from other work to immerse himself into the man’s mind-set. Washington nails Malcolm’s steely militancy and gift of gab, but the performance goes far deeper, examining the early failings and eventual righteous fury that transformed him into a once-in-a-lifetime political figure. Malcolm X is Washington at his most powerful and searching, his funniest and most inspiring. And believe us, you don’t want to go back and see who beat him for Best Actor that year . Grierson & Leitch write about the movies regularly for the New Republic and host a podcast on film . Follow them on Twitter @griersonleitch or visit their site griersonleitch.com.
Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . In 1964, Jacques Demy did something unconventionally conventional for the French New Wave — he made a romantic movie musical. Only 33 at the time, the director added a twist: all the dialogue, however banal, would be sung, and by actors with pleasant but audibly amateur vocals. Named for the umbrella shop in which the film’s heroine, Geneviève (Catherine Deneuve), works with her mother (Anne Vernon), The Umbrellas of Cherbourg was a hit around the globe, launching Deneuve into the galaxy of international stardom and Demy into popular renown he would never again experience before his untimely death of AIDS-related illness in 1990. Now restored to 4k resolution, The Umbrellas of Cherbourg is simply one of the most brain-quiveringly beautiful films ever to flood a screen: a hyper-saturated, hyper-feminine deluge of color, texture, and line. Greta Gerwig cited the movie as a key influence for Barbie ; Damien Chazelle said the same for La La Land . Twenty years ago I saw Umbrellas for the first time at an arthouse cinema in Nashville, after it was originally restored under the guidance of Demy’s widow, acclaimed film auteur Agnès Varda. The 2024 restoration, supervised by their son, Mathieu Demy, makes the macaron visuals all the more decadent. Unlike most movie musicals past and present, it is not anchored by a huge ensemble cast, elaborate dance numbers, extravagant sets, or standout vocals. Umbrellas is unapologetically image- and story-driven, with a lush score from Michel Legrand, whose leitmotif, “I Will Wait for You,” will haunt you by the end — an end that is, despite the film’s Candy Crush palette, achingly bittersweet. In Demy’s Technicolor universe, even the petite bourgeoise have reason to sing. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities The first shot — of Cherbourg’s humble port — is over two minutes long, the camera craning down at worn cobblestone as rain falls upon it. The umbrellas of sundry passersby, along with the title credits, gesture to the tricolor flag, one of many reminders that this is a French film. Until Jean-Pierre Jeunet’s Amélie in 2001, it may be the most conspicuously French film to become a global hit. And like Amelie , the delectable mise-en-scène often distracts from the plot. Unlike Jeunet’s film, though, the setting isn’t Paris, but a shipping town mostly known for a key battle during World War II. A classic story of love and loss, Umbrellas is just as much about sumptuous color. Less obviously, it is a film about class. The male lead, Guy (Nino Castelnuovo), works as an auto mechanic, the (distinctly French) type to brag to the guys at the garage that he’s ditching a sports match to see Carmen at the theater with Geneviève . Film depictions of blue-collar canoodlers generally adopt a rather dreary color scheme, as though their romantic infatuations literally pale in comparison to those of their blue-blooded peers. But in Umbrellas, Geneviève and Guy stroll the port in complementary pink and blue attire. “I think only of you, and now you’ll wait for me,” Guy proclaims in one of the film’s many superlative refrains. Geneviève doesn’t wait, of course, but for reasons that seem more justified the older I get. Umbrellas doesn’t patronize its young lovers, no matter how melodramatic their declarations; it honors the depth, however fleeting, of the earth-shattering stakes of their bond. “Maybe happiness makes me sad,” says Guy’s ailing godmother when she realizes he’s in love. In French, the word for crying, pleurer , is just a few letters away from pleuvoir , which means “to rain.” Umbrellas is a glorious reminder that falling in love, however heavenly, can leave us in tears that feel sent from the sky. It is also a reminder that film, arguably the most pivotal form of visual media in the 20th century, can still transfix in the 21st — especially experienced on a big screen bursting with colors you could eat. The Umbrellas of Cherbourg screens at the Film Forum (209 West Houston Street, Greenwich Village, Manhattan) December 10–12 and 20. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn Facebookhas explained why should be feeling the pressure as ’s crisis continues. The champions are in a state of disarray, having lost five consecutive matches. Pep Guardiola’s side were on Saturday, with the City boss admitting his side are “fragile” defensively. This is an unprecedented run of poor form for Guardiola and leaves City way off the pace in the Premier League title race. and could increase that to 11 should they beat the champions at Anfield next weekend. The Gunners, meanwhile, are now only a point behind City, albeit trail Liverpool by some distance too. Still, Mikel Arteta’s side ended their four-game run without a victory on Saturday. Neville and believes the pressure to capitalise on City’s crisis is on them. While Liverpool look favourites for the title, Neville argues that the fact Arne Slot’s side were considered relative outsiders before a ball was kicked this season gives them something of a free-hit. Arsenal, of course, have run City lose in the title race over the past two seasons having emerged as a genuine contender – largely in the place of Liverpool. Neville believes the north London side will be bitterly disappointed if they cannot be the side who capitalise on a potentially fallow year for City. “This feels different,” he said of City’s poor run. “This feels like if you’re Arsenal, if you’re Liverpool – who I think are the two genuine teams that can win the title other than Manchester City – you must not get carried away but feel ‘hang on a minute, there’s no excuses here now’. “I’m looking more at Arsenal with that statement, really. I think anyone at the start of the season who would have said Arne Slot would come in and do what he’s done, I would have thought ‘No, that’s not quite going to happen.’ “This was Arsenal’s season if it wasn’t going to be City’s. So I think the pressure is really on Arsenal now to step up and go for it. They’ve had a good start with the 3-0 [win over Forest].”
By Manya Saini and Suzanne McGee NEW YORK (Reuters) - Art Cashin, a renowned market pundit and the UBS director of floor operations at the New York Stock Exchange, has died at the age of 83, UBS said. Cashin, once dubbed "Wall Street's version of Walter Cronkite" by The Washington Post, was a regular on CNBC, delivering stock market commentary and analysis to the business news channel's viewers for more than 25 years. His Wall Street career spanned more than six decades. "It is with a heavy heart that I inform you of the passing of Arthur Cashin, Jr., a true giant in our industry," Bill Carroll, head of sales and development at UBS Wealth Management USA, said in a memo sent to employees on Monday. The memo did not say when he had died or give details about the circumstances. In addition to his role at UBS, Cashin was renowned for his daily newsletter, Cashin's Comments, which was published for over 25 years with a daily circulation of more than 100,000 readers. He was also a regular on CNBC's "Art Cashin on the Markets," a segment airing several times a week over more than two decades. "It's fair to say that over this time, Art Cashin became a household name for investors across the country, who benefited from his savvy insight on the markets, good humor and wit," the memo said. Arthur D. Cashin was born in Jersey City, New Jersey, in 1941, according to CNBC. He began his business career at Thomson McKinnon in 1959 and in 1964, at age 23, he became a member of the NYSE and a partner of P.R. Herzig & Co. In 1980, Cashin joined investment bank PaineWebber and managed their floor operation. PaineWebber was acquired by UBS in 2000. At that time, the NYSE floor was the hub for the vast majority of trading activity in the United States. His newsletter, which combined market analysis with trivia, historical tidbits and even recipes, often generated a buzz in Wall Street's trading rooms and on the NYSE floor. "The day Cashin's Commentary was released was always a landmark on the Street," said Art Hogan, market strategist at Baird Wealth Management, who got to know Cashin during the several decades they worked on Wall Street together. One recipe regularly featured was for "White Castle burger stuffing", which he usually sent ahead of Thanksgiving, Hogan recalled. Its ingredients? The bun and patty from a hamburger bought from budget restaurant chain White Castle. Cashin was also a regular at Bobby Van's Steakhouse in Manhattan, where for decades he and a group of friends would gather to tell stories and discuss markets. His usual drink was a Dewar's on ice, and the restaurant would have his first ready for him within five minutes of the closing bell ringing. "Every time I'd be in New York, I'd be sure to be at Bobby Van's right when the markets closed," said Julie Werner, an individual investor in the Atlanta area, who first met Cashin back in the mid-1990s when she was taking classes at the NYSE. "They'd have his drink ready and waiting for him at his own seat." Cashin was one of three senior executive floor governors and also served as a member of the Bond Club of New York. He also chaired the NYSE Fallen Heroes Fund, which assists families of first responders killed in the line of duty. CNBC did not immediately respond to a Reuters request for comment. Cashin's family could not be reached for comment. (Reporting by Manya Saini in Bengaluru and Suzanne McGee in New York; Editing by Ira Iosebashvili, Krishna Chandra Eluri and Rosalba O'Brien)Victory Capital Management Inc. lessened its holdings in shares of Kite Realty Group Trust ( NYSE:KRG – Free Report ) by 9.7% in the 3rd quarter, according to its most recent Form 13F filing with the Securities and Exchange Commission (SEC). The firm owned 121,653 shares of the real estate investment trust’s stock after selling 13,087 shares during the period. Victory Capital Management Inc. owned about 0.06% of Kite Realty Group Trust worth $3,231,000 at the end of the most recent reporting period. A number of other large investors have also recently modified their holdings of the company. Dimensional Fund Advisors LP boosted its holdings in shares of Kite Realty Group Trust by 6.2% in the second quarter. Dimensional Fund Advisors LP now owns 3,281,659 shares of the real estate investment trust’s stock valued at $73,442,000 after purchasing an additional 190,380 shares during the period. Millennium Management LLC boosted its holdings in shares of Kite Realty Group Trust by 17.7% in the second quarter. Millennium Management LLC now owns 2,566,016 shares of the real estate investment trust’s stock valued at $57,427,000 after purchasing an additional 386,566 shares during the period. Bank of New York Mellon Corp boosted its holdings in shares of Kite Realty Group Trust by 1.5% in the second quarter. Bank of New York Mellon Corp now owns 2,187,428 shares of the real estate investment trust’s stock valued at $48,955,000 after purchasing an additional 32,493 shares during the period. American Century Companies Inc. lifted its holdings in Kite Realty Group Trust by 16.6% during the second quarter. American Century Companies Inc. now owns 2,080,688 shares of the real estate investment trust’s stock worth $46,566,000 after buying an additional 295,708 shares during the period. Finally, LSV Asset Management lifted its holdings in Kite Realty Group Trust by 15.8% during the second quarter. LSV Asset Management now owns 1,071,300 shares of the real estate investment trust’s stock worth $23,976,000 after buying an additional 146,300 shares during the period. Hedge funds and other institutional investors own 90.81% of the company’s stock. Insider Activity at Kite Realty Group Trust In other Kite Realty Group Trust news, Director Steven P. Grimes sold 37,295 shares of the company’s stock in a transaction on Monday, September 16th. The shares were sold at an average price of $26.80, for a total value of $999,506.00. Following the sale, the director now directly owns 732,252 shares of the company’s stock, valued at approximately $19,624,353.60. This represents a 4.85 % decrease in their ownership of the stock. The transaction was disclosed in a document filed with the Securities & Exchange Commission, which can be accessed through this link . 2.00% of the stock is owned by insiders. Kite Realty Group Trust Price Performance Kite Realty Group Trust Increases Dividend The company also recently announced a quarterly dividend, which will be paid on Thursday, January 16th. Investors of record on Thursday, January 9th will be given a $0.27 dividend. This represents a $1.08 annualized dividend and a dividend yield of 3.94%. This is an increase from Kite Realty Group Trust’s previous quarterly dividend of $0.26. The ex-dividend date is Thursday, January 9th. Kite Realty Group Trust’s dividend payout ratio is presently -2,700.00%. Analyst Ratings Changes KRG has been the subject of a number of analyst reports. Piper Sandler upped their target price on Kite Realty Group Trust from $30.00 to $33.00 and gave the stock an “overweight” rating in a report on Tuesday, September 3rd. KeyCorp upped their target price on Kite Realty Group Trust from $28.00 to $31.00 and gave the stock an “overweight” rating in a report on Tuesday, November 12th. Raymond James upgraded Kite Realty Group Trust from a “market perform” rating to a “strong-buy” rating and set a $28.00 target price for the company in a report on Friday, August 16th. Compass Point upped their target price on Kite Realty Group Trust from $29.00 to $32.00 and gave the stock a “buy” rating in a report on Wednesday, September 4th. Finally, Wells Fargo & Company upgraded Kite Realty Group Trust from an “underweight” rating to an “equal weight” rating and upped their target price for the stock from $23.00 to $26.00 in a report on Wednesday, August 28th. Three analysts have rated the stock with a hold rating, four have issued a buy rating and one has issued a strong buy rating to the company. According to MarketBeat, the stock has an average rating of “Moderate Buy” and an average price target of $28.86. Check Out Our Latest Stock Analysis on KRG Kite Realty Group Trust Profile ( Free Report ) Kite Realty Group Trust (NYSE: KRG) is a real estate investment trust (REIT) headquartered in Indianapolis, IN that is one of the largest publicly traded owners and operators of open-air shopping centers and mixed-use assets. The Company’s primarily grocery-anchored portfolio is located in high-growth Sun Belt and select strategic gateway markets. Read More Five stocks we like better than Kite Realty Group Trust What is the Euro STOXX 50 Index? 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How major US stock indexes fared Monday, 12/2/2024
Pelote's 24 lead Western Carolina over Milligan 78-69
In May 2020, the media and technology conglomerate Thomson Reuters sued a small legal AI startup called Ross Intelligence, alleging that it had violated US copyright law by reproducing materials from Westlaw, Thomson Reuters’ legal research platform. As the pandemic raged, the lawsuit hardly registered outside the small world of nerds obsessed with copyright rules. But it’s now clear that the case—filed more than two years before the generative AI boom began—was the first strike in a much larger war between content publishers and artificial intelligence companies now unfolding in courts across the country. The outcome could make, break, or reshape the information ecosystem and the entire AI industry—and in doing so, impact just about everyone across the internet. Over the past two years, dozens of other copyright lawsuits against AI companies have been filed at a rapid clip . The plaintiffs include individual authors like Sarah Silverman and Ta Nehisi-Coates, visual artists, media companies like The New York Times, and music-industry giants like Universal Music Group. This wide variety of rights holders are alleging that AI companies have used their work to train what are often highly lucrative and powerful AI models in a manner that is tantamount to theft. AI companies are frequently defending themselves by relying on what’s known as the “fair use” doctrine , arguing that building AI tools should be considered a situation where it’s legal to use copyrighted materials without getting consent or paying compensation to rights holders. (Widely accepted examples of fair use include parody, news reporting, and academic research.) Nearly every major generative AI company has been pulled into this legal fight, including OpenAI, Meta, Microsoft, Google, Anthropic, and Nvidia. WIRED is keeping close tabs on how each of these lawsuits unfold. We’ve created visualizations to help you track and contextualize which companies and rights holders are involved, where the cases have been filed, what they’re alleging, and everything else you need to know. That first case, Thomson Reuters v. Ross Intelligence , is still winding its way through the court system. A trial that was originally scheduled for earlier this year has been indefinitely delayed, and even though the cost of litigation has already put Ross out of business, it’s unclear when it will end. Other cases, like the closely-watched lawsuit filed by The New York Times against OpenAI and Microsoft, are currently in contentious discovery periods , during which both parties are arguing over what information they need to turn over.Caterpillar Inc. Maintains Dividend
The first thing I do each morning is check my watch — not for the time but for my sleep score. As a runner, when the glowing red letters say my score — and my training readiness — are poor, I feel an instant dread. Regardless, I scroll on, inspecting my heart rate variability and stress level — snapshots that influence the tone I carry into the day. What does dreading my smartwatch’s interpretation of my athletic competence say about me? That I have become a pawn in the gamification of health data. Last year, electronics represented one of the largest proportions of total Black Friday sales, according to Deloitte. That’s when I bought my first smartwatch, a Garmin. This year, I’m throwing it away. I was the perfect target. For several years, I had been preparing to run my first marathon. I watched fitness influencers, ultramarathoners and Olympians optimize their training with meticulous tracking and high-tech devices. I wanted in. I got the watch and joined Strava, a social media network for athletes. Once I had a tracker on, sleep became sacred. I traded late-night socializing for it, confident that I’d cash in on race day. I built my day around my nights, transfixed by a false sense of control over my circadian rhythm. Sleep, just like my running routine, had slowly morphed from a bodily function into a technological token of productivity. I was hooked, emboldened by the illusion that I was training intuitively. I pushed hard when my Garmin nudged me, and even harder when I wanted to prove its metrics wrong. I began to run more for the PR (personal record) badge and “your fastest 5k!” notifications than for mental clarity and solitude. I ran because I loved it, and because I loved it, I fell prey to the Strava-fication of it. Suddenly, I was no longer running for myself. I was running for public consumption. I realized this only when it literally became painfully obvious. An MRI found that the lingering pain I’d been ignoring in my heels — something my watch hadn’t picked up on — was caused by four running-induced stress fractures. Recovering from the injury forced me to be sedentary, and during that time I’ve thought a lot about the app-ification of exercise culture. I’ve realized that health optimization tools — the ones marketed as necessary for better sleep, a lower resting heart rate, higher VO2 max (a measure of how much oxygen your body absorbs) and so on — are designed to profit off our fitness anxiety. We track ourselves this way and that way, obsessing over our shortcomings to no apparent end. In doing so, we are deprogrammed from listening to innate physiological signals and reprogrammed to create shadow experiences such as posting our detailed workout stats or running paths on digital walls that no one is looking at. I’ve also learned that if you stop tracking, you will feel marginally but measurably better. I don’t deny that today’s fitness gadgets are incredibly alluring, and in many ways tracking can be useful for training. I am convinced, however, that overreliance on the data collected by devices and apps — and the comparisons we draw from sharing it — can quickly corrupt and commodify what I find to be the true essence of running: being present. When we aren’t tracking, when we are just doing, we can begin to reap the dull yet profound psychological benefits of endurance sports — the repetitive silence, the consistent failure — that can’t be captured in a post or monetized. And when we endure the mundane and difficult aspects of a sport, over and over, we often make gains that are mindful as well as physical, becoming more aware of how and what we pay attention to. This is no small task. It takes discipline to remain aware, present and undistracted. Exercise is a rare opportunity to allow our bodies’ movement to color our thoughts from one minute to the next. When we’re in motion, we don’t need to analyze our health metrics. We can learn to accept the moment and be humbled by our limitations. Gift-giving season attempted to convince you that you need devices to make your exercise more effective and efficient. There were bright and beautiful advertisements featuring famous athletes. There were a sleeker smartwatch and a cutting-edge GPS tracking shoe sole like that one Instagram keeps showing you. Be skeptical. Freeing yourself, even temporarily, from the smartwatch or smartphone or smart-fill-in-the-blank that is tracking your every move is a challenge worth taking on. Because every walk or run or ride is a new story, and without fitness devices the path remains ours to choose.
Writer Thoreau warned of brain rot in 1854. Now it's the Oxford Word of 2024
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Surge In Electric And Hybrid Vehicles: A Key Driver Transforming The Automotive Semiconductor Market 2024Another week, another dominant win for the Detroit Lions without giving up a touchdown. The Lions topped the Indianapolis Colts, 24-6, on Sunday afternoon to run their win streak to nine straight games. Their defense was once again dominant as it ran its own streak of consecutive quarters without giving up a touchdown to 10. Jahmyr Gibbs scored two touchdowns to lead an offensive effort that was good enough to keep Detroit atop the NFC as it heads into a short week and Thanksgiving game against the Bears. Here’s what’s being said nationally about the Lions’ win over the Colts: Lions rush for 3 scores and use stingy defense to beat Colts 24-6 for 9th straight win – Associated Press Jared Goff after the Lions dominant 24-6 win over Colts: ‘Our Defense held us up’ -- FOX Lions' Jared Goff passes three Hall of Famers in NFL record books with performance against Colts – CBS Sports The Lions' ability to run productively on passing downs is one of their super powers. Having a mauler line and two great backs certainly helps, but Ben Johnson has the conviction to call those plays, too. – Pat Forde, Sports Illustrated Lions move to 10-1 with 24-6 victory over Colts – Pro Football Talk Colts Doomed By Self-Inflicted Wounds in Loss to Lions – Sports Illustrated #Lions have not allowed a TD in consecutive games for the first time since 1999. #OnePride pic.twitter.com/XLR3VZH7YP
TORONTO (AP) — Prime Minister Justin Trudeau told Donald Trump that Americans would also suffer if the president-elect follows through on a plan to impose sweeping tariffs on Canadian products , a Canadian minister who attended their recent dinner said Monday. Trump threatened to impose tariffs on products from Canada and Mexico if they don’t stop what he called the flow of drugs and migrants across their borders with the United States. He said on social media last week that he would impose a 25% tax on all products entering the U.S. from Canada and Mexico as one of his first executive orders. Canadian Public Safety Minister Dominic LeBlanc, whose responsibilities include border security, attended a dinner with Trump and Trudeau at Trump’s Mar-a-Lago club on Friday. Trudeau requested the meeting in a bid to avoid the tariffs by convincing Trump that the northern border is nothing like the U.S. southern border with Mexico . "The prime minister of course spoke about the importance of protecting the Canadian economy and Canadian workers from tariffs, but we also discussed with our American friends the negative impact that those tariffs could have on their economy, on affordability in the United States as well," LeBlanc said in Parliament. If Trump makes good on his threat to slap 25% tariffs on everything imported from Mexico and Canada, the price increases that could follow will collide with his campaign promise to give American families a break from inflation. Economists say companies would have little choice but to pass along the added costs, dramatically raising prices for food, clothing, automobiles, alcohol and other goods. The Produce Distributors Association, a Washington trade group, said last week that tariffs will raise prices for fresh fruit and vegetables and hurt U.S. farmers when the countries retaliate. Canada is already examining possible retaliatory tariffs on certain items from the U.S. should Trump follow through on the threat. After his dinner with Trump, Trudeau returned home without assurances the president-elect will back away from threatened tariffs on all products from the major American trading partner. Trump called the talks “productive” but signaled no retreat from a pledge that Canada says unfairly lumps it in with Mexico over the flow of drugs and migrants into the United States. “The idea that we came back empty handed is completely false,” LeBlanc said. “We had a very productive discussion with Mr. Trump and his future Cabinet secretaries. ... The commitment from Mr. Trump to continue to work with us was far from empty handed.” Joining Trump and Trudeau at dinner were Howard Lutnick, Trump’s nominee for commerce secretary, North Dakota Gov. Doug Burgum, Trump’s pick to lead the Interior Department, and Mike Waltz, Trump’s choice to be his national security adviser. Canada’s ambassador to the U.S., Kirsten Hillman, told The Associated Press on Sunday that “the message that our border is so vastly different than the Mexican border was really understood.” Hillman, who sat at an adjacent table to Trudeau and Trump, said Canada is not the problem when it comes to drugs and migrants. On Monday, Mexico’s president rejected those comments. “Mexico must be respected, especially by its trading partners,” President Claudia Sheinbaum said. She said Canada had its own problems with fentanyl consumption and “could only wish they had the cultural riches Mexico has.” Flows of migrants and seizures of drugs at the two countries’ border are vastly different. U.S. customs agents seized 43 pounds of fentanyl at the Canadian border during the last fiscal year, compared with 21,100 pounds at the Mexican border. Most of the fentanyl reaching the U.S. — where it causes about 70,000 overdose deaths annually — is made by Mexican drug cartels using precursor chemicals smuggled from Asia. On immigration, the U.S. Border Patrol reported 1.53 million encounters with migrants at the southwest border with Mexico between October 2023 and September 2024. That compares to 23,721 encounters at the Canadian border during that time. Canada is the top export destination for 36 U.S. states. Nearly $3.6 billion Canadian (US$2.7 billion) worth of goods and services cross the border each day. About 60% of U.S. crude oil imports are from Canada, and 85% of U.S. electricity imports as well. Canada is also the largest foreign supplier of steel, aluminum and uranium to the U.S. and has 34 critical minerals and metals that the Pentagon is eager for and investing for national security.None
Fishburn leads at Sea Island as Dahmen keeps hope alive to keep job