hollywood high movie reviews

Search Filters

Result type, 6 movie search results for hollywood-high.

Join or Sign In

Sign in to customize your TV listings

By joining TV Guide, you agree to our Terms of Use and acknowledge the data practices in our Privacy Policy .

• TV Listings
• Cast & Crew

Hollywood High Reviews

• 1 hr 21 mins
• Watchlist Where to Watch

Schoolgirls can't find privacy with their boyfriends. Marcy Albrecht, Sherry Hardin, Rae Sperling, Kevin Mead, John Young. Directed by Patrick Wright.

This feature, like so many of its ilk, is aimed straight at the heart of horny adolescents who think base stereotypes are what the movies are all about. The story, for what it's worth, tells of four California high school girls who spend more time outside of the classroom than in it. They meet an ex-movie queen and ask her for acting lessons to gain access to the many bedrooms of her mansion. You can pretty well guess what happens next. Every predictable scene is in place, including mad sexual encounters; stupid, domineering high school teachers; and the obligatory food fight. The results are pretty wretched, with a filmmaking style and acting to match the amateur plot. A stereotyped gay history teacher is played by one Hy Camp. Someone once observed that funny character names only work for Groucho Marx, and the examples here (a midget named Big-Dick--get it?) are living proof of that axiom.

• Coming Soon Theaters • Online
• Advanced Search
• Collections Top 500
• Film Awards
• Recommendations Movies • TV Shows
• Search by Name
• Popular Top 500
• My TV Shows
• My Calendar
• Coming Soon Premieres

Movie's ratings

• IMDb 3.6 499
• Cast & Crew

Hollywood High

Related Movies There are no related titles yet, but you can add them:

Add a short review

280 characters

Sign up and you will see here friends impressions of the movie.

Friends comments and ratings, trending movies.

The best website for movie search and thoughts sharing with friends

• Browser extension

IMDb Charts

Imdb top 250 movies.

1. The Shawshank Redemption

2. The Godfather

3. The Dark Knight

4. The Godfather Part II

5. 12 Angry Men

6. Schindler's List

7. The Lord of the Rings: The Return of the King

8. Pulp Fiction

9. The Lord of the Rings: The Fellowship of the Ring

10. The Good, the Bad and the Ugly

11. Forrest Gump

12. The Lord of the Rings: The Two Towers

13. Fight Club

14. Inception

15. Star Wars: Episode V - The Empire Strikes Back

16. The Matrix

17. Goodfellas

18. One Flew Over the Cuckoo's Nest

20. Interstellar

21. It's a Wonderful Life

22. Seven Samurai

23. The Silence of the Lambs

24. Saving Private Ryan

25. City of God

The Top Rated Movie list only includes feature films.

• Shorts, TV movies, and documentaries are not included
• The list is ranked by a formula which includes the number of ratings each movie received from users, and value of ratings received from regular users
• To be included on the list, a movie must receive ratings from at least 25000 users

Recently viewed

Hollywood High (1976) Cast and Crew

Hollywood high collection.

A collection for the Hollywood High movies

Similar Movies

Movie Reviews

Follow Moviefone

Latest trailers.

Letterboxd — Your life in film

Forgotten username or password ?

• Start a new list…
• Add all films to a list…
• Add all films to watchlist

Add to your films…

Press Tab to complete, Enter to create

A moderator has locked this field.

Add to lists

Where to watch

Hollywood high.

Directed by Patrick Wright

Life is good at Hollywood High.

Four high school girls at Hollywood High are looking for fun. Together they frolic on the beach and cavort with their guys. In their search for a little privacy they meet up with a retired movie star whose mammoth house offers 10 private bedrooms. But there's a catch...

Susanne Severeid Sherry Hardin Rae Sperling Marcy Albrecht Kevin Mead John William Young Richard Hynes Joseph Butcher Marla Winters Kress Hytes Hy Pyke Phil J. Macias Mark Lawhead Lori Bump Dan Howard Scott Gale Dale Caldwell Jon Page Tino Dominguez Patrick Wright

Director Director

Patrick Wright

Producers Producers

Peter Perry Jr. Tallie Cochrane John Berkey

Editor Editor

Marco Perri

Cinematography Cinematography

Jonathan Silveira

Executive Producer Exec. Producer

Composer composer, sound sound.

Clark Will Ronald Fame

Costume Design Costume Design

Peter Perry Productions Lone Star Pictures International

Alternative Titles

Die heißen Teens von Malibu Beach, 好莱坞高中, Desmadre en Hollywood

Releases by Date

01 dec 1976, releases by country.

• Theatrical R

81 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Robot Watchie Moovie ★ 2

I can't think of a better way to start the early morning than with this sleazy nonsense. I think nonsense is the only way to describe this since nothing really happens. The actors basically just yell-talk their lines. Most of these lines are just referencing sex, tits, getting high, or dicks. But the dialogue is mostly dick references. They're not very clever lines, though. Just yell-saying things like "hot pepperoni" or "bone" or "muscle" or "billy club" or "tally-wacker". Are you dying of laughter yet? I hope not because the pauses for laughter really extend the runtime.

Speaking of runtime, how could something like this be stretched out to almost 90 minutes? Easy: you include scenes of semi-nude girls running…

Review by TheGiantClaw ½

The Amazon Prime synopsis for this “film” reads: 

“Four high school girls at Hollywood High are looking for fun. Together they frolic on the beach and cavort with their guys. In their search for a little privacy they meet up with a retired movie star whose mammoth house offers 10 private bedrooms. But, there's a catch. Life is good at Hollywood High.”

That last part about the retired movie star doesn’t come into play until ALMOST 50 MINUTES IN. And like everything that happens in this garbage pile, it’s entirely pointless. It’s just something dropped into our laps like a pile of shit and then it just kinda ends with a crap punchline like a fart in the wind. I’m…

Review by Brad Henderson ★★½

HOLLYWOOD HIGH is not a good movie…but I enjoyed its shenanigans, dumb dialogue, and these actors having a blast. Music, boobs, and Susanne Severeid make this R-rated Beach Party-esque fun and very watchable.

Review by Marty McKee ★½

Even by the standards of ‘70s teen sex comedies, HOLLYWOOD HIGH is abysmal. The height of the screenplay’s wit — scripter George Bowden (KEYS) removed his name from the on-screen credits, but I don’t mind outing him — is a character named Fenzie (!) who combs his hair and says “Heyyyyyy!” a lot (“Cool it! Nobody messes with The Fenz’s chicks.”). The film is bad, but I can imagine it played drive-ins forever, and it definitely inspired an unrelated sequel, HOLLYWOOD HIGH PART II.

Created by specialists in softcore pornography, including associate producer Tallie Cochrane (an actress in SEX FREAKS and PRISON BABIES), producer Peter Perry (director of THE SECRET SEX LIVES OF ROMEO AND JULIET), and one-and-done director Patrick…

Review by Rod Lott ★

This toke-and-poke sex comedy is lewd, crude and best left unviewed. 

It carries no credited writer, which makes sense because it also carries no story. The movie is simply a string of interminable, music-backed scenes of the quasi-foxy foursome driving in a jalopy, jumping in the surf, making out, getting defiled, incorrectly chugging beers and having a food fight at that drive-in spaghetti joint.

That said, Rae Sperling had some magnificent breasts.

Review by rinoa ★★

- i have always wondered whether if there are sex comedies that centers on women going through different stupid shenanigans solely for funsies and horny proposes in the 70s & 80s and finally i found one. - just another standard sex comedy of its time. bad by all means but it has a charm but still bad. - i love the friend group

Review by Will Sloan

Exactly the vibes I needed right now.

Review by Movie Guy ★★★½

This movie is totally ridiculous. The acting is pretty bad and the dialogue isn't great either. That being said, this movie is pretty fun and delivers what viewers are expecting. It's got naked ladies, food fights, and crazy shenanigans. You'll cringe, roll your eyes, and then chuckle at this weird and wacky film. If you like 70s B movies, then you might get a kick out of this one.

Review by AlitaMcFly ½

True auteurs know when to stop. "Hollywood High" director Patrick Wright dropped this film on the world and then promptly never directed a film again. Of course, he kept himself busy with bit parts in avant-garde California New Wave wishy-wash classics such as "The Bikini Carwash Company" . The world didn't need another one.

"Hollywood High" is scientific proof that you can fill 80 minutes of film reel with people doing things and yet be able to still classify it as "nothing". This film is plotless, which makes sense considering there is no writer credited. This is supposed to be a teen sex comedy but contains little of those things. Sure, there are "teens". Sure, there isn't a lot of…

Review by Larry Yoshida ★★★

Watched this for National Bikini Day. Yet another entry in the 70s drive-in beach genre, this time from legendary grindhouse producer Peter Perry. Funny for both the right and wrong reasons. I actually detect the influence of Richard Lester comedies and old Monkees episodes. It features a moron Fonzie clone (with a touch of Barbarino) named Fenzie who rides a bicycle (but motorcycle sound effects are used). The Fenz (yes, they call him that too) is the boyfriend of Jan Brady lookalike Jan (Susanne Severeid billed as just "Susanne"). Her friends are Candy (Sherry Hardin from Ted V. Mikels' 10 VIOLENT WOMEN ), Monica (Rae Sperling, GAME SHOW MODELS), and Bebe (Marcy Albrecht, sadly her only known film). With a midget,…

Review by MrGeekBoi ★★

So, um, that happened...

Review by Calum Iain MacIver ★

Possibly the worst teen sex comedy that's ever been produced. A farcical, virtually non-existent plot sees four young airheads rushing around the Californian beaches getting into various scrapes in their search for men. The situations are boring, the acting wooden, the characters unbelievable, the comedy pathetic, the men ugly and the music totally unappealing. Even regular sightings of Rae Sperling's voluptuous breasts do little to spice up this horrible mess up.

Related Films

Select your preferred backdrop

Select your preferred poster.

• Tickets & Showtimes
• Trending on RT

• TV & Streaming Shows
• Essential Studio Collections
• Best & Popular

TAGGED AS: blockbusters , movies , popular

30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

Discover the top, most popular movies available now, along with what’s cooking up early buzz and hype! Across theaters, streaming, and on-demand, these are the movies Rotten Tomatoes users are checking out at this very moment, including Beverly Hills Cop: Axel F ( see everything new on streaming in July ), Despicable Me 4 (from Illumination ) A Quiet Place: Day One , Horizon: An American Saga (starring and directed by Kevin Costner ), and upcoming detective horror Longlegs .

Check back for latest updates to the charts, and also take a look at the most popular TV shows out right now !)

Beverly Hills Cop: Axel F (2024) 66%

Despicable Me 4 (2024) 53%

A Quiet Place: Day One (2024) 87%

Longlegs (2024) 93%

Horizon: An American Saga - Chapter 1 (2024) 48%

A Family Affair (2024) 39%

Inside Out 2 (2024) 91%

Kinds of Kindness (2024) 72%

Kill (2023) 90%

Hit Man (2023) 95%

The Imaginary (2023) 91%

The Bikeriders (2023) 81%

Fly Me to the Moon (2024) 71%

Furiosa: A Mad Max Saga (2024) 90%

A Quiet Place (2018) 96%

Sound of Hope: The Story of Possum Trot (2024) 79%

In A Violent Nature (2024) 80%

The Beekeeper (2024) 71%

IF (2024) 49%

The Fall Guy (2024) 81%

Godzilla x Kong: The New Empire (2024) 54%

Thelma (2024) 99%

Deadpool & Wolverine (2024)

Space Cadet (2024) 31%

The Watchers (2024) 32%

Trigger Warning (2024) 19%

Boneyard (2024) 17%

Bad Boys: Ride or Die (2024) 64%

Civil War (2024) 81%

Kalki 2898 AD (2024) 83%

Related news.

‘Seen on the Screen’ Podcast: A Celebration of Universal Stories 

The Most Anticipated Movies of 2024

All A24 Movies Ranked by Tomatometer

More Countdown

Every Shrek Movie, Ranked by Tomatometer

100 Best Movies on Tubi (July 2024)

Movie & TV News

Featured on rt.

July 9, 2024

The Most Anticipated TV and Streaming Shows of 2024: New and Returning Shows We Can’t Wait to See

Top Headlines

• Every Shrek Movie, Ranked by Tomatometer –
• 100 Best Movies on Tubi (July 2024) –
• All A24 Movies Ranked by Tomatometer –
• Best Horror Movies of 2024 Ranked – New Scary Movies to Watch –
• 25 Most Popular TV Shows Right Now: What to Watch on Streaming –
• Best TV Shows of 2024: Best New Series to Watch Now –

CULTURE MIX

Where Lifestyle Cultures Blend

Review: ‘Duran Duran: A Hollywood High,’ starring Duran Duran

Arts and Entertainment

Anna Ross , concerts , David Kershenbaum , documentaries , Dom Brown , Duran Duran , Duran Duran: A Hollywood High , Erin Stevenson , Gavin Elder , George Scott , John Taylor , Los Angeles , movies , Nick Rhodes , reviews , Roger Taylor , Simon LeBon , Vincent Adam Paul

November 3, 2022

by Carla Hay

“Duran Duran: A Hollywood High”

Directed by Gavin Elder, Vincent Adam Paul and George Scott

Culture Representation:  Taking place in Los Angeles in March 2022, the documentary film “Duran Duran: A Hollywood High” features British pop/rock band Duran Duran performing the group’s first rooftop concert.

Culture Clash:  In the documentary interviews, members of the band talk about the culture shock they experienced the first time they visited and performed in Los Angeles.

Culture Audience:   Besides the obvious target audience of Duran Duran fans,“Duran Duran: A Hollywood High” will appeal primarily to fans of pop music artists who had their biggest hits in the 1980s.

Even though the British pop/rock band Duran Duran is mostly known for the band’s hits from the 1980s, the concert documentary “Duran Duran: A Hollywood High” is an admirable showcase of a still-vibrant Duran Duran performing songs from the 1980s to the 2020s. This 75-minute documentary is good but not outstanding or comprehensive. Avid fans of Duran Duran will consider this movie a must-see. Everyone else might watch out of curiosity to see the 2022 version of Duran Duran and what kind of live performance the band has to offer, 41 years after Duran Duran’s 1981 self-titled debut album was released.

Directed by Gavin Elder, Vincent Adam Paul and George Scott, “Duran Duran: A Hollywood High” at least has a unique concert setting for Duran Duran, because it shows the band performing its very first rooftop concert. The documentary was filmed in March 2022, at The Aster (a hotel and members’ club) in Los Angeles’ Hollywood district. The concert took place months before The Aster officially opened in October 2022. About 200 to 250 people were in the audience of this concert.

This particular concert location was chosen because The Aster is across the street from the iconic Capitol Records building, whose famous circular shape is designed to look like stacked vinyl records on a turntable. Capitol Records was the U.S. record label for Duran Duran from 1981 to 1999, the years when the band had its biggest hits. During the concert film, there are several sweeping shots of the band performing with the Capitol Records building as a backdrop.

The documentary begins with an approximately 15-minute introduction of background information (a mixture of archival footage and new footage) explaining Duran Duran’s history with Los Angeles. Duran Duran formed in 1978, in Birmingham, England. Bass player John Taylor and keyboardist Nick Rhodes co-founded the band; drummer Roger Taylor (no relation to John Taylor) joined in 1979; and lead singer Simon LeBon joined in 1980. Roger Taylor quit in 1986, and John Taylor quit in 1997, but both Taylors have been part of Duran Duran’s reunited lineup since 2001.

The documentary very briefly mentions Andy Taylor (no relation to John Taylor and Roger Taylor), who was Duran Duran’s guitarist from 1980 to 1986, and from 2001 to 2006. Since 2006, Dominic “Dom” Brown has been Duran Duran’s touring and recording guitarist. In the documentary, Rhodes has high praise for American guitarist Warren Cuccurullo, who worked with Duran Duran from 1986 to 2001. Rhodes says meeting Cuccurullo for the first time in Los Angeles was the most important and impactful meeting that Duran Duran ever had in Los Angeles.

In the documentary, Roger Taylor says in an exclusive interview that his experience of visiting Los Angeles for the first time in 1981 was almost like being in another world, because Los Angeles is so different from Birmingham, England. He mentions that sunshine and palm trees “are in real short supply” in Birmingham. And he remembers what his first impression was of Los Angeles: “I thought I’d arrived in paradise.”

Rhodes comments that when he thinks of Los Angeles, he always thinks of the Sunset Strip and Los Angeles’ obsession with fame. Two iconic Sunset Strip buildings are mentioned in this introduction: The Roxy nightclub (the first venue in Los Angeles that Duran Duran played during the band’s 1981 U.S. tour) and the now-defunct Continental Hyatt House, which was nicknamed the Continental Riot House, because it was a notorious party spot for rock stars and other celebrities. (The hotel has been renamed several times and has been known as the Andaz West Hollywood since 2009.) In true rock-star fashion, Duran Duran was expelled from the Continental Hyatt for some troublemaking antics during the band’s first U.S. tour. John Taylor, who has lived in Los Angeles since the 1990s, comments that Los Angeles is “a very uplifting place to be.”

LeBon says that New York City and Los Angeles are so different from each other, they’re like separate planets. He compares New York City to being like the grit of punk rock, and Los Angeles to being like the decadence of rock and roll. LeBon shares a vivid first-impression memory of Los Angeles having oil rig machines and an immense number of billboards on the Sunset Strip.

“I’d never seen so much commercial advertising,” he recalls. LeBon also says that Nina Simone was invited to Duran Duran’s first Los Angeles show, but she couldn’t attend. However, she sent him a hand-written note with an apology that she couldn’t be there and to wish Duran Duran the best. LeBon says he still has the note, and it’s one of his most-treasured possessions.

In addition to the documentary having archival footage of Duran Duran in Los Angeles (including the band’s 1984 press conference at Magic Castle Hotel and the band’s 1993 ceremony to get a star on the Hollywood Walk of Fame), “Duran Duran: A Hollywood High” includes a brief new clip of Rhodes talking with music producer David Kershenbaum, who remixed the band’s 1982 album “Rio,” which became Duran Duran’s international breakthrough album after the album was remixed. Rhodes expresses gratitude to Kershenbaum for playing a pivotal role in Duran Duran’s career. Kershenbaum comments on working with Duran Duran in the early 1980s, “It was a magical time.”

If all of this sounds like the documentary is on a nostalgia trip, think again. The concert, which is the majority of “Duran Duran: A Hollywood High,” has a range of Duran Duran songs from the 1980s to tracks from the band’s 2021 album “Future Past.” Clad in black and white outfits, Duran Duran (accompanied by backup singers Anna Ross and Erin Stevenson) perform a setlist that’s not really a greatest-hits collection but more like a hodgepodge of Duran Duran songs from the 1980s, 1990s and the early 21st century.

The 12 songs performed in the documentary are (in order):

• “A View to a Kill” (1985)
• “Invisible” (2021)
• “All of You” (2021)
• “Notorious” (1986)
• “Come Undone” (1993)
• “Give It All Up” (2021)
• “Pressure Off” (2015)
• “White Lines” (1995)
• “Anniversary” (2021)
• “Ordinary World” (1993)
• “Tonight United” (2021)
• “Hungry Like the Wolf” (1982)

The concert begins with a lot of great energy, but it really starts to hit its stride when Duran Duran performs “Notorious.” Backup singers Ross and Stevenson get their moments to shine with solo refrains in songs (Ross on “Come Undone,” Stevenson on “Give It All Up”), while guitarist Brown has a standout moment with his soloing in “Ordinary World.” Because the stage is so small, John Taylor, LeBon and Brown don’t do a lot of running around back and forth and basically stay in the same positions on the stage.

The documentary’s cinematography stays mainly focused on stage, with a fair balance of wide shots and close-ups of the band members. Any glimpses of the audience are very brief, so as not to distract the documentary viewers from what’s happening on stage. There are multiple shots of keyboardist Rhodes, a longtime photographer, taking photos and videos on his phone from his vantage point behind the keyboards. The movie’s sound editing and sound mixing get the job done well enough, but nothing in this documentary is exceptional enough to be award-worthy.

The concert’s energy level is at its peak with Duran Duran’s blistering cover version of Melle Mel’s “White Lines” that the band turns into a stellar dance-rock party song. The band’s poignant rendition of “Ordinary World” is an example of why this ballad is a timeless Duran Duran classic. “Tonight United” and fan fave “Hungry Like the Wolf” were among the other standout performances. The main drawback to the documentary is that it seems too short, considering all the beloved Duran Duran songs that could have been in the movie but aren’t.

The vocals of many lead singers of rock bands usually don’t get better with age, but LeBon’s voice as a live performer has better tone and control than it did in the 1980s. LeBon, Roger Taylor, John Taylor and Rhodes are still solid and stylish performers, but understandably not as flashy and prone to doing the expected rock-star stage moves that were part of Duran Duran’s act in the 1980s. In other words, Duran Duran is aging gracefully and can still deliver a concert that’s worthy of the band’s memorable songs and unique sound.

Abramorama in association with Fathom Events released “Duran Duran: A Hollywood High” for a limited engagement in U.S. cinemas on November 3, 2022.

‘Watchmen: Chapter One’: Animated Movie Debuts Stunning Full-Length Trailer

Is this a worthy Watchmen adaptation?

The world of Watchmen is finally getting the animated treatment! The first trailer for the upcoming movie, Watchmen: Chapter One , has hit the net in all of its glory.

Watchmen is one of the most beloved graphic novels of all time. Some call it unadaptable, especially after Zack Snyder’s controversial stab at the prospect in the early 2000s. However, the announcement of a two part animated movie piqued the interest of fans. Especially when it was revealed that Watchmen: Chapter One would be entirely 3D animated.

Despite how popular the Watchmen IP has become in recent years, DC has kept details about Watchmen: Chapter One close to their chest. The only proof the project even existed was a short teaser posted last month . However, with the animated movie only a month from release, marketing has finally started to push forward.

A Truly Faithful Watchmen Adaptation

The first full-length trailer for Watchmen: Chapter One has officially found its way online. From what fans can tell, the movie seems to be a frame-for-frame animated adaptation of the original Watchmen graphic novel. While it’s not clear if it’ll win over every fan, it certainly has some excited!

Even in the face of armageddon, evil must be punished. #TheWatchmen CHAPTER ONE is coming to Digital soon. pic.twitter.com/78WFbabUHg — Warner Bros. Entertainment (@WBHomeEnt) July 10, 2024

While Watchmen: Chapter One certainly has some beautiful shots, the style of animation used for the adaptation has turned some fans away. The original Watchmen graphic novel is one of a kind in its visual aesthetic. However, this movie seems to use the same style as almost every other 3D animated superhero project, leaving some disappointed in the lack of flair.

Watchmen: Chapter One will hit digital platforms August 13, 2024. Stay tuned for all the latest news on the show’s future, and be sure to  subscribe to Heroic Hollywood’s YouTube  channel for more video content.

Anthony Singletary

Anthony has always had a love for stories. An aspiring screenwriter and video editor, he takes pride in connecting fans with the latest heroic news!

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• 74% MaXXXine Link to MaXXXine
• 90% Kill Link to Kill
• 85% Remembering Gene Wilder Link to Remembering Gene Wilder

New TV Tonight

• 93% Sunny: Season 1
• -- Vikings: Valhalla: Season 3
• -- Sausage Party: Foodtopia: Season 1
• -- The Serpent Queen: Season 2
• -- Me: Season 1
• -- The Bachelorette: Season 21
• -- Mastermind: To Think Like a Killer: Season 1
• -- Melissa Etheridge: I'm Not Broken: Season 1
• -- All American: Homecoming: Season 3

Most Popular TV on RT

• 82% Star Wars: The Acolyte: Season 1
• 100% Supacell: Season 1
• 90% The Bear: Season 3
• 93% The Boys: Season 4
• 90% House of the Dragon: Season 2
• 76% Presumed Innocent: Season 1
• 93% My Lady Jane: Season 1
• 82% Dark Matter: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• 95% We Are Lady Parts: Season 2 Link to We Are Lady Parts: Season 2
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Every Shrek Movie, Ranked by Tomatometer

100 Best Movies on Tubi (July 2024)

What to Watch: In Theaters and On Streaming

‘Seen on the Screen’ Podcast: A Celebration of Universal Stories 

The Most Anticipated Movies of 2024

• Trending on RT
• Shark Movies
• Mission Impossible 8
• A24 Horror Movies

Hollywood High

Audience reviews, cast & crew.

Patrick Wright

Marcy Albrecht

Sherry Hardin

Rae Sperling

• Election 2024
• Entertainment
• Photography
• AP Buyline Personal Finance
• AP Buyline Shopping
• Press Releases
• Israel-Hamas War
• Russia-Ukraine War
• Global elections
• Asia Pacific
• Latin America
• Middle East
• Election Results
• Delegate Tracker
• AP & Elections
• Auto Racing
• 2024 Paris Olympic Games
• Movie reviews
• Book reviews
• Financial Markets
• Business Highlights
• Financial wellness
• Artificial Intelligence
• Social Media

Movie Review: Hollywood, sleazy 80s-style, in ‘MaXXXine’

This image released by A24 shows Mia Goth in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Mia Goth, left, and Sophie Thatcher in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Mia Goth, left, and Halsey in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Bobby Cannavale in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Kevin Bacon in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Giancarlo Esposito in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Lily Collins in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Moses Sumney in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Elizabeth Debicki in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

This image released by A24 shows Michelle Monaghan in a scene from “MaXXXine.” (Justin Lubin/A24 via AP)

• Copy Link copied

If anything, “MaXXXine” is a love letter to the Los Angeles movie .

The third film in this unlikely trilogy (following “X” and “Pearl”) finds Mia Goth’s Maxine Minx in Hollywood in the 1980s. This is not a glamorous existence. She’s living in a rundown apartment on Hollywood Boulevard and working around the clock, in adult films (every man in town seems to recognize her) and sex shops. As ever, she is maniacally focused on one thing: Becoming a star. And despite her smut background, she’s gotten a massive break to star in a studio horror sequel. But her past is haunting her and a serial killer is at large (“The Night Stalker”), both of which seem to be closing in, racking up a body count and threatening to derail her big shot.

Maxine, we know by now, will not let anything get in her way.

Filmmaker Ti West, who also wrote the script, seems to be checking off a well-honed list of “LA movie” musts. He’s got a synthy nightclub scene, a shot of someone falling in a pool, a plaster casting sequence, and the obligatory costumed extras marching down a studio lot. West has also made sure to really use the city as a location, setting scenes in as many iconic spots as possible: The Hollywood Forever Cemetery; The Chinese Theater, before it had the “TCL”; The Walk of Fame; A modernist mansion in the hills; The Bates Motel; And even a little golf cart ride through the facades and old west town at Universal that anyone who’s taken the “studio tour ride” will recognize.

This is a movie chock full of great ideas, homages to the likes of Brian De Palma and David Lynch, campy costuming and set design and memorable supporting performances: Elizabeth Debicki, regal as always but this time as a serious English auteur making “B movies with A ideas” in the Hollywood system; Halsey, terrifically delightful as a prototypical brassy “best friend” of 80s flicks (somewhere between Laura San Giacomo in “Pretty Woman” and Bess Motta in “Terminator”); Moses Sumney, a voice of the audience as a savant video clerk with an encyclopedic Lily Collins, having fun with accents as a rising scream queen; Kevin Bacon, also relishing an over-the-top accent as a crooked private investigator; Giancarlo Esposito going low class in a wild wig as a small time agent/manager/fixer; and Michelle Monaghan and Bobby Cannavale as a couple of bickering homicide detectives.

What it’s not is especially scary. There are several gruesome murders, and yet it all feels more akin to a too-self-aware horror satire than something that makes you feel any sense of dread or terror. It checks the boxes, with gore and variety, but it doesn’t jump off the screen and crawl under your skin. Instead, it feels a little routine. Maybe that’s the point? Maxine has seen a lot by now and is hard to rattle; Perhaps that jadedness has transferred to the audience.

Goth is compelling again as Maxine, especially in a killer audition scene, but her character feels underwritten. She doesn’t get anything nearly as meaty as the big dinner table monologue in “Pearl.” Though the camera is pointed at her most of the time, the supporting cast seems to have more opportunities to shine.

The very silly climax also has the unintended consequence of diminishing a lot that came before it. This is what we were building to? Perhaps West and his team leaned a little too heavily into the B movie/video store oddity aesthetic, wasting the promise of the world they created. And yet even so, you kind of forgive it because however slight it is, and even if its predecessors may have been better, it’s still a fun enough time at the movies, best enjoyed with an excitable crowd.

“MaXXXine,” an A24 release in theaters Friday, is rated R by the Motion Picture Association for “strong violence, graphic nudity, gore, drug use, language, sexual content.” Running time: 101 minutes. Two and a half stars out of four.

Things you buy through our links may earn  Vox Media  a commission.

15 Horror Movies About Showbiz

First thing you gotta know about showbiz is how tough it can be. No matter how starry-eyed your dreams of fame and fortune make you, it’s best to remember that you may not be cut out for it — and if you’re in a showbiz horror movie, you may be cut out of it literally.

Ti West’s MaXXXine, the concluding chapter in his trilogy looking at the slasher genre’s relationship with 20th-century entertainment, makes good on Pearl ’s promise to be recognized as a star; expect Tinseltown, Hollywood legacies, and a medically inadvisable amount of seediness. But it’s by no means the first film to recognize the veneer of celebrity as fertile ground for salacious, disturbing narratives. Horror films set in Hollywood, critiquing its fanatic appeal or implicating everyone complicit in its ongoing abuse and exploitation, have been around for decades.

The best possible outcome for dreams of stardom is fame, fortune, and a fantastic legacy, while the worst possible outcome is some variation on surreal, ambition-related psychosis, being butchered in shadowy production lots, and the meticulous craft of making a movie being ironically mirrored in a murderer’s modus operandi. Tons of horror films argue that Hollywood’s dream is killing us; the promise of glitz and glamour actively encourages desperate people to render themselves vulnerable to horror’s malign grip.

All that grim stuff aside, most horror movies about showbiz are also funny! The cartoonishness of the industry’s façade and the whiplash of injecting it with grisly violence lends itself to self-parody, camp, or acid-tongued satire. We delved into the vaults to find the best horror movies about showbiz ahead of MaXXXine seeing her name up in lights.

Opera (1987)

Dario Argento has made much more precise, subversive, and provocative giallos than Opera , but it’s hard to deny the luscious scale of what was at the time his most expensive production to date. It also feels like a capstone to the filmmaker’s impeccable run through the ’70s and ’80s, where he underlines his sadistic, off-kilter brand of horror with an expressive, theatrical vibe — very fitting for a film taking place during a grand Verdi production in one of Italy’s most historic opera houses. (Opera is Hollywood for Italians.) The swelling emotions of the opera performance, however, are no match for a masked killer sneaking around committing grisly murders that he forces our ingenue soprano lead (Cristina Marsillach) to watch. It’s impressive that Argento can take such a theatrical style and still find a confronting intimacy — now we’d love to see a staged opera version of Suspiria , please.

Wes Craven’s New Nightmare (1994)

This self-reflexive meta-slasher was Wes Craven’s return to his landmark franchise, as it breaks Elm Street continuity and takes place in the real world, where actress Heather Langenkamp (herself) finds the walls between film sets and reality crumbling. To sum up, a real demon haunted the director’s nightmares, and he was able to control its malignant powers by depicting it as Freddy Krueger across the original series — and now this neo- or proto-Freddy is going to rip Heather’s family apart. New Nightmare is an audacious studio horror with real faults (it gets close to some incredible psycho-horror but fumbles the payoffs; it’s about 20 minutes too long), but coursing through the film is an unsettling concept. Even if personal artistic expression was therapeutic for this fictionalized version of Craven, the expanded capitalist scope of a movie series ends up aggravating the forces of darkness that actors like Langenkamp and Robert Englund profited from. If the silly Elm Street sequels turned Freddy into a clownish figure, then his metaphysical inspiration will emerge darker and crueler than could be imagined on the safety of a film set.

Scream 3 (2000)

For a film that has the reputation of being the worst Scream movie, it’s pretty good! Yes, the formula established and rehashed in the first two installments has been sucked free of a lot of joy and inventiveness, but it’s fitting that when the series relocated to a Los Angeles setting (where our Woodsboro characters witness the events from the first film being restaged for a Stab sequel), everything feels more brutal and bombastic. It’s a souped-up, hollow film for a souped-up, hollow place. There’s no better spot than studio lots for unearthing seedy secrets, although the film’s criticisms of systemic Hollywood exploitation are greatly harmed by how overt the Weinstein presence is on this Miramax production. It is, however, the first of two films on this list with a Carrie Fisher cameo, which is always welcome.

Shadow of the Vampire (2000)

For those who are still replaying that Robert Eggers Nosferatu trailer and can’t believe Willem Dafoe was not cast as the titular vampyr , you’ll be glad to know that Shadow of the Vampire exists. It’s a film where Dafoe plays a real vampire playing a fictional vampire (Count Orlok, the actual name of Nosferatu) who F. W. Murnau, director of Nosferatu (1922), convinces the cast and crew is not a vampire but an obscure theater actor, Max Schreck. It blends dramatized accounts of making a pioneering horror film and intense gothic fascination with a strange creature hiding in plain sight, and like Bram Stoker’s Dracula (1992) , it finds common ground with the spread of the vampire myth and the early days of cinema. This film gets credit for making simmering gothic horror out of what sounds like a terrific sitcom premise.

Seed of Chucky (2004)

You’re either of the opinion that this is where the Chucky franchise went off the rails, or this is where the Chucky franchise went off the rails and landed cleanly on an entirely new and insane set of rails. Here, Chucky and his bride, Tiffany, go to Hollywood, where they’re used as lifeless animatronic puppets for a film version of the Chucky urban legend. They’re brought back to life by their child, a genderqueer doll called Glen/Glenda, and immediately launch into more depraved violence, kidnapping Jennifer Tilly and Redman (themselves) to transfer their consciousness into their bodies. If there’s one person who can perfectly straddle earnest terror and pantomime pastiche, it’s Tilly. Seed of Chucky takes the heightened black comedy of Scream ’s satire and pushes it into full camp without skimping on any gruesome kills — John Waters gets his face melted with acid, ladies and gentlemen!

Inland Empire (2006)

If Mark Fisher was correct in saying that Inland Empire is like “witnessing a direct feed from the unconscious,” then the transmission itself has come from the radio tower in the RKO Radio Pictures production logo. That is to say: The nightmares that make up the film are the product of years of Hollywood dreaming and image-making. In his first feature-length digital project, Lynch undercuts the Technicolor glamour of his previous media pastiches (the knowing saccharine soapiness of Twin Peaks , the unnerving artifice of Mulholland Drive ) to give a three-hour descent about an actress (Laura Dern) on a path toward a dirty, exposed stretch of Hollywood Boulevard pavement — and along the way, we’re thrown into states of pants-wetting terror and numbing anxiety. Mulholland Drive was scary, but it also stressed the erotic and sensory texture of believing in a dream town built on pain. Inland Empire corrodes its genre motifs at every stage: Noir, mystery, melodrama, and one crazy dance scene all feel subservient to the trembling eeriness humming through Lynch’s epic — no matter what we recognize about showbiz, there’s a palpable sense we are in the wrong place.

Antiviral (2012)

Brandon Cronenberg (son of David, more on him below) made his debut with a sterile and pallid sci-fi noir in which our capitalist version of the celebrity-consumer hierarchy has been stripped of all joy and color — but retained its inherent fanaticism and invasiveness. Set in a world where people can purchase viral loads from their favorite public figure whenever they fall ill just to feel close to them, one sickly-looking man (Caleb Landry Jones, ’cause who else are you gonna get to look like that?) gets caught up in the illicit “celeb meat market” surrounding this industry. Antiviral is just as airless and measured as Cronenberg Sr.’s 21st-century work and often veers into the too-direct, “wouldn’t this be mental” commentary of the Black Mirror variety — but there’s something squirmy but recognizable about this celeb culture’s promise of constructed, self-destructive intimacy.

Berberian Sound Studio (2012)

Set far away from the glitz and glamour of red carpets and packed movie houses, this ode to the isolating craft of unprestigious film production injects you with a deep distrust of the artifice separating real and artificial horror. A sound engineer (Toby Jones) travels to an Italian horror studio to record some squishy, squelchy, and generally sickening Foley for a giallo film, but his own psychological hang-ups soon start invading the impersonal-but-visceral postproduction haven. Director Peter Strickland always applies such a curious and lo-fi perspective to recognizable genre archetypes, and this horror tale of losing yourself in film (not in a fun way) occupies a unique space in the margins of moviemaking.

This Is the End (2013)

Not the most sophisticated or thought-provoking film, this broad comedy from Seth Rogen and Jay Baruchel about millennial Hollywood stars facing a biblical apocalypse during one of James Franco’s house parties does admittedly feature quite a lot of A-list celebrities facing terror from a demonic realm. The only problem is that most of these celebrities are friends of Rogen, so their reaction to face-melting horror is usually some variation of “oh shit!” But instead of a filmmaker looking at celeb culture from the outside in, we get an interesting new perspective from a group of self-aware comedians pastiching themselves with skewed, heightened versions of their own star status. Hey, most of these guys just play themselves in every movie; at least they do literally play themselves here.

Starry Eyes (2014)

Is Starry Eyes too direct, or is the bluntness of its horror metaphor the point? The 2014 psychological cult horror (as in, a horror about cults) tracks the stripping of agency from aspiring actress Sarah (Alexandra Essoe) as she warily steps further into producers’ abusive reach. Erratic behavior, bodily mutations, and hallucinations line her journey to industry approval, with striking imagery from future Pet Sematary directors Kevin Kölsch and Dennis Widmyer whenever Sarah gives dubious consent to transforming her body on the whims of Hollywood’s powerful. On one hand, Starry Eyes ’ equating of abusive, self-protecting elites with literal Satan worshippers feels didactic and simple; on the other, there’s something visceral and uncomfortable about making an unmistakable connection between the conspiratorial evil of the horror genre and the open secrets that the industry still refuses to address.

Map to the Stars (2014)

One of the most overt and salacious Hollywood satires, you could tell Map to the Stars was made by someone with expert horror instincts even if you didn’t know it was from David Cronenberg. The Canadian maestro shot in America for the first time in his career (but production only moved to Los Angeles after principal photography in Toronto) for a venomous take on the sun-bleached and anxiety-ridden City of Angels. There’s some titanic work here from Julianne Moore in motifs and moods from classic L.A. noir like Chinatown and Sunset Boulevard — but with all the obsessive and perverted themes dialed up to a delirious pitch. When they combine with Cronenberg’s stifling, withdrawn “late style,” it creates an uncanny, unpleasant vibe that’s delightful to dive into.

The Neon Demon (2016)

Set in one of the other exploitative industries centralized in Los Angeles, the fashion industry, this divisive film proved to be another reason why a lot of the fans waiting for another Drive from Nicolas Winding Refn were doomed to be forever disappointed. But for fans of immaculate-looking women festering a dark, envious rot from within a vice-ridden corner of the world, it’s hard to fault The Neon Demon. After the death of her parents, Jesse (Elle Fanning), an underage model, arrives in Los Angeles looking for success and guidance and soon becomes an object of fascination for harpy-esque models suffering intensely from the psychosis-inducing misogyny of their work culture. For all the ambiguous story beats and extended synth-scored sequences of Fanning catwalking into a glowing triangle, The Neon Demon picks up in a barbaric final act that crystallizes Refn’s themes in shocking images and acid-tongue dialogue. It’s a film that shows remarkable restraint by not dropping the line “You look good enough to eat.”

Everybody Dies by the End (2022)

There have been a couple found-footage movies about Hollywood (the violent and unpleasant porn-star-killer film Lucky Bastard comes to mind), but seeing as how the genre is about careful, unpolished documentation, you’d think it would be used more to fictionalize people and processes behind the scenes. Nevertheless, this charming and ominous feature debut from Ryan Schafer and Ian Tripp easily fits the bill. It’s a darkly comedic look at filmmaking labors of love, where aged cult filmmaker Alfred Costello (Vinny Curran) tries to repair a damaged legacy by staging one last passion project, ominously titled “Everybody Dies by the End.” Costello is a domineering presence on the remote mountain ranch set, badgering his male and female leads to act better and enjoying cultlike devotion from his uniformed crew, but the behind-the-scenes documentarians filming Costello’s efforts soon bear witness to an upsetting filmmaking practice that goes beyond dedication to craft. Schafer and Tripp’s film hits a lot of routine “slowly realizing you’re in danger” thrillers, but the tonal and aesthetic shift from grindhouse filmmaking pastiche to found-footage terror is deftly done.

The Substance (2024)

Coralie Fargeat followed up her throat-catching debut, Revenge, with a heightened, glossy, and nasty look at a heightened, glossy, and nasty town, with a disturbing, body-horrific take on Hollywood’s rules for how women are permitted to age in the industry. After being pushed out of her exercise television show, middle-aged celebrity Elizabeth Sparkles (Demi Moore) starts experimenting with a clandestine bio-product that allows her to birth a new, younger self (Margaret Qualley) who will take turns living celebrity life to the fullest. The Substance , in its best moments, taps into a Fifth Element or Showgirls “here is a European director pointing out all the weird, accepted excesses of American life” energy that’s always a hoot. Body horrors, especially splintered-self ones, works best if we’re pressed into an uncomfortably intimate space with the opposing doubles, something that Fargeat evades throughout the 140-minute run time. But in choosing to platform the squelchy and gooey streaks of the genre — especially in a jaw-dropping, Frank Henenlotter–riffing climax — we instead get an explosive and unmistakable attack on Hollywood’s mandate of physical perfection.

MaXXXine (2024)

It’s taken two movies and two years, but finally someone gets to be a star in one of these Mia Goth x Ti West films. After committing senicide in X , Maxine Minx (Goth) hightailed it to Los Angeles and made her career in porn but now wants to graduate to mainstream entertainment with the scandalous religious-horror sequel The Puritan II. A fun twist on this much grander and more mainstream trilogy closer is that it’s basically a giallo mystery, with a black-gloved killer and obscene kills bathed in vibrant colors, all pointing our heroine toward a personal and dangerous mystery. We once again approach porn and horror as marginalized (and therefore potentially radical) art, now with the sour context of subversive expression being flattened by a moralizing, arch-conservative capitalist hierarchy. But what makes MaXXXine shine is that, more than either entry in West x Goth’s trilogy, the film indulges in the pure joy of the dark, splatterful noirs it so palpably admires — it’s like if all those vulgar nasty VHS horror films were allowed a cane-twirling, firework-popping celebratory musical number.

• vulture lists
• vulture picks
• lights camera action
• horror movies
• the neon demon

Most Viewed Stories

• The Disappearing of Rose Hanbury
• Cinematrix No. 106: July 10, 2024
• Gwyneth Paltrow’s Bestie Bowel Blowout, Explained
• The Bachelorette Season-Premiere Recap: Quit Playing Games
• Denzel Washington Gives Us a Giggle in Gladiator II
• Where’s Nettles?

Editor’s Picks

Most Popular

What is your email.

This email will be used to sign into all New York sites. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us.

Sign In To Continue Reading

Create your free account.

Password must be at least 8 characters and contain:

• Lower case letters (a-z)
• Upper case letters (A-Z)
• Numbers (0-9)
• Special Characters (!@#$%^&*)

As part of your account, you’ll receive occasional updates and offers from New York , which you can opt out of anytime.

WEATHER ALERT: Severe Thunderstorm Watch for DC region

Movie Review: Hollywood, sleazy 80s-style, in ‘MaXXXine’

The Associated Press

July 3, 2024, 2:19 PM

• Share This:
• share on facebook
• share on threads
• share on linkedin
• share on email

If anything, “MaXXXine” is a love letter to the Los Angeles movie .

The third film in this unlikely trilogy (following “X” and “Pearl”) finds Mia Goth’s Maxine Minx in Hollywood in the 1980s. This is not a glamorous existence. She’s living in a rundown apartment on Hollywood Boulevard and working around the clock, in adult films (every man in town seems to recognize her) and sex shops. As ever, she is maniacally focused on one thing: Becoming a star. And despite her smut background, she’s gotten a massive break to star in a studio horror sequel. But her past is haunting her and a serial killer is at large (“The Night Stalker”), both of which seem to be closing in, racking up a body count and threatening to derail her big shot.

Maxine, we know by now, will not let anything get in her way.

Filmmaker Ti West, who also wrote the script, seems to be checking off a well-honed list of “LA movie” musts. He’s got a synthy nightclub scene, a shot of someone falling in a pool, a plaster casting sequence, and the obligatory costumed extras marching down a studio lot. West has also made sure to really use the city as a location, setting scenes in as many iconic spots as possible: The Hollywood Forever Cemetery; The Chinese Theater, before it had the “TCL”; The Walk of Fame; A modernist mansion in the hills; The Bates Motel; And even a little golf cart ride through the facades and old west town at Universal that anyone who’s taken the “studio tour ride” will recognize.

This is a movie chock full of great ideas, homages to the likes of Brian De Palma and David Lynch, campy costuming and set design and memorable supporting performances: Elizabeth Debicki, regal as always but this time as a serious English auteur making “B movies with A ideas” in the Hollywood system; Halsey, terrifically delightful as a prototypical brassy “best friend” of 80s flicks (somewhere between Laura San Giacomo in “Pretty Woman” and Bess Motta in “Terminator”); Moses Sumney, a voice of the audience as a savant video clerk with an encyclopedic Lily Collins, having fun with accents as a rising scream queen; Kevin Bacon, also relishing an over-the-top accent as a crooked private investigator; Giancarlo Esposito going low class in a wild wig as a small time agent/manager/fixer; and Michelle Monaghan and Bobby Cannavale as a couple of bickering homicide detectives.

What it’s not is especially scary. There are several gruesome murders, and yet it all feels more akin to a too-self-aware horror satire than something that makes you feel any sense of dread or terror. It checks the boxes, with gore and variety, but it doesn’t jump off the screen and crawl under your skin. Instead, it feels a little routine. Maybe that’s the point? Maxine has seen a lot by now and is hard to rattle; Perhaps that jadedness has transferred to the audience.

Goth is compelling again as Maxine, especially in a killer audition scene, but her character feels underwritten. She doesn’t get anything nearly as meaty as the big dinner table monologue in “Pearl.” Though the camera is pointed at her most of the time, the supporting cast seems to have more opportunities to shine.

The very silly climax also has the unintended consequence of diminishing a lot that came before it. This is what we were building to? Perhaps West and his team leaned a little too heavily into the B movie/video store oddity aesthetic, wasting the promise of the world they created. And yet even so, you kind of forgive it because however slight it is, and even if its predecessors may have been better, it’s still a fun enough time at the movies, best enjoyed with an excitable crowd.

“MaXXXine,” an A24 release in theaters Friday, is rated R by the Motion Picture Association for “strong violence, graphic nudity, gore, drug use, language, sexual content.” Running time: 101 minutes. Two and a half stars out of four.

Copyright © 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, written or redistributed.

Related News

Actor George Clooney, a high-profile Biden supporter and fundraiser, asks president to leave race

Music Review: ‘Louis in London,’ a 1968 live album, captures a joyful, late-career Louis Armstrong

Actor George Clooney, a high-profile Biden supporter, calls for the president to leave the 2024 race after debate

Recommended.

Maryland governor proposing budget cuts to address future shortfalls

'Feels-like' temps up to 110 degrees in the DC area Wednesday as sweltering week continues

Woman dead after being hit by fallen tree in Southeast DC

Related categories:.