The Brief

A ping pong hustler for the ages, a Neil Diamond interpreter for the '80s, choral music both comic and spiritual, plus tormented teens, twisted families, and a giant snake on the loose. It's quite the jolly holiday at your local cineplex.

They join a new Avatar sequel, a Bradley Cooper-directed drama, and more in theaters.

Marty Supreme

In theaters Thursday

I feel as if I should tell you to speed-read this review, preferably with Fats Domino's "The Fat Man" blaring in your ear. Josh Safdie's adrenaline-fueled, screwball comedy about a table tennis hustler who dreams of world domination — in a sport that hasn't registered yet with the American public — is a mesmerizing cinematic tour de force. Timothée Chalamet plays Marty Mauser (loosely based on real-life 1940s and '50s U.S. ping pong champ and petty criminal Marty Reisman), graduating from determined kid-with-a-passion to aggrieved also-ran-in-full-melt-down mode, attracting and then alienating everyone he comes across. We meet him as a New York shoe salesman having storeroom trysts with his married childhood sweetheart (Odessa A'zion) and prepping for a bout in England for which he can't even afford plane fare.

Marty establishes with a series of heists and scams that he's got no problem cheating or stealing to get there, then regales the press with a pugnacious racist routine that lands him on front pages before his first serve. Chalamet's live-wire approach is neatly countered by a serenely sensual turn by Gwyneth Paltrow as an aging movie star who finds Marty amusing and alarming in about equal measure. And the film's just getting started at that point, careening towards a championship in Japan with the propulsive, harrowing, rush-to-judgment feel of Safdie's Uncut Gems mixed up with dizzying comedy. It's a thrill ride, pure and simple. — Bob Mondello

Song Sung Blue

In theaters Thursday

Mike and Claire Sardina, the real-life, blue-collar Milwaukee couple who formed a Neil Diamond tribute act in the 1980s, get the sequin-and-spangle treatment in this Hugh Jackman and Kate Hudson love-fest. Writer and director Craig Brewer keeps the music central and the sentiment tolerable as the couple meets cute, bonds quick, and forms a musical act known professionally as Lightning and Thunder. The stars are well-matched and appealing — Hudson does a winning Patsy Cline impersonation, and Jackman completely nails Neil Diamond's sound and bearing. The couple's story, which has more downs than ups, doesn't quite match the mood of a movie determined to be ever-and-always-up. Still, the stars are engaging, the supporting cast great fun, and the music rousing. — Bob Mondello

Anaconda

In theaters Thursday

The original Anaconda movie came out almost 30 years ago, sending an assortment of '90s movie stars down the Amazon, where they were menaced and occasionally crushed and/or devoured by giant deadly snakes. That film, starring Jennifer Lopez and Ice Cube, was a hit that spawned a handful of lightly regarded sequels.

Heavy on meta references to the original film, the new Anaconda is not quite a reboot, it's not quite a sequel, and it's played for laughs. Jack Black and Paul Rudd star as lifelong friends who grew up wanting to be filmmakers. But they've followed different career paths — Paul Rudd's character is a struggling actor whose biggest role was a bit part on the TV show S.W.A.T., while Jack Black's character makes wedding videos while yearning to shoot something more creative. They gather their old friends and collaborators — played by Thandiwe Newton and Steve Zahn — and head to the Amazon to shoot a meta reimagining of Anaconda. As you can imagine, this proves harder than it sounds. — Stephen Thompson

The Plague

In limited theaters Wednesday

The first image is an eerie, underwater shot — sun-dappled blues, greens, and greys — its peace suddenly exploded as bodies plunge into the pool. Middle school boys, limbs all akimbo, almost literally at sea, as they struggle for equilibrium. It's an apt beginning for the story of a youngster trying to figure out where he fits in among the cliques at a summer water polo camp. Ben (Everett Blunck) is the camp newbie, Jake (Kayo Martin) its smirking cool kid who picks up on his fellow campers' idiosyncrasies and exploits them.

He tells Ben that Eli (Kenny Rasmussen), a withdrawn boy with a rash, has the "plague" and must be avoided. Ben, seeing the obvious pain the outcast is in, can't square that with his own sense of decency, but also doesn't want to be ostracized, and his attempt to split the difference leads the film into Lord of the Flies territory. Charlie Polinger's directorial debut looks breathtaking, feels unnerving, and traffics cleverly in body-horror tropes as it basically establishes that 12-year-old boys are savages who should never be without adult supervision. — Bob Mondello

Father Mother Sister Brother

In limited theaters Wednesday

You might expect Jim Jarmusch to look at family relationships with a certain eccentricity, but not necessarily in the elegantly framed way he does in this triptych about adult children and the parents they don't begin to understand. The Father segment casts Adam Driver and Mayim Bialik as siblings who are stiff with each other, and even less comfortable with their garrulous con man of a dad (Tom Waits). Driver's come with provisions and cash, Bialik's come armed with an arched eyebrow, and Waits is ready for them both.

The second part, Mother, finds a sublimely chilly Charlotte Rampling hosting an awkward once-a-year tea for her daughters, one primly nervous (Cate Blanchett), the other pink-haired and boisterous (Vicky Krieps). And the final third, Sister Brother, finds Indya Moore and Luka Sabbat bonding in their recently deceased parents' now-empty Paris apartment. This segment seems less about estrangement, until you realize how little they actually know about their dear departed folks. There are running jokes about Rolexes, the expression "Bob's your uncle," and toasts to tie things together, along with a sweet, reflective tone that makes this one of the year's most compassionate films. — Bob Mondello

The Choral

In limited theaters Thursday

Director Nicholas Hytner and screenwriter Alan Bennett, who previously teamed up on The Madness of King George, The History Boys, and The Lady in the Van, are plumbing shallower depths in this gentle dramedy about an amateur chorus in 1916. When their choirmaster leaves to fight in World War I, grieving mill owner Roger Allam, who funds the chorus, reluctantly hires Dr. Guthrie (Ralph Fiennes), a gifted choirmaster but a divisive choice in this intensely nationalistic moment — because he's spent the last few years in Germany. He also exhibits "peculiarities" (code for being gay) but this seems less important to the locals.

Fiennes is briskly dismissive of local traditions, snippy about English appreciation for the arts, and celebrated enough in music circles to persuade composer Edward Elgar (Simon Russell Beale) to let them perform his oratorio "The Dream of Gerontius." Elgar is less thrilled when he discovers the chorus is turning the oratorio into a story about the war, casting its elderly hero as a young soldier and generally making it what later generations would call "relevant." It's all sweet and sentimental, and though it's being released during awards seasons, feels as if it really wants to be considered for best picture of 1933. — Bob Mondello

No Other Choice

In select theaters Thursday

"I've got it all," says paper factory supervisor Man-su as he hugs his family at a barbecue in the backyard of his elegant Korean home. He's grilling some eels given to him by the paper company's new American owners, secure in the knowledge that this must mean they value him. This being a social satire by director Park Chan-wook, it's reasonable to expect he will shortly be dealt a blow, and one day later, he's been axed. (The film is based on Donald E. Westlake's 1997 horror-thriller novel The Ax). He's distraught but can't express, or even really understand, that he feels he has lost his manhood, his mojo, and his reason for being.

On top of that, his industry is consolidating, so finding another job before his severance pay runs out and he loses his house (his childhood home) will be tricky. Asked if he'd consider a job outside the paper industry, Man-su (Lee Byung-hun) says that for him there is "no other choice," echoing the words his American bosses uttered about bringing down costs as they did layoffs. But with the end of severance payments looming, he hatches a plan to knock off his job market competition one by one. Isn't this mass murder? Well, he has "no other choice."

At first it seems as if we're in serial-killer comedy territory, but the filmmaker widens the frame to include narrative side trips — a stepson who's stealing cellphones, a daughter who's a cello prodigy, a wife who's working for a dentist that Man-su suspects has designs on her. Oh, and pig-farm trauma from his youth, and a passion for greenhouse gardening. Director Park has a lot going on, and a final paper-plant-mechanization sequence suggests that all these stabs at human agency may just have been humanity's last gasp. — Bob Mondello

The Testament of Ann Lee

In limited theaters Thursday

Ambitious, stylized, intense, and thoroughly unorthodox, Mona Fastvold's religious biopic tells the story of Shakers founder Ann Lee (a wild-eyed, fiercely committed Amanda Seyfried) as a full-scale musical drama. That's not to say there are finger-snapping tunes. The score adapts 18th century Shaker spirituals, and the choreography involves the thrusting limbs and clawing fingers of the seizure-like dancing that earned this puritan sect of "Shaking" Quakers their nickname.

We meet Ann as a pious youngster more interested in spiritual matters than matters of the flesh. Marriage to a man who enjoys inflicting pain during sex, and the deaths of her four children in infancy lead Ann to the conclusion that lifelong celibacy is among the keys to salvation. With the help of her younger brother (Lewis Pullman), she finds adherents to a religious philosophy that also emphasizes gender equality and simple living, and leads them to found a utopian, crafts-based community in America. Director Fastvold and her co-writer Brady Corbet (the couple flipped roles from last year's The Brutalist) serve up Ann's spiritual journey in ecstatically musical terms, which is at once distancing and … well, ecstatic, though it pales a bit over the course of two-and-a-quarter hours. — Bob Mondello 

Copyright 2025 NPR

Southern California summers aren’t exactly known for mugginess.

But uncharacteristic humidity has been clinging to the region for almost a month, and it looks like there’s little relief coming our way.

It’s not enough moisture to create much, if any, rain, but it is abnormal for this time of year

The dew point in Southern California is normally around 60 degrees at this time of year, forecasters say. But in downtown Los Angeles yesterday, the dew point hit almost 70 degrees.

Scientists say humidity generally becomes uncomfortable in the summer when the dew point is higher than 65.

“We do get these prolonged periods of heat, but what is unusual is the humidity,” said National Weather Service meteorologist Bryan Lewis.

So, what’s causing this mugginess?

A confluence of atmospheric forces, some hundreds or even thousands of miles away, is collecting and trapping moisture in Southern California.

“It's basically the combination of the warm ocean temperatures, as well as we've just been in the right pattern for some tropical moisture" to be sent our way, Lewis said.

Storms in the Pacific

Storms are to blame, at least in part, for the uncharacteristic humidity in the region this summer.

Two in particular have contributed to moisture levels in Southern California as they traveled across the Pacific Ocean in recent weeks.

Tropical Storm Fausto formed off of Central America earlier this month before moving off into the open ocean and moving toward Hawaii. It briefly was elevated to a Category 2 hurricane over the weekend before weakening again into a tropical storm.

Fausto is expected to continue weakening as it passes to the north of the Hawaiian Islands over the next few days.

The other, stronger storm, Hurricane Genevieve, also formed off the coast of Central America and has been moving relatively parallel to the Mexican coast, several hundred miles offshore.

Genevieve was elevated to a Category 5 hurricane on Monday.

The storms aren’t solely responsible for sending moisture hundreds of miles across the ocean.

Other weather patterns closer to home, including the system of high pressure air currently settled over the Western U.S. and the North American monsoon, siphon the tropical moisture from the storms into our region.

Thankfully, forecasters say, Hurricane Genevieve is not expected to create as much moisture as Fausto and other recent tropical storms.

Warming oceans

Forecasters also say warming ocean temperatures are adding to the humidity.

When the ocean is warmer than usual, the wind blowing inland off the water is also warmer. The warm seawater also evaporates faster, releasing more moisture into the air above it. That moisture is then carried inland by the wind.

Ocean warming is not new in Southern California, but it’s getting worse.

The region has been hit with a series of marine heatwaves over the last decade. They generally recede during the winter, but the current one has lasted for over a year. Scientists say these ocean heatwaves are likely being worsened by human-caused climate change.

But there is some short-term hope on the horizon for humidity-haters.

One, Hurricane Genevieve is not expected to pull as much moisture into our region as other recent weather patterns. And two, forecasters expect drier air to flow in from the northwest, cutting down the humidity a bit, especially inland.

That may not reach people who live along the coast, however, where the higher ocean temperatures will help keep the coastal humidity elevated, especially at night.

Los Angeles-area eviction lawyer Dennis Block has agreed to one year of probation after the California State Bar Court found he violated a court order and engaged in other misconduct.

The decision came through a stipulation — similar to a settlement agreement with the court — in which Block admitted to charging clients improper fees, representing a landlord and their tenant at the same time, signing off on an error-filled court document a junior attorney in his firm generated using ChatGPT and failing to pay court-ordered sanctions for nearly three years.

LAist first reported on these disciplinary charges in January.

Block, who runs a firm that claims to have evicted hundreds of thousands of tenants, is expected to be placed on probation for one year. He will also be required to take classes on ethics and proper handling of client funds if the State Bar Court’s recommendation is approved by the California Supreme Court.

The State Bar Court recommended Block be suspended from practicing law for one year, but allowed the suspension be stayed as long as he complies with ethics rules and his probation conditions.

David Bramante is one of the clients who reported Block to the bar. He said he paid Block $17,000 up front to work on a court motion that needed to be taken care of quickly.

“The Ellis Act work I paid for never got done,” Bramante told LAist. “And when I terminated him, his office wouldn't give me a real accounting of where the money went.”

Bramante said it was only after many months and the State Bar’s investigation that Block’s firm refunded him the money.

Three legal ethics experts told LAist the disciplinary actions the bar recommended against Block are in line with similar cases they have seen in the past.

“This is a pretty serious sanction,” Scott Cummings, a UCLA law professor who teaches legal ethics, told LAist.

Cummings said suspension and disbarment are the two highest forms of discipline given by the bar.

Even though the suspension is being stayed in this case — because Block cooperated with State Bar investigators and has had a long career without disciplinary issues — Cummings said it seems like the bar is sending a message to Block and other attorneys that they need to treat their clients’ interests and money with the highest level of care.

Still, others think the court didn’t go far enough.

Richard Zitrin, an emeritus lecturer with UC Law San Francisco, called it a “slap on the wrist" considering the level of wrongdoing in the case.

“The failure to suspend Mr. Block is letting him get away with clearly unethical conduct that harms his clients,” Zitrin told LAist.

Other clients who were not involved with the bar’s investigation also claimed they had negative experiences with Block’s firm.

Xavier Jones said he hired Block’s firm for a few months in 2025. He told LAist there were no issues at first. Then, he said he saw Block’s attorneys start coming to court unprepared for his case. He said he also felt Block was overbilling him for the firm’s services.

Block would hang up on him when he asked legal questions or about how much he was being billed, Jones said. He said there were two times the firm’s lawyers came to court without having a copy of the tenants’ lease, which he says he sent them.

“I'm paying for this, for them to show up, for them to do their back-end work,” Jones said. “It's just unprofessional, it's embarrassing, and it's costing me a lot of money.”

Jones said he stopped working with Block in November. He said he had lost about $70,000 in unpaid rent, legal fees and other costs he believes could have been avoided with proper legal assistance.

LAist reached out to Block and his attorneys this week for comment, but did not receive a response. Last month, Erin Joyce — Block’s defense attorney — told LAist that the State Bar Court’s investigation into her client was “thorough” and found “no conduct by the firm involved moral turpitude,” which had been alleged in the original charges.

A year ago at this time, the streets of Los Angeles and other American cities were the sites of highly visible, large-scale immigration raids. While those scenes have died down, immigration enforcement remains more quietly active.

Federal data show Immigration and Customs Enforcement detained more people in June, at 43,000, than in any month since January 2025. Locally, Los Angeles Police Department officials say June had the highest tally of potential unlawful conduct by federal immigration officers. The 12 incidents investigated mark the most since the department began reporting the data in March.

German Hurtado, LAPD immigration affairs liaison, said in an interview that he noticed the uptick of reported immigration enforcement incidents, but could not say what caused the increase.

In February, Mayor Karen Bass issued a directive requiring the reporting. Police commissioners approved the most recent report at their meeting Tuesday.

Hurtado said the increase seen in June might be reflective of the department’s efforts to capture more of the potential issues.

“We’re finding better ways to improve how to capture these incidents,” Hurtado said. “It could be a combination of everything, but I did see that it was a large increase.”

He said those efforts include changes in how they label calls related to federal immigration enforcement actions and adjustments to the way department computers store the information.

What’s in June’s report

Here’s how that process worked, according to the department’s report:

The LAPD first identified 45 potential federal immigration enforcement actions by searching internal reporting systems for immigration related search terms. The immigration affairs liaison determined 33 of those incidents were unrelated to immigration enforcement.

At the commission's meeting on Tuesday, Lisa Ridoutt, assistant inspector general, explained these incidents included:

• 26 notices from federal agents conducting surveillance in the area
• 2 reports of protests
• 2 medical related incidents
• 1 report of DHS agents executing a search warrant unrelated to immigration
• 1 federal task force meeting
• 1 call reporting someone believed they were pushed from behind by a federal agent. LAPD reviewed security footage and determined no crime had occurred.

The department then looked deeper into 12 enforcement incidents that qualify for reporting under Bass’ executive directive, which asks the LAPD to report when officers document or receive reports of suspected unlawful conduct by immigration officers. Two of those incidents involved an LAPD response in the field, according to the report. The department also says neither resulted in officers being on the scene for an active enforcement action.

The report states the LAPD does not know the overall number of immigration enforcement actions that happened in June.

The 12 reported incidents are a significant increase from previous months. The department reported just four incidents in May, four in April and none in March.

Hurtado said the number of incidents has increased every month since March, potentially because the department is getting better at documenting them.

“It takes a while to teach 8,700 people exactly what to do, so as we are rolling out different training, the officers are now being more observant of it, documenting it more," Hurtado said.

The increase, he added, could also stem from federal authorities communicating with LAPD more. He said federal immigration authorities have not asked LAPD for support during enforcement actions.

The backstory

For decades, the LAPD has refrained from directly enforcing immigration laws. That’s because policing experts say doing so could deter witnesses or victims from cooperating with law enforcement.

State and local laws have codified that policy in recent years and further prohibited California law enforcement from assisting in federal immigration enforcement.

The mayor issued two executive orders last year with instructions for how city departments interact with federal immigration officers.

Executive directive 17 mandates the monthly immigration reports from the LAPD and instructs officers to activate their body-worn cameras whenever they respond to potential immigration-related incidents.

Ridoutt, of the Office of Inspector General, said that while officers did activate body-worn and in-car video systems, the OIG found some recordings were not properly titled or tagged and that some videos or photos from community members were not uploaded to the department’s evidence database as required by department policy.

The Inspector General’s Office reviews the LAPD’s reports to ensure compliance with the directive. Ridoutt said the office will be releasing a more comprehensive report in October or November.

Calls for increased transparency

At previous meetings, commissioners have asked for more details about what calls for service or incident reports entail.

Hurtado said the executive directive just requires the department to release aggregate numbers.

Shiu-Ming Cheer, deputy director of immigrant and racial justice at the California Immigrant Policy Center, said the directive calls for greater transparency than what the LAPD’s monthly reports currently provide.

The June report, for example, notes that LAPD twice dispatched officers in response to a report of ICE activity, but provides no description of the department’s role once officers arrived. Cheer said the public should know whether officers were responding for crowd control, interacting with federal agents or serving some other purpose.

Cheer said the LAPD’s monthly reports should explain what happened during the incidents the department counts.

Sophia Wrench, an attorney with Public Counsel, agrees.

“A central purpose of Executive Directive 17 was to provide increased transparency and build public trust, but LAPD’s reporting month after month falls short,” she said in a statement. “The lack of information in its monthly reports only creates more confusion in the community, building greater fear and mistrust of the police.”