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Glen, Aisha, and I were all fairly unmoved by Ridley Scott’s latest, The Dog Stars, which I wrote about last week. But it disappointed each of us in a slightly different way. Hear the Pop Culture Happy Hour episode below.
Tim Curry and Ian McKellen in Amadeus in 1981. The show warmed for its Broadway turn with a stint at the National Theatre here in DC in November 1980.
I wrote up a little history of Tim Curry’s DC stage performances for City Cast DC.
A boy (Jacob Elordi) and his dog and his plane. (Fabio Lovino)
We’re left wondering why Scott wanted to make this movie. His contemporaries who’re still working have turned their attention in recent years to long-contemplated dream projects and/or summations of their guiding obsessions: Steven Spielberg, 79, waited for his parents to die to make The Fabelmans, then returned to his seminal subject of extraterrestrial ambassadors this year with Disclosure Day. Francis Ford Coppola, 87, had completed the first draft of his 2024 opus Megalopolis in 1984, four decades before the movie hit theaters. Michael Mann, 83, spent decades trying to get the already-all-but-forgotten 2023 biopic Ferrari made. He’s about to start shooting Heat 2, a sequel to the 1995 masterpiece that he’d already previewed back then with a 1989 made-for-TV version and elements of the Mann-produced NBC shows Miami Vice and Crime Story.
My Washington City Paper review of the 88-year-old Sir Ridley Scott’s latest is here.
Take my word for it: his stubble is as perfect here as in every other scene. (Dan Smith / Lionsgate)
No camera subject has ever had a more magnificent stubble than competitive diver-turned-model-turned-action star Jason Statham. His lithe and lethal physicality, even at the silverback age of 59, remains impressive, but his shadow not-quite-beard is perfect. It’s always five o’clock somewhere, and that somewhere is wherever Jason Goddamn Statham happens to be scowling.
My Washington City Paper review of Mutiny, from the director of Plane and the producer/star of The Transporter, The Bank Job, A Working Man, and too many others to contemplate, is here.
Anne Hathaway can’t believe what’s happened to the roads in her neighborhood. (Warner Bros. Pictures)
The End of Oak Street is a fun, late-summer Spielberg pastiche from It Follows and Under the Silver Lake writer-director David Robert Mitchell. You could do worse!
Alan RItchson steps back in the line of fire. (Amazon)
Whether or not to watch Reacher is, like the decision whether or not to read my jokes about Reacher, a deeply personal choice. This is one of very few matters in which I shall encourage you to do your own research. Those who wish to follow along as I annotate Reacher’s Philly-set, Toronto-shot fourth season may do so here.
With Spider-Man: Brand New Day a bigger hit than anyone predicted, Movie Death Match executive producer Sam Van Hallgren’s impulse to pivot away from our planned Teenage Sex & Death at Camp Miasma-themed contest to a battle of the most beloved Spidey-flicks proved to be more than sound.
My frequent Pop Culture Happy Hour co-panelist Daisy Rosario reps the 2018 Oscar-winning animated flick Spider-Man: Into the Spider-Verse while Screencrush editor and lifelong Spidey fan Matt Singer argues on behalf of Sam Raimi’s 2004 Spider-Man 2. It’s our most amazing / spectacular / ultmate / web-of / 2099 death match yet! Listen below, True Believers!
It seems I’m a little higher on this Thunderball / Ghost Protocol (read: fourth) installment of the Tom Holland-era Spidey series than many of my esteemed colleagues. My Washington City Paper review is here.
