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Hey, it's a play, sort of, where you pay for the privilege of doing this for half an hour. Nope nope nope nope.
My review of Toast, dog & pony dc's ambitious but unfocused -- and deeply annoying -- new performance-art-as-corporate-encounter-group piece is in today's Washington City Paper, available wherever finer alt-weeklies are given away for free. Also reviewed: Taffety Punk's very fine The Devil in His Own Words.
No Good Deed stars Idris Elba & Taraji P. Henson are also credited producers, so they should know better.
The thrice-delayed, not-screened-for-critics thriller No Good Deed opened at No. 1 this weekend. Box Office Mojo reports its audience was 60 percent female and 59 percent over age 30. I'm an over-30 straight white dude, so WTF do I know, but to me the film -- which was written by a white woman and directed by a white guy -- felt incredibly insulting to its target audience of black women. In my Village Voice review, I tried to unpack the cynical, unkind assumptions it makes about the primary demographic paying to see it. Without making the piece as much of a drag to read as the movie was to watch.
Joseph Marcell and Bethan Cullinane in King Lear (Ellie Kurttz).
My review of the Globe Theater's stripped-down touring production of King Lear -- the play that inspired Ira Glass to proclaim "Shakespeare sucks"! -- is in today's Washington City Paper. I also reviewed Theatre Alliance's production of Caridad Svich's Spark.
FURTHER READING: I reviewed Synetic Theatre's wordless King Lear in 2011. And I interviewed Ira Glass, who was and remains one of my heroes, in April 2008.
Roque (center), one of the three young Chicagoans profiled in The Homestretch, is a bad poster child for homeless youth.
Here's my review of the disappointing Kartemquin Films' documentary The Homestretch for The Dissolve. I made a boneheaded mistake in the version of this where I filed wherein I ascribed the phrase "cruel to kind" to Nick Lowe, not to Hamlet -- even though I'd already referenced Hamlet earlier in the review, and in fact, the other piece I filed the day I filed this one was a review of King Lear. Embarrassing. Editors sometimes save your neck.
Ex-Bond Pierce Brosnan and ex-Bond Girl Olga Kurylenko in The November Man.
Did you happen to notice that the 12-year interval between The November Man, which I review for NPR today, and Brosnan's final appearance as James Bond, 2002's (lousy) Die Another Day, matches the span of time that elapsed between Sean Connery's final "official" Bond performance, in 1971's (lousy) Diamonds Are Forever, and his return in 1983's out-of-canon Never Say Never Again?
Well, I did. I also note that it was during the Brosnan era (1995-2002) that the Bond flicks ceased to be early summer releases and started coming out in November. That's got nothing at all to do why this thing is called The November Man, but it's a better rationale than the one character actor Bill Smitrovich, whom I recall so fondly from Michael Mann's 1960s-set 1980s cop show Crime Story, gets to articulate in the movie.
My reviews of Scena Theatre's repertory of Irish playwright Conor McPherson's acclaimed Shining City and the world premiere of George O'Brien's Molly are in today's Washington City Paper. You are alerted.
Hikaru Sulu and George Takei at Midtown Comics in Manhattan.
I am acquainted through mutual friends in DC theatre with Marc Okrand, the man who developed the Klingon language to for Paramount Pictures. I was surprised to seem him make a very brief appearance in Jennifer M. Kroot's documentary To Be Takei, which I reviewed for The Dissolve.
No idea who those two guys in the back row at left are, but next to them are MMA champ Rhonda Rousey and welterweight boxer Victor Ortiz. Maybe they should've called this film The Availables.
I reviewed The Expendables 3 for NPR, because their audience demanded it.
This movie made me weirdly nostalgic for the days when martial artists or athletes like current MMA champ Ronda Rousey or retired MMA fighter Randy Couture might be deemed worthy of their own low-budget action flicks. No, I can't explain, really.
