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Greg Alverez Reid and Marquis D. Gibson as a kingslayer and his nephew in Fat Ham. (Margot Schulman)
My City Paper review of Studio’s production of Fat Ham, James Ijames’ Pulitzer-winning Hamlet rewrite, is here. You can also read my profile of the playwright from last May.
Caro Dubberly and Nikkole Salter in Confederates. (Chris Banks)
My Washington City Paper review of Mosaic Theater Company’s strong production of Dominique Morisseau’s play Confederates is here.
Ellen Burstun with Exorcist: Believer cowriter/director David Gordon Green.
My Washington City Paper review of The Exorcist: Believer, yet another unworthy sequel to one of the great horror films, is here.
John David Washington and Madeleine Yuna Voyles in an Gareth Edwards film. (Disney)
My Washington City Paper review of The Creator — Monsters, Godzilla, and Rogue One: A Star Wars Story director Gareth Edwards’ new sci-fi epic — is here.
Reader Beware: From Justin Green’s influential 1972 comic Binky Brown Meets the Holy Virgin Mary.
I reviewed Married to Comics, John Kinhart’s documentary about the troubled 40-year union of underground comix artists Justin Green and Carol Tyler, for the Washington City Paper.
Leonardo DiCaprio and Lily Gladstone in Martin Scorsese’s 3.5-hour historical epic Killers of the Flower Moon. (Apple)
There’re few things I love more than to immerse myself in he richly-imagined world of a movie, but even I can see that popcorn flicks, in particular, have hulked out to dangerous dimensions. I noted this alarming trend on the occasion of Avengers: Endgame in 2019 and again back in May when Martin Scorsese’s 3.5-hour adaptation of David Grann’s nonfiction true-crime epic Killers of the Flower Moon debuted at the Cannes Film Festival. Weekend Edition Sunday host Ayesha Roscoe had me and my pal Bob Mondello on to refute, which great respect, her assertion that movies are too long. According to Bob, what was originally slated for a four-minute time slot was allowed to strech out to a luxurious 7:15, which seems fitting.
He’s well-fed on his ocean voyage from Romania to England.
My Washington City Paper review of the Dracula… mid-quel. I guess? … The Last Voyage of the Demeter is here.
Em Whitworth and Jack Rento rehearse The Pitchfork Disney. (Photo: Caroline Johnson)
Here’s a feature I did for the City Paper about a scrappy young paor of actors, Em Whitworth and Jack Rento, putting up their own DIY production of Philip Ridley’s The PItchfork Disney, a gnarly play that had its U.S. premiere at Woolly Mammoth back in 1995 and hasn’t been seen in Our Nation’s Capitol since.
