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Lupita Nyong'o is trying to die on her own terms in Michael Sarnoski’s A Quiet Place prequel.
Shhhh! I’m on PCHH today dissecting PIG auteur Michael Sarnoski’s A Quiet Place: Day One with Aisha Harris and Kirsten Meinzer. Aisha mentioned Thomasina, with no prompting from me, so you can also go find our A Degree Absolute! episode on that 60s Disney curiosity here.
Tom Hardy and Austin Butler as a couple of Vandals. (Kyle Kaplan/Focus Features)
“Comer’s Chicagoland accent is dead-solid perfect. Hardy, as is his wont, has affected a vocal timbre native to no place on this planet; Butler is still playing Elvis.”
My Washington City Paper review of Jeff Nichols’ great-looking-if-somewhat-underfed latest, The Bikeriders, is here.
Ro Boddie and Yao Dogbe as Lincoln and Booth. (Margot Schulman)
My review of Round House’s Topdog/Underdog, a sublime production of the 2001 psychodrama that made Suzan-Lori Parks the first Black woman to win the Pulitzer Prize for drama, is up at the Washington Post. A couple of months back I had a day where I went directly from interviewing Ms. Parks for this Smithsonian piece into a Pop Culture Happy Hour recording session wherein we discussed Doug Liman’s Jake Gyllenhaal-headlined remake of Road House. Like Dalton, Road House ‘89’s inexplicably famous “cooler,” I contain multitudes.
Drive-By Truckers: Tom Burke and Anya Taylor-Joy in Furiosa. (Warner Bros. / Jasin Boland)
Picaresque in form and Biblical in its savagery, Furiosa: A Mad Max Saga is the first entry in the five-film Max-iad that unfolds over years instead of days. A revenge flick about the futility of revenge, it sticks the landing, and then binds itself too tightly to that movie we all loved 9 (!) years ago in its closing moments. But it’s still a marvel.
My full Washington City Paper review is here.
The about-to-turn-40-year-old blockbuster album that came wrapped in an Annie Leibovitz closeup of the Boss-terior isn’t any true Bruuuuuuuce fan’s favorite, but it was a cultural landmark all the same. I reviewed Steven Hyden’s new Born in the U.S.A. reflection There Was Nothing You Could Do for the Paper of Record.
Brian Quijada and Nygel D. Robinson, the cocreators and performers of Mexodus. (Chris Banks)
My Washington Post review of Mexodus, a brilliantly performed but still somewhat underwritten musical about the line of the Underground Railroad that ran south into Mexico, is here.
Joel Edgerton plays a physicist menaced by an alternate version of himself.
Dark Matter, the new multiversal thriller on Apple TV+, is adapted by showrunner Blake Crouch from his own 2016 novel, but it was the show’s superficial similarities to The Prisoner that piqued my interest. I detailed the ways that seminal British spy-fi series influenced this new American one in the first of my Dark Matter recaps for Vulture.
Zendaya, producer/star of Challengers, surveys her domain. (MGM/Amazon)
I saw Challengers a few weeks before I filed my mixed-positive Washington City Paper review, which is less than ideal but occasionally unavoidable. Candidly, I expect my estimation of the movie will rise when I see it again. It’s possible I was too triggered by the mid-movie knee trauma to give its second half my full concentration.
