LAST TIME an the Metro City Reform Committee – SOME STUFF HAPPENED. Then a Recess was called. THIS TIME on the Metro City Reform Committee – RECESS IS ADJOURNED! Let’s finish this. When last the Committee was called to order I detailed four major problems with the rising trend of […]
Although overall less offensive to one’s intelligence, this new movie is populated by the same mistakes as the 2009 effort. Bay once again fills his latest offering with useless subplots that go nowhere, secondary characters that affect nothing and do nothing (Rainn Wilson replaced by John Malkovich; Ken Jeong more-or-less filling the role played by Ramon Rodriguez), and relentlessly unfunny comic relief from both robots and humans.
Most movies like Black Death exploit the historical context to take shots at organized religion with impunity. A select few try to balance the mistakes of the early church with the importance of faith over dogma – an approach that Season Of The Witch admittedly tried, but got lost too far up its own butt to realize. Black Death tends toward the latter type of story, but pushes its acid satire into fairly new territory.
Clive Barker has lent his eyes and hands to virtually every medium, from page to the screen to the stage to the canvas to the console. However, film fans know him particularly as a horror master. There is so much undermined material for gifted fantasy filmmakers that perhaps we could dispense with further Candyman sequels and retire the Hellraiser juggernaut with contented hearts, and enjoy a Clive Barker renaissance clad in all new colors.
It’s good to be young, but let’s not kid ourselves It’s better to pass on through those years and come out the other side. -You Were Cool The El Rey Theater on Wilshire Blvd. in L.A. was the kind of large, ornate venue that you’d expect chamber music to […]
As the New York City Ballet has become a steward of ballets by Jerome Robbins and George Balanchine, so the Royal Danish Ballet is the chief caretaker of August Bournonville’s work. At the Saturday matinee performance by the Royal Danish Ballet in New York, we were treated to two ballets that are staples of the Bournonville repertoire: La Sylphide and the third act of Napoli.
So High Moon, obviously full of people that care, did the best they could with what they had. They re-used as much of their previous work as possible to produce a polished bit of fluff as quickly as they could have. It’s nothing new or groundbreaking and it’s not quite up to their standards, but it is fundamentally fun. So if you you can turn your brain off for a while, or if you know what the word “Unicron” means, you’re probably going to enjoy Transformers: Dark of the Moon, or at least the video game version.
If there’s one thing Pixar always does right, it’s the animation itself. Cars 2 is no WALL-E or Up, but Rome, To(w)kyo, and London are beautifully rendered. In the animators’ capable hands, the cars themselves are as shiny as you’d want, the massive cogs within Big Ben are lovely to behold, and the roiling sea looks so real you might do a double-take. But the breathtaking land- and seascapes aren’t enough to hold the insubstantial story together.
At the same time, it is refreshing to see that someone can still write a story about a depressed, self-absorbed, completely unethical teacher without being hobbled by concerns of political correctness or what “message” such a story sends. Elizabeth (Cameron Diaz) is a jilted sex bomb on an all-consuming quest to find a moneyed hubby. Her first priority, aside from snaring the man himself, is to raise enough money for breast augmentation, which she feels is the key to making herself the perfect trophy wife.
Osipova dances on a similarly grand scale: her buoyant leaps seem disproportionately large for her small frame (and appear nearly effortless), and her expressive face and upper body register to the whole theater. Her Swanhilda is entirely delightful: canny and curious, charming and occasionally petulant.
San Francisco Ballet has announced four company promotions, two new company members, and six new apprentices for the 2012 Repertory Season.
Soloist Vito Mazzeo has been promoted to principal dancer effective July 1, 2011. In addition, Patricia Keleher, Raymond Tilton, and Caroline Diane Wilson, apprentices during the 2011 Repertory Season, will join the ranks of the corps de ballet effective July 1, along with former SFB School Trainees Francisco Mungamba and Wan Ting Zhao. A complete and updated announcement and company roster will be distributed in July.