The First and Foremost Frontier. LAST TIME I was discussing time, and how the usage of it, and specifically how the developers of Dark Souls and Skyrim let players manipulate time, reflected a core difference of focus and design philosophy. Letting the player have any modicum of control over the […]
For once the Mouse King is a genuinely compelling villain: his mask is a giant rodent’s skull with red eyes, his costume is murkily tatty and his dancing has a blend of exuberance and creepiness which makes him a joy to watch. James Streeter is the first Mouse King I’ve seen that Clara should be afraid of.
Photo: BBC Who, who, who! Merry Christmas! Well, that was a feel-good little slice of schmaltz. It was a hugely silly storyline and lacked some of the punch of other episodes in this series; however, there were some very funny moments and somehow, between them, Matt Smith and Claire Skinner […]
Two exciting trends enlivened Hollywood in the mid-1970s. First, Frances Ford Coppola’s The Godfather reinvigorated the gangster film. Second, Bruce Lee’s martial arts mayhem exploded on American screens, creating an enthusiastic audience for kung fu movies. So why not merge the two?
There may not be space in a blog post to let the reader weigh the words and come to their own conclusion, guided by your discreet commentary, but this habit of GLOSSING EVERYTHING IN ALL CAPS grates across two hundred and fifty pages. There’s little rhetorical virtue in having the last word in your own paragraph.
The ballet consists of two parts. The first half, “The Classical Christmas,” is devoted to traditional ballet with classical Christmas music, including liturgical works. In the second half, “The Cool Christmas,” pointe shoes are out, stilettos and tap shoes are in, and the music shifts from Leonard Bernstein and the New York Philharmonic to Lou Rawls, Eartha Kitt, and Leon Redbone.
In “The Classical Christmas,” the big standout for me this year was the simplest. There is something timeless and charming about the minimalist line dance by the company women to “Veni, Veni, Emmanuel.” It reminds us that dance does not always need to be tricky and complicated to be wonderful. Oh, there were masses of tricky solos and partner work, to be sure, but the sheer loveliness of this dance will linger in memory far longer than fancy footwork.
However, what defines Cronenberg’s nearly 40-year long career is his obsession with, well, obsession. Whether getting hooked on bug poison, intermingling sex and car accidents, developing bizarre gynecology instruments, protecting one’s family/identity, solving a mystery, or stopping a crime syndicate, his best characters tend to showcase the alluring and destructive passion of obsession without serving as a cautionary tale.
As the holiday season builds to its peak, we movie watchers face a release pattern that seems a bit less robust than usual. However, there are plenty of perfectly interesting options out there. In addition to the major franchises sequels like Sherlock Holmes and Mission Impossible, there are a few […]
For this show is funny. I mean, it is really funny. Not the kind of funny you might associate with a National Theatre adaptation of an eighteenth-century Italian play. It’s splutteringly, potato-throwingly, unreasonably hilarious.
It showcased all of Noble’s best points: the delight in the ludicrous, the ideas tripping over each other to get out and the revelling in how foolish he may look to an audience. And of course The Voice.