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A recap/review of Revolution: The Plague Dogs Season 1, Episode 4
Halloween Home Video (2012 edition) is your guide to the unsung scare flicks, thrill pics, and various fright nasties of this year. Joe Dante’s The Hole is a simple, palatable option for families looking for spooky but safe Halloween fun.
At some point, perhaps in the middle of a gun battle against bandits protected by shields reinforced with angry midgets or while firing your talking sniper rifle that guilt-trips you whenever you fell any of your disposable foes out for your equally disposable head, you realize that sanity was thankfully left off of the “things to include in our game” checklist. Every other mission presents you with a ridiculous goal or scenario of utter parody – a favorite being a mission to shoot an evil sheriff without killing her deputy – and if you tried counting the myriad pop-culture references and shout outs in the quest text, throw away lines of dialogue, and background art alone, you’d end up with a number higher than the national debt.
In Pitch Perfect, nobody’s more than The Fat One, The Sexy One, The Dumb One, The Alternative One, and The Gay One. Basically, Pitch Perfect took The Breakfast Club, Bridesmaids, Glee, and Bring It On and squashed them into a messy blob that leaves a bad taste in everyone’s mouth.
Smuin Ballet, as part of its opening program for the 2012–2013 season, is presenting the West Coast premiere of Cold Virtues by the exciting young choreographer Adam Hougland. Popular with audience and critics alike, the work is set to Philip Glass’s haunting Violin Concerto and features fourteen dancers, whirling and leaping against a mesmerizing backdrop of spinning fans. The Louisville Courier-Journal described the ballet as “beautifully bleak, honest in unflinching fashion.”
Appearing at the Cullen Theater in Houston’s Wortham Center on September 29, the small but sturdy company of eleven dancers met and surpassed the high expectations of a full house audience studded with ballet aficionados and the most urbane of dance critics.
This one, we know, is a tough sell. Drunken Angel is a 60-plus-year-old, black-and-white, subtitled Japanese movie with virtually no action and not a single gun shot. It focuses on the mercurial relationship between a cranky, alcoholic doctor and a brazen young yakuza dying of tuberculosis.
Probably the most pleasant piece of difficult listening ever, it slightly reminds me of early Tori Amos records for combining relatively hard topics with pop sensibilities to an eerie effect.
As in previous weeks, the “mob” part continues to be more compelling than the “doctor” part. But this week, the two are intertwined with a certain elegance in a solid episode with a big reveal at the end.