Here’s a cheat sheet for all the young-men-with-dark-secrets movies this fall: Beautiful Boy is the one with Timothée Chalamet as a real-life addict, not to be confused with Boy Erased starring Lucas Hedges in a true story about gay conversion therapy, neither of which are the same as Ben Is Back, also about addiction and also starring Hedges.
He doesn’t speak. He doesn’t move quickly. Michael Myers lingers because he’s unstoppable. No matter how quickly we run, he’s steadily sneaking up behind you, waiting to catch you in a dead end, at a locked door. He doesn’t explain why he’s coming for you–though others, including the writers, have decided over the years they must explain for him.
Lady Gaga is the first who becomes a movie star in front of us. When she first appears here, Gaga is worlds removed from her concert act: her hair is natural; her eyes are wide and unadorned; she speaks with a slight New York accent. Jackson Maine cautions her character Ally to be honest, and that’s advice Gaga has taken to heart. Gaga’s strongest career asset seems to be her ability to transform, to costume herself and strip herself down like a chameleon.
One year after white supremacists marched in Charlottesville, Spike Lee is here with BlacKkKlansman, shedding light on our nationalist upswing through the lens of the true-to-life 1970s infiltration by two cops (one black, one Jewish) of a chapter of the KKK.
You might think this straight-up satire, if you didn’t know it’s (mostly) true.
Last week, I caught Eighth Grade, the first movie written and directed by comedian Bo Burnham. I don’t know his comedy, though I’m watching his “Kill Yourself” bit right now. It’s the perfect late-summer movie. Pick this one when your MoviePass won’t let you into Mission Impossible: Fallout. Burnham captures the strange and terrifying world of […]
That’s right, I watched every Hitchcock movie from 1929 on, and compiled a master list from #44 down to #1.
Which of Hitch’s less familiar movies have been overlooked? And which (wink, The 39 Steps) are a little overrated?
I have the feeling Jagged Little Pill has a long future in store.
The new musical, directed by Diane Paulus, isn’t content just to give us nineties nostalgia. The creators reexamine Alanis Morissette’s hyper-popular 1995 album to fit the issues facing us today. Start checking them off; they’re all here, from coming out to opiate addiction to sexual assault. It’s a lot for one show to attempt, and the writing doesn’t always prioritize story over message. But we realize how character-driven Morissette’s songwriting has always been. Her work is so personal and confessional that it seems to belong here on the musical stage.
A door that’s locked tight. A mysterious tree house outside the bedroom window. A scribbled word on the wall. A creepy-as-hell little girl.
For most of its runtime, Hereditary pulls bits and pieces from horror movies across the ages to create something gripping and bewildering.
He based her on his mother. The cantankerous, mischievous, elegant dowager, 92 years old–or only 91, by her admission–that leads Three Tall Women is Edward Albee’s invocation of the woman who never accepted him. He left home, like the son in the play; we can assume his being gay had something to do with it. (There’s one fleeting reference to walking in on him with others.) And possibly he never forgave her, at least in life. “A” never forgives her son, either. They reconcile when she’s older, when she needs him, but they never dig deep enough for absolution.
Is there a classic musical more divisive than Carousel? With its transcendent score pitted against a 1940s take at gender politics, Rodgers and Hammerstein’s show returns to Broadway when we’re all anxious how abusive Billy Bigelow and the quietly devoted Julie Jordan will land.