The Holdovers (c) Focus Features
Tuesday, February 13, 2024
Tuesday, February 6, 2024
"All of Us Strangers," Lily Gladstone & Jodie Foster receive 2023 LGBTQ Critics Dorian Award Nominations
All of Us Strangers (c) Searchlight Pictures
GALECA: The Society of LGBTQ Entertainment Critics, consisting of over 500 entertainment critics, journalists and media icons, today announced the group’s democratically chosen nominees for its 15th Dorian Film Awards. All of Us Strangers, writer-director Andrew Haigh’s eerie, devastating—yet ultimately spirited—probing of connection and self-love, led the journalists’ picks for the best of 2023 movies, receiving 9 nods including Film of the Year. Joining Strangers in the top race: Director Greta Gerwig’s rainbow-hued feminist fable Barbie (7 nominations), Todd Haynes’ May December (6), Past Lives (5), and Poor Things (4).
Friday, February 2, 2024
Film Reviews: Daisy Ridley is Quaint as She “Think(s) About Dying,” Genders Are Explored in Provocative “Skin Deep” and the Extra L in Matthew Vaughn’s “Argylle” Is for Loopy
Sometimes I Think About Dying (c) Oscilloscope
Film: Sometimes I Think About Dying
Employers who are eager to have workers come back to the office after the pandemic should avoid showing the quirky little indie Sometimes I Think About Dying at any company get-togethers. The unnamed small office near the coast of Oregon is about as depressing as one can get. Except for the fantastic ocean views (which occasionally gets obscured by cruise ships), nothing about this place stands out, especially not the workers, with the painful small talk of people who only know each other because of their job. Fran (Daisy Ridley) is the quintessential “Fran from accounting” who is glued to her desk doing her job and only pops up for meetings or the occasional cake in the conference room. She barely talks or even exists, and Ridley (who is so dynamic and charming as Rey in the Star Wars sequels) does every acting trick in the book to blend into the background (when she slyly gives us the tiniest polite smile, it’s like she’s sneaking in a Rey of sunshine). Fran grew up on the quiet side of town (is there a noisy side?) and lives by herself with what looks like furniture inherited from her grandmother. She is not lying when she says her favorite food is cottage cheese, with that rare bit of biographical information coming up when new employee Richard (Dave Merheje) starts at the company, and everyone has to introduce themselves and answer the favorite food question (oh so painful!). It’s no wonder that Fran is the “I” in the title, which director Rachel Lambert stages as less serious and more offbeat expressionistic. So, when newbie Richard invites Fran to a movie, Fran’s little cocoon world breaks open a little in an amusing and sometimes cringy way. Ridley is so effectively quiet and still in this film, and this is easily her best work on film. The whole office dynamic will be familiar to anyone who has ever filled out a requisition form, perked up because someone brought in donuts or got excited about a new stapler. Despite its bleak title, Sometimes I Think About Dying is a gentler version of TV shows like The Office and Severance. And there is an inspired event in this small gem of a film when Fran does “die” and it’s one of the happiest moments the audience will ever see Fran.
Tuesday, January 30, 2024
Theater: Kelli O’Hara Shines Through the Dark Addiction of “Days of Wine and Roses,” “Once Upon a Mattress” Is a Love Letter to Sutton Foster, “Pride House” Is an Enjoyable Cherry Grove History Lesson and “Our Class” Is an Uncompromising Look at a Real-Life Tragedy
The Days of Wine and Roses (c) Joan Marcus
Broadway: Days of Wine and Roses
At Studio 54
The extraordinary actress Kelli O’Hara has never shied away from the darker elements of her characters in such musicals as A Light in the Piazza and Far From Heaven or the opera The Hours. But in Days of Wine and Roses, the musical adaptation of the 1962 Blake Edwards film, the darkness is front and center with O’Hara as a woman falling prey to alcohol addiction with no life raft in sight. Her performance is so raw and angry and heartbreaking that one hopes her dressing room is filled with puppies to help with any post-performance hangover. O’Hara plays Kirsten, a secretary for a big advertising company in the late 1950s, who falls in love with a salesman at the company, Joe (Brian d’Arcy James). Joe, who uses alcohol to get through this fast-paced world and, maybe, so he can have a drinking partner, introduces the otherwise non-drinker Kristen to her first Brandy Alexander. The two become functional drunks (“two corks just bobbing around”) as they get married and have a baby, but things start to spiral out of control when Kristen accidentally sets fire to their apartment, and they have to live with her widowed father (Byron Jennings) — his greenhouse gives the show the other half of its title. Caught in-between all this is their daughter Lila (the wonderful Tabitha Lawing) and the question is “will this couple’s love for her be enough motivation to fight their addiction?” The musical creators, Craig Lucas and Adam Guettel, made two major changes from the movie: the setting has been moved from San Francisco to New York and while the movie slowly becomes a redemption arc for Joe (played by Jack Lemmon), the musical subtlety pulls the focus onto Kirsten (played in the film by Lee Remick) and her tragic fall from being a good girl to an addict drinking with strangers in motels. Because of this change, a lot of Joe’s bouts with detox have been cut, while every moment of Kirsten’s descent is dramatized with an almost horror story precision. Guettel, whose A Light in the Piazza is still one of my favorite Broadway musicals of the modern era, has provided the pair with bouncy songs to highlight the good times but by the end, his score has turned tragically operatic. It is a beautiful Broadway follow-up for this talented composer. And while Brian d’Arcy James is powerful as the equal parts slimy and honorable Joe, it really is, with director Michael Grief’s sensitive guiding hand, O’Hara’s show. Lucas’ book could have delved more into Kirsten’s psyche (her mother’s death when she was young seems to be an unexplored element), but O’Hara makes us almost believe that her last act is not an act of cowardice, but of bravery where she accepts the reality that she cannot change. O’Hara never sugarcoats Kirsten’s choices, and the tragedy of her character is even more heartbreaking because of it. This is Kelli O’Hara’s best performance, and she deserves all the roses.
Tuesday, January 23, 2024
Barbie (c) Warner Brothers