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Film and the Arts
March '14 Digital Week III
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 18 March 2014 03:22
- Written by Kevin Filipski
Blu-rays of the Week
Beyond Outrage
(Magnet)
By now, we know what to expect from Japanese filmmaker Takeshi Kitano’s modern yakuza crime dramas: sporadic outbursts of operatic ultra-violence compensating for a lethargic grasp of characterization and plotting.
This sequel to the tightly-wound Outrage has moments of marvelously delirious mayhem—best is the slow death of a traitor by a baseball pitching machine—yet it seems too familiar and, at times, lazy. The movie does look superb on Blray; lone extra is an hour-long making-of.
(Flatiron/Cinedigm)
Here Comes the Devil
(Magnet)
For its first half, Dark House sets up an interesting tale of a young man searching his sordid family history only to find outright horror; too bad the second half—full of ridiculous decisions like the hero head-scratchingly allowing his pregnant girlfriend near the malevolent doings—completely falls apart.
No such luck with Here Comes the Devil, which is ludicrous from the start, despite setting up its situation as matter of factly as possible; however artfully done, this devil children flick is risible throughout. Both hi-def transfers look great; extras include making-of featurettes.
Frozen
(Disney)
This formulaic animated feature, from Hans Christian Andersen The Snow Queen, was one of Disney’s biggest hits ever, despite (or because of) its bland “be yourself” mantra: too bad its characterizations and comic relief compare badly with earlier and better flicks from the Disney vault.
I’ve never been a fan of computerized animation, and the clunky visuals didn’t change my mind, while the songs, especially the annoyingly anthemic Oscar-winner “Let It Go,” are no better. Oh well: at least the Blu-ray looks top-notch; extras include a cutesy making-of, deleted scenes, music videos and Andersen featurette.
(Sony)
This intriguing investigation into the Beat writers before they became the Beats is not only a first-rate character study but also a thoughtful précis of America’s postwar literary scene, before Allen Ginsberg, Williams S. Burroughs and Jack Kerouac became famous (or infamous).
John Krokidas’s assured direction and the unshowy acting by Daniel Radcliffe (as Ginsberg), Ben Foster (as Burroughs) and the rest of the cast give the film an authenticity that makes the killing at its center more than a mere plot twist. The Blu-ray transfer is excellent; extras comprise an audio commentary, deleted scenes and interviews with Krokidas, Radcliffe and others.
Mandela—Long Walk to Freedom
(Anchor Bay/Weinstein Co)
This biopic of one of the 20th century’s great men is earnest to a fault, but perhaps director Justin Chadwick and writer William Nicholson cannot be faulted for being so reverent to Nelson Mandela’s eventful life, although there are nods toward the complexities of a man who was no saint and his equally human wife Winnie.
What is unequivocal is Idris Elba’s towering portrayal of Mandela, which is a performance for the ages; Naomie Harris is nearly his equal in the smaller but pivotal role of Winnie. The Blu-ray looks splendid; extras include a Chadwick commentary and featurettes.
(Disney)
Director John Lee Hancock’s handsome-looking biopic details the squabbling between Mary Poppinscreator PL Travers and Walt Disney himself over how her beloved nanny would be transformed into a movie: with songs and animation, to her eternal chagrin.
This sturdy if sentimental recounting is halfway between a warts-and-all portrait and a Disney whitewash, with Tom Hanks an OK Walt and Emma Thompson a deviously prickly Travers, making for an unfair fight. The hi-def transfer looks quite good; extras are deleted scenes and featurettes.
Swerve
(Cohen Media)
Set in the picturesque Australian outback, this inferior thriller from the Body Heat school of Hitchcock knockoffs follows a loner who finds himself embroiled with a lonely wife and her dangerously unbalanced (and crooked) husband.
Director Craig Lahiff, despite the right sordid atmosphere, omits plausible (or, at least, not risible) plot points, limping to a fizzled-out conclusion; Emma Booth, an Aussie Jennifer Lawrence, makes the wife more complicated (and sizzling) than she is on paper. The Blu-ray image is stellar; extras comprise several interviews.
Above Suspicion—Set 3
(Acorn)
Kelly Reilly—who got her big break stateside in Flight, and who stars in a new TV series Black Box, in April—again lends her unique presence to another gripping mystery as a DI who teams with her former boss (an always terrific Ciaran Hinds) to solve the murders of a promiscuous young actress and her drug buddies.
Reilly and Hinds’s offbeat chemistry is delicious to watch, so it’s too bad that this well-scripted, superbly-acted series of mysteries has now run its course. Maybe one day we’ll get a follow-up feature film—or another series—with these two characters.
Girl Rising
(Cinedigm)
Nine touchingly humane stories of remarkable young women from around the world demonstrate how important it is to educate females in such countries as Afghanistan, Egypt, Napal and Pakistan, which contributes to ending poverty and illiteracy.
With several celebrities providing voiceover narration—ranging from Kerry Washington, Meryl Streep and Frieda Pinto to Anne Hathaway and Liam Neeson—Richard E. Robbins has made a worthy film on a worthy subject. Extras include a director’s welcome, outtakes and behind the scenes and location vignettes.
(e one)
This DirecTV original series follows Grace, an undercover detective who tries solving the brutal murder of her young son, looking for a traitor in the midst of the sordid underworld in which she works.
Although the drama’s 10 episodes are fast-paced and action-packed, at the center of it all is a great, gritty Thandie Newton as our complex heroine: I for one have been waiting for this kind of performance from her since she came to our attention in Australian John Duigan’s films of the ‘90s likeFlirting and The Leading Man.
Show Boat
(Warner Archive)
Frankenstein director James Whale’s 1936 film version of Jerome Kern & Oscar Hammerstein II’s legendary Broadway musical is dramatically uneven and occasionally draggy, but the songs—in strong performances by Paul Robson (“Ol’ Man River”) and Allen Jones and Irene Dunne (“You Are Love”), among others—remain indelibly stamped in one’s memory.
Overall, it’s stylish, effective entertainment which also shows that Hattie McDaniel (later immortalized in and stereotyped by Gone with the Wind) was a multi-talented actress, comedienne and singer.
(BBC)
This isn’t the action-adventure series with a plethora of sex and violence on the History network; instead, it’s an intelligent if (mostly) unsexy documentary featuring archeologist Neil Oliver, who goes beyond the usual Norsemen clichés for a nuanced examination of their voyages of exploration and battle, as well as their complex legacy.
The three one-hour episodes—which include visits to far-flung sites as Russia, Scandinavia and Greenland—provide new insights into an unfairly maligned historical group.
CDs of the Week
Anne Akiko Meyers—The Four Seasons/The Vivaldi Album
(e one)
Violinist Anne Akiko Meyers, a dazzling virtuoso and formidable interpreter, brandishes her 1741 “Vieuxtemps” Guarneri instrument to give a dynamic take on one of the most overplayed showpieces ever written, Antonio Vivaldi’s The Four Seasons.
Along with making Seasons sound fresh and full of feeling, she also performs a richly textured account—doing all three solo parts—of Vivaldi’s Concerto for Three Violins and, as a nice throw-in, Arvo Part’s Baroque-inspired Passacaglia.
Gustav Holst/Frederick Delius
(Halle)
Francis Poulenc—Stabat Mater
(Harmonia Mundi)
Three astonishing choral/vocal works by two unheralded 20th century English composers—Holst’s The Hymn of Jesus for chorus and Delius’s Sea Drift for baritone and choir and Cynarafor baritone—receive stirring performances by Halle’s orchestra and choirs, with Roderick Williams an emotive soloist, all under the baton of Sir Mark Elder.
Three astonishing choral/vocal works by two unheralded 20th century English composers—Holst’s The Hymn of Jesus for chorus and Delius’s Sea Drift for baritone and choir and Cynarafor baritone—receive stirring performances by Halle’s orchestra and choirs, with Roderick Williams an emotive soloist, all under the baton of Sir Mark Elder.
Poulenc’s masterly religious compositions—topped by his opera Dialogues des Carmelites—also include his 1950 Stabat Mater and 1959 Sept Repons de tenebras, both given expressive readings by soprano Carolyn Sampson, Cappella Amsterdam, Estonian Philharmonic Chamber Choir and Estonian National Symphony Orchestra, led by conductor Daniel Reuss.
Prokofiev—Piano Concerto No. 3/Symphony No. 5
(Mariinsky)
Sergei Prokofiev is one of the few composers whose most crowd-pleasing works are also among his best—and this recording has two of his most popular masterpieces, courtesy of the indefatigable conductor Valery Gergiev and Mariinsky Orchestra.
Sergei Prokofiev is one of the few composers whose most crowd-pleasing works are also among his best—and this recording has two of his most popular masterpieces, courtesy of the indefatigable conductor Valery Gergiev and Mariinsky Orchestra.
Peerless Russian pianist Denis Matsuev scintillatingly plays the solo part in the masterly Third Piano Concerto, which combines dexterous technical workouts with those unforgettable melodies which came so easily to him. Gergiev also leads his forces through the Fifth Symphony, whose deft, light touch is anchored in brilliant orchestration. There’s a bit of a messy Fifth finale, but that’s the only slip-up here.
Mark Rivera—Common Bond
(Red River)
For his debut solo album, Mark Rivera—saxman extraordinaire best known for Foreigner and Billy Joel hits, along with being longtime music director of Ringo’s All-Starr Band—shows off his multi-instrumental prowess on guitar, percussion, flute and keyboards, and a pleasant voice that carries him through such pop-rock tunes as “Loraine” and “Turn Me Loose.”
For his debut solo album, Mark Rivera—saxman extraordinaire best known for Foreigner and Billy Joel hits, along with being longtime music director of Ringo’s All-Starr Band—shows off his multi-instrumental prowess on guitar, percussion, flute and keyboards, and a pleasant voice that carries him through such pop-rock tunes as “Loraine” and “Turn Me Loose.”
When Rivera lets go—both singing and tooting his way through a rollicking cover of Hendrix’s “Spanish Castle Magic” (with Joel on keyboards) and crooning a piano ballad, “Rise”—it makes you wish he’d do it more often.
Music Review: Berg & Strauss Operas at Carnegie Hall
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 14 March 2014 18:27
- Written by Kevin Filipski
Vienna: City of Dreams
Through March 16, 2014
Carnegie Hall, 7th Avenue & 57th Street, New York, NY
carnegiehall.org
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| Barkmin (left) as Salome (photo: Chris Lee) |
Highlighting Vienna: City of Dreams—Carnegie Hall’s celebration of the Austrian capital’s vast artistic and cultural heritage, which included many events in other New York City institutions—were concert performances of two one-act operatic masterpieces, both associated with the Vienna State Opera and Vienna Philharmonic Orchestra: Alban Berg’s Wozzeck and Richard Strauss’s Salome.
Admittedly, these were safe choices as far as 20th century operas go—if someone had asked me (no one did for some reason), I would have chosen a lesser-known Strauss work like Daphne and Berg’s unfinished Lulu—but they were obviously picked for their relative brevity (each under two hours, perfect for a concert) and, perhaps most importantly, their ability to show off the Vienna Philharmonic as the finely-tuned instrument it is. And both evenings did just that.
Wozzeck might sound earsplittingly atonal to those used to more soothingly melodic Mozart or Puccini, but Berg’s gripping musical version of Georg Buchner’s tragedy about an ordinary man driven to murder and suicide by an uncaring world tautly tightens its dramatic noose until the haunting—and downright draining—final notes. Credit the orchestra, and Franz Welser-Möst’s sensitive conducting, for bringing out the opera’s contrasting brutality and beauty.
Matthias Goerne, who has made Wozzeck a specialty—stepping in recently at the Met for Thomas Hampson—sang the title role with emotive power, while Evelyn Herlitzius made his promiscuous girlfriend Marie compelling and sympathetic. If there was a blemish, it was the orchestra overpowering some singers, also a problem during Salome.
Of course, Salome is much more raucous, so an onstage orchestra drowning out singers isn’t surprising. But even if conductor Andris Nelsons didn’t always control the racket, big-voiced soprano Gun-Brit Barkmin never had any trouble—hers was a volatile, deeply unsettling Salome, which is what Strauss (and playwright Oscar Wilde) surely wanted for their teenage anti-heroine. And Nelsons did drive the orchestra through this brilliantly bombastic score for all it was worth, right up until its soul-shattering final chords.
Vienna: City of Dreams concludes with Vienna Philharmonic concerts on the 15th and 16th, the festival’s closing night. Schubert and Mahler make up the first concert, followed by a celebratory program encompassing the wide variety of styles (including Korngold's golden Violin Concerto played by Gil Shaham) in this most glitteringly musical of cities.
March '14 Digital Week II
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 11 March 2014 20:21
- Written by Kevin Filipski
Blu-rays of the Week
Big History
(Lionsgate)
Bryan Cranston narrates this immersively offbeat mini-series on nature and civilization’s inexorable linkage that shows, through an innovative blend of science and history, how events on our earth billions of years ago still marks our present-day survival. Each half-hour episode uncovers relationships among historical events like the sinking of the Titanic and today’s ubiquitous cell phones, or explores mysteries like ancient empires, with nothing in common, built shrines in the shape of pyramids.
Dazzling special effects and animation give the programs cutting-edge visuals to complement the heady ideas. The Blu-ray imagery looks fantastic; extras include bonus footage. (Release date: March 11)
Eugene Onegin
(Deutsche Grammophon)
Peter Tchaikovsky’s 1879 masterpiece remains the greatest Russian opera ever—elegant and emotive without being shamelessly sentimental—and Russian conductor Valery Gergiev leads the Metropolitan Opera Orchestra and Chorus in a splendidly romantic reading of the glorious score.
Peter Tchaikovsky’s 1879 masterpiece remains the greatest Russian opera ever—elegant and emotive without being shamelessly sentimental—and Russian conductor Valery Gergiev leads the Metropolitan Opera Orchestra and Chorus in a splendidly romantic reading of the glorious score.
Deborah Warner’s mediocre but not disastrous staging is sparklingly sung by its stars, Polish baritone Mariusz Kwiecien (Onegin) and Russian soprano Anna Netrebko (Tatiana, his lost love). The Blu-ray has a high-quality sheen and the music sounds amazingly clear; extras include between-acts interviews. (Release date: March 11)
In Fear
(Anchor Bay)
A couple driving through the rural Irish countryside is terrorized by a merciless and shadowy specter in Jeremy Lovering’s tightly-constructed but increasingly preposterous horror movie.
Despite good use of cramped quarters and eerie darkness, Lovering loses control when the story spirals away from him: if you have no qualms with the silly, copout ending, then you may enjoy the whole thing. The Blu-ray image looks sharp; lone extra is a behind the scenes featurette.(Release date: March 11)
Iron Sky—Director’s Cut
(e one)
This lunatic sci-fi fantasy—which imagines a Sarah Palin-alike in the Oval Office who starts a war with Nazis living on the moon since WWII—is even more demented now that it’s longer via director Timo Vuorensola’s extended cut.
The plethora of easy Hitler and Palin jokes is partly offset by a relatively restrained performance by blonde bombshell Julia Dietze as an idealistic Nazi. The Blu-ray transfer looks tremendous; lone extra is a making-of featurette. (Release date: March 11)
Mademoiselle C
(Cohen Media)
Watching Carine Roitfeld quit FrenchVogue to start her own fashion magazine isn’t exactly scintillating drama, but the engaging 57-year-old editor has none of the egotistic self-love of, say, Anna Wintour, so Fabien Constant’s fly-on-the-wall documentary is never less than entertaining.
Among the so-called beautiful people of New York, Paris and London, Roitfeld comes off self-aware, intelligent and unpretentious; an end title tells us that she’s back in the fashion world, now working at Harper’s Bazaar. The hi-def transfer is stunning; lone extra is Paris premiere footage. (Release date: March 11)
The Who—Sensation: The Story of ‘Tommy’
(Eagle Rock)
Pete Townshend, always engagingly chatty, pulls no punches discussing the genesis of and reaction to the Who’s seminal 1969 double-album rock opera in this straightforward look back at a true rock classic.
There’s input from Roger Daltrey, producers Kit Lambert and Glyn Johns, and—via archival footage—John Entwistle and Keith Moon, but Townshend’s integrity and honesty is at this documentary’s core. Bonus footage of a 1969 performance of Tommy songs is included; the Blu-ray image and sound are first-rate. (Release date: March 11)
DVDs of the Week
Crimes of Passion
(MHz Networks)
Based on crime novels by popular Swedish author Maria Lang, this engrossing mini-series follows a literature student, her fiancée and their detective friend embroiled in mysterious murder plots in what seems to be bucolic small-town Sweden.
Set in a beautiful postwar countryside, these six 90-minute films comprise flavorful characterizations and simmering, Ellery Queen-type mysteries. Tuva Novotny, Linus Wahlgren and Ola Rapace make a formidable investigative trio. (Release date: February 25)
Crosby, Stills, Nash & Young—Fifty by Four
(Pride)
Eric Clapton—the 1970s Review
(Sexy Intellectual)
These unauthorized biographies, combining vintage footage and new interviews with (mainly) peripheral players, present solid 2-1/2 hour overviews of these rock legends’ careers.
The CSNY doc covers the several decades-long, off-and-on musical reunions of the legendary harmony trio (and occasional quartet); the Clapton one—examining his solo career after stints in supergroups Cream, Blind Faith and Derek and the Dominos—chronicles a superstar’s nearly fatal slide into drugs and irrelevance. (Release date: March 11)
The FBI—Complete 7th Season
(Warner Archive)
The 1971-72 season of this popular TV drama (comprising 26 episodes) follows Bureau agents Efram Zimbalist Jr., William Reynolds and Philip Abbott pursuing criminals of all stripes, from robbers and kidnappers to attempted assassins.
As always with such “classic” series, the guest-star roster is even more impressive than the shows themselves: everyone from then-unknowns like Lindsay Wagner, Meg Foster and Martin Sheen to established veterans like Bradford Dillman, Dabney Coleman and Vic Tayback show up. (Release date: February 25)
Inside Llewyn Davis
(Sony)
Unerring recreation of the early ‘60s folk scene notwithstanding, the Coens’ comedy-drama about a cynical, anti-social singer who may or may not change how he lives his life—he’s beaten up at the beginning and end of the film—is another crudely constructed bit of obviousness that fails to find any complexity in its typical Coen anti-hero.
Bruno Delbonnel’s burnished photography, the finely-detailed set design and a delightful cat far outweigh 100 minutes of cleverness posing as insight. The lone extra is a 50-minute making-of. (Release date: March 11)
The Patience Stone
(Sony Classics)
As she says in the making-of featurette, the excellent actress Golshifteh Farahani endured her own psychological hardship enacting the difficult role of a young Middle Eastern woman, standing watch over her comatose older husband, who confesses to hidden secrets—including one that makes us reexamine their relationship—in front of his prone body.
Director Atiq Rahimi (who adapted his own novel with Jean-Claude Carriere) subtly transforms the story’s confined spaces into a powerful metaphor for his heroine’s mental anguish. (Release date: March 18)
Theater Reviews: 'A Doll’s House' at BAM; 'Ode to Joy' Off-Broadway
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 07 March 2014 23:55
- Written by Kevin Filipski
A Doll’s House
Written by Henrik Ibsen, English version by Simon Stephens; directed by Carrie Cracknell
Performances through March 23, 2014
Ode to Joy
Written and directed by Craig Lucas
Performances through March 30, 2014
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| Morahan and Rowan in Ibsen's A Doll's House (photo: Richard Hubert Smith) |
Now considered conventional, Henrik Ibsen’s masterpiece A Doll’s House was controversial, even shocking in its day: one can imagine its reception in 1879 by its initial audiences—and critics—who were taken aback by heroine Nora Helmer leaving her home, her husband Torvald and her three young children to begin anew in a world to which she has never conformed.
Carrie Cracknell’s production, for the most part intelligent and lucid, takes the play at face value and assumes that the audience does too: there’s little tampering done with the familiar story and characters, with the exception of Nora herself—that famous bundle of contradictions—whom Cracknell and leading lady Hallie Morahan turn into an unfortunate barrelful of tics and mannerisms, the likes of which haven’t been seen on BAM’s stage since Cate Blanchett’s irritating Hedda Gabler some years back.
In an effort to encompass Nora as both shrewd, proto-feminist manipulator and flitting, subordinate “hamster” (in Simon Stephens’ English version), Morahan acts up a storm, never standing or sitting still, hands and arms constantly aflutter, signaling her distress by theatrically lowering her voice. Regrettably, her jumbled assemblage of individually brilliant moments never coheres.
What truly distinguishes this Doll’s House is designer Ian McNeil’s magnificent rotating set, which not only spatially lays out the Helmer house but also places Nora’s to-ing and fro-ing in what looks uncannily like a life-size doll house, providing reverberations that, if they don’t always illuminate the play, at least they never obscure it.
Dominic Rowan’s excellent Torvald never becomes the cardboard character he’s often presented as, making a formidable and believable man of his times. Since she has physicalized Nora so much, Morahan appears most at ease as a whirling dervish doing the heavily symbolic tarantella at Act I’s end; if the play itself doesn’t end on a subtler grace note than Nora’s final door slamming, it still retains its power 135 years after it was written.
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| Hope and Erbe in Ode to Joy (Photo: Sandra Coudert) |
In Ode to Joy, playwright Craig Lucas works through intense personal demons through his heroine, Adele, an artist whose addictions—physical, emotional and artistic—are overwhelming her. Lucas, whose recent works have been diffuse and overstuffed, here takes the opposite tack: there’s a nagging sense that he’s hacked at his play until it is merely dramatic and psychological shards, typified by Adele telling her story in fragmented flashbacks.
We meet her today, then return to 2007 when she cutely meets Bill, a cardiac surgeon who recently lost his own wife, in a deserted Village bar. They quickly fall in lust, then apparently love, spending several years together on and off (mainly off, it seems). We then backtrack another nine years to Adele meeting Mala, who comes to her apartment to buy a painting. That intense relationship lasts more than a year, until a blowup over Adele’s worsening drug addiction during the Y2K scare at New Year’s 2000.
Adele’s relationships with Bill and Mala are less organic than designed to map her travels of self-discovery—a final scene which brings all three characters together for a semi-happy ending is the play’s weakest—but, despite not being as contrived as Lucas’s lackluster, cluttered Prayer for My Enemy and The Singing Forest, there’s an opportunity missed because Lucas obviously has affection for her.
But much of what would make Adele fascinating is elided or omitted outright: at the end, Adele mentions almost in passing that she and Bill married, divorced, remarried, redivorced, and have a young son Justin. Why do such obviously important events go undramatized? That Adele’s relationships and art are never probed too deeply keeps things frustratingly on the surface, particularly when the characters speak in risible greeting-card platitudes (Adele actually says to Bill right after they meet, “I like that you cried. That’s attractive to me.”)
Lucas—who directs with a sure hand—is helped immeasurably by Arliss Howard, who makes Bill more real onstage than on the page; Roxanna Hope, who unerringly navigates churning waters of the underwritten Mala; and, most especially, the quietly forceful yet winning Kathryn Erbe, who humanizes Adele—that trove of addictive self-loathing—while enacting her painful and bemusing journey.
A Doll’s House
BAM Harvey Theatre, 651 Fulton Street, Brooklyn, NY
bam.org
Ode to Joy
Cherry Lane Theatre, 38 Commerce Street, New York, NY
rattlestick.org
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