In the midst of theater’s great pandemic shutdown, another era is coming to an end. Ben Brantley, who has served as the New York Times’ chief critic for 24 years, is leaving the paper. “This pandemic pause in the great, energizing party that is the theater seemed to me like a good moment to slip out the door,” Brantley said in a statement. “But when the theater returns, I hope to be there — as a writer, an audience member and, above all, the stark raving fan I have been since I was a child.” Brantley joined the Times in 1993 and became its chief critic three years later. He’ll continue in the position until October 15, leaving Jesse Green, who joined the paper in 2017 after serving as New York’s theater critic, as the paper’s sole chief theater critic. … [Read more...] about Ben Brantley Is Leaving the New York
David byrne and st vincent
We did not have a lot of father-son bonding experiences, but there was one night that year, during the time he was still healthy enough to go to work, when my younger brother was away on a school trip and my father decided that we were going to have a night together. I took the bus to his office in midtown, and he took me out to a chain steakhouse for dinner. By then I had become intensely interested in movies, and he had started to take me whenever he could. Next to him, I watched One Flew Over the Cuckoo’s Nest, Network, Rocky, Dog Day Afternoon, and Jaws, and I knew that my love of movies was something he uncomplicatedly enjoyed about me, one of the few enthusiasms we could share without tension. For all of our mutual frustrations, my father was never uninterested in me; when he said, “What’s on your mind?” he wanted to know the answer, even — perhaps especially — if it was something he hadn’t considered himself. “I’m never going … [Read more...] about Real-Life Cops, and Me
Friday Night Lights (5 seasons, 2006–2011)Zach Gilford (Matt Saracen), Adrianne Palicki (Tyra Collette), Scott Porter (Jason Street), Minka Kelly (Lyla Garrity), Gaius Charles (Smash Williams)Season 3, episode 13, “Tomorrow Blues” (with the exception of Charles, who left in episode four, “Hello, Goodbye”; and Porter, who left in episode 7, “New York, New York”)They all graduated — sort of, this takes some explaining. Friday Night Lights is one of the few high-school-TV shows to commit to its setting rather than just its characters, which meant that, as the series characters aged into senior year, it had to reckon with their future all at once (except for Landry, who the series decided was one year younger than everyone else). Some characters returned to Dillon, Texas, occasionally, but, as happens in life, most everyone ended going in different directions. In order of increasing heartbreak:After sustaining an injury in playoffs with the … [Read more...] about What Happens When Actors Leave High-School-TV Shows?
The Great Gatsby (2013) After The Great Gatsby opened in May 2013, Vulture writer Kyle Buchanan paid special tribute to the film’s introduction of Jay Gatsby, saying, “It’s a scene that’s so over-the-top that it might have hit the moon, and when this magical moment happened onscreen, you had no choice but to laugh, cry, or applaud.” For the record, we laughed and applauded: It’s one of the great moments in recent movies in which a director (Baz Luhrmann) and his star (DiCaprio) are sharing one big, knowing chuckle with their audience. The whole film is wrapped up in that moment, and it’s why DiCaprio is so good in this remake, even though the movie itself is exhausting and misguided. As Gatsby, the unattainably impressive man of wealth and status, DiCaprio projects the kind of movie-star wattage we just don’t see much anymore, at the same time hinting at the romantic duress that renders all his achievements ultimately meaningless. As in … [Read more...] about Every Leonardo DiCaprio Movie Performance, Ranked
“The ‘power’ isn’t guys like Sal, even though they benefit, modestly, from the biases of the economic system; they’re just guilty by association, responsible for the deaths of young blacks like Raheem only in the most theoretical, distanced way. Although Lee must know this, he’s clearly willing to sacrifice some political clarity for the sake of movie-style power. In order to make himself heard, he has chosen to adopt the belligerent, in-your-face mode of discourse that has been the characteristic voice of New York City in the Koch years. Spike Lee’s movie isn’t likely to cause riots (as some freaked-out commentators have suggested), but it winds up bullying the audience — shouting at us rather than speaking to us. It is, both at its best and at its worst, very much a movie of these times.” — Terrence Rafferty, The New Yorker … [Read more...] about What Critics Said About