Since both albums released this week are too good to be clumped together into a usual “This Week in Music” piece, I shall tackle each individually. First up: Culture II, the sequel to Migooooooooos’ 2017 breakthrough:
Continue reading “This Week in Music (January 26 – February 1, Part 1): Migooooooos’ CULTURE II”
During the terminally forgettable stretches of 12 Strong, the only persistent saving grace is the ensemble, five of whom deserve individual shout-outs in the same vein as my recent Murder on the Orient Express piece:
You’ve almost positively absolutely definitely totally in all probability seen 12 Strong before, but that still doesn’t make it ever less than enjoyable to watch.
Every scene in Lover for a Day presents itself as a cinematically-constructed reflection on the nature of love and relationships.
Criticizing the work of notoriously esoteric writer Mac Wellman for being too incomprehensible may sound like I’m missing the point entirely.
Continue reading “A CHRONICLE OF THE MADNESS OF SMALL WORLDS (NYTW)”
Critics almost always write about art; art is almost never about critics.
This season marks the inaugural year of Next Door at NYTW, an acronym that stands for New York Theatre Workshop. As the moniker suggests, this venerable off-Broadway institution recently opened another black-box theatre — where else — next door to their longtime hub in the East Village.
I enjoyed The Post way more than expected.
Write All Nite‘s 2018 New Year’s resolution: evaluate how marijuana is depicted in movies and theatre. For instance, I’ll praise portrayals that view smoking weed as a cognitive stimulant, and I’ll lambast those that regurgitate tired tropes about stoners. Light one up, baby!
Continue reading “Weed in Art 2018: 20TH CENTURY BLUES (Signature Center)”
