Once upon a time, Disney mastered the art of manufacturing fairy tales, mostly for better…but somewhat for worse too.
Continue reading “BEAUTY AND THE BEAST, and A Quasi-Defense of Disney”
Once upon a time, Disney mastered the art of manufacturing fairy tales, mostly for better…but somewhat for worse too.
Continue reading “BEAUTY AND THE BEAST, and A Quasi-Defense of Disney”
Last year, I posted a rather negative takedown of Blumhouse Productions, in which I bemoaned their lack of ingenuity in the name of box office riches and likened this formula to that of modern-day superhero movies, specifically those of Marvel Studios.
Continue reading “A Kind Of Apology to Blumhouse Productions”
Unlike the hordes of deplorables who may use the hashtag that serves as the title of this piece to express their grievances regarding the casting-diversity in this year’s big-screen adaptation of Power Rangers, I wish to direct its sentiment not at the cast’s inclusive representation — one of the few redeeming qualities in the whole affair — but rather at the generic, superhero dreck that surrounds them.
Since The Lightning Thief: The Percy Jackson Musical – based on a popular young adult book series – is now going on tour, my belated thoughts on its New York City engagement at the Lucille Lortel Theatre earlier this year have become relevant once more:
Continue reading “THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL”
A documentary about a tragically-seminal modern event like Ferguson sounds almost essential given the current political crisis.
Continue reading “WHOSE STREETS? (Sabaah Folayan & Damon Davis)”
Father John Misty sung his way onto my radar in late 2015 thanks to the first season of Aziz Ansari and Alan Yang’s Netflix series Master of None, in which the crooner was positioned as a New York underground sensation.
2017 is shaping up to be a year of niche movies.
Annabelle: Creation is comprised almost exclusively of tired horror tropes, and even lacks the common positive ones (it couldn’t at least throw the audience the genre’s customarily stylish cinematography).
=As a newcomer to the #FreelanceLyfe, I’ve been revisiting some movies and shows from earlier this year trying to detect trends that would make for juicy pitches in the eyes of omnipotent editors.
Michael McKeever’s Daniel’s Husband proves yet again that Primary Stages continues to be a bafflingly ignored hotbed of quality new plays.
Continue reading “DANIEL’S HUSBAND, and the Sniffle Show Championship of 2016-2017”