Demanding close study, its abstract yet PRECISE minimalism actually does “say a lot by only saying a little.” (2/)
— Write All Nite (@aintnohero) December 20, 2016
Continue reading “Tweet of Consciousness: THE EYES OF MY MOTHER (Nicolas Pesce)”
Author: Steven Strauss
Tweet of Consciousness: ALLIED (Robert Zemeckis)
ALLIED: Loving genre riff (+ plot extrapolation) of CASABLANCA. Zemeckis joyously revels in classic Hollywood melodrama/spy thriller tropes
— Write All Nite (@aintnohero) December 19, 2016
Continue reading “Tweet of Consciousness: ALLIED (Robert Zemeckis)”
Tweet of Consciousness: THIS DAY FORWARD (Nicky Silver, Vineyard Theatre)
THIS DAY FORWARD (Vineyard): Nicky Silver is the 21st century’s inferior AR Gurney (not really praise from me: https://t.co/IG0GobmZZG
— Write All Nite (@aintnohero) December 19, 2016
Continue reading “Tweet of Consciousness: THIS DAY FORWARD (Nicky Silver, Vineyard Theatre)”
Tweet of Consciousness: MISS SLOANE (John Madden)
A continuation of this thread:
The success of ‘Sorkin Speak’ – Aaron Sorkin’s signature hyper-speed/intellectual dialogue – relies on nearing the precipice of failure (2/)
— Write All Nite (@aintnohero) December 19, 2016
Continue reading “Tweet of Consciousness: MISS SLOANE (John Madden)”
Tweet of Consciousness: VOYAGE OF TIME, Brad Pitt Version vs. Ultra Widescreen Version (Terrence Malick)
but no theatre equipped for this sized image) + lack of BP’s narration diminished UWV’s crucial total immersion in comparison to BPV’s (2/)
— Write All Nite (@aintnohero) December 14, 2016
Tweet of Consciousness: LOVE, LOVE, LOVE (Mike Bartlett, Roundabout Theatre Company)
LOVE, LOVE, LOVE (Roundabout) Many of the dramatic strengths of Mike Bartlett’s other, superior plays are not on display here. 1/)
— Write All Nite (@aintnohero) December 14, 2016
Tweet of Consciousness: OFFICE CHRISTMAS PARTY (Josh Gordon/Will Speck)
BLEED FOR THIS: a prime example of how smart casting can elevate a straight forward, pedestrian movie into an enjoyable viewing experience
— Write All Nite (@aintnohero) December 13, 2016
Continue reading “Tweet of Consciousness: OFFICE CHRISTMAS PARTY (Josh Gordon/Will Speck)”
Tweet of Consciousness: BLEED FOR THIS (Ben Younger)
BLEED FOR THIS: a prime example of how smart casting can elevate a straight forward, pedestrian movie into an enjoyable viewing experience
— Write All Nite (@aintnohero) December 13, 2016
Continue reading “Tweet of Consciousness: BLEED FOR THIS (Ben Younger)”
Explaining My TWEET OF CONSCIOUSNESS
In my continued efforts to cover everything that I see on Write All Nite, I’ve been tweeting my character-restricted, and thus brief thoughts on movies and some shows and other works of art that don’t compel me to go deep on them in a fully-realized, and thus fully-verbose piece. Click here to follow me on Twitter to read these updates in real time, but for those not as technologically-savvy, I’ve also decided to post them on Write All Nite in a new series titled ‘Tweet of Consciousness.’ As the name – and the prior explanation – suggests, these will be my stream of consciousness reactions to whatever I see that doesn’t warrant lengthier responses. They will all retain Twitter’s format, but for those not familiar with it, all you really have to know is that you should read the tweets as they’ll be presented in all subsequent posts: from top to bottom in their chronological order. The titles of each post will contain (in parentheses, like so) the name of the director for movies, and the names of the playwright plus the producing theatre company for theatre. Continue reading “Explaining My TWEET OF CONSCIOUSNESS”
“MASTER HAROLD”…AND THE BOYS: Great Playwrights…make average directors
The Signature Theatre Company’s revival of “Master Harold”…and the boys by Athol Fugard – which he also directed – unexpectedly called to mind the necessity of the separation of church and state to a country’s success. Even though the play does not particularly delve into civic theology (religion is only mentioned in passing), Signature’s production served as yet another reminder of one of my more tried-and-true artistic tenets that’s just as crucial to the continued vitality of theatre as the ol’ ‘church and state’ adage is to government: the separation of a playwright from his play through the all-important intermediary of a director.
Continue reading ““MASTER HAROLD”…AND THE BOYS: Great Playwrights…make average directors”
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