Besides The Weeknd’s My Dear Melancholy — which I wrote about here — it’s been a subpar week in music. As always, the following albums are ranked in order of my personal preference:
JOURNEY’S END (Saul Dibb)
R.C. Sherriff’s 1928 play Journey’s End is to the stage what the 1930 film All Quiet on the Western Front is to the screen.
THE PARTY (Sally Potter)
Even though The Party isn’t technically based on a play, this new movie exhibits both the best and worst attributes of stage-to-screen adaptations.
7 DAYS IN ENTEBBE (José Padilha)
7 Days in Entebbe is to political thrillers what fellow 2018 releases 12 Strong is to war movies and what Den of Thieves is to cops-and-robbers yarns.
Who You Gonna Call?
Every time an artistic director at a regional theatre announces they’re stepping down — a frequent occurrence nowadays — I contemplate who I’d personally hire to fill these all-important positions.
THOROUGHBREDS (Cory Finley)
Thoroughbreds is mostly an exercise in style, but there’s some substance there too.
MY DEAR MELANCHOLY, (The Weeknd)
Most people judge an artist based on their most popular work, their claim-to-fames, their fallback style, what they excel at the most.
KILLER LEGO(las)
It was just announced that Orlando Bloom will star as the title character in a London revival of Tracy Letts’ 1993 play Killer Joe.
THREE Rich WOMEN
Count me shocked — SHOCKED I TELL YA — that the current Broadway revival of Edward Albee’s Three Tall Women is selling SO well SO early in its run.
