Though most people will be familiar with Dave Chappelle’s recent stand-up acts from his two Netflix specials released earlier this year — “The Age of Spin” and “Deep in the Heart of Texas” — they’re actually inaccurate representations of his distinct approach to the form.
I generally prefer JAY-Z’s music to Beyoncé’s, BUT:
Behold John Mayer’s cover of Drake’s “Passionfruit” (yes, you read that correctly):
Kneehigh’s 946: The Amazing Story of Adolphus Tips at St. Ann’s Warehouse is more sophisticatedly resonant than a large majority of theatrical kiddie fare, mostly because it sensitively touches upon mature aspects of war that other youth-focused shows mistakenly deem objectively inappropriate for children.
Continue reading “946: THE AMAZING STORY OF ADOLPHUS TIPS (St. Ann’s Warehouse)”
Tee Grizzley proves he’s a REAL rapper on My Moment, but his thoughtful lyrics are not only insufficiently emphasized by, but legitimately get lost in the monotonous haze of derivative beats.
Does anyone else still want to hear the “Director’s Cut” of In Transit that axes the score-tanking beatboxing?
Most of Soho Rep’s Samara left me cold, despite my admiration for the respective work of writers Richard Maxwell, Sarah Benson, and Steve Earl.
Trailers for Dax Shepard’s CHiPS looked waaaaaaay too generic.
After the deservedly abysmal response to last year’s Live by Night, it’s time to ask: Is Ben Affleck a great filmmaker, or just better than expected?
Continue reading “A Reappraising-Intervention for DIRECTOR Ben Affleck”
A series of accolades regarding Matt Reeves’ War for the Planet of the Apes:
Continue reading “WAR FOR THE PLANET OF THE APES (Matt Reeves)”
Write All Nite 