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Dave Holland’s Prism tells stories, several of which are very effective. Scofield’s, like his earlier Überjam releases, extends the jam-band esthetic into jazz without completely giving in to it. And neither of them would be as they are without the great looming shadow of Miles Davis.
What carries Blue Jasmine over the moon is the breathtaking, Oscar-worthy performance of Cate Blanchett, whose tortured Park Avenue socialite on the skids is among the most stunning performances by an actress in years.
Intellectual frameworks such as “the rise of Europe,” “the decline of the East,” or “the clash of civilizations,” tell us more about the laziness of the human mind than they do about history.
Amanda Seyfried gives a sensitive performance as Linda Lovelace; Peter Sarsgaard is chilling as Chuck Traynor, the abusive husband who saw her as sex-object and potential money-making machine.
Overall, Elysium is an entertaining distraction posing as a meaningful global allegory.
This entertaining and provocative work, made in 1981 by the now 85-year-old director, fits into his oeuvre as a complement to his best known movie among American art-film fans, 1974’s Céline and Julie Go Boating.
The current revival of Laughing Stock, directed again by the playwright, has softer edges than I remember in the earlier one, played with fluidity rather than crackle.
Olympia Dukakis makes good on her desire to evoke the weakness the indomitable Mother Courage fights so hard to cover up: the actress conveys the highs and lows of this gargantuan character with enormous power.
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