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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.
Staged readings are a win-win situation for everyone concerned.
Nourishments is an emphatic musical statement from a seasoned bandleader, returning to the front of a traditional quintet.
Ramsey’s book on Bud Powell is both a provocative read and a disappointing one. Anyone thinking this will be an illuminating portrait of a jazz master is likely to suffer a serious case of buyer’s remorse.
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