For once, in Ronald Reagan’s America, youthful talent and energy seemed able to trump everything else.
Boston’s MFA should be congratulated for screening these Technicolor musicals in way that does wondrous justice to their eye-popping colors.
At last — industrial music made by real industrial machines played in a real industrial setting.
The best corned beef in the Boston area by far is, get this, at an Italian lunch joint in Downtown Crossing, Sam LaGrassa’s.
The Black Keys clearly wanted to write moody, trippy, mostly hookless tracks, and as far as moody, trippy, mostly hookless tracks go, the ones on Turn Blue aren’t so bad.
While 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.
Given its its male-weepy genre, the “inspirational sports movie based on a true story,” Million Dollar Arm is surprisingly enjoyable.
Having glittery, Bettie Page-y young women clad in leather and thongs undulate to music by Tom Waits is pretty much guaranteed to work.
Mark Morris’ choreography for his 18-member ensemble alternates between joyful ring-around-the-rosy and contra dance circles.
Though Barry Gibb performed most of his life with the Bee Gees, he was surprisingly un-slick as a showman.