I am a secular Jew who can’t but welcome Zealot‘s conclusion that Christianity pulled a role reversal on Jesus, and made this failed revolutionary Jew into someone who eschewed his people and its traditions in favor of Roman power.
So what’s a hero to do but throw punches and kicks in the name of love and forgiveness?
The third and latest LP from indie singer-songwriter and composer Julia Holter proffers a vision of urban ecstasy.
From the first clearly projected lines to the last, it’s obvious that director Julianne Boyd set out to direct a production of Much Ado where language rules supreme.
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.
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.