I review Golda’s Balcony, William Gibson’s 2003 solo play about the life of Israeli Prime Minister Golda Meir, and the U.S. premiere of Australian playwright Declan Greene’s Moth in today’s Washington City Paper, available wherever finer alt-weeklies are given away for free. Read all about ‘em.
Tovah Feldshuh as Golda Meir.
John Stockwell’s Kid Cannabis is a pretty good comedy about the intersection of youth and vice and enterprise and a so-so true-crime movie and a reasonably good coming-of-age flick. It’s a lot more than you expect from a film called Kid Cannabis, certainly. Reviewed for The Dissolve.
The same weekend I saw both Captain America: The Winter Soldier and The Raid 2 — prompting this piece for NPR Monkey See — my pal Glen Weldon showed me the mostly-animated G.I. Joe episode of Community. The show got a lot of mileage out of the fact that nobody ever got killed in that war cartoon, wherein an elite American military unit fought a uniformed army of terrorists to a stalemate every 21 minutes using ray guns. Continue reading
Terry Green’s low-budget, high-ambition Prohibition-era conspiracy thriller No God, No Master isn’t quite The Untouchables, but then again, what is? I admired the movie’s overreach in my review for The Dissolve. Continue reading
I reviewed Arguendo, Elevator Repair Service’s comic treatment of a 1991 Supreme Court case that no longer seems momentous if ever it did, for the Washington City Paper.
Posted in theatre
Tagged Ben Williams, Elevator Repair Service, John Collins, Maggie Hoffman, Mike Iveson, nudity, play reviews, Susie Sokol, The Supreme Court, Vin Knight, Washington City Paper, Woolly Mammoth Theatre Company
I took one for the team and reviewed the the un-super, non-thrilling supernatural thriller Jinn for The Dissolve. I can’t say I didn’t have fun, mostly because Rachel Manteuffel came with me. Continue reading
Both of Sabotage’s prior titles, Ten and Breacher, make more sense than the one it ended up with. Actually, the title is no more nonsensical than the convoluted plot of David Ayer’s gruesome, vulgar, throughly disreputable dirty-cop thriller. It’s only just barely an Arnold Schwarzenegger vehicle, which is part of why it’s the most satisfying picture he’s made in 20 years. I reviewed it for The Village Voice. Continue reading