For various critic-related, theater company-related, and publication-related reasons, my reviews of Studio Theatre’s production of Caryl Churchill’s anticolonial sex romp Cloud 9 and Constellation Theatre Company’s new production of the Y2K-era Greg Kotis-Mark Hollman musical Urinetown have taken a long time to see print. But they’re in this week’s Washington City Paper, and online, too.
Posted in theatre
Tagged Allison Stockman, Caryl Churchill, Constellation Theatre Company, Greg Kotis and Mark Follman, Holly Twyford, Jake Null, Jenna Berk, Laura C. Harris, Matt Dewberry, Michael Kahn, musicals, play reviews, Studio Theatre, The Washington CIty Paper, Vaughn Ryan Midder, Washington City Paper
Wait, Michael Biehn starred in a short-lived Magnificent Seven series on CBS in the late 90s? I’ve always been bad at keeping up with what’s on TV, but this I should’ve known, given my long-term interest in the guy.
Anyway, here’s my NPR review of the new Magnificent Seven from Antoine Fuqua and Denzel with Chris Pratt mugging his way around, too. Random note: It’s funny that both The Magnificent Seven and Westworld, two long-dormant properties that starred Yul Brynner — most famous for the Rodgers and Hammerstein musical The King and I, “etcetera, etcetera” — as a black-clad cowboy, are both getting reimagined in 2016, isn’t it? I think it is.
Posted in movies
Tagged Akira Kurosawa, Antoine Fuqua, Chris Pratt, Denzel Washington, Ethan Hawke, film reviews, John Sturges, NPR, remakes, Vincent D'Onofrio, westerns
In 1999, the nanobudget horror hoaxumentary The Blair Witch Project rode a brilliant marketing campaign to blockbuster-level success. Now there’s a legacy-quel called Blair Witch. My short review is that Blair Witch has displaced previous champ Frances Ha as the longest sub-90-minute movie I’ve seen in the last decade. My longer review, for NPR, is here. Boo. Also, boooooooooooooooo.
I basically got into journalism because I wanted to write for Rolling Stone. That took longer to happen than I’d hoped it might, but it was a real thrill to get to do this piece for them yesterday, reflecting on Star Trek‘s legacy on the occasion of the franchise’s 50th anniversary.
Last night, the National Air and Space Museum showed “The Man Trap,” the first Trek episode broadcast (albeit not the first one produced), at 8:30 p.m. Eastern — the same time NBC had shown it 50 years earlier. It’s a really fun episode that demonstrates that the rich character relationships were present in the Original Series right from the beginning, and that the majority comedy in Trek was fully intentional. (Also that what was progressive in 1966 is decidedly not in 2016. But, you know: Progress.)
Thanks to Scott Tobias for suggesting me for it, and to David Fear for editing the essay.
Leonard Nimoy and Jill Ireland in the 1967 Original Series episode “This Side of Paradise,” wherein the rational half-Vulcan Mr. Spock finds love while under the influence of a strange plant. (CBS Consumer Products/Star Trek Archive)
Karl Urban and Zachary Quinto in 2016’s “Star Trek Beyond.” (Kimberly French / Paramount)
John Cho, Anton Yelchin, Karl Urban, Chris Pine, Zachary Quinto, and Simon Pegg in 2016’s “Star Trek Beyond.” (Kimberly French / Paramount)
Chris Pine and Zoe Saldana in 2013’s “Star Trek into Darkness.” (Zade Rosenthal / Paramount)
Zachary Quinto in 2013’s “Star Trek into Darkness.” (Zade Rosenthal / Paramount)
Nichelle Nichols, William Shatner, DeForest Kelley, and James Doohan in “Mirror, Mirror,” which first aired Oct. 6, 1967. (CBS Consumer Products/Star Trek Archive)
Brent Spiner in the “Star Trek: The Next Generation.” (CBS Consumer Products / Star Trek Archive)
Kirstie Alley and Leonard Nimoy in 1982’s “Star Trek II: The Wrath of Khan.” (CBS Consumer Products / Star Trek Archive)
The U.S.S. Enterprise studio model in 1965. (CBS Consumer Products / Star Trek Archive)
The September issue of Air & Space / Smithsonian, featuring the cover story I desperately wanted to call Warp Corps — because it’s about a corps of people whom Star Trek has inspired and influenced, you see — is now on sale at the National Air and Space Museum (both locations, on the National Mall and at the Steven F. Udvar-Hazy Center in Virginia) as well as at Barnes & Noble stores and the digital retailer of your choice. You can read the feature here. Also, I’d love it if you would come buy a copy of the magazine from me for a paltry one-time fee $6.99 at the Museum during its three-day celebration of Star Trek‘s 50th anniversary. The event kicks off at 7 p.m. on Thursday, Sept. 8 — the evening the Original Series episode “The Man Trap” was first broadcast on NBC. Continue reading
Posted in movies, sci-fi, science, TV
Tagged Gene Roddenberry, James B. Garvin, Justin Lin, Marc Okrand, Margaret Weitekamp, Simon Pegg, Smithsonian Air & Space, Star Trek
My reviews of Signature Theatre’s new production of George C. Wolfe and Susan Brikenhead’s early-90s Jelly Roll Morton bio-musical Jelly’s Last Jam, and Keegan Theatre’s production of Martin McDonagh’s late-90s black comedy The Lonesome West, are in today’s Washington City Paper. Notice is served.
Posted in theatre
Tagged biography, Cleavant Derricks, Felicia Boswell, George C. Wolfe, Jelly Roll Morton, Keegan Theatre, Mark G. Meadows, Martin McDonagh, Matthew Gardiner, musical theatre, musicals, Signature Theatre, Susan Birkenhead, Washington City Paper
Here’s is the sort of sterling-quality joke that got whittled from what started out as a straight-up review of the new, Timur Bekmambetov-directed adaptation of Ben-Hur, but quickly turned into this.
EDITOR: Agreed. So they got an actor of Middle Eastern descent?
KLIMEK: They got a guy from Memphis.
EDITOR: You mean Memphis, Egypt?
KLIMEK: I do not. His name is Morgan Freeman.
EDITOR: I have heard of him.
KLIMEK: He has been in some other movies.
You can’t blame me for digging in to the little differences between new and old, especially in light of the fact that Ben-Hur ’59 is a venerable classic that I first saw when I was whatever age I was last Saturday night.