I reviewed Audrey and Bill: A Romantic Biography of Audrey Hepburn and William Holden, a crummy book about the two stars’ affair during the making of Sabrina in the early 50s, for The Washington Post. If decades-old Hollywood gossip is your bag, I recommend Karina Longworth’s podcast You Must Remember This. The author of Audrey and Bill, Edward Z. Epstein, is a former publicist; Longworth is film critic and historian. It’s a crucial difference.
UPDATE: Whoops, You Must Remember This already covered Hepburn and Sabrina.
I like Michael Mann and I love Heat in particular, and I love Wes Anderson. But 7 Minutes, a nicely-shot hybrid of Heat and Bottle Rocket, Anderson’s debut, is less than the sum of its influences. I reviewed it for The Dissolve.
Stuff I Ran Out of Space to Say in My Just-Posted NPR Review of Jurassic World:
1) Yeah, the sense of wonder that still comes through in Steven Spielberg’s 1993 original comes back, fleetingly, a little, just in the opening act. I think that’s mostly down to Michael Giacchino’s score, which interpolates John Williams’ stately, noble Jurassic Park theme the way John Ottman’s music for Superman Returns interpolated Williams’ march from Superman.
1a) I haven’t been able to stop humming Williams’ “Theme from Jurassic Park” in the two days since I saw the new one. Giacchino is the busiest and probably best composer in the blockbuster game these days, as ubiquitous as Williams was 30 or 25 years ago. But I can’t recall any of his original Jurassic World music.
2) This movie, while enjoyable, is even better if you imagine there are subtitles under all the shots of dinosaurs’ faces, like when dog and bear confer in Anchorman.
My review of Theater J’s updated production of drag-playwright Charles Busch’s 2000 mainstream breakthrough The Tale of the Allergist’s Wife is in today’s Washington City Paper. God bless you.
I reviewed a movie called Dawn Patrol for The Dissolve. Not the Howard Hawks one from 1930. Or its Errol Flynn-Basil Rathbone-David Niven-starring remake from 1938. This one is a grimy little indie revenge drama that was shot two years ago in Ventura and Oxnard, Calif., the beautiful seaside region where I lived for four-and-a-half years in the very early aughts. It was directed by the writer of Beverly Hills Cop and stars Clint Eastwoodson, better known to the world as Scott Eastwood. Here’s the review.
Sean Meehan, James Seol, and Tim Getman in “Zombie.” (Stan Barouh)
Brandon McCoy, James Whalen, Laura C. Harris, and Rupert Danny Gavigan in “NSFW.” (Danisha Crosby)
Two satires, each alike in indignation. My reviews of Robert O’Hara’s world premiere Zombie: The American at Woolly Mammoth Theatre Company and Lucy Kirkwood’s 2012 NSFW at Round House Theatre are in today’s Washington City Paper, available wherever finer alt-weeklies are given away gratis.