Monthly Archives: February 2017

The Game-Over Man: Remembering Bill Paxton, 1955-2017

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For NPR, I wrote this fond remembrance of the actor Bill Paxton, a man who lived but one colorful life but who died onscreen an absurd stupid lot of times, in some of my all-time favorite film. He was in great big movies like Aliens and Titanic, he was in not-great big movies like Twister, he was great in little movies like One False Move and Traveler and A Simple Plan. He was great, basically.

I strongly endorse the episode of WTF with Marc Maron on which Paxton appeared only three weeks ago. He spoke at least as much about his upbringing in Texas as about his 40-year career in movies, but it was a wonderful interview, warm and revealing. But please read my piece, too. I literally ripped a sleeve from emphatic typing while working on it. Continue reading

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Get Up, Get into It, Get Involved: Get Out, reviewed.

la-et-hc-get-out-horror-peele-20161004-snapJordan Peele’s terrific new horror flick Get Out is many things, but it parody it is not. My NPR review is here.

Visions of Diana: King Charles III and I Wanna Fucking Tear You Apart, reviewed.

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I’m putting y’all on notice: My reviews of King Charles IIIMike Bartlett’s marvelous blank verse political drama at the Shakespeare Theatre—and Studio Theatre’s world premiere production of Morgan Gould’s I Wanna Fucking Tear You Apart are in this week’s Washington City Paper.

Storm Front: Baby Screams Miracle, reviewed.

Woolly Mammoth Theatre Co., Washington, DC

On Baby Screams Miracle, a 2013 play by Clare Barron at Woolly Mammoth Theatre Company, directed by Woolly founder Howard Shalwitz.

When You Unload into the Abyss… John Wick: Chapter 2, reviewed.

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Keanu and Common, together again for the very first time. (Lionsgate)

Wherein I hail John Wick: Chapter 2 as the “face-shooting revenge flick Frederico Fellini never got to make.” For NPR.

Period Piece: On Theater J’s The How and the Why

the-how-and-the-why-rehearsal-photoHere’s a little preview I wrote for Theater J’s imminent production of The How and the Why, a play about dueling evolutionary theories regarding menstruation from The Affair showrunner Sarah Treem. It’s in today’s Washington City Paper.

 

What Happens in Orlando Stays in Orlando: As You Like It, reviewed.

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As You Like It is my favorite Shakespearean comedy after Twelfth Night, but when the actor playing Orlando can’t hang with the actor playing Rosalind, it prevents this pleasant diversion from being something deeper. I reviewed the Folger Theatre’s production in this week’s Washington City Paper.