Still shook about "Cats" becoming a movie

by Nathaniel R

Betty Buckley in her Tony-winning role as "Grizabella, the glamour cat"By now you've heard the comic news (oh no wait, they're serious!) that "Cats" is being turned into a movie. The news took me so off guard that I was silent for five days. Cats got my tongue. (I'm sorry). The Andrew Lloyd Webber megahit from the 1980s was based on T.S. Elliott poems and as such it has no real story to speak of. It's basically a very successful song cycle (albeit with only one famous song "Memory") elevated by utter nonrealism in the form of humans pretending to be cats in campy makeup, tights, and acrobatic dancing. It's so hard to imagine as a movie that they made the potential of the making of one into a running joke in the play turned movie Six Degrees of Separation (1993). 

Grizabella the glamour cat is the marquee role but, in fact, it's a "featured" role since it's truly an ensemble show...

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Harlots (S2:E1-2) New Law, Old Profession

Previously: Harlots Season 1 Review

by Nathaniel R

Jessica Brown Findlay, the jewel of "Harlots"

Season 2 kicked off with two disruptive episodes back-to-back, throwing previous power hierarchies into disarray. A relentless new Justice throws the once powerful Lydia Quigley (Lesley Manville) into prison which sets off several plotlines including a new brothel run by Quigley's son Charles (Dougie McMeeken) and Emily Wells (Holli Dempsey). The show is moving with such speed that it's difficult to keep up with these working women. But we shall try since we want everyone watching this show to ensure a third season! The actressing is even more involving the second time around with new cast members, new alliances, and the masterstroke of adding the undersung Liv Tyler to the cast.

A quick review of the first two episodes before the fourth hits tonight so we'll have to have another post soon on episodes 3 and 4. It's so tough to keep up with these working girls and the 'culls' who can't get enough of them...

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The Furniture: Cracked Mirrors, Double Lover

by Daniel Walber

Few things were more inevitable than a Francois Ozon film in which Jérémie Renier makes out with himself, however briefly. It’s the erotic cherry on top of a career of rule-breaking sexual escapades and pastel pastiche. Double Lover often feels like a return to some the director’s early ideas, including the effervescent camp of Sitcom and the throbbing sexual ambition of Criminal Lovers.

Yet this newest feature does at least begin with a grounded plot than these earlier films. Chloé (Marine Vacth) is a young woman with a recurring, potentially psychosomatic stomach problem. Naturally, she goes to therapist, the affable and reassuringly-sweatered Dr. Paul Meyer (Renier). Chloe sinks into one of his welcoming leather chairs, settles her feet on the fuzzy carpet, and tells him her story. The sessions go so well that, before you know it, they’ve moved in together...

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Soundtracking: "Girl Crazy"

by Chris Feil

The Gershwin musical Girl Crazy was immortalized on screen by Mickey Rooney and Judy Garland in 1943, shortly after it arrived on Broadway and brought with it a handful of legendary numbers from the songwriting duo. George and Ira Gershwin are part of the American musical fabric, having crafted a treasure trove of a songbook where the source material has become irrelevant to the legacy of the songs themselves. Indeed, Girl Crazy would later be expanded and reconfigured to make one of the first jukebox musicals Crazy For You.

So even with screen legends like Garland and Rooney, the legendary tracks still only compare to decades of plentiful versions we have heard since. And while neither star (both carrying essentially the entire film’s musical weight) create definitive versions of these Gershwin songs, how could you? Part of the film’s charms from a contemporary perspective is how the musical numbers don’t feel encumbered by having to match a legacy...

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Fantasia 2018: Fleuve Noir

by Jason Adams

There's a real effortfully cool 70s vibe to Fleuve Noir (aka Black Tide), the new crime thriller by Erick Zonca (his first movie since 2008's terrific Julia starring Tilda Swinton) - if you think Vincent Cassel might at some point sit in a seedy apartment and play some saxophone like he's Gene Hackman in The Conversation you wouldn't be straining nearly as hard as the movie is to make you think of that. Cassel, looking like a cigarette that gained sentience and put on an overcoat, plays Commandant Visconti, a detective (but don't call him a detective please!) on the case of a missing teenage boy...

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