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Entries in Finn Wittrock (18)

Friday
May102019

Renee Zellweger Sings as Judy Garland

by Murtada Elfadl

The buzz is building fast and loud for Renee Zellweger's performace as Judy Garland in Judy. All we needed was to check the voice. Will she sing or will she lip sync a la Rami Malek? Well without further ado check it out.

This is not an exacting impersonation per se from Renee but rather an interpretation. It's just a few notes from one song...

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Friday
Nov232018

Review: Write When You Get Work

by Murtada Elfadl

For a film that starts with Finn Wittrock taking his shirt off, Write When You Get Work disappoints. He plays a New York City drifter working odd jobs and living off petty crime schemes. His ex (Rachel Keller) has left that life behind after the break-up and is now trying to make it working at a prestigious school in the wealthy Upper East Side. Of course their worlds collide as he tries another get-rich scheme that involves one of the parents of the kids in her school (Emily Mortimer)...

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Friday
Feb162018

ACS: Gianni Versace: "Don't Ask, Don't Tell"

Jorge Molina continues his review of American Crime Story: The Assassination of Gianni Versace

Season two of American Crime Story has taken a more thematic approach to its narrative than the heavily plotted season one. Each episode has been a miniature exploration of an issue revolving around the oppression of the gay community, but you could say that the main thesis has been the different ways in which being in the closet can hurt people: by isolating those around you (Lee Miglin), by taking away your way to keep fighting (David Madsen), by threatening your business and public image (as Donatella fears with Gianni). In the latest episode, framed around Jeff Trail (played by Finn Wittrock), it's how the closet prevents you from living the only life you want to be living.

Episode 5: “Don’t Ask, Don’t Tell” 

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Friday
Feb092018

ACS: ...Gianni Versace: "A House by the Lake"

by Jorge Molina

The greatest strength of the second season of American Crime Story has become the amount of care, attention, and empathy devoted to Andrew’s other victims. For the second week in a row, the show steps away from the titular Versace case to tell a self-contained story about the humanity of one of them. This week we focus on David Madson, a boy that Andrew was infatuated with...

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Monday
Mar202017

Feud: Bette and Joan. "Mommie Dearest"

Previously
Ch. 1 "Pilot"
Ch. 2 "The Other Woman" 

Feud's writing team is nothing if not devoted to playing to a single theme per episode. All but a couple of scenes in chapter 3 of Feud are devoted to the notion of mothering (though Victor Buono's more generous notion of "legacy" might have been a smarter move for retroactive potency). Or at least the show spends this hour playing with our pre-conceptions of the mothering skills of Bette Davis and Joan Crawford. That's evident in the way it pulls the episode title from the infamous Christina Crawford memoir that damned Joan forever in the public eye as a psychopath and child abuser. In one of the earliest scenes we even get a potent reminder of this memoir as Joan pretends she's not going to send Christina a card congratulating her on the opening of a play until she reads reviews, but then signs the card "Mommie Dearest," as soon as two of her other children are out of sight.

I know what you think of my mothering...

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Friday
Mar172017

Stage Door: Sally Field in The Glass Menagerie

by Dancin' Dan

This is not your parents' Glass Menagerie.

It's not uncommon for theatrical "reinventions" to take place nowadays. Ivo van Howe has made it into a cottage industry of sorts, creating an intimate, visceral A View From the Bridge and a raw, elemental The Crucible in recent years. Sam Gold is of the same cloth. He made his name with an audacious revival of Look Back in Anger at the Roudabout in 2012, won the Tony in 2015 for his sensitive in-the-round staging of the musical Fun Home, and most recently directed a searing Othello with David Oyelowo and Daniel Craig off Broadway at the New York Theater Workshop.

But all those pieces benefit from a stripped back, in-some-cases radical rethinking. Tennessee Williams's memory play is a much more delicate thing, announcing as narrator Tom Wingfield does right at the start that this is a subjective work of art, a piece of memory that may or may not represent what actually happened. Productions of it generally take after the play's quietest character, the "crippled" Laura - they are generally fragile, gossamer things, as light and airy as a thought or memory hanging in the air in front of us...

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