Review: "The Great Gatsby"

This review originally appeared in my column at Towleroad

"Gatsby. What Gatsby?"

Daisy asks with a rush of girlish 'it can't be!' alarm, her nerves far overpowering the tiny glimmer of hope you think you hear in her voice. Which is as sensible a reaction as anyone could have when hearing about the arrival of another Jay Gatsby in movie theaters. You don't mean THE GREAT GATSBY, do you?

The F Scott Fitzgerald classic is a tough book to crack for filmmakers, its power so tied to its gorgeous (slim) prose, its subtle and cynical evocations and condemnations of American wealth and unspoken caste system. Further complicating adaptations is that the story is subjectively narrated. It's all told by Nick Carraway and his is, despite blood ties to the wealthy, an outsider's point of view. It's an easy book to love but a difficult one to adapt. But Hollywood keeps trying once every thirty years or so. 

The story, if you are unfamiliar (though you won't want to admit that out loud) follows the attempts of the elusive mysterious extremely wealthy Jay Gatsby (Leonardo DiCaprio) to win back his lost love Daisy (Carey Mulligan) who he abandoned many years earlier while penniless to seek his fortune. More...

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Review: Iron Man Three*

This review was originally posted in my column @ Towleroad

When last we saw Tony Stark he was eating shawarma in New York City with his fellow superheroes in the stinger of Marvel's The Avengers (reviewed). When we last saw Iron Man, minutes before that, he was plummeting from a cosmic wormhole to his near-death having just saved the world from an alien apocalypse. (S.H.I.E.L.D's workman's comp insurance must be pricey.) I mention Tony Stark and Iron Man separately because the franchise's new writer/director Shane Black, who previously worked with Robert Downey Jr on the underappreciated comedy Kiss Kiss Bang Bang, seems more interested in Stark than Iron Man. This is a good sign, especially for a third picture. Time to flip this tin can around.

IRON MAN THREE takes great pains to make a distinction between the impenetrable suit and the man inside it. Tony Stark's first attempt to suit up is a comic misfire since he's engineered an Iron Man suit that comes right to him when he calls. He hasn't quite worked out the speed of his flying wardrobe -imagine a metal codpiece flying 60 mph right at your Andrew Christians. The second time we see Iron Man, if I'm remembering the sequence of events correctly, Tony Stark isn't in the suit at all. He's engaging in some prankster remote control business for girlfriend Pepper Potts (Gwyneth Paltrow, wonderful in this role but haters gonna hate). MORE AFTER THE JUMP

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Smash: Opening Night

Glenn here, one of the few remaing Smashites who will be with this dear show until the bitter end. I'm not going to mince words here: "Opening Night" was the best episode of the season so far. This is for a multitude of reasons that we'll get in to briefly, but mostly it's because "Hit List" barely factored. And when it did it was in the shadow of "Bombshell", the musical gets hailed the hit of the season. Too bad they didn't get that "love letter from The Times" that Liza so beautifully sang about a couple of weeks back.

2.12 "Opening Night"

This week is "Bombshell" heavy as opening night occurs and all the anticipation and exhiliration and drama and disappointment that comes with it. This is a good thing, folks, and "Hit List" thankfully takes a sidestep (although the show's writers can't help but force it upon Smash even when there are far more important things to be worrying about).

Ivy is naturally worried about the reviews... [more]

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Smash: Surprise Parties & Dress Rehearsals

I promise I'm still watching Smash. Unlike America, that fictionally monolothic "America", which has been fleeing Smash in droves each week; the media has major schadenfreude with this show's ratings with headline's boasting "record lows!" each week. I'm just not as quick with my write-ups. Oddly, as the show is improving and slowly working its way back to Season 1 quality levels my drive to discuss is as wishy washy as all of the show's plotlines.

"All" should not be mistaken for "many" though. There are still but two major plots: "Bombshell" the Marilyn Monroe musical stumbles through endless landmines of the emotional, financial, artistic and public relations variety as it works its way towards opening night whilst "Hit List" the fringe musical about something or other (I've lost track -- it seems to change each week) which doesn't seem to have any obstacles that aren't solved in seconds as it races from one pivotal metamorphosis to another. It was a vague idea a handful of episodes ago, then a fringe success, and now suddenly a buzzy Off Broadway hit that's already threatening to transfer to the Great White Way.

But one thing it doesn't have is a naked Marilyn! more

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Smash: "The Bells and Whistles" & "The Parents"

I'm short on time and Smash is trying to burn off its episodes given that two will air this very week. But we've got two to catch up on as well so let's rush through like we're running out of breath on a big note.

Ivy is back to being Marilyn in "Bombshell"

more...

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