Leisure

Reviews and think pieces on music, movies, art, and theater.

Leisure

Major Barbara’s battle

The Shakespeare Theatre Company’s production of “Major Barbara” is an incredibly crisp, engaging example of what the greater Washington D.C. theatre scene has to offer. Director Ethan McSweeny’s interpretation stays true to George Bernard Shaw’s impeccable original text and conveys the author’s pertinent social commentary and finely-tuned wit.

By February 28, 2008

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Sex, drugs and Charlie

The idea behind Charlie Bartlett—a Ferris Bueller for the ‘00 decade!—is interesting enough, but the filmmakers wanted more. So they threw too many ideas at the wall to see which ones would stick, but most don’t. Although inventive and occasionally charming, the movie is too scattered and uneven to be satisfying.

By February 28, 2008

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Culottes for you lots: Classy classics

I thought Amy Adams looked absolutely magnificent on Oscar night. She had the whole vampy Jessica Rabbit thing going on while maintaining the poise and grace of one of Hollywood’s early leading ladies. But Kimora Lee Simmons, who was playing fashion critic for E!, disagreed.

By February 28, 2008

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Critical Voices: Cadence Weapon, Afterparty Babies

Perhaps the most intriguing aspect of Afterparty Babies, Cadence Weapon’s second LP, is how calculated it seems. Surely, countless hours go into crafting any good hip-hop album these days, but the effort put into Afterparty Babies extends beyond time spent in the studio or obsessively rewriting lyrics. Like the best rappers, Cadence Weapon seems fully aware of his audience, goals and idiosyncrasies; unlike the best-known rappers, he’s confident rather than megalomaniacal.

By February 28, 2008

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Critical Voices: Stephen Malkmus, Real Emotional Trash

Stephen Malkmus’ Real Emotional Trash is his first solo release that sounds as willfully sprawling as his best work with his old band. Backed once again by the Jicks, Malkmus has abandoned the clever, artsy pop of his last few releases, opting instead for a heavy jam-fest. Finally achieving the mix of hooks and guitar freakouts that fans have been awaiting through his four releases since the dissolution of Pavement, Real Emotional Trash is his best solo album to date.

By February 28, 2008

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Beyond the chili bowl: U St.

If you’re looking for a fresh spot for dinner or drinks, leave pricey M Street behind and take a spin further down the alphabet to U Street, a neighborhood that’s up and coming so fast you want to make sure you get to it before it loses its edge.

By February 28, 2008

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DVD killed the video stars

Be Kind, Rewind, French director Michel Gondry’s most recent film, is average as a comedy, continuing the trend started by Gondry’s last offering, the disappointing The Science of Sleep. Despite falling far short of the visual inventiveness and splendor of the acclaimed Eternal Sunshine of the Spotless Mind (2004), though, Be Kind provides keen insight into the nature of filmmaking and the importance of community.

By February 28, 2008

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Forte: Emo rebirth

This illusion of commonality emerges whenever we identify with an artist’s body of work, and often spurs an unrealistic set of expectations. As Lacey puts it: “When you do an interview or meet a fan, the only reference they have of you is an album. So it’s almost that they want or expect you to be that [way] when we were really those people for four or five months.” This idea carries over into the long-term as well—we expect artists to stay the same and feel cheated when they don’t fulfill our preconceptions (insert references to Bob Dylan, Black Flag and more).

By February 28, 2008

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Living purgatory In Bruges

The opening shots of In Bruges—sweeping views of the eponymous Belgian town’s brick houses, lush countryside and cobblestone streets, accompanied by streams of obscenities by Colin Farrell—set the tone for a smart black comedy filled with comedic juxtapositions.

By February 21, 2008

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Black Comedy: wit in the dark

Mask and Bauble’s “Black Comedy,” written by Peter Shaffer and directed by Hunter Styles (COL ’08), is a bright, raucous show filled with bubbly British accents and witty jokes that bring the complexities of sexuality to light.

By February 21, 2008

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Critical Voices: Beach House, Devotion

Baltimore’s Beach House, the name of dreampop duo Alex Scally and Victoria Legrand, garnered critical acclaim with their self-titled debut in 2006. Its sound was strikingly original in the increasingly homogenous indie rock world—the songs, comprised of distant organs and slide-guitars over drum machine beats and accompanied by Legrand’s stunning voice, moved forward at a snail’s pace while remaining fascinating. Devotion is an excellent follow-up to that album, a set of eleven love songs that subtly update the group’s sound for the better.

By February 21, 2008

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Critical Voices: Bryan Scary and the Shredding Tears, Flight of the Knife

A year after releasing his well-received solo debut, The Shredding Tears, Bryan Scary is set to unleash his second album, Flight Of The Knife. Scary’s touring band, The Shredding Tears, joined him in the studio to help create an electric follow-up.

By February 21, 2008

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Popped Culture: a bi-weekly column on entertainment

The writers’ strike is over, and thank God, because the strike made the entertainment world profoundly boring. In addition to the obvious problem—the lack of newly written words for actors to say—there was the problem that the strike itself, for all its worthwhile rationales and my love of the Writers Guild of America (WGA), was really boring to hear about. As NBC’s wacko chairman, Ben Silverman, explained, “Sadly, it feels like the nerdiest, ugliest, meanest kids in the high school are trying to cancel the prom.”

By February 21, 2008

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Catch Oscar!

The Oscars are here, and be glad you live in D.C. this movie season, because there are quite a few places to gorge on quality films of all sorts. Just be ready to rail against the academy when they invariably pick the wrong one.

By the February 21, 2008

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Recognize! what what?

Recognize!, the National Portrait Gallery’s new exhibit about hip-hop culture, is slightly self-admonishing, born of a desire to recognize the movement’s work as “museum-worthy.” Doing a bit of sampling of its own, the Portrait Gallery chose a photographer, a painter, a poet, a video artist and two graffiti artists to showcase different aspects of hip-hop. Forgoing its usual strategy of sticking to retrospectives, the Smithsonian museum has produced an awkward first foray into current culture. Although the exhibit feels disjointed and insufficient at times, most of its pieces are unique and worth seeing.

By February 14, 2008

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Nanking: documenting “the forgotten Holocaust” in China

Nanking sheds light on this forgotten event in history, but this is not to say that it explains the underlying reasons for the massacre. It is a testament to the strength of the film that viewers are left wondering how teenagers buy into a mentality so perverse that it permits rape of twelve-year-old girls for sport, how officers can place bets on how many people their swords can cut down, or how a small group of noble men and women can still feel like failures after saving tens of thousands of people. The film contains equal parts human depravity and human courage, and manages to show how intricately the two are linked.

By February 14, 2008

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Critical Voices: Bon Iver

There are some albums that would have been impossible without just the right recording environment. Example: Enter the Wu Tang (36 Chambers), which owes much of its grit to the grimy gutters of Staten Island where six of the nine Wu Tang Clansmen honed their craft. Likewise, For Emma, Forever Ago, folk artist Justin Vernon’s debut as Bon Iver, owes its gorgeously sylvan vibe to the hibernating Wisconsin woods where Vernon wrote and recorded most of these songs.

By February 14, 2008

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Critical Voices: Mountain Goats

Who’s responsible for the state of the Mountain Goats in Heretic Pride? Overproduced and with lyrics that would make high schoolers at a Battle of the Bands blush, this once-fantastic band has released a lamentable album, and someone must be to blame.

By February 14, 2008

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Critical Voices: Strangefolk

Strangefolk, British psychedelic outfit Kula Shaker’s first album in eight years, is a tight set of tracks that works best when striking at the heart of the classic rock tradition.

By February 14, 2008

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Forte: An open letter to Apple

The bottom line is that between the iPod, iTunes and the Apple image, you’ve made being alone awfully convenient, even attractive. If the streak continues, maybe we can expect streaming concert footage on iTunes and albums made entirely with GarageBand.

By February 14, 2008