Debra Monk - Celebrities attend The Music Center's 50th Anniversary Spectacular at The Dorothy Chandler Pavilion at the Music Center at The Dorothy Chandler Pavilion at the Music Center - Los Angeles, California, United States - Saturday 6th December 2014
Debra Monk - Photographs from the Premiere screening of Amazon's Original Series Mozart in the Jungle as a variety of stars arrived at Alice Tully Hall in New York City, New York, United States - Tuesday 2nd December 2014
Scarlett Johansson began previews of the Broadway production of Tennessee Williams' classic play Cat on a Hot Tin Roof this week. The Hollywood actress plays the lead role of Maggie the Cat in the forthcoming show, which officially opens to the public at the Richard Rodgers Theatre on January 17, 2013.
One of the most famous plays of all time, Cat on a Hot Tin Roof is set at the plantation home of a wealthy cotton tycoon Big Daddy Pollitt. Exploring themes of greed, superficiality, mendacity, sexual desire, repression and death, the play won the Pulitzer Prize for Drama in 1955. Ciaran Hinds stars as Big Daddy, while the Tony Award winning actress Debra Monk plays Big Mama. Though best known for her roles in The Avengers and Lost in Translation, Johansson has a passion for the stage and won a Tony for her role in Arthur Miller's A View From The Bridge.
Scarlett Johansson will grace Broadway once more, as she plays Maggie in Cat on a Hot Tin Roof, reports The New York Daily News.
Tennessee Williams’ award winning play, which has won the Pulitzer Prize, and has been revived several times on Broadway already, will set the scene for Johansson’s return to the stage; her first since her Tony-winning performance in a 2010 revival of Arthur Miller's A View from the Bridge. Benjamin Walker will join her on stage. The actors will play Maggie and Brick in a new production that is expected to open Jan. 17 at New York's Richard Rodgers Theatre. Ciaran Hinds (Game of Thrones) will play Brick’s plantation-owner father, Big Daddy. Tony winner Debra Monk will play Big Mama.
The show’s lead producer will be Stuart Thompson, and Johansson, who worked with him on “View From the Bridge,” has wanted to play Maggie for some time, and her box office star power proved strong enough for the Broadway producers to bring back a play that is already familiar to many theatre-goers. It’s hard to pigeonhole Johansson as an actress, given the range of roles she’s fulfilled. More art-house performances, notably with Woody Allen, include; Match Point, Scoop and Vicky Cristina Barcelona, but she has also featured in many Hollywood blockbusters, like Iron Man 2 or The Avengers.
The film celebrates the D-list world of third-rate celebrities, celebrities whose popularity has waned, whose 15 minutes of fame were over a long time ago, with one-night stands not in Vegas or L.A., but Bakersfield and Akron.
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As the camera probes into a crowded room of ballerinas spinning and dipping, a young blond is immediately isolated from the bunch. The male choreographer's assistant notes that the girl has poor form. The choreographer retorts, "Who cares, look at her." And with that the blonde, blue-eyed Jodie is given a spot in the American Ballet Academy, the Julliard of dancing.
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Imagine hateful movies like Ladder 49, The League of Extraordinary Gentlemen, and Charlie's Angels: Full Throttle as being one kind of deceptive lie about the world. The kind that oversimplifies human beings, pretending we are more beautiful or powerful or good or wholesome than we actually are. Imagine sitcoms that paint a picture of us as having perfect jobs, clothes, houses, and bodies. Those are the kinds of films and media that independent film purportedly rebels against. And Todd Solondz takes it so far in the opposite direction that he paints pictures of the ugly and the lost, then asks us to mock them, and say that there's no hope. Palindromes is just as loathsome as the worst kind of lie Hollywood or television has duped us with, because it's duping us just as much in a different way. It smears us in cinematic dogshit, then says, "Isn't that horrible?"
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In his 1996 debut "Welcometo the Dollhouse" he thrust unsuspectingaudiences into a tormentingly personal and visceral parable of extremeteenage angst and too-early sexuality. 1998's "Happiness"delved into sexual deviance with a sympathetic bent that dared you to hateit. "Storytelling,"Solondz's less-focused film of short stories, pushed NC-17 territory witha graphic and race-baiting sex scene, among other button-pushing developments.
But "Palindromes" is daring in a way that goesbeyond its inflammatory themes of pedophilia, abortion, selfish parenting,and religious extremism masquerading as piety -- it's a film that demandsyou get deep inside its troubled heroine's psyche by continually yankingthe rug out from under you with her inconsistent outward appearance.
Aviva is a meek, hapless, vulnerable but naively resilient13-year-old who runs away from home after foolishly but deliberately gettingpregnant (after 8 seconds of indolent sex), then being forced into an abortion(which is botched) by a protective mother (Ellen Barkin) who speaks caringlybut never really listens. Alone on the road and desperate for some modicumof unconditional acceptance, she comes under the influence of unhingedadults of both perverse and sunshiny self-righteous stripes in episodestinged with tribulation (of which Aviva is often barely aware) and extremelyacrid humor.
Continue reading: Palindromes Review