Yasen Peyankov

Yasen Peyankov

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Picture - Yasen Peyankov, Kate Buddeke, Michael... New York City, USA, Thursday 1st October 2009

Yasen Peyankov, Kate Buddeke, Michael McKean, Robert Maffia, Jane Alderman and Cliff Chamberlain - Yasen Peyankov, Kate Buddeke, Michael McKean, Robert Maffia, Jane Alderman and Cliff Chamberlain New York City, USA - Opening night after party for the Broadway play Superior Donuts held at the Redeye Grill-Press Room. Thursday 1st October 2009

Crime Fiction Review


Weak
Here's a secret -- every writer wants his or her name to be famous.

Whether driven by popularity or a quest for validation, it's an egotistical desire that stems from the feeling that what he or she writes is important. When Crime Fiction rests on the assumption that we'll sympathize with the loathsome writer anti-hero, it couldn't be more off-putting. The reality is that no one cares about who we are as writers; they only care about what we write.

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The Company Review


Extraordinary
Thank you, Robert Altman. Coming fast on the heels of one of the worst moviegoing years of recent memory, The Company appears like a wondrous beacon of light. (It even trumps Altman protégé Alan Rudolph's clear-eyed ode to middle class challenges, The Secret Lives of Dentists.) Altman casts his gaze upon the Joffrey Ballet of Chicago: their days and nights, their strict regime and straight-ahead pursuit of artistic expression, and the grueling physical toll of stretching their bodies to the limit. Opening with a modern dance number with performers in skin-tight costumes racing across the stage with multi-colored banners, The Company is like a direct appeal to the heart and mind, to which I can only exclaim, "Wonderful!" and "Beautiful!" It's a reminder of what cinema can do, and the poetry of the dancer's movements is corresponded to with Altman's visual panache, his use of vivid colors, his vividly imaginative framing.

It shames flashy movies like The Matrix sequels, which adopt surface style and frenetic movement but lack sheer, sumptuous vision. Altman's movie isn't just a pretty sheen ("I hate pretty!" snaps Malcolm McDowell as the head of the ballet company), it's a full audio-visual experience. For all the limbs blown apart in Matrix Revolutions it's got nothing on the Company dancers bandaging their bruised heels and toes, or the horrifying moment when a tendon snaps during a rehearsal. It's something we can respond to, relate to. It's emotion pictures, corresponding to the vibrant, emotive images of the dance.

Continue reading: The Company Review

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