“Hideous Strength”: I review “Degenerate Art” at the Neue Galerie

for AmCon: Leave it to the Nazis to make charity posters into advertisements for power-worship.In the late 1930s the Nazi regime created a traveling exhibition which contrasted Fuhrer-approved artworks with “degenerate” works produced by modernists, New Objectivists, and other riffraff. The exhibition was a bizarre contrast to the book-burning and art-destroying we might expect from a totalitarian regime. Instead of preventing people from seeing the art at all, the Nazis encouraged them to v … [Read more...]

King of Cups: Rereading Tim Powers’s “Last Call”

Fantasist (and mackerel-snapper, if we're counting) Tim Powers does high-concept tales in which hard-bitten characters struggle to learn to love one another and escape complex, unforgiving systems of magical dark forces. Last Call is probably my second-favorite of his fantasies of salvage--the greatest is Declare aka "the one where demons fight the Cold War"--and as I reread it I loved it even more than I did the first time around. The high concept this time is "war for succession among the gods … [Read more...]

Poor Little Rich Christian: Hulu’s Intermittently-Insightful “Rev.”

“First let's say morning prayer. But let's say it quietly, in case somebody here has got a hangover.”That's from the first episode of Rev., a Hulu series about an Anglican vicar in a tough London neighborhood, and it captures the show's best side: a humorous acceptance of human weakness, combined with a seriousness about prayer. There's a lot to love about Rev., so although I'm going to be critical, I want to start by highlighting what's so intriguing and endearing about the show. Its first t … [Read more...]

Too Much Harmony: “Water by the Spoonful,” A Play About Friendship, Dissonance, and Humiliating Identity

Last night I saw Quiara Alegria Hudes's Pulitzer-winning Water by the Spoonful at Studio Theatre. It uses dissonant jazz as a metaphor for the disjunctions and collisions in our own lives, asking whether these discordant notes will ever resolve into harmony. The show tells two parallel stories: A young vet with PTSD fights with his cousin about how to mourn his dying adoptive mother, and members of an online support group for "crackheads" (their term, which is important, see below) strive to … [Read more...]

From “How to Read the Air”

Those who came seeking help often did so with a faint trace of shame hovering over them--the sense that they were once again pleading to someone to grant them a right that everyone else they passed on the street, on the subway, and in traffic took for granted trailed them in almost all of their dealings and most likely made them more deferential than they had ever been. … [Read more...]

The Sleazy Moral Greatness of “Phone Booth”

Last night I watched Phone Booth, the 2003 thriller (brilliantly directed by Joel Schumacher, for real) in which an unseen killer traps Colin Farrell in a public phone booth and makes increasingly painful demands. It's terrifically intense--I couldn't look away. The high concept is so great: the man suffering in public, while nobody around him has any idea what he's going through. Both Farrell and his character are fun (he's a publicist, rather than a human being) and, by the end, surprisingly … [Read more...]

“Rich Dad, Poor Dad”: I review new film about fatherhood

for AmSpec: Hirokazu Koreeda's new film, Like Father, Like Son, pretends that it will be up front about the source of its heartbreak. Koreeda is the tragedian behind 2004's Nobody Knows, based on the real-life horror of several small children abandoned in their Tokyo apartment after their mother disappeared. This time he takes a parental perspective: Like Fatheropens with a couple learning that their only child was switched at birth, and is not biologically related to them.There's a … [Read more...]


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