critics and their criticism
Watching Gloria Grahame—lips moist and parted, eyes staring off into some faraway middle distance—is absolutely arresting. She looks like the quintessential Noir femme fatale that was, in fact, probably her principal calling card.
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One by one, we see the principals arriving at the eerily empty building. Something about watching them—masked and in street clothes, struggling with umbrellas—was almost unbearably emotional for me.
Without attempting to rival The New York Times’ enormous celebratory package, your doyenne lauds the golden anniversary of the Broadway opening night of the seminal musical Follies with a selection of parterre box and parterre box-adjacent pieces devoted to this gorgeous monster of a show.
By La Cieca
Sweet Bird of Youth closes out an undeniably successful decade for Tennessee Williams, on stage and screen, and bisects his body of work, with his mature hits on one side and his experimental, often lambasted later plays on the other.
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The flawless, classical singing style of Perry Como. Perry Como?
By Niel Rishoi
I can safely say that this is the gay drama I’ve been waiting for: a genuinely devastating drama that doesn’t treat its characters like lambs waiting for the slaughter or overdose on weepiness, and a queer narrative that unapologetically centers the queer perspective.
If The Night of the Iguana is not exactly a day at the beach, it’s not really the dark night of the soul it should be, either.
As I don’t need to remind you, we are fast approaching the one-year anniversary of COVID quarantine—and for the arts, it remains a scenario of giveth and taketh away.
By David Fox
We shared a feeling that writing about The Fugitive Kind was a date with destiny.
Truly, I think it would be almost impossible to overpraise Anna Magnani in a performance that’s absolutely riveting from start to finish
This year’s earth-shaking advance in gay cinema apparently was the first inclusion of same-sex couples in “Christmas rom-coms.”
In the past when I’ve read through the scads of year-end best lists, there have always been a few titles that I just didn’t “get” but there were more than usual in 2020.
I’ve said it before, and I’ll say it again: nobody hits rock bottom like Susan Hayward.
The first thing I noticed about Ma Rainey’s Black Bottom is how it’s been slimmed down and punched up—clocking in at just 95 minutes, it hits all the marks of August Wilson’s original while smartly settling into a snappier, more focused filmic style.
