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Jason Schwartzman and Tom Hanks in Wes Anderson’s latest. (Pop. 87 Productions/Focus Features)
Wes Anderson’s Asteroid City is one of my favorite films of the almost-half-concluded year, an entirely predictable result given his track record with me. I was chuffed to discuss it with Pal-For-Life Glen Weldon and The Indicator host Wailin Wong.
The contemporaneous cape-flicks Spider-Man: Across the Spider-Verse and The Flash are both riffing on a lot of the same ideas. I put together a fun radio piece asking if the concept of fictional multiverses has gone fully mainstream. it aired today on Here & Now, but you can listen right here.
Ezra Miller and Sasha Calle in The Flash. (Courtesy of Warner Bros. Pictures/™ & © DC Comics)
Before Guardians of the Galaxy auteur James Gunn comes in to start the whole DC Comics movie project over again, they’ve one movie left in the can, and it’s The Flash. Specific is multiversal, the saying goes. My Washington City Paper review is here.
Spider-confederates Miles Morales and Gwen Stacy share a quiet moment in Across the Spider-Verse. (Sony)
My Washington City Paper review of the lovely new animated sequel Spider-Man: Across the Spider-Verse is here.
Aaaaaaaand 2018 All Things Considered feature with a number of the creative people inovlved with Into the Spider Verse — comic book writer Brian Michael Bendis, screenwriters/producers Phil Lord & Chris Miller, and directors Peter Ramsay & Rodney Rothman — is still here.
Multi-hyphenate theatermaker James Ijames, courtesy of the artist.
My Washington City Paper feature about Good Bones, Studio Theatre’s new world premiere from the Pulitzer Prize-winning, Tony Award nominated playwright and actor James Ijames is here.
Repast is Prologue: Nathan Lane, Joaquin Phoenix, and Amy Ryan in Ari Aster’s new mindbender. (A24)
I haven’t seen a movie this wild since Darren Aronofksy’s mother! (sic), a film that came with its own exclamation point. My Washington City Paper review of Ari Aster’s Beau Is Afraid is here.
Viola Davis was Michael Jordan’s handpicked choice to play his mother in Ben Affleck’s Air. (Amazon)
My review of Air, Ben Affleck’s movie from first-timer Alex Convery’s screenplay, is here.
The 1991-2 production of Alien 3 was by all accounts more of a slog than this photo of Sigourney Weaver and her tall, dark plus-one would suggest.
Here’s a Smithsonian piece wherein I put my lifelong independent study of xenobiology to good use by documenting curator Ryan Lintelman’s quest to sleuth out exactly which ALIEN flick the big prop egg in the Smithsonian Museum of American History. It’s not the first time I’ve recounted the tortured history of of Alien 3, a less imaginative exponent of the visual and thematic ideas that had made the first two pictures in the slime-dripping series so widely admired.
