'The Big Short' Review: The Comic Beauties of a Bubble The film was directed by Adam McKay, working from a script that he and Charles Randolph adapted—ever so freely—from the widely admired book by Michael Lewis. Where the book was calmly incisive . Christian Bale first revealed his gift for comedy as
Associated Press all-state football teams QB_Michael Viktrup, Carmel; Max Bortenschlager, Indianapolis Cathedral; Zach Summeier, Warren Central; Camden Bohn, Penn; Hunter Johnson, Brownsburg; D.J. Wilkins, Merrillville; Aidan Smith, Fort Wayne Carroll; Luke Johnston, Southport; Drew Keszei
Prep Roundup: Cubs roll over Anacortes Sedro-Woolley's Michael Haynes puts Anacortes' David Salas on his back at 220 pounds. Haynes won by pin. FRIDAY HARBOR — The Braves lost to Friday Harbor 54-9 and Concrete 75-30, but the Braves' Matt Harper won twice and Elijah Adams went 1-1 on
Gallery: With Warriors 23-0, see when NBA teams reached 23 wins last season MINNESOTA TIMBERWOLVES: On March 23, 2015, Minnesota wins for the 16th and final time, holding off the Lakers 101-99 in overtime in Minneapolis to cap off a dismal 16-66 season in which they lose their final 12 games. In this photo, Andrew Wiggins
All-county soccer: Hoover boys, Lake, Minerva girls top honorees Michael Adelman, GlenOak, jr. Nick Wilhelm, Hoover, sr. Mitch Garfield, Hoover, sr. David Schoeppner, Hoover, sr.;. Kam Tyler, Jackson, soph. Ryan Tucker, Jackson, jr. Michael Belopotosky, Lake, sr. Parker Stinson, Lake, sr. Bailey Adams, Louisville
Students earn honors at New Milford High School Nicholas Adamou, Kathryn Antonelli, Mikayla Avallone, Alison Bailey, Hunter Barrett, Monica Baxter, Samantha Berry, Jhade Blanchette, Anna Bun, Julianna Buser, William Butler, Matthew Carlson, Julio Cordero, Madison Corso, Kyra Danish, Jonathan Davis
Review: Catchy return of 'Motown: The Musical' on Broadway - Salon
Now “Motown: The Musical” has returned to Broadway for a rafter-rattling version of the iconic record label’s tumultuous history, told from the perspective of founder Berry Gordy, who wrote the book for the show. Like the legendary music catalog from Motown, the revival that re-opened Thursday night at the Nederlander Theatre is alternately catchy and soulful, and overstuffed with memorable melodies. Last seen on Broadway in a nearly two-year run that ended in January 2015, it remains an energetic ride through Gordy’s version of history after founding Motown as Hitsville USA in 1959. The score is gilded with too-brief reminders of many... The Motown sound brought together teenagers and music lovers, both black and white for the first time, during the rise of civil rights and black power movements. Gordy tells the story of his Motown family of staff and artists as they first struggled to get their music on the air, then turned Motown into a glittering music industry superpower. The show opens and closes at a bittersweet 1983 reunion of by-then scattered Motown artists, while in between we watch the impact of Gordy and Motown on the music business and — with a few historic liberties — on American culture. Nearly 60 songs from the Motown catalog are included, many just hinted at in truncated versions but some fully performed, weaving into and out of more than 20 scenes that have generally been effectively wrangled by director Charles Randolph-Wright. Chester Gregory is impassioned and likable as Gordy, exuding the confidence that enabled Gordy to recognize so much chart-topping talent and strategize his acts into important white entertainment outlets. Allison Semmes is simply amazing as Diana Ross, channeling the original with a sweet, rich voice that soars to superstar levels in numbers like “I Hear a Symphony” and “Reach Out and Touch. Jesse Nager is sweetly engaging as Smokey Robinson, Gordy’s co-founder and friend, who improbably saves a dangerously simmering segregated concert with “You’ve Really Got a Hold On Me. ” Jarran Muse is a thoughtful, brooding Marvin Gaye,... Martin Luther King Jr. is shot and riots erupt around the country. Gordy’s book sometimes awkwardly juxtaposes tragedy with personal moments, as when the ensemble pounds out “War” after one of Gordy’s acts sues him, against a backdrop of newsreel footage of violent protest and the Vietnam war. And a militant version of “Ball of Confusion” is soon lightened when Leon Outlaw Jr. bursts onstage to steal his scenes as young Michael Jackson. The hardworking ensemble of 33 take multiple roles and dance their feet off, especially in their joyful performance of “Dancing in the Street” led by Chante Carmel as Martha Reeves with the Vandellas. Pulsating choreography from Patricia Wilcox and Warren Adams evolves with the changing times on David Korins’ colorful sets. And kudos to the orchestra, conducted by Darryl Archibald. If Gordy is a little grandiose about his accomplishments, well, he’s telling the story and there’s no denying the enormous contribution he made to American music. "The Bachelorette" men are the worst: 7 reasons why this season is going to be a glorious disaster.www.salon.com
'Bye Bye Birdie' Review: Baby-Boomer Nostalgia Rocks - Wall Street Journal
Musicals don’t have to be first-rate to be fun. “Bye Bye Birdie,” a peaweight farce about the coming of rock ’n’ roll to Sweet Apple, Ohio, is the quintessential case in point. While it was a hit on Broadway in 1960 and remains popular to this day with high-school and amateur theaters, professional revivals are increasingly rare, and the Roundabout Theatre Company’s 2009 production was a major meltdown.www.wsj.com
After a dry summer movie season, will TIFF deliver salvation? - The Globe and Mail
Every year, the festival aims for a carefully calculated programming slate that’s equal parts Oscar bait, high-gloss celebrity, art-house prestige and dutiful CanCon. Last fall, for instance, delivered the highs of Spotlight, The Martian, Brooklyn, Sleeping Giant and Room, as well a fair share of high-profile duds ( Demolition, Black Mass, Freeheld, About Ray, I Saw the Light … I could go on, but it... So what to expect this year, as all eyes are on the Toronto International Film Festival to deliver us from the evil that was an especially dry summer movie season. As I write, festival programmers are busy finalizing the lineup, a good portion of which will be revealed Tuesday morning at TIFF’s first press conference of the year. Before that happens, though, it’s become tradition among fest watchers to play a guessing game – one whose answers will help map out the industry for the rest of the year, and beyond. First, there’s the always fraught opening-night film. Although it appears to be a prestigious slot, history has proven that opening night is for homegrown charity cases, studio bargaining chips and go-nowhere flops. While last year’s selection of Demolition seemed spot-on – a Canadian director in Jean-Marc Vallée, a legitimate star in Jake Gyllenhaal – the drama only earned a polite reception, and was quickly forgotten about until it opened in theatres seven... This year is a chance for TIFF to finally overhaul opening night, though whether the fest will adopt any radical changes – say, programming a truly independent, even micro-budgeted Canadian film that could benefit from the exposure – is doubtful. It has an up-and-coming star in Alden Ehrenreich, a director known for snaring media attention, and a plot and milieu that will surely comfort the industry players who TIFF must so readily appease. Plus, Beatty and his producers are likely so eager to shake off the film’s musty scent – the project initially bounced between studios, and finished shooting a year and a half ago – that they would happily accept a spot that, though it has its... (A second guess: Denis Villeneuve’s sci-fi epic Arrival, starring Amy Adams and Jeremy Renner, which satisfies both the Canadian and celebrity elements – and might actually be good. In terms of the bigger game, TIFF will likely be courting films already earning awards buzz, including Ang Lee’s war drama Billy Lynn’s Long Halftime Walk. David Frankel’s Collateral Beauty, starring Will Smith and Keira Knightley. James Ponsoldt’s The Circle, based on the Dave Eggers novel and starring Tom Hanks. John Lee Hancock’s The Founder, starring perennial Oscar bridesmaid Michael Keaton. Tate Taylor’s The Girl on the Train, starring Emily Blunt. and Terrence Malick’s Weightless, starring Michael Fassbender, who will be headlining this year’s TIFF Soiree, an annual fundraising effort (though it is a Malick film, so who knows when the thing will see the light of day). 9, just one day after the festival opens). Derek Cianfrance’s The.www.theglobeandmail.com
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