Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
With the upcoming released biopic, The Post, starring Tom Hanks and Meryl Streep already garnering Oscar buzz, it seems like a good time to consider other times movies have brought the news industry into the spotlight. At a time when the future of newspapers and journalism seems so uncertain the following films are especially relevant.
All The President’s Men (1976) This classic political thriller tells the now legendary story of how Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) investigation and reporting of an a minor break-in at the Watergate led to a tangled web that brought down the Nixon presidency. (It also ensured that all future scandals would have the title ‘gate’ attached to their name.) Directed by Alan Pakula (Klute, The Parallax View) and with a screenplay by William Goldman (Butch Cassidy and the Sundance Kid, The Princess Bride) it was an instant commercial and critical success. It would garner eight Academy Award nominations and four awards including Best Screenplay for Goldman and Best Supporting Actor for Jason Robards. It currently holds a fresh rating of 93% on the Tomatometer.
Fletch (1985) Los Angeles Times reporter and master of disguise Irwin Fletcher (Chevy Chase in what he would call his favorite roll) is posing as a junkie while researching an expose on drug trafficking. A millionaire approaches him and claiming to be terminally ill hires Fletch to kill him. When further investigation reveals the millionaire to be in perfect health, Fletch realizes he’s on to a potentially much bigger story. To get at it, will take all his considerable wits. The movie was a critical and commercial hit spawning a sequel and has gone on to garner a cult following as well.
The Paper(1994) Ron Howard (Apollo 13, A Beautiful Mind) directed this American comedy-drama taking place over 24 hectic hours in the life of Henry Hackett (Michael Keaton) Metro editor for the New York Sun, a fictional tabloid. The Sun is experiencing cash flow problems and is making drastic cuts. Meanwhile Henry’s wife, Martha (Marisa Tomei), is expecting their first child and aggravated with his workaholism. She wants him to take a job at the New York Sentinel (a thinly disguised version of the New York Times). Meanwhile a sensational double homicide of two white businessman and subsequent arrest of two African American teenagers has Harry’s news sense tingling. The all star cast also includes Robert Duvall, Glenn Close, Randy Quaid, and Jason Robards (again!). It currently holds an 88% fresh rating at Rotten Tomatoes with critics praising the film for capturing the frenetic high energy environment of actual newsrooms.
State of Play (2009) This taut political thriller was an adaption of a six-part BBC series by the same name. Russell Crowe turns in a pitch perfect performance as investigative reporter Cal McAffrey who probes the suspicious death of Congressman Stephen Collins’ (Ben Affleck) mistress. Matters are further complicated by the fact that McAffrey and Collins were once old friends and that Cal had an affair with Stephen’s wife Anne (Robin Wright). Cal convinces his wary, long suffering editor Cameron (the always fabulous Helen Mirren) to let him dig deeper into the matter with the help of young reporter and blogger Della (Rachel McAdams at her most charming). Needless to say twists and turns abound in an intricate plot of layered conspiracy. State of Play garnered generally favorable reviews and Crowe won the Best Actor award from the Australia Film Institute.
Spotlight (2015) This searing biographical crime drama follows how The Boston Globe’s ‘Spotlight’ team uncovered a pattern of widespread systemic sexual abuse by priests in the Boston area, that kicked off an international scandal. Starring Michael Keaton (again!), Mark Ruffalo, Rachel McAdams (again!), Stanley Tucci, and Liev Schreiber it’s an instant masterpiece demonstrating how a culture of complicity and silence enabled generations of abuse. It was nominated for six Academy Awards and won Best Original Screenplay and Best Picture. (Read our earlier review.)
“There’s something I have to tell you… You know how people have different sides to their personality… Sometimes, a, uh… a person will have to actually lead a different life… (pause, sighs)…That was me at 18 doing my impression of Michael Keaton doing his impression of Bruce Wayne in the movie Batman, and I’ve been doing that, in some form or another, for approximately 27 years.”
To author/actor Jason O’Connell, Batman was the ne plus ultra of champions, the unheralded philosopher of our times, his unwitting guru, a father replacement. Unlike super heroes, the character has no powers. Batman, he proffers, could be anybody, albeit with millions of dollars. First an outsider because of his obsession, O’Connell later found attractive women ?! who appreciated the caped crusader, naming each of his girlfriends for a character in successive films.
O’Connell is a good storyteller and an adroit writer. He looks us right in the eyes generating connection and sympathy. With this first one man show, the artist deftly intertwines tales about his career, accounts of relationships, and life lessons with specific views on the Batman franchise. To varying degrees of success, he conjures Michael Keaton (really well), George Clooney, Christian Bale, Jack Nicholson (mostly facial), Danny DeVito (physically), Arnold Schwarzenegger (ably)…as life coaches. (Only one unintelligible character is unidentifiable and might easily be expunged.) Casting, script attitudes, and directors are wryly critiqued.
It helps to have some familiarity with the films and actors, but this is not an analysis. With candor, sweetly self denigrating humor, and cultural perception, O’Connell is telling us the story of one boy’s growth and coping mechanisms in contemporary times and pop context.
Integration of Shakespeare (obsession with another man in tights) through theatrical training draws clever parallels. An utterly charming anecdote features O’Connell’s observing a boy’s ballet class with such appreciation of unexpected beauty, he begins to recite What a piece of work is man…. Talk of a beloved grandfather is also affecting.
My single caveat is O’Connell’s schizophrenic, multi-impersonation denouement, one character loudly arguing with the other in an unnecessary cacophony of people occupying his head. It’s nigh impossible to get that many distinct portrayals right with rapidity, an onslaught, and unnecessary to the show. The quiet ending will work fine omitting this.
Director Tony Speciale has done a seamless job. Gestures work. Pacing is pitch perfect.
Alas, no one’s been given credit for sound which adds immeasurably.
A unique and entertaining evening.
Dork: a person who behaves awkwardly around other people and usually has unstylish clothes, hair…Merriam Webster Dictionary
Photos by Ben Strothmann
Abingdon Theatre Company presents The Dork Knight Written and Performed by Jerry O’Connell Directed by Tony Speciale Through January 29, 2017 Dorothy Strelsin Theatre 312 West 36th Street
Even in the bright of day, once you’ve entered the East 6th Street restaurant, you’re in the dark world of Tim Burton. The narrow restaurant – perhaps only subway-size in width and two cars in length — features tables for two on the right and tables for larger groups in the rear. The bar which can hold roughly 10 to 12, is dimly lit and decorated with ghouls, goblins, and an eerie thing with teeth hanging from the ceiling. A conglomerate of scissors on the left side of the counter, a 3-D Betelgeuse display behind the bar, and original drawings and paintings of Burton’s movie characters line the walls. Fun for adults and fans of the cult classics Beetlejuice with Michael Keaton, or Edward Scissorhands with Johnny Depp, it’s not too dark for kids.
Their price fix brunch menu ($25 pp) includes an entrée, two sides and a dessert, with drinks extra and feature goofy names like Eggs Skellington or Cheshire Mac and Cheese; dinners could be the Beetle Bread, Nightmare (hot) Wings, Sweeney Meat (steak), or Edward Burger Hands. Their drinks, described as “custom made poisons, potions and elixirs,” are truly unique, like the Edward’s Lemonade, Alice’s Cup of Tea, and the Barnabas Collins which includes rye whiskey, crushed brown sugar, chocolate bitters and peychauds bitters. Betcha never had THAT before!
This new entry into the NYC roster of restaurants with classic themes is perfect for the city, especially in its East Village location. Owners Zach Neil and Brian Link, already knows how to run a lively restaurant with a fun theme since they already run the Will Ferrell-themed Stay Classy (174 Rivington Street); Brooklyn’s Chez Moi (135 Atlantic Avenue) features the kinds of things that Marie Antoinette liked to nosh on and French-themed décor, like the alleged doorknob taken from her bedroom.
Although it opened just last Spring, the bar’s plain exterior gives the impression that it’s been there for years, and it has already become a tourist favorite. It’s not unusual for one of the characters to show up during the dinner hour – why, even the customers get into the act and come dressed up themselves. Owner Neil is quick to point out, however, that his restaurants are not affiliated in any way with Burton, Ferrell, or, for that matter, Antoinette, but are simply inspired by them.
The latest powerhouse in comic-book adaptations, Batman v. Superman: Dawn of Justice, promises an explosive showdown between two of the biggest superheroes on the planet. Picking up where Man of Steel left off—with the city of Metropolis in tatters following Superman’s battle with Zod—Batman v. Superman opens in an uncertain era with many questioning Superman’s intentions and power. With Batman on a mission to stop Superman before he causes further harm, the two superheroes soon find themselves battling not just each other, but Lex Luthor’s evil creation, Doomsday, as well. Starring Ben Affleck and Henry Cavill, the movie is chock full of explosions, and action, but does it live up to the hype?
It’s safe to say that the one saving grace of Batman v. Superman is its epic action. Featuring a wealth of impressive CGI over the course of two and a half hours, the film is bolstered largely by its highly-choreographed action sequences and explosions. These scenes are aplenty, and keep the film from collapsing into insipid tedium. On the other hand, the non-action scenes of the movie are surprisingly dull. Many of the performances only add to the muted, listless tone of the film. The acting is not bad, just dreary.
While there are some standout performances—most notably, Gal Gadot’s impressive Wonder Woman—Ben Affleck’s Caped Crusader is disappointingly one-dimensional. Though Affleck succeeds at being stoic and steely, he lacks the charm of previous Bruce Waynes and leaves viewers yearning for Christian Bale or Michael Keaton incarnations. As evil Lex Luthor, Jesse Eisenberg falls flat in his over-the-top attempt to recall a giggling villain on the brink of insanity, à la Heath Ledger’s flawless Joker character in the Christopher Nolan series. There are plenty of other famous faces in the movie—including Amy Adams as Lois Lane, Holly Hunter as Senator Finch, and Diane Lane as Superman’s mom—but the real treat of the supporting cast is Jeremy Irons. Though he is in the movie far too briefly, Irons adds some much needed lightness and humor to the film as Alfred, Batman’s long-suffering butler.
If you’re a fan of the original D.C. comics that inspired the movie, or of big-budget superhero movies in general, then Batman v. Superman will surely knock your socks off. If, however, you don’t have a Batman costume hanging in your closet, aren’t already clued in on storyline, or even know who Lex Luthor is, you might be bored. Those viewers unfamiliar with the storyline will feel stranded by the scarce and flimsy explanations of critical plot points. Unlike other films that offer mass appeal to a large range of viewers, like the recent Deadpool or even 2015’s Antman, Batman v. Superman feels like it is specifically tailored for comic-loving audiences.
Ultimately, the movie offers an interesting concept but feels like it’s drowning in its own seriousness. Taking a cue from other superhero blockbusters and injecting some warmth and humor to the film, as well as adopting a more linear plotline, would have benefitted Batman v. Superman greatly. If you’re not a teenage boy, or a die-hard comic fan, skip this film and re-watch Deadpool instead.
Batman v. Superman: Dawn of Justice opens nationwide on Friday, March 25.