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New York Times Critic’s Pick: THE GOLDMAN CASE, “an electrifying courtroom drama based on a real 1976 case calls the very nature of equality and justice into question,” opens this Friday.

September 11, 2024 by Jordan Deglise Moore Leave a Comment

Our local daily paper is, unfortunately, not reviewing The Goldman Case , which we’re opening this Friday at the Royal in West L.A. and the Town Center in Encino. So here is Alissa Wilkinson’s rave review from the New York Times :

“Few settings are as omnipresent in screen entertainment as the courtroom. The halls of justice, the argumentation of lawyers, dramatic backroom dealings, the telling facial expressions of the jury — all of it makes for very good drama. (And sometimes comedy, too.)

“Why? There are obvious hooks: salacious crimes, shocking lies, sudden gasps when a hidden revelation turns the case on its head. But there’s also something epic, almost mythic, about what goes on in a courtroom. Questions as old as Hammurabi or Moses, as ancient as civilization itself, are hashed out: good and evil, guilt and innocence, justice and fairness. Furthermore, modern presumptions of equality, democracy and objectivity face challenges. And that space, increasingly, is where the modern courtroom drama lives.

“American courtrooms are so familiar, thanks to Hollywood’s ubiquity, that it’s bracing to get plunked down into the minutiae of another legal system. The last few years have given moviegoers an unusually heady dose of French courtrooms. In 2022, Alice Diop’s searing “Saint Omer,” based on the real case of a woman accused of killing her infant, confronted the ways race, class and gender skew and degrade justice. Last year, Justine Triet’s “ Anatomy of a Fall ” electrified audiences with its courtroom scenes, which probed the knowability of the inner workings of a marriage.

“Now there’s Cédric Kahn’s The Goldman Case , nearly all of which takes place during the second trial of Pierre Goldman in 1976. It’s a true story: Goldman (played by an electrifying Arieh Worthalter) had been charged with four armed robberies years earlier, one of which resulted in the death of two pharmacists. Sentenced to life imprisonment, Goldman and his legal team appealed his case — some of it, anyhow. While he freely admitted to the robberies, he maintained that he was not involved in the killings. In 1975, he wrote a memoir entitled “Obscure Memories of a Polish Jew Born in France,” making him an icon among French leftists, and a month later the appeals court canceled the initial ruling.

“Set almost entirely within the courtroom, The Goldman Case is not a Hollywood-style heart-pumping work. But it’s plenty thrilling. Kahn, whose previous films include the 2004 thriller “ Red Lights ,” wrote the Goldman screenplay with Nathalie Hertzberg, who used newspaper articles and meticulous research to reconstruct what happened in the courtroom. The pair imbues the result with urgent, stirring drama even though it is, for the most part, just people standing at microphones, talking. And shouting. And looking outraged. Because of Goldman’s celebrity, his supporters crowd the room and punctuate proceedings with yelps of derision or support, whatever feels called for.

“But Goldman is at the center, and Worthalter gives a hypnotizing performance. By the time we meet Goldman, we know he’s a live wire; the first scene involves his lawyer reading a letter sent by Goldman to fire his representation a week before the trial, only to rescind the firing immediately. So once we’re in the courtroom, Goldman is the center of gravity. He decries the courtroom’s “pomp and theatricality.” He refuses to allow his defense to call character witnesses, insisting that because he is not guilty of the killings, it would be ridiculous to have people talking about how nice he is. Nice guys, he points out, can be murderers. The system ought to stand on evidence alone.

“That evidence, of course, is the tricky part. We are taught to think of courts of law as places where truths are spoken and discovered. But even people who aren’t lying, in the strictest sense of the word, can still make statements that are totally wrong. Memories can be compromised by time, mood, prejudice and much more.

“The shadow of antisemitism, for instance, hangs heavily over Goldman’s case; he’s the son of Polish Jewish refugees, and his Jewishness is clearly a factor in some of the witnesses’ recollection of the crime. It’s a topic that comes up again and again in the proceedings: Even those who claim no prejudice evince otherwise. At the same time, Goldman insists loudly on the racism of the French police, toward him as well as his Black friends. Equality may be an ideal, but ideals are aspirational, and they tend to be disposable.

“A movie like this can’t succeed without a keen visual sense. Otherwise it just comes off as Court TV or C-SPAN. Thankfully, the style of courtroom questioning in France differs from that of the United States — it’s less orderly, more freewheeling, with judge, prosecutors and defense all having a crack at witnesses in what can feel like a chaotic confrontation. That makes for great cinema, as does the visual design: There’s a kind of halo to the images that recalls the work of the mid-1970s. Furthermore, the camera keeps swinging back to Goldman’s furrowed brow as he listens with such intensity that you expect his brain might bust right out of his forehead.

“There’s a great deal of philosophical and ethical inquiry layered into The Goldman Case , much of which surfaces in testimony and in Goldman’s fiery insistence on his own innocence. What it comes down to, in the end, is a question of whether a legal system based on idealistic notions of freedom, justice, brotherhood and equality can ever live up to its own ideals. The problem with any such system is that it depends on humans, and humans are notoriously unreliable narrators. We’re suggestible. We’re prejudiced. We’re forgetful. We’re fearful. We’re certain of ourselves, and then we’re dead wrong. We judge — and those judgments judge us back.”

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Longtime new york times film critic a.o. scott moving to book review after the oscars.

The critic has reviewed more than 2,200 films for the newspaper over the last 23 years.

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The New York Times ‘ film critic A.O. Scott is moving to a new beat.

Scott, who has reviewed more than 2,200 films for the Times over the last 23 years, will shift to The New York Times Book Review where he will “write critical essays, notebooks and reviews that grapple with literature, ideas and intellectual life,” according to a memo to Times staff from Sam Sifton, Gilbert Cruz and Sia Michel Tuesday.

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Time Out critics’ picks for theater and Broadway in New York

Time Out New York’s theater critics guide you to the best musicals and plays in New York right now

At any given moment there's a dizzying array of musicals , plays and experimental works for theater lovers in New York City to choose from. But the sheer volume of choices can make it hard to decide what to see. Let us give you a hand with that! Here is an alphabetical short list of our critics' picks: all the shows that Time Out New York 's critics have seen, reviewed and liked, plus a few that we feel confident recommending in advance. For a wider view of what's playing in NYC, check out our complete list of current Broadway shows and our extensive Off Broadway and Off-Off Broadway listings. If you’re looking for a deal on tickets, head to our cheap tickets page.

RECOMMENDED: Best Broadway shows

Been there, done that? Think again, my friend.

Critics’ picks for theater in New York

Midtown West Open run
price 3 of 4
3 out of 5 stars
Recommended

Broadway review by Adam Feldman “Keep it light, keep it tight, keep it fun, and then we’re done!” That’s the pithy advice that the indignant 16th-century housewife Anne Hathaway (Betsy Wolfe) imparts to her neglectful husband, William Shakespeare (Stark Sands), as a way to improve his play Romeo and Juliet, which she considers too much of a downer. It is also the guiding ethos of the new Broadway jukebox musical & Juliet, a quasi-Elizabethan romp through the chart-toppers of Swedish songwriter-producer Max Martin. A diverting synthetic crossbreed of Moulin Rouge!, Something Rotten!, Mamma Mia! and Head Over Heels, this show delivers just what you’d expect. It is what it is: It gives you the hooks and it gets the ovations. Martin is the preeminent pop hitmaker of the past 25 years, so & Juliet has a lot to draw from. The show’s 30 songs include multiple bops originally recorded by the Backstreet Boys, Britney Spears and Katy Perry, as well as tunes that Martin wrote—or, in all but two cases, co-wrote—for Pink, NSYNC, Kesha, Robyn, Kelly Clarkson, Jessie J, Céline Dion, Ariana Grande, Justin Timberlake, Ellie Goulding, Demi Lovato, Adam Lambert, the Weeknd and even Bon Jovi. (Notably absent are any of his collaborations with Taylor Swift.) “Roar,” “Domino,” “Since U Been Gone”: the hit list goes on and on. As a compilation disc performed live, it’s a feast for Millennials; its alternate title might well be Now That’s What I Call a Musical! & Julietl | Photograph: Matthew Murp

East Village Until Sep 28, 2024
price 2 of 4
4 out of 5 stars

Theater review by Raven Snook Words are wounding in Matthew Freeman's taut two-hander The Ask, an entertaining and empathetic examination of generational and philosophical differences that divide the political left. Savvy sexagenarian Greta (a flawless Betsy Aidem) welcomes Tanner (Colleen Litchfield)—a young, nonbinary representative from the American Civil Liberties Union—to her well-appointed Upper West Side study. A longtime liberal and high-level donor, Greta is polite but peeved: Her old ACLU contact has departed without warning, and she is wary of what she sees as the organization’s mission creep beyond civil liberties. Tanner knows they're there to listen, even when the conversation stings. But they also try to gently explain the group’s expanded priorities as they steel themself to make a big-money request. Inspired by his own long tenure as an ACLU fundraiser, Freeman gives this extended power play an uncomfortable verisimilitude. Aidem and Litchfield, who costarred in Leopoldstadt on Broadway, mine the unease for laughs but also understanding. As you listen to their arguments and their anguish—when Tanner uses inclusive gender language, Greta feels erased—you lament how quickly common ground can be swallowed in an ideological abyss. Craig Napoliello's chic-but-funky set, with Cindy Sherman photographs and other art hung on black-and-white wallpaper, reflects Greta perfectly: a woman who has fought her whole life but now worries that her kind is facing extinction.

Blue Man Group

Noho Until Dec 31, 2024
price 4 of 4

Three deadpan blue-skinned men with extraterrestrial imaginations carry this tourist fave, a show as smart as it is ridiculous. They drum on open tubs of paint, creating splashes of color; they consume Twinkies and Cap'n Crunch; they engulf the audience in a roiling sea of toilet paper. For sheer weird, exuberant fun, it's hard to top this long-running treat. (Note: The playing schedule varies from week to week, with as many as four performances on some days and none on others.)

The Book of Mormon

5 out of 5 stars

If theater is your religion and the Broadway musical your sect, you've been woefully faith-challenged of late. Venturesome, boundary-pushing works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal closed too soon. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne infection Spider-Man: Turn Off the Dark dominates headlines and rakes in millions, without even opening. Celebrities and corporate brands sell poor material, innovation gets shown the door, and crap floats to the top. It's enough to turn you heretic, to sing along with The Book of Mormon's Ugandan villagers: "Fuck you God in the ass, mouth and cunt-a, fuck you in the eye." Such deeply penetrating lyrics offer a smidgen of the manifold scato-theological joys to be had at this viciously hilarious treat crafted by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who cowrote Avenue Q. As you laugh your head off at perky Latter-day Saints tap-dancing while fiercely repressing gay tendencies deep in the African bush, you will be transported back ten years, when The Producers and Urinetown resurrected American musical comedy, imbuing time-tested conventions with metatheatrical irreverence and a healthy dose of bad-taste humor. Brimming with cheerful obscenity, sharp satire and catchy tunes, The Book of Mormon is a sick mystic revelation, the most exuberantly entertaining Broadway musical in years. The high q

Chamber Magic

Circuses & magic
Midtown East Open run

Steve Cohen, billed as the Millionaires’ Magician, conjures high-class parlor magic in the marble-columned Madison Room at the swank Lotte New York Palace. Audiences must dress to be impressed (cocktail attire is required); tickets start at $125, with an option to pay more for meet-and-greet time and extra tricks with Cohen after the show. But if you've come to see a classic-style magic act, you get what you pay for. Sporting a tuxedo and bright rust hair, the magician delivers routines that he has buffed to a patent-leather gleam: In addition to his signature act—"Think-a-Drink," involving a kettle that pours liquids by request—highlights include a lulu of levitation trick and a card-trick finale that leaves you feeling like, well, a million bucks.

Dungeons & Dragons The Twenty-Sided Tavern

Interactive
Hell's Kitchen Until Nov 30, 2024

Role-playing games like Dungeons and Dragons are inherently theatrical: The players are all playing roles, after all. But the idea of building an actual stage show around the game—an entirely improvised one, guided by audience suggestions and decisions—seems, well, a little dicey. As a D&D enthusiast myself, I didn't know what to expect from The Twenty-Sided Tavern, which is currently playing at Off Broadway’s cavernous Stage 42. But an element of the unexpected is one of the things that makes this goofy fantasy show such fun. Whether or not you know much about D&D going in, it’s an adventuring party you won't want to miss. The five actors in the cast lead the audience on a journey through the Forgotten Realms of the land of Faerûn. But it may be more accurate to say that the audience leads them. Via an interactive theater technology called Gamiotics, the spectators use their phones to determine much of what happens onstage, including which actors play which of the campaign’s three wacky members: a warrior, a trickster and a mage. This trio is joined by two other figures: David Andrew Laws (who goes by DAGL) as the Dungeon Master and Sarah Davis Reynolds as the Tavern Keeper. As created by Laws, Reynolds and Gamiotics honcho David Carpenter, The Twenty-Sided Tavern puts the audience in control of where the story goes—which means every performance of the show is different, with new plot points and non-player characters. Each of the three adventurers is controlled by a third o

Gazillion Bubble Show

Hell's Kitchen Open run

Self-described “bubble scientist” Fan Yang's blissfully disarming act (now performed in New York by his son Deni, daughter Melody and wife Ana) consists mainly of generating a dazzling succession of bubbles in mind-blowing configurations, filling them with smoke or linking them into long chains. Lasers and flashing colored lights add to the trippy visuals.—David Cote TIME OUT DISCOUNT TICKET OFFER:THE GAZILLION BUBBLE SHOWIt will blow you away!!!Tickets as low as $49 (regular price $79) Promotional description:After twenty years as a Master of Bubbles, Fan Yang brought his unique brand of artistry to the Big Apple in 2007 and has since wowed bubble lovers of all ages. The Gazillion Bubble Show truly is a family affair for Fan: His wife Ana, son Deni, daughter Melody and brother Jano all can be found on stage in New York and around the world performing their bubble magic. Audiences are delighted with an unbubblievable experience and washed with a bubble tide; some even find themselves inside a bubble. Mind-blowing bubble magic, spectacular laser lighting effects and momentary soapy masterpieces will make you smile, laugh and feel like a kid again.THREE WAYS TO BUY TICKETS:1. Online: Click here to buy tickets through Telecharge2. By phone: Call 212-947-8844 and mention code: GBTONYF453. In person: Print this offer and bring it to the New World Stages box officePerformance schedule: Friday at 7pm; Saturday at 11am, 2pm and 4:30pm; Sunday at 12pm and 3pm Running time: 1hr. No

Theater review by Adam Feldman Here’s my advice: Go to hell. And by hell, of course, I mean Hadestown, Anaïs Mitchell’s fizzy, moody, thrilling new Broadway musical. Ostensibly, at least, the show is a modern retelling of the ancient Greek myth of Orpheus and Eurydice: Boy meets girl, boy loses girl, boy goes to the land of the dead in hopes of retrieving girl, boy loses girl again. “It’s an old song,” sings our narrator, the messenger god Hermes (André De Shields, a master of arch razzle-dazzle). “And we’re gonna sing it again.” But it’s the newness of Mitchell’s musical account—and Rachel Chavkin’s gracefully dynamic staging—that bring this old story to quivering life. In a New Orleans–style bar, hardened waif Eurydice (Eva Noblezada) falls for Orpheus (Reeve Carney), a busboy with an otherworldly high-tenor voice who is working, like Roger in Rent, toward writing one perfect song. But dreams don’t pay the bills, so the desperate Eurydice—taunted by the Fates in three-part jazz harmony—opts to sell her soul to the underworld overlord Hades (Patrick Page, intoning jaded come-ons in his unique sub-sepulchral growl, like a malevolent Leonard Cohen). Soon she is forced, by contract, into the ranks of the leather-clad grunts of Hades’s filthy factory city; if not actually dead, she is “dead to the world anyway.” This Hades is a drawling capitalist patriarch who keeps his minions loyal by giving them the minimum they need to survive. (“The enemy is poverty,” he sings to them in

Hamilton: Theater review by David Cote What is left to say? After Founding Father Alexander Hamilton’s prodigious quill scratched out 12 volumes of nation-building fiscal and military policy; after Lin-Manuel Miranda turned that titanic achievement (via Ron Chernow’s 2004 biography) into the greatest American musical in decades; after every critic in town (including me) praised the Public Theater world premiere to high heaven; and after seeing this language-drunk, rhyme-crazy dynamo a second time, I can only marvel: We've used up all the damn words. Wait, here are three stragglers, straight from the heart: I love Hamilton. I love it like I love New York, or Broadway when it gets it right. And this is so right. A sublime conjunction of radio-ready hip-hop (as well as R&B, Britpop and trad showstoppers), under-dramatized American history and Miranda’s uniquely personal focus as a first-generation Puerto Rican and inexhaustible wordsmith, Hamilton hits multilevel culture buttons, hard. No wonder the show was anointed a sensation before even opening. Assuming you don’t know the basics, Hamilton is a (mostly) rapped-through biomusical about an orphan immigrant from the Caribbean who came to New York, served as secretary to General Washington, fought against the redcoats, authored most of the Federalist Papers defending the Constitution, founded the Treasury and the New York Post and even made time for an extramarital affair that he damage-controlled in a scandal-stanching pamphle

Harry Potter and the Cursed Child

Broadway review by Adam Feldman Reducio! After 18 months, Harry Potter and the Cursed Child has returned to Broadway in a dramatically new form. As though it had cast a Shrinking Charm on itself, the formerly two-part epic is now a single show, albeit a long one: Almost three and a half hours of stage wizardry, set 20 years after the end of J.K. Rowling’s seven-part book series and tied to a complicated time-travel plot about the sons of Harry Potter and his childhood foe Draco Malfoy. (See below for a full review of the 2018 production.) Audiences who were put off by the previous version’s tricky schedule and double price should catch the magic now. Despite its shrinking, Harry Potter and the Cursed Child has kept most of its charm. The spectacular set pieces of John Tiffany’s production remain—the staircase ballet, the underwater swimming scene, the gorgeous flying wraiths—but about a third of the former text has been excised. Some of the changes are surgical trims, and others are more substantial. The older characters take the brunt of the cuts (Harry’s flashback nightmares, for example, are completely gone); there is less texture to the conflicts between the fathers and sons, and the plotting sometimes feels more rushed than before. But the changes have the salutary effect of focusing the story on its most interesting new creations: the resentful Albus Potter (James Romney) and the unpopular Scorpius Malfoy (Brady Dalton Richards), whose bond has been reconceived in a s

Hell's Kitchen

Broadway review by Adam Feldman Hell’s Kitchen, whose score is drawn from the pop catalog of Alicia Keys, could easily have gone down in flames. Jukebox musicals often do; songs that sound great on the radio can’t always pull their weight onstage. But playwright Kristoffer Diaz, director Michael Greif and choreographer Camille A. Brown have found the right recipe for this show—and, in its vivid dancers and magnificent singers, just the right ingredients—and they've cooked up a heck of a block party. Inspired by Keys’s life, Hell’s Kitchen has the sensibly narrow scope of a short story. Newcomer Maleah Joi Moon—in a stunningly assured debut—plays Ali, a beautiful but directionless mixed-race teenager growing up in midtown’s artist-friendly Manhattan Plaza in the 1990s, a period conjured winsomely and wittily by Dede Ayite’s costumes. The issues Ali faces are realistic ones: tensions with her protective single mother, Jersey (Shoshana Bean); disappointment with the charming musician father, Davis (Brandon Victor Dixon), who yo-yos in and out of their lives; a crush on a thicc, slightly older street drummer, Knuck (Chris Lee); a desire to impress a stately pianist, Miss Liza Jane (Kecia Lewis), who lives in the building. Hell’s Kitchen | Photograph: Courtesy Marc J. Franklin The show’s chain of Keys songs is its most obvious selling point, but it could also have been a limitation. Musically, the tunes are not built for drama—they tend to sit in a leisurely R&B groove—and the

The Lion King

Director-designer Julie Taymor takes a reactionary Disney cartoon about the natural right of kings—in which the circle of life is putted against a queeny villain and his jive-talking ghetto pals—and transforms it into a gorgeous celebration of color and movement. The movie’s Elton John–Tim Rice score is expanded with African rhythm and music, and through elegant puppetry, Taymor populates the stage with an amazing menagerie of beasts; her audacious staging expands a simple cub into the pride of Broadway, not merely a fable of heredity but a celebration of heritage. RECOMMENDED: Guide to The Lion King on Broadway Minskoff Theatre (Broadway). Music by Elton John. Lyrics by Tim Rice. Book by Roger Allers and Irene Mecchi. Directed by Julie Taymor. With ensemble cast. Running time: 2hrs 40mins. One intermission.

Little Shop of Horrors

Theater review by Adam Feldman [Note: Darren Criss currently plays Seymour opposite Evan Rachel Wood as Audrey, with Bryce Pinkham as Orin; Corbin Bleu, Jinkx Monsoon and James Carpinello take over on April 2.] Little Shop of Horrors is a weird and adorable show with teeth. Based on Roger Corman’s shlocky 1960 film, Howard Ashman and Alan Menken’s 1982 musical tells the Faustian story of a dirt-poor schlub named Seymour (Jonathan Groff), a lowly petal pusher at a Skid Row flower shop, who cultivates a relationship with a most unusual plant. What seems at first a blessing—a way for the lonely Seymour to earn money and to get closer to his boss, Mushnik (Tom Alan Robbins), and his used and bruised coworker, Audrey (Tammy Blanchard)—soon turns sinister. The plant, whom he names Audrey II (designed by Nicholas Mahon and voiced by Kingsley Leggs), requires human blood to grow, and Seymour doesn’t have enough of his own to spare. He doesn’t want to feed the beast, but he can’t resist the lure of the green. Arguably the best musical ever adapted from a movie, Little Shop does for B flicks what Sweeney Todd does for Grand Guignol. Librettist Ashman and composer Menken—who, between this show and their Disney animated films, did more than anyone to return musical theater from its mass-culture exile in the late 20th century—brilliantly wrap a sordid tale of capitalist temptation and moral decay in layers of sweetness, humor, wit and camp. Their extraordinary score bursts with colorful

Magic After Hours

Once a week, after closing time, 10 people convene at the city’s oldest magic shop, Tannen’s, for a cozy evening of prestidigitation by the young and engaging Noah Levine. The shelves are crammed with quirky devices; there's a file cabinet behind the counter, a mock elephant in the corner and bins of individual trick instructions in plastic covers, like comic books or sheet music. The charm of Levine's show is in how well it fits the environment of this magic-geek chamber of secrets. As he maneuvers cards, eggs, cups and balls with aplomb, he talks shop, larding his patter with tributes to routines like the Stencel Aces and the Vernon Boat Trick—heirlooms of his trade that he gently polishes and displays for our amazement.

Monday Night Magic: Close-Up & In-Person

Greenwich Village Open run

For more than two decades, this proudly old-school series has offered a different lineup of professional magicians every week. It's an heir to the vaudeville tradition: Many of the acts incorporate comedic elements, and audience participation is common. (If you have children, bring them; they make especially adorable assistants.) The show has recently moved to the private upstairs dining room at Monte's Trattoria, and the ticket package includes a three-course red-sauce Italian meal. You get a lot of value and variety for your magic dollar, and in contrast to some fancier magic shows, this one feels like comfort food: an all-you-can-eat buffet to which you’re encouraged to return until you’re as stuffed as a hat full of rabbits.

Moulin Rouge! The Musical

Theater review by Adam Feldman Red alert! Red alert! If you’re the kind of person who frets that jukebox musicals are taking over Broadway, prepare to tilt at the windmill that is the gorgeous, gaudy, spectacularly overstuffed Moulin Rouge! The Musical. Directed with opulent showmanship by Alex Timbers, this adaptation of Baz Luhrmann’s 2001 movie may be costume jewelry, but its shine is dazzling. The place is the legendary Paris nightclub of the title, and the year is ostensibly 1899. Yet the songs—like Catherine Zuber’s eye-popping costumes—span some 150 years of styles. Moulin Rouge! begins with a generous slathering of “Lady Marmalade,” belted to the skies by four women in sexy black lingerie, long velvet gloves and feathered headdresses. Soon they yield the stage to the beautiful courtesan Satine (a sublimely troubled Karen Olivo), who makes her grand entrance descending from the ceiling on a swing, singing “Diamonds Are Forever.” She is the Moulin Rouge’s principal songbird, and Derek McLane’s sumptuous gold-and-red set looms around her like a gilded cage. After falling in with a bohemian crowd, Christian (the boyish Aaron Tveit), a budding songwriter from small-town Ohio, wanders into the Moulin Rouge like Orpheus in the demimonde, his cheeks as rosy with innocence as the showgirls’ are blushed with maquillage. As cruel fate would have it, he instantly falls in love with Satine, and she with him—but she has been promised, alas, to the wicked Duke of Monroth (Tam Mutu)

Midtown West Until Nov 10, 2024

Broadway review by Adam Feldman Cole Escola’s Oh, Mary! is not just funny: It is dizzyingly, breathtakingly funny, the kind of funny that ambushes your body into uncontained laughter. Stage comedies have become an endangered species in recent decades, and when they do pop up they tend to be the kind of funny that evokes smirks, chuckles or wry smiles of recognition. Not so here: I can’t remember the last time I saw a play that made me laugh, helplessly and loudly, as much as Oh, Mary! did—and my reaction was shared by the rest of the audience, which burst into applause at the end of every scene. Fasten your seatbelts: This 80-minute show is a fast and wild joy ride. Escola has earned a cult reputation as a sly comedic genius in their dazzling solo performances (Help! I’m Stuck!) and on TV shows like At Home with Amy Sedaris, Difficult People and Search Party. But Oh, Mary!, their first full-length play, may surprise even longtime fans. In this hilariously anachronistic historical burlesque, Escola plays—who else?—Mary Todd Lincoln, in the weeks leading up to her husband’s assassination. Boozy, vicious and miserable, the unstable and outrageously contrary Mary is oblivious to the Civil War and hell-bent on achieving stardom as—what else?—a cabaret singer. Oh, Mary! | Photograph: Courtesy Emilio Madrid Described by the long-suffering President Lincoln as “my foul and hateful wife,” this virago makes her entrance snarling and hunched with fury, desperate to find a bottle

The Play That Goes Wrong

Theater review by Adam Feldman [Note: This is a review of the 2017 Broadway production, which moves Off Broadway to New World Stages in 2019 with a new cast.] Ah, the joy of watching theater fail. The looming possibility of malfunction is part of what makes live performance exciting, and disasters remind us of that; the rite requires sacrifice. There is more than schadenfreude involved when we giggle at, say, a YouTube video of a high-school Peter Pan crashing haplessly into the scenery. There is also sympathy—there but for the grace of deus ex machina go we all—and, often, a respect for the efforts of the actors to somehow muddle through. Mischief Theatre’s The Play That Goes Wrong takes this experience to farcical extremes, as six amateur British actors (and two crew members who get pressed into service onstage) try to perform a hackneyed whodunnit amid challenges that escalate from minor mishaps (stuck doors, missed cues) to bona fide medical emergencies and massive structural calamities. Depending on your tolerance for ceaseless slapstick, The Play That Goes Wrong will either have you rolling in the aisles or rolling your eyes. It is certainly a marvel of coordination: The imported British cast deftly navigates the pitfalls of Nigel Hook’s ingeniously tumbledown set, and overacts with relish. (I especially enjoyed the muggings of Dave Hearn, Charlie Russell and coauthor Henry Lewis.) Directed by Mark Bell, the mayhem goes like cuckoo clockwork. If you want to have a goo

The Roommate

Midtown West Until Dec 15, 2024

Broadway review by Adam Feldman Sometimes the old can be full of surprises. That’s the running premise of The Roommate, which brings together two very different senior citizens—Sharon, an unworldly Iowan played by Mia Farrow, and her new housemate, Robyn, a streetwise Bronx transplant played by Patti LuPone—and sends them down paths of self-discovery. It’s also what makes this production of Jen Silverman’s crowd-pleasing comedy work as well as it does. A variation on odd-couple themes, the play tills land that has been farmed many times. Yet it finds freshness in the familiar through a series of small twists—and, in Farrow’s star turn, an enchanting revelation. The Roommate seems expressly engineered as catnip for small local theaters: one set, one act, two juicy roles for leading ladies of a certain age. But director Jack O’Brien, that sly lord of all genres, has conceived it smartly for Broadway. Farrow and LuPone take a curtain call before the show even begins, walking onstage to applause as their names are projected in giant letters behind them, as though to announce upfront that this play is to be appreciated as a showcase for actors you know and love. And Bob Cowley’s scenic design situates the whole thing in artifice. Although The Roommate takes place in Iowa City, Sharon’s house, stripped to its wooden skeleton, has been plopped in the middle of rural nowhere; on the rear wall, crisp images of an old-fashioned barn and windpump sit on a pixelated field of corn. The

Broadway review by Adam Feldman Who doesn’t enjoy a royal wedding? The zingy Broadway musical Six celebrates, in boisterous fashion, the union of English dynastic history and modern pop music. On a mock concert stage, backed by an all-female band, the six wives of the 16th-century monarch Henry VIII air their grievances in song, and most of them have plenty to complain about: two were beheaded, two were divorced, one died soon after childbirth. In this self-described “histo-remix,” members of the long-suffering sextet spin their pain into bops; the queens sing their heads off and the audience loses its mind. That may be for the best, because Six is not a show that bears too much thinking about. Toby Marlow and Lucy Moss wrote it when they were still students at Cambridge University, and it has the feel of a very entertaining senior showcase. Its 80 minutes are stuffed with clever turns of rhyme and catchy pastiche melodies that let mega-voiced singers toss off impressive “riffs to ruffle your ruffs.” The show's own riffs on history are educational, too, like a cheeky new British edition of Schoolhouse Rock. If all these hors d’oeuvres don’t quite add up to a meal, they are undeniably tasty. Aside from the opening number and finale and one detour into Sprockets–style German club dancing, Six is devoted to giving each of the queens—let’s call them the Slice Girls—one moment apiece in the spotlight, decked out in glittering jewel-encrusted outfits by Gabriella Slade that are Tu

Broadway review by Regina Robbins When the women’s-rights activist Alice Paul, the central figure of Shaina Taub’s musical Suffs, starts planning a march down Pennsylvania Avenue ahead of Woodrow Wilson’s 1913 inauguration, a fellow protester volunteers to ride a white horse at the head of the procession. Paul and others are skeptical: With everything else on their plates, who has time to find a horse? But when the day arrives, their comrade does lead the demonstration astride a white steed—an amusing and historically accurate flourish in an otherwise earnest scene. This early triumph for the suffragists, however, is followed by a steep uphill climb toward the passage of the 19th Amendment. Their struggle is compounded by political and personal conflicts among women divided by age, race and class; alliances are strained, friendships are tested and blood is spilled for the cause of equality. When the curtain comes down for intermission, the returning image of that young woman on horseback may now put a lump in your throat. Suffs | Photograph: Courtesy Joan Marcus After premiering at the Public Theatre in 2022, Suffs now marches to Broadway with its intrepid director, Leigh Silverman, still leading the way, and most of its principal cast intact: Writer-composer-lyricist Taub makes her Broadway debut as Paul; the invaluable Jenn Colella is Carrie Chapman Catt, the reigning grande dame of the suffrage movement, and Nikki M. James is the civil-rights leader Ida B. Wells. These p

Water for Elephants

Broadway review by Adam Feldman Step right up, come one, come all, ladies and gentlemen, boys and girls, step right up to the greatest—well, okay, not the greatest show on Broadway, but a dang fine show nonetheless. Although Water for Elephants is set at a circus, and includes several moments of thrilling spectacle, what makes it so appealing is its modesty, not glitz. Like the story’s one-ring Benzini Brothers Circus, a scrappy company touring the country in the early years of the Depression, this original musical knows it’s not the ritziest show on the circuit. But what it lacks in size, it makes up for in wonder, and it’s pretty wonderful at making things up. Water for Elephants has a book by Rick Elice, who wrote the delightful stage version of Peter and the Starcatcher, and songs by the seven-man collective PigPen Theatre Co., which specializes in dark-edged musical story theater. This team knows how to craft magic moments out of spare parts, and so does director Jessica Stone, who steered Kimberly Akimbo to Broadway last season. Together—and with a mighty hand from circus expert Shana Carroll, of the Montreal cirque troupe the 7 Fingers—they have found the right tone for this adaptation of Sara Gruen’s 2006 romance novel, which operates on the level of a fairy tale. The plot is basic. The impoverished Jake Jankowski (The Flash's Grant Gustin), a sensitive and floppy-haired fellow, is forced by family tragedy to drop out of his Ivy League veterinary school. With nothing

This musical prequel to The Wizard of Oz addresses surprisingly complex themes, such as standards of beauty, morality and, believe it or not, fighting fascism. Thanks to Winnie Holzman’s witty book and Stephen Schwartz’s pop-inflected score, Wicked soars. The current cast includes Lindsay Pearce as Elphaba and Ginna Claire Mason as Glinda.

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New York Film Critics Awards Predictions: Will Tom Cruise and ‘Tár’ Kick Off Their Oscar Runs?

The first major critics' group names its best of 2022 and will give indications to frontrunners for the Academy Awards

By Clayton Davis

Clayton Davis

Senior Awards Editor

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Cate Blanchett - Tar - Tom Cruise - Top Gun Maverick

The first phase of the awards season will be fully underway starting in the Big Apple. Beginning with the Gotham Awards where “Everything Everywhere All at Once” triumphed, the New York Film Critics Circle will be the first major group of film journalists to reveal its winners on Friday, Dec. 2.

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Popular on variety.

Nevertheless, don’t ever count out possible wildcard choices being made, such as “Top Gun: Maverick.” Following in the vein of the group selecting Lady Gaga for “House of Gucci” last year, Tom Cruise could be their jaw-dropping best actor choice.

The group is also not immune to a recency bias, proven by their 2013 pick of “American Hustle” from David O. Russell, which they viewed the day before voting. That could be helpful for Antoine Fuqua’s “Emancipation” or perhaps even Damien Chazelle’s “Babylon,” which has passionate followers.

The top five predictions for NYFCC are down below. Make sure to bookmark the 2022-2023 Awards Season calendar for all key dates and timelines for the season.

Best Film :

“Tár” (Focus Features)
“The Fabelmans” (Universal Pictures)
“Everything Everywhere All at Once” (A24)
“Glass Onion: A Knives Out Mystery” (Netflix)
“Armageddon Time” (Focus Features)
Todd Field, “Tár” (Focus Features)
Steven Spielberg, “The Fabelmans” (Universal Pictures)
Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once” (A24)
Park Chan-wook, “Decision to Leave” (Mubi)
Alejandro G. Iñárritu, “Bardo, False Chronicle of a Handful of Truths” (Netflix)
Tom Cruise, “Top Gun: Maverick” (Paramount Pictures)
Brendan Fraser, “The Whale” (A24)
Bill Nighy, “Living” (Sony Pictures Classics)
Colin Farrell, “The Banshees of Inisherin” (Searchlight Pictures)
Paul Mescal, “Aftersun” (A24)
Danielle Deadwyler, “Till” (Orion/United Artists Releasing)
Cate Blanchett, “Tár” (Focus Features)
Michelle Williams, “The Fabelmans” (Universal Pictures)
Michelle Yeoh, “Everything Everywhere All at Once” (A24)
Dale Dickey, “A Love Song” (Bleecker Street)

Supporting Actor :

Ke Huy Quan, “Everything Everywhere All at Once” (A24)
Jeremy Strong, “Armageddon Time” (Focus Features)
Barry Keoghan, “The Banshees of Inisherin” (Searchlight Pictures)
Eddie Redmayne, “The Good Nurse” (Netflix)
Judd Hirsch, “The Fabelmans” (Universal Pictures)

Supporting Actress :

Stephanie Hsu, “Everything Everywhere All at Once” (A24)
Kerry Condon, “The Banshees of Inisherin” (Searchlight Pictures)
Nina Hoss, “Tár” (Focus Features)
Janelle Monáe, “Glass Onion: A Knives Out Mystery” (Netflix)
Dolly De Leon, “Triangle of Sadness” (Neon)

Best Screenplay :

“Tár” (Focus Features) – Todd Field
“Everything Everywhere All at Once” (A24) – Daniel Kwan, Daniel Scheinert
“Aftersun” (A24) – Charlotte Wells
“Women Talking” (MGM/United Artists Releasing) – Sarah Polley
“Armageddon Time” (Focus Features) – James Gray

Animated Film :

“Marcel the Shell with Shoes On” (A24) – Dean Fleischer-Camp (director and producer), Andrew Goldman, Elisabeth Holm, Caroline Kaplan, Terry Leonard, Paul Mezey, Jenny Slate (producers)
“Guillermo del Toro’s Pinocchio” (Netflix) – Guillermo del Toro (director, producer), Mark Gustafson (director), Alexander Bulkley, Corey Campodonico, Lisa Henson, Gary Ungar (producers)
“Turning Red” (Pixar) – Domee Shi (director), Lindsey Collins (producer)
“Eternal Spring” (ARTE) – Jason Loftus (director, producer), Kevin Koo, Yvan Pinard (producers)
“The Bob’s Burgers Movie” (20th Century Studios) – Loren Bouchard, Bernard Derriman, George Chang, Janelle Momary, Nora Smith

Best Cinematography :

“Top Gun: Maverick” (Paramount Pictures) – Claudio Miranda
“The Fabelmans” (Universal Pictures) – Janusz Kaminski
“Athena” (Netflix) – Matias Boucard
“Nope” (Universal Pictures) – Hoyte van Hoytema
“Tár” (Focus Features) – Florian Hoffmeister

Best Non-Fiction Film :

“All the Beauty and the Bloodshed” (Neon) – Laura Poitras (director and producer), Howard Gertler, Nan Goldin, Yoni Golijov, John S. Lyons (producers)
“All That Breathes” (HBO Documentary Films/Sideshow) – Shaunak Sen (director and producer), Teddy Leifer, Aman Mann (producers)
“Fire of Love” (National Geographic Documentary Films/Neon) – Sara Dosa (director, producer), Shane Boris, Ina Fichman (producers)
“The Territory” (National Geographic) – Alex Pritz (director, producer), Darren Aronofsky, Sigrid Dyekjær, Lizzie Gillett, Will N. Miller, Gabriel Uchida
“Descendant” (Netflix) – Margaret Brown (director, producer), Essie Chambers, Kyle Martin (producers)

Best Foreign Language Film :

“Close” (Belgium)
“Return to Seoul” (Cambodia)
“Holy Spider” (Denmark)
“Saint Omer” (France)
“EO” (Poland)

Best First Film :

“The Inspection” (A24) – Elegance Bratton
“Nanny” (Amazon Studios) – Nikyatu Jusu
“Emily” (Bleecker Street) – Frances O’Connor
“Murina” (Kino Lorber) – Antoneta Alamat Kusijanović

Note: The group typically names special awards to an organization or person.

To see the ranked predictions for each individual category, visit Variety’s Oscars Hub . The first set of SAG Awards predictions for film has also been revealed.

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Theater Reviews: Critics' Picks

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Page One: Inside the New York Times Full Movie Facts & Review in English / David Carr /Bruce Headlam
Critics' Picks
What is NYC's Best Movie Theater?

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Movie Reviews
Action, Crime, Fantasy, Horror, Romance, Thriller. Directed by Rupert Sanders. Hoping to skate by off moody vibes, this revamp of "The Crow" comic book series seems derived from a flattened ...
Theater Reviews: Critics' Picks
Review: A 'Ulysses' That Squeezes Bloomsday Into 2 Hours, 40 Minutes. Elevator Repair Service's staged reading of the huge James Joyce novel retains much of its humor, pathos and bawdiness ...
Critic's Picks
A collection of Critic's Picks from The Times, including movies, music, restaurants and more.
The New York Times > Movies > Movie Reviews by Critic
Find movie reviews from the NY Times' free archive of more than 9,000 reviews, sorted by year, genre, year, country, or critic, including A.O. Scott, Stephen Holden, and Manohla Dargis. ... Denotes a New York Times Critic's Pick 'Round Midnight (1986) 101 Dalmatians (1996) 12 Monkeys (1995) 18 Again! (1988) 1969 (1989) 20 Dates (1998) 200 ...
Movie Minutes: 'Marie Antoinette'
New York Times Chief Movie Critic A. O. Scott reviews Sofia Coppola's "Marie Antoinette," starring Kirsten Dunst.Subscribe to the Times Video newsletter for ...
Walkabout'
A.O. Scott looks back at Nicolas Roeg's film about the persistent dream of innocence.Related Link: http://nyti.ms/ao4Gh3Subscribe to the Times Video newslett...
The Grapes of Wrath'
A. O. Scott reviews John Ford's 1940 film based on John Steinbeck's novel about the Great Depression.Subscribe to the Times Video newsletter for free and get...
'The Verdict'
A. O. Scott reviews Sidney Lumet's film about an alcoholic trial lawyer on a medical malpractice case.Related Article: http://bit.ly/40QJ6wSubscribe to the T...
9 New Movies Our Critics Are Talking About This Week
Whether you're a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about. By The New York Times Critic's Pick After taking hallucinogenic mushrooms, 18-year ...
NYT Staff Movie Reviews & Previews
Read Movie and TV reviews from NYT Staff on Rotten Tomatoes, where critics reviews are aggregated to tally a Certified Fresh, Fresh or Rotten Tomatometer score.
Meet the Critics of The Times Movie Beat
Just in time for awards season, The New York Times joined the American Cinematheque at the Aero Theatre for an evening spotlighting Kyle Buchanan, our new awards-season columnist known as The Carpetbagger.Kyle, the first Times Carpetbagger based in Los Angeles, was joined by co-chief film critic A.O. Scott, culture critic Wesley Morris and editor Aisha Harris.
New York Time's Critics Picks
The New York Times Critic's Picks. Sort By: Find a movie suggested by New York Times critics to watch.
'Night of the Hunter'
A.O. Scott looks back at Charles Laughton's film about a murderous Southern minister played by Robert Mitchum.Subscribe to the Times Video newsletter for fre...
New York Times Critic's Pick: THE GOLDMAN CASE, "an electrifying
New York Times Critic's Pick: THE GOLDMAN CASE, "an electrifying courtroom drama based on a real 1976 case calls the very nature of equality and justice into question," opens this Friday. "It's a period look and feel that has to be alive, dirty, real, not glossy and polished and polite." Ian McKellen stars in THE CRITIC.
Critics' Picks
Critics' Picks: 'The Rules of the Game'. Gabe Johnson • January 3, 2012. A. O. Scott looks back at Jean Renoir's 1939 satire of French society.
AO Scott Moving to N.Y. Times Book Review After Oscars
Longtime New York Times Film Critic A.O. Scott Moving to Book Review After the Oscars. The critic has reviewed more than 2,200 films for the newspaper over the last 23 years.
TV Shows
Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
Time Out Critics' Picks for Broadway and Theater in NYC
Time Out critics' picks for theater and Broadway in New York. Time Out New York's theater critics guide you to the best musicals and plays in New York right now. Friday June 28 2024. Written ...
Best Movies of 2021
Published Dec. 6, 2021 Updated Dec. 21, 2021. 阅读简体中文版閱讀繁體中文版. Benedict Cumberbatch in "The Power of the Dog," left, Kristen Stewart in "Spencer" and Ariana ...
'East of Eden'
A. O. Scott looks back at Elia Kazan's 1955 film adaptation of John Steinbeck's novel.Subscribe to the Times Video newsletter for free and get a handpicked s...
New York Film Critics Predictions: Tom Cruise and 'Tár'
The top five predictions for NYFCC are down below. Make sure to bookmark the 2022-2023 Awards Season calendar for all key dates and timelines for the season. Best Film: "Tár" (Focus Features ...
Best Movies of 2020
Funny, weird, bloody and deeply political. (Watch on streaming platforms.) 6. ' First Cow ' (Kelly Reichardt) A tender story of male friendship and a rebuke to rugged individualism, Kelly ...
'The Conversation'
A. O. Scott discusses Francis Ford Coppola's 1974 masterpiece and the end of privacy.Related article: http://bit.ly/wQUIxSubscribe to the Times Video newslet...
Movies
Stay up-to-date on the latest movie news. Reviews of new movies, art, foreign and documentary films by co-chief critics A.O. Scott and Manohla Dargis.