Continuing its excellent dance series, The Wallis presented an ambitious Los Angeles Ballet (LAB) program in two acts of choreographic vignettes following the 18 tracks of Max Richter’s “Memoryhouse.”
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There were and still are some terrific films out there and more to come. Go to the theater. See a movie!
Everyone has an opinion when it comes to the “bests” of any particular year, and this one is no different.
It’s tough to keep on top of all the new series premiering on television, what with the seemingly infinite number of streamers and the content that is, in a manner of speaking (or watching), thrown against the wall to see what will stick.
As efforts to contain the fires across Los Angeles continue, the extent of the devastation is difficult to fathom.
This is a must-see movie if only from the standpoint that we should never forget what happened and try to make sure it doesn’t happen again, there or anywhere.
In the recent past, we’ve seen films where the protagonist seemingly turns into an animal (“Nightbitch”), is told through the eyes of the main character (“Nickel Boys”), tells an origin story (“A Complete Unknown”), is a flashback over a monumental career (“Maria”) and ends in
As fires rage through our beloved city, we find ourselves in a crisis like no other.
“The Count of Monte Cristo,” a new edition of this oft-told tale, adapted and directed by the team of Matthieu Delaporte and Alexandre de la Patellière, is a sweepingly romantic adventure full to overflowing with love, hate, greed, betrayal, revenge and resurrection.
He’s just a kid, squashed into the back of some family’s station wagon, guitar propped against a small backpack, staring intently at the lights passing through the wet haze.