Perrotta’s books have transferred well to film, but will this?
Tom Perrotta’s The Leftovers (2011) tells of a small town three years after 2% of the world’s population suddenly vanishes in what some believe was the Rapture. Though it explores a number of residents in that town during the span of
Some of the recent bands sound like chestnuts of yesteryear, whether or not on purpose. There’s pleasure in rehearing the sound of a favorite period or musical group in a new artist, though it begs the question of whether that artist can make the sound its own and whether they can maintain a long-term career in the mainstream.
Echosmith is probably the least like an earlier sound in its instrumentation. Formed by the Sierta siblings (Jamie, Sydney, Noah, and Graham) when were just out of the womb, Neil first heard them on WNKU being expounded as a band
Excellent direction, good acting, a dreary set, and an opening night audience from Hades
D. Lynn Meyers’ strongly directed and skillfully acted production of Noël Coward’s Private Lives opened last night at Cincinnati Shakespeare Company. Coward can be difficult to pull off because his works seem simply charming. Actors that play the lines for laughs will be left in the dust because
Jon Favreau’s Chef (and it is his movie because he wrote, directed, and stars) will, I hope, be a sleeper hit. It’s a sweet, family focused work with a salty tongue. It’s playing at The Esquire, but with a cast including Sofia Vergara, John Leguizamo, Scarlett Johansson, Bobby Cannavale, Oliver Platt, Dustin Hoffman, and Robert Downey, Jr., it feels like it