Critics’ Picks: Dec. 27, 2013-Jan. 2, 2014
Los Angeles Times entertainment, arts and culture critics choose the week’s most noteworthy openings, new releases, ongoing events and places to go in and around Southern California.
This week: Catch “The Invisible Woman,” which tells the story of the private life of Charles Dickens; spend some time with “Orange Is the New Black” online; and discover the surprises of a New Year’s Eve performance by the St. Louis Symphony.
Click through to explore more and, where applicable, find directions to venues.
‘The Invisible Woman’
The numerous works of Charles Dickens, perhaps the English language’s preeminent storyteller, have been turned into films and television over and over again for more than a century. “The Invisible Woman,” however, might be the first film to be made about the great man’s private life, and it turns out to be as compellingly dramatic as anything he put on the page. More than that, as directed by and starring the superb Ralph Fiennes as Dickens and splendidly assisted by Britain’s Felicity Jones as the title character, “The Invisible Woman” is an exceptional film about love, longing and regret. It’s further proof, if proof were needed, that classic filmmaking done with passion, sensitivity and intelligence results in cinema fully capable of blowing you away. (Kenneth Turan) Read more
Steve Coogan in ‘Philomena’
Much has been made of Judi Dench’s finely nuanced turn in director Stephen Frears’ excellent new drama, “Philomena.” But a shout-out too for Steve Coogan, her co-star and the film’s co-writer, who adapted Martin Sixsmith’s book with Jeff Pope. Most of us first got to know the Brit as a comic force — razor-sharp observations delivered with a dry deadpan for maximum effect. For the stripped-down version of Coogan comedy see the delightful “Trip,” for the classic and crazed check out “24 Hour Party People.” But the darker turns he’s taken recently are quite wonderful in their own way. His wretched father earlier this year in “What Maisie Knew” was a stunner. In this latest role as a weary political journalist reluctantly coming to Philomena’s aid, Coogan captures a man in the midst of changing, maturing at middle age, in a lovely, understated way. I’m a fan of both Coogans, but at the moment the dramatic intrigues me most. Read more
An Iranian man returns to France to give his wife the divorce she wants with devastating consequences in the new film by "A Separation" director Asghar Farhadi. Part family melodrama, part intricate interpersonal puzzle in which the surer people are that they know the truth, the more likely it is that they are mistaken. In French and Persian, with English subtitles. (Kenneth Turan) Read more
'The Wolf of Wall Street'
Think you already hate those Wall Street high rollers who took so many investors for a ride in the '90s? Just wait until Martin Scorsese, Leonardo DiCaprio and "The Wolf of Wall Street" are through with you. Man, does this movie have a savage bite. Yet it is such a kick to watch the filmmaker and the star in their fifth collaboration. They go at the black-hearted comedy full throttle, fully tanked and, for DiCaprio, full monty — almost. The script by Terence Winter stays close to Jordan Belfort's audacious 2007 memoir of his highly leveraged life. Scorsese adopts the former stockbroker's irreverent tone, then amps it up so that the film fairly crackles with electricity from beginning to end. A very fast three hours, "Wolf" is a fascinating, revolting, outlandish, uproarious, exhilarating and exhausting master work on immorality. (Betsy Sharkey) Read more
'12 Years a Slave'
When a director who never ever blinks takes on a horrific subject, a nightmare in broad daylight is the inevitable result. Welcome, if that is the right word, to the world of "12 Years a Slave." Based on an 1853 memoir detailing the appalling experiences of Solomon Northup, a free man of color who was brazenly abducted and sold into slavery, this film intends to do more than tell us a story. It wants to immerse us in an experience, and it does. Obviously, no film can re-create the unspeakable degradation of one human being owning another, but in making the attempt "12 Years" insists we feel things in a particularly oppressive way. This is impressive filmmaking, but it is not easy to take in. (Kenneth Turan) Read more
'All Is Lost'
"All Is Lost" begins in darkness. There is a voice, though. Weary, almost apologetic, our man speaks of struggle, of trying and failing against an unforgiving sea. But soon the words stop and other languages — sight, sound, silence — pick up the story. And a face. Weathered and worn by time, Robert Redford is our man. The only one you will see in this spare and unsparing film. A superhero in a hoodie and sneakers in the unlikeliest of action adventures. The mission impossible is not to save the world, but himself. And the emotional crosscurrents we see on it become the film's narrative anchor. (Betsy Sharkey) Read more
David O. Russell is a director on a hot streak, an audacious original with an affinity for edgy American madness. His dizzying, outlandishly entertaining "American Hustle" is a 21st century screwball farce about 20th century con men, scam artists and those who dream of living large, a film that is big-hearted and off the wall in equal measure. As he demonstrated in his previous two pictures, "Silver Linings Playbook" and "The Fighter," out of control people are Russell's specialty. Like a cowboy working in the biggest of corrals, he lets his characters roam as far and wide as they please before reining them in with perfect control at the close. In this film, Russell has surrounded himself with actors he's worked with before — Christian Bale and Amy Adams from "The Fighter" and Jennifer Lawrence and Bradley Cooper from "Silver Linings" — and gone for broke. (Kenneth Turan) Read more
'Blue Is the Warmest Color'
The moral of "Blue Is the Warmest Color" is simple: Sex without love is nothing; life without love is even less. French filmmaker Abdellatif Kechiche's story of sexual awakening and real love stretches over 10 years. Loosely based on Julie Maroh's superbly illustrated graphic novel and adapted for the screen by Kechiche and Ghalya Lacroix, it traces the life cycle of a relationship beginning to end. The telling is beautiful and explicit. The truth of its emotionally raw, romantic drama is eternal and universal. In French with English subtitles. (Betsy Sharkey) Read more
When Paul Greengrass directs a thoroughly dramatic tale based on true events and Tom Hanks takes on the title role, you think you know what to expect. But just you wait — the piercingly realistic "Captain Phillips" will exceed your expectations. The story of the six days that Richard Phillips, captain of the cargo ship Maersk Alabama, spent in April 2009 first trying to avoid a gang of Somali pirates and then as their restive captive, this film does an impeccable job of creating and tightening the narrative screws. (Kenneth Turan) Read more
'The Great Beauty'
As its name promises, this is drop-dead gorgeous moviemaking, a film that is luxuriously, seductively, stunningly cinematic. But with the great actor Toni Servillo on his team, larger questions of meaning in life turn out to be on director Paolo Sorrentino’s mind. In Italian with English subtitles. (Kenneth Turan) Read more
Spike Jonze has a knack for disturbing our peace, and his new film "Her" does that with a vengeance. A different and daring futuristic tale starring Joaquin Phoenix and Scarlett Johansson, "Her" is a look at the pleasures and perils of new technology that's a smart entertainment and a subtle warning, a love story and a horror show. Acerbic, emotional, provocative, it's a risky high dive off the big board with a plot that sounds like a gimmick but ends up haunting, odd and a bit wonderful. Previously responsible for the singular "Being John Malkovich" and "Adaptation" as well as the self-indulgent "Where the Wild Things Are," Jonze is a director who goes his own way with ideas no one else could have imagined. With "Her," Jonze for the first time has sole writing credit. He not only came up with a killer idea, he's had the nerve to go all the way with it, to tease out multiple implications of his lightly dystopian "what if" plot all the way to the unforeseen but perfectly logical denouement. (Kenneth Turan) Read more
'The Hobbit: The Desolation of Smaug'
The Hobbit lives… After last year's dreary slough through Middle-earth in Peter Jackson's "The Hobbit: An Unexpected Journey," "The Desolation of Smaug" roars. Its sprawling cast is once again led by Martin Freeman as the Hobbit Bilbo, Ian McKellen as the wizard Gandalf and Richard Armitage as the dwarf prince Thorin. It helps that "The Desolation" spends quality time with a certain wicked dragon named Smaug, voiced by a wicked-in-his-own-right Benedict Cumberbatch. The pace is fast, the perils are many, the wood-elves and the Orcs are back, battles rage and emotions run high. It may not eclipse Jackson's "The Lord of the Rings" triumph, but it comes close. (Betsy Sharkey) Read more
'Inside Llewyn Davis'
As much as any directors working today, the brothers Coen, Ethan and Joel, are unmistakable auteurs, filmmakers who place their own distinctive stamp on everything they do. But while the bleak, funny, exquisitely made "Inside Llewyn Davis" echoes familiar themes and narrative journeys, it also goes its own way and becomes a singular experience, one of their best films. Like the Coens' earlier "O Brother, Where Art Thou?," "Inside" sends a protagonist with links to Homer's Odyssey (here it's an ornery cat named Ulysses) on a drawn-out and difficult journey: Not for nothing is the film's production company called Long Strange Trip LLC. Both films have the wizardly T Bone Burnett as music producer, but because "Inside" is a celebration of folk singers in general and the bad-luck Llewyn Davis (beautifully played by Oscar Isaac) in particular, the songs here and the specific time period they come out of move from the soundtrack to center stage. (Kenneth Turan) Read more
It's the letter everyone's received. The one that gets your attention by saying you've won a million dollars but is actually all about selling magazine subscriptions. But what if someone truly believed they'd won that million? And what if that individual was your crabby, cranky and cantankerous father and he insisted on going to prize headquarters to collect his money? In person. That, in a nutshell, is the premise of Alexander Payne's poignant and ruefully funny "Nebraska." But summations can't convey the filmmaking delicacy that marries tart-tongued comedy with unexpected warmth in a story that touches on family, memory, getting old and staying alive. Plus allowing 77-year-old Bruce Dern the opportunity to give the performance of a lifetime. (Kenneth Turan) Read more
‘Breaking Bad’ marathon
For those whose year has been marred by not being able to discuss “Breaking Bad” at cocktail parties, AMC brings you the parting gift of a series marathon, airing from noon each day, Friday through Monday. The story of a mild-mannered chemistry teacher turned meth-making drug dealer, and of all his little friends, frenemies and enemies, it is most likely the series most named this year right after saying, “You know, television has gotten really great. It’s better than the movies now.” It wore me out, in certain respects, long before it made its exit — indeed, to watch it all in so short a time seems a kind of insanity, or willful masochism, though I suspect it will also reveal things a more leisurely viewing would not. But there’s no doubt that it was one of the best-crafted, best-looking, best-acted series in the history of the medium, and personable creator Vince Gilligan seems always to have known what he was about, even when he didn’t know exactly where he was going. If you haven’t seen it, here’s an opportunity that does not require you to reach into your pocketbook; and by New Year’s Eve, you’ll be able to join in authoritatively when the talk turns to TV. Not for kids. Read more
‘Orange Is the New Black’
Keep watching: Jenji Kohan’s serialized adaptation of Piper Kerman’s memoir about doing time in a women’s prison, proves that Netflix isn’t just delivering original content in a unique way (i.e. a season at a time). It’s also delivering unique content. Smart, funny and surprisingly moving, “Orange Is the New Black” dares to suggest that the pretty, white, middle-class gal that television so loves to position as an Everywoman is nothing of the kind. As Piper Chapman, Taylor Shilling has all the high-maintenance, obliviously entitled tics down pat. Having finally gotten her life together — the nice apartment, the devoted boyfriend, the artisanal soap business — Piper is more than a little outraged that she is going to be punished for the youthful “indiscretion” of carrying drug money for a former drug-dealing girlfriend. Netflix.com, anytime. Read more
Turner Classic Movies' 'New Year's Eve Dance Party'
In two parts. Part one begins at 9:30 a.m. Tuesday, with a flurry of teen-pop films from the olden, sometimes golden days of rock & roll. "Go, Johnny, Go!'" (1959, with Chuck Berry, Jackie Wilson, Ritchie Valens, Eddie Cochran) kicks it off, followed by "Let's Rock" (1958, with balladeer Julius La Rosa, but not much rock); "It's Trad, Dad!" a story of young people in pre-Beatles Britain, making do with the hot sounds of traditional jazz (Gene Vincent and Chubby Checker do also appear), directed by Richard Lester a few years shy of "A Hard Day's Night"; "Rock Around the Clock" (1956), a phony rock origin story, with Bill Haley and the Comets and the Platters; "Twist Around the Clock" (1961), with Chubby Checker, naturally, but also Dion; and then a couple of the better Elvis films, "Jailhouse Rock," from 1957, and "Viva Las Vegas," with Ann-Margret, from 1964 — in wide screen, the way you want them. Then, from 8 p.m. until you stagger out until the dawn, it's an MGM self-celebration, with "That's Entertainment!" (1974); "That's Entertainment II" (1976), wherein Fred Astaire and Gene Kelly dance together onscreen, after 30 years, for the second and last time; getting down to the bottom of that barrel, "That's Entertainment III" (1994); "That's Dancing!" (1985), with Mikhail Baryshnikov among the presenters (I wrote "presents," at first, which also works); and finally, at 5 a.m., New Year's Day, "Musicals Great Musicals: The Arthur Freed Unit at MGM" (1996), concerning the producer of "The Wizard of Oz," "Singing in the Rain" (built around old songs Freed had written with Nacio Herb Brown) and other trifles of American film. The fact that MGM musicals, notwithstanding their success, continuing iconic status and great production numbers, were at the same time underwhelming pictures — not the two I just mentioned, obviously — makes these clip compilations an ideal way to regard them. And they will not require close, constant attention if you have friends over or are getting into the Champagne. (And if you're getting into the Champagne, I do hope you have a friend over.) (Robert Lloyd) (TCM, Tuesday through Wednesday) Read more
Make your own marathons: 'Moone Boy' and 'The Wrong Mans'
In the new boundless TV universe, in which the streaming networks have staked their claim alongside the less new cable and satellite systems and the old over-the-air networks, you no longer have to rely on a faceless corporation to program a thematically coherent TV New Year's. (Though you will still rely on them for the content, of course.) Not to get all up in your playlist, but may I suggest these two fine, funny, Hulu-exclusive series from the year almost passed, series whose (so far) single seasons you can get through in an evening — indeed, you can get through both of them in an evening, though "get through" is not the apt phrase for things so delightful. Set in 1989 in an Irish small town, "Moone Boy" stars its co-creator Chris O'Dowd ("The IT Crowd," "Bridesmaids," "Family Tree") as the supportive imaginary friend of his dreamy and put-upon — when not ignored — yet self-contained and clever 12-year-old self (David Rawle, marvelously funny). It's charming and fanciful, unsentimental and family-friendly — though when I say "family-friendly," I do not mean G-rated. (With a memorable appearance by Steve Coogan, whose Baby Cow Productions has a hand in this.) In the Hitchcock-in-the-burbs comedy "The Wrong Mans," James Corden and Mathew Baynton, both from "Gavin & Stacey," play acquainted quasi-co-workers whom fate makes allies and friends after Baynton finds a cellphone whose unidentified caller says, "If you're not here by 5 o'clock, we'll kill your wife." (Robert Lloyd) (Hulu.com) Read more
If you need to be reminded why the recent death of James Gandolfini generated so much elegiac press, HBO wants to remind you by making the series that made him a star available on HBO On Demand. For those who missed "The Sopranos" the first time around, or who have only seen it once, a marathon viewing of the show that turned HBO into a cultural force and launched the modern renaissance of American television, is definitely worth the time. It really was, and remains, all that. (HBO On Demand) (Mary McNamara) Read more
‘Peter and the Starcatcher’
Based on a novel by Dave Barry and Ridley Pearson, this touring Broadway production does for J.M. Barrie’s classic what “Wicked” did for “The Wizard of Oz” — namely, imagine the back story of the characters in an irreverent manner that still manages to honor what is so enduringly captivating about the tale. This cheeky prequel specializes in theatrical simplicity: a rope, a couple of toy ships and trunks, a few sticks and some recycled odds and ends colorfully redeployed by an ingenious design team are all that’s needed to launch this voyage of the audience’s imagination. Ends Sunday, Jan. 12. Read more
'Aladdin and His Winter Wish'
Although this second annual holiday romp from Lythgoe Family Productions is again a broadly drawn merger of English panto, theme-park show and Nickelodeon special, its critic-proof formula is polished scimitar-sharp. The splashy designs approach Radio City Music Hall, and the affable cast, including Ben Vereen and Bruce Vilanch, has an old-fashioned blast. So will you, maybe even more than the kids. (David C. Nichols) (Ends Sunday, Dec. 29) Read more
'Aspirin & Elephants'
Despite some formulaic aspects, this smooth 25th anniversary revival of Jerry Mayer's boulevard comedy about inter-generational marital issues on a cruise ship is a surefire date show, high-end sitcom with flashes of emotional heft. Original director Chris DeCarlo adroitly revisits the old-school material, which his accomplished cast deftly puts over. (David C. Nichols) (Ends Sunday, March 16) Read more
John Pollono, author of the much-feted "Small Engine Repair," has supplied Rogue Machine with the world premiere of another gritty New Hampshire drama. The play, about the reunion between a stressed-out retail clerk and her recovering alcoholic ex-husband after their teenage daughter goes missing, provides further theatrical evidence that the traumatic past doesn't die but rather moves underground, waiting for justice yet grateful for even a flicker of sympathetic acknowledgment. The production, directed by Rogue Machine artistic director John Perrin Flynn, lays on the working class New England local color a bit thick, but the excellent cast movingly enacts this truthful psychological study of characters trying to figure out how to coexist with their grievances. (Charles McNulty) (Ends Monday, January 27) Read more
An evening of macabre thrills and chills courtesy of illusionist Todd Robbins and his co-writer and director Teller (of Penn & Teller). The total darkness, horror stories and grisly illusions create a cozy, snuggly atmosphere, so take a date. (Margaret Gray) (Ends Sunday, Jan. 12) Read more
'Smoke and Mirrors'
As actor and Magic Castle illusionist Albie Selznick’s superb theatrical magic show explores the connections between his life and art, perhaps his greatest feat is making any trace of boredom completely disappear. (Philip Brandes) (Ends Sunday, March 15) Read more
This latest entry from the matchless Quebec-based franchise nominally concerns the evolution of mankind. Yet in the masterful hands of writer-director Robert Lepage, a mesmeric creative team and 46 Olympic-worthy athletic artistes, it's really about transformation in totum, not to mention humanity's determination to achieve superhuman feats. It's why we love Cirque du Soleil, and always will. (David C. Nichols) (Ends Sunday, March 16) Read more
St. Louis Symphony New Year’s Eve broadcast
It has been a number of years since the members of the Los Angeles Philharmonic pulled New Year’s Eve duty, and none of them seem to be complaining about having the likes of Pink Martini, or this year, Sergio Mendes, take over at Walt Disney Concert Hall for the evening. Most orchestra musicians find a light-hearted holiday celebration a thankless chore when they’d rather be celebrating themselves. But the St. Louis Symphony does it differently, with music director David Robertson having turned New Year’s Eve into a surprise party for the last seven years. The audience arrives with no idea of what to expect or from whom to expect it. Soloists, along with everything else, are top secret. Last year, St. Louis Public Radio began broadcasting and streaming the surprise shenanigans, and even the announcers don’t know all the details. In fact, orchestra members usually are in for a few unexpected pieces of sheet music on their music stands as well. The eighth annual show begins at 7 p.m. Central Standard Time, which means you can click here at 5 on the West Coast to get in the mood for the rest of the night. Read more
Box set: The Rise and Fall of Paramount Records 1917-1932
The ambitious new set “The Rise and Fall of Paramount Records 1917-1932, Volume 1” comes packaged in a sturdy wooden suitcase dubbed “The Cabinet of Wonder,” an apt title considering the awe-inducing sounds and history it resurrects. A label whose ragtag story stars two white Wisconsin business partners more concerned with record player sales than music, an A&R man whose race and history as a Chicago bootlegger (and ex-pro football player) allowed him access to the clubs where unrecorded talent gigged and a roster of artists with equally fascinating biographies, the Paramount and affiliated labels’ output during its 15-year life comprises more than 1,600 songs. They were released through a subsidiary of a Port Washington, Wis.-born furniture company during the rise of the phonograph era. (Randall Roberts) Read more
Pop music critic
Trafficking in a mixture of chamber music, intricate post-rock and jazz, the Claudia Quintet has carved out a distinctive niche under the leadership of Grammy-nominated drummer/composer John Hollenbeck (even if it's obviously a challenge to define where exactly that niche lies). Regardless, this album marks a return to all-instrumental composition for the quintet, which in 2011 featured vocalists Kurt Elling and Theo Bleckmann on "What Is the Beautiful?" which was inspired by the poetry of Kenneth Patchen. Still, in the best music there's a sense that someone is talking to you, and here the subject is Hollenbeck's favorite month in "September," a time when the composer typically finds creative solitude. Though the 10 pieces are the result of Hollenbeck (for the first time) communicating them to the band without writing them down, each bears the group's tightly composed signature. (Chris Barton) Read more
Album: 'Quality Street'
Nick Lowe knows his way around a song. As writer of classics including "Cruel to Be Kind," "(What's So Funny 'Bout) Peace, Love and Understanding" and "The Beast in Me," the English songwriter on his new holiday-themed "Quality Street" delivers a dozen songs that strive to inject into the repertoire some fresh essentials. Featuring three new songs written by Lowe (one with guitarist Ry Cooder) and a Ron Sexsmith gem penned expressly for the project, "Quality Street" is a warm and witty holiday album. The Cooder-assisted "A Dollar Short of Happy" is written from the perspective of a beggar looking for a buck: "City sidewalks, busy sidewalks/ Turn a darker gray/ Than any Russian playwright would allow," sings Lowe. He then quotes a line from another Christmas gem, "Although it's been said many times, many ways" before turning the line into a blues by adding, "I'm a dollar short of happy now." Looking to celebrate the season but avoid the dull standards? "Quality Street" is the avenue. (Randall Roberts) Read more
Album: 'Coin Coin Chapter Two: Mississippi Moonchile'
Matana Roberts does not make easy listening music. Although in mainstream culture jazz is frequently relegated to an awards show backdrop or an oh-so-spooky bit of shading for pay-cable political dramas, the music remains a springboard into avant-garde expression for this Chicago-born saxophonist, who explores both personal and social history on "Coin Coin Chapter Two: Mississippi Moonchile." A challenging, engrossing listen that follows her ambitious "Chapter One" from 2011, this 49-minute piece (broken into 18 seamless tracks) continues Roberts' synthesis of free improvisation and spoken word into a unique, shape-shifting compositional voice that she calls "panoramic sound quilting." Where Roberts' last record could be tumultuous with passages of fiery blowing offset by a big band drive, "Mississippi Moonchile" is a swirling celebration of smaller-ensemble free jazz. (Chris Barton) Read more
Album: 'Inside Llewyn Davis' Soundtrack
A single song bookends "Inside Llewyn Davis," the new film from Joel and Ethan Coen about a week in the life of a struggling singer in the New York folk scene of the early 1960s. It's a gentle guitar ballad starring a dangling noose called "Hang Me, Oh Hang Me," and its best-known version is by the late Dave Van Ronk, a towering singer whose recollections of Greenwich Village during the folk boom informed the narrative. In its opening scene, the movie focuses on the song as performed by the titular Davis, played by actor and musician Oscar Isaac. Shot in intimate close-up as he sings and picks on an acoustic guitar in a Village coffeehouse, the rendition introduces the character through lyrics about a man staring across an abyss. (Randall Roberts) Read more
Album: 'Holding It Down'
If there's any one thread running through today's pop music, it's the amazing ability for most songs to be about absolutely nothing. Despite scores of crises around the world, the biggest hits of the summer (i.e. "Get Lucky" and "Blurred Lines") are party-ready, escapist marshmallow fluff. The year's revolving door of package music festivals — events once at least peppered with voter registration and social outreach booths — mostly exist as target marketing efforts and a means of giving music fans the sunny feeling of how wonderful it is to attend a music festival. At their best, hip-hop and jazz remain most adept at breaking the mold, and the footprints of both genres can be heard on Vijay Iyer's and Mike Ladd's inspiring new album. An ambitious collaboration between one of the most celebrated jazz pianists today in Iyer and poet-MC Ladd, who has worked with a host of underground rap acts including El-P's Company Flow and Saul Williams, "Holding It Down" is the duo's third in a series of unclassifiable blends of music, theater and spoken word that paint a vivid oral history of post-9/11 America. (Chris Barton) Read more
Album: '12 Stories'
This has been a great year for women's voices in contemporary country music, starting with the auspicious debut album from Kacey Musgraves in March and ramping up now with an even bolder new arrival, Brandy Clark. The question out of the gate is whether she'll be heard amid the parade of frat boy country dominating the airwaves with cliche-ridden songs of tailgate parties by the swimming hole populated with sexy babes in their Daisy Duke shorts. Never mind that — find this record and listen to a dozen dazzlingly witty and insightful takes on the struggles of the working class ("Pray to Jesus"), neglected and/or mistreated women ("Crazy Women," "The Day She Got Divorced"), the battle between right and wrong ("What'll Keep Me Out of Heaven") and the pros and cons of chemical mood enhancers ("Hungover," "Get High"). (Randy Lewis) Read more
It can be a delicate thing, honoring jazz history. On one hand, you might lose count when trying to tally the many tribute concerts and reissues dedicated to an artist like Miles Davis, but on the other, no other music carries such a vital link to its past like jazz. Take, for example, the continuation of jazz tradition that is "Tootie's Tempo," a gorgeous showcase for 78-year-old drummer Albert "Tootie" Heath, who can be heard on recordings from one side of jazz tradition to the other with the likes of Lester Young, John Coltrane, Anthony Braxton and Herbie Hancock. Backed by a pair of talented artists from this generation in the Bad Plus' Ethan Iverson and in-demand bassist Ben Street, the record is a study honoring tradition even while maintaining a sharp focus on forward motion. (Chris Barton) Read more
Album: 'World Boogie Is Coming'
Brothers Cody and Luther Dickinson were raised on Memphis blues, soul, R&B and rock ‘n’ roll. Their late father, Jim, is an unsung hero of rock ‘n’ roll who worked with, among others Big Star, the Rolling Stones and the Replacements. For nearly two decades his Grammy-winning sons have explored similar musical terrain while expanding the conversation — no small feat for a music born in these same woods nearly a century earlier. Teamed with longtime bassist Chris Chew, the brothers' eighth studio album as the North Mississippi Allstars gathers many styles of primal American music, including Southern boogie, rural blues and electrified foot-stomping guitar music. (Randal Roberts) Read more
Album: 'Psychic Temple'
As has been thoroughly documented, the past decade or so has not been easy for independent musicians, particularly for those with a taste for venturing outside typical bounds of rock and pop. Consider producer-musician Chris Schlarb, who at 36 years old has a wife, two kids and a full-time job as a short-haul truck driver that carries him around Southern California. “I’ve been working there off and on for about 10 years and what I’ve found is it ... allows me to think about music all day,” Schlarb said, speaking by phone while driving home in Long Beach. “Because I could -- and often do -- just turn the radio off and if a melody comes to me I can sing it into my phone. It allows me the freedom of thought, which is so important to me because my mind is always going.” In between job and family obligations, Schlarb also ran the indie label Sounds Are Active (which has released albums from local explorers Nels Cline and Anthony Shadduck), wrote the music for the Nintendo 3DS game “NightSky” and as well as recording on his own and as part of the experimental-jazz duo I Heart Lung. (Chris Barton) Read more
Album: 'Dawn of Midi'
How, exactly, does one define Dawn of Midi? Composed of bassist Aakaash Israni, drummer Qasim Naqvi and pianist Amino Belyamani who have roots in Morocco, India, Pakistan and the fertile music program at CalArts, the group that is superficially a piano trio is far from anyone's definition of jazz with this album, which has a single, locked-groove composition that spirals through nine tracks and 47 engrossing minutes. The closest analogue may be the Necks, a category-defying Australian trio who built a following around long-form improvised sets. But where the Necks' sound features an in-the-moment ebb and flow, Dawn of Midi is dedicated to perpetual forward motion, a rigorously composed blend of minimalism and trance music. (Chris Barton) Read more
Album: 'North Hero'
Never underestimate the power of the Midwest. Continuing a recent run of Minnesota-born jazz talent that includes guitarist Todd Clauser and the Bad Plus, bassist Chris Morrissey offers a snapshot of his inviting way with melody on the wryly titled “North Hero.” The product of a successful Kickstarter campaign last year, the album was also produced by Bad Plus drummer Dave King, a connection that stands to reason given Morrissey also performed with King’s limber Minneapolis-based project Happy Apple. With those kinds of connections you might expect Morrissey to have nimble chops, and he's also been heard backing the intricate indie rock of Andrew Bird along with fellow singer-songwriters Ben Kweller and Sara Bareilles. (Chris Barton) Read more
Album: 'Big Sur'
Is there an artist as well-suited to record an album inspired by Big Sur as Bill Frisell? Having spent much of his long career working a fertile seam in the jazz world that shares ground with Americana and folk, Frisell and his often twang-dusted tone seems tailor-made for sweeping vistas and pastoral wonders. Stemming from a 2012 commission by the Monterey Jazz Festival, “Big Sur” is the result of Frisell holing himself up in a cabin at the 860-acre Glen Deven Ranch and writing music for wherever this natural muse took him. (Chris Barton) Read more
If you dine regularly in Los Angeles’ Italian restaurants, you have probably lived through the fresh-pasta wars, the head cheese skirmishes and the incursion of the massive T-bones. We have not yet quite climbed out of the charred rubble of the wood-fired pizza moment, where the mozzarella comes from buffaloes and the thermostat is always set to 800 degrees. So you may be surprised to discover that the latest battleground may be the obscure Ligurian specialty called focaccia di Recco, a stuffed flatbread from a town 20 minutes outside Genoa. Like burrata, a cheese whose fame until recently was confined to a few square miles of central Puglia, focaccia di Recco is a food whose time has come. When prepared correctly, as it is at the Factory Kitchen in the arts district east of downtown (and also at chiSpacca on Melrose), focaccia di Recco is a marvelous thing, oiled dough stretched thin as filo and folded around milky, tart crescenza cheese. Read more
Colonia Taco Lounge
Are we living in the golden age of the California taco? We may be — or at least it can seem as if we are when your tummy's full late on a Saturday night. You can find tacos here from almost every region of Mexico, from Baja sting ray tacos to Zacatecas goat tacos; from Sinaloan marlin tacos to Yucatecan tacos made with pit-roasted pork. The Colonia Taco Lounge is the newest and possibly most consequential restaurant from Ricardo Diaz, in the southwest corner of La Puente, an area not previously noted for its fine cuisine. You may remember Diaz from Cooks Tortas in Monterey Park, which was dedicated to whimsically constructed Mexican sandwiches, or from Dorado's, his ceviche bar up the street. He was one of the people behind Guisados, which introduced the Eastside to a kind of stew-based taco popular in Mexico City; he is set to open the crunchy-taco house Duro in Silver Lake, and he continues to serve the region's best guacamole, aguachile and fried huauzontle at his Bizarra Capital in Uptown Whittier. So it may come as a surprise that, unlike his other restaurants, Colonia is basically a bar — a family-friendly bar perhaps, with plenty of kids crowded in on Sunday mornings when the soccer games are on the corner TVs, but a bar nonetheless, windowless, fragrant and gloomy even at noon. Read more
If you have spent much time in L.A.'s farmers markets, you have probably run into C.J., Chris Jacobson, an affable chef, tall enough to be an NBA power forward, who seems to know every farmer in town. He worked on the line for a while at the old Campanile, where everybody called him Stretch, and he ran the Yard, a small gastropub in Santa Monica known for its beer list and fish tacos but which he managed to nudge toward fine dining at the end. As you might expect from a young Los Angeles chef, Jacobson did his time on TV, including "Top Chef." Girasol, really Jacobson's first restaurant of his own, in many ways resembles a typical Studio City place, located on a fast avenue lined with more condos than cafes, occupying a building that has been more restaurants than I can remember, in a neighborhood where the sidewalk is empty but the parking spaces are full. Read more
If you follow the restaurant scene in Los Angeles, you have known about Govind Armstrong for years, possibly since he was a teenage cooking prodigy whose mom drove him to stints on the line at the original Spago the way that other moms drive their kids to Little League practice. Or perhaps you know him from his long collaboration with locavore Ben Ford, or from his solo gigs at Table 8 and 8 Oz. Burger Bar. You may have followed Armstrong's short-lived adventure in New York, which wasn't well-received, and his appearances on "Top Chef" and on the list of People magazine's 50 Most Beautiful People. It is more likely that you noticed his restaurant Post & Beam, which he started a couple of years ago with business partner Brad Johnson and is the most ambitious restaurant ever to open in the Crenshaw District. At Willie Jane, the new restaurant he runs with Johnson on Abbot Kinney's restaurant row, Armstrong's style has become more refined yet — it's kind of a fantasy mash-up of Low Country cuisine with farm-driven California presentation, heavily reliant on the sharply tart notes that have become his trademark, and heavily reliant on Geri Miller's urban farm Cook's Garden next door. Read more
How do you know you're in a serious restaurant at the moment — a place where the chef ferments his own turnips, keeps a copy of "Modernist Cuisine" by his bedside and dreams of visiting Spain's Mugaritz restaurant? There will probably be a seaweed or two on any given plate, for the color, the crunch and the occasional spark of brininess, and bits of citrus zest will make it into places where you have never tasted citrus before. You will see at least one slow-poached egg, cooked to a perfect near-runniness at 63 degrees Celsius; top-shelf boutique greens that disappear long before you straggle into the farmers market on Wednesday morning; and a couple of flavors snagged from the bartender's cache. The presentation will be modern French, but the dishes may well be inspired by Italy, China and especially Japan, because Japanese (and New Nordic) cooking are what young chefs are crushing out on these days. Read more
Los Angeles burgers
The eyes of the world were recently focused on what surely must be the most repulsive hamburger in the history of mankind: 10,000 bits of cloned cow stem-cell tissue formed into a patty, seared in foaming butter and served to three food scientists in front of a crowd of decidedly unhungry journalists. If you would rather eat a hamburger than grimace at what your great-grandchildren might be forced to consider lunch, you can do better. Read more
101 Best Restaurants
If you take into account Los Angeles’ superb produce, its breathtaking diversity and its imagination, it can be one of the most pleasurable places to eat on Earth. What follows is a ranking of the best restaurants. How many have you tried? Where would you like to go? Create a list and share it with your friends. Read more
14 great Mexican restaurants
No places matches the breadth and depth of Mexican restaurants we have in Southern California, except Mexico City itself – and maybe not even there. You can find the cooking of almost every region in the country here, crafted at street-corner taco trucks as well as cutting-edge places like the new Corazon y Miel and Bizarra Capital. Here are Los Angles Times restaurant critic Jonathan Gold’s choices for 14 of the most essential places to try. 1. Babita: One of the most serious Mexican restaurants on the Eastside, a casual corner joint whose service is burnished to a white-tablecloth sheen. Chef-owner Roberto Berrelleza is especially gifted at the cuisine of his hometown of Los Mochis on the Sinaloa coast. Read more
Corazon y Miel
"Corazón y miel," your waitress wants it to be known, is the signature dish of Corazón y Miel. Corazón y miel, hearts and honey, is a small bowl of warm, seared chicken hearts in a sweet, honeyed vinaigrette, tossed with a few slivers of onion, like a chicken heart escabeche. The grayish hearts look a little gnarly, organy, probably more than you want to be dealing with before your third margarita. The bowl travels around the table twice. Someone finally spears a heart. She chases it with a shot of tequila. She spears another. She corrals the bowl for herself. Like the restaurant, a dim tuck 'n' roll gastropub in the working-class suburb of Bell, the hearts are an unlikely source of deliciousness. The hearts have won again. Read more
If you are the kind of restaurant-goer who gets hung up on first impressions, M.A.K.E., Matthew Kenney’s raw-vegan restaurant in Santa Monica Place, may not be for you. But Kenney, who was a renowned New York chef well before he adopted the raw-food thing, is solidly a creature of the food world, and a lot of his techniques are also found in the famous modernist kitchens where dehydrators and Vege-Mixes are as commonly used as pots and pans. The spray of thinly sliced carrots erupting from a base of cumin-scented nut butter is a dish you might see in any modernist dining room. And if the lasagna, sushi rolls and kimchi dumplings are more raw-vegan riffs than the things themselves, it’s just the way the juice-cleanse generation wishes things to be. Read more
A former underground dining club from Julie Retzlaff and her husband, chef Whitney Flood, Muddy Leek is less an edgy pop-up than a comfortable place to drop in for a glass of grenache and a snack on a Tuesday night. There may be the occasional tiny rabbit kidney garnishing a plate of rabbit hash, a little dish of rillettes made with the shredded remnants of duck confit, or a smear of chicken liver mousse on toast, but you are not here to be challenged, you are here because you want to eat nicely composed small plates, and it is nice. Read more
Tamarind of London
Is it easy to mistake Tamarind’s careful spicing for blandness or the mild juiciness of its chicken tikka for timidity? Could it be a good thing that the parade of grilled-mushroom salads, coconut-scented vegetable korma, chickpea dal, smoky eggplant curry and hot nan stuffed with coconut and dates tends to complement the scent of a pretty Sonoma Chardonnay? Tamarind, the Newport Beach sibling of the first London Indian restaurant to earn a Michelin star, is Southern California’s most luxurious Indian restaurant. Read more
The new restaurant from Jason Travi, whose Mediterranean-style cooking you may have tried at the late Fraiche in Culver City, is a really good bar with high-concept eats – channeling a 1950s New England seafood joint crossed with grungy Montreal bistro, and almost inexpensive unless you let the cocktails, the maple syrup eggs and the crunchy oyster sliders add up. You would be surprised how quickly you can inhale a plate of chilled oysters, nostalgia-flavored fish sticks or even a half dozen clams casino, whose blanket of crisp, bacony bread crumbs in no way slows you down. And there are freshly fried apple-cider doughnuts for dessert. Read more
Calder and Abstraction
If you like Albert Einstein’s general theory of relativity, you’ll love the sculpture of Alexander Calder. And vice versa. As an artist Calder certainly wasn’t in the business of illustrating difficult scientific postulates. (Born on the cusp of the 20th century, he died at 78 in 1976.) In fact, one frequent knock on him was the claim that, while charmingly whimsical, his sculpture is physically, emotionally and intellectually lightweight. After all, this is the guy who built an entire miniature circus out of cardboard, some buttons and a bunch of twisted wire. (Christopher Knight) (Ends Sunday, July 27) Read more
The Wallis Annenberg Center for the Performing Arts
The new Wallis Annenberg Center for the Performing Arts in Beverly Hills, designed by Zoltan Pali and the firm Studio Pali Fekete, is a work of architecture that arrives with a long list of storylines attached. In mixing historic preservation with unapologetically contemporary architecture, the $75-million complex, known as “The Wallis,” marks a step forward for Beverly Hills, a city that has not always treated its aging landmarks thoughtfully. It’s a clear example of how tricky it can be in Southern California to design a new building that’s architecturally sympathetic to its neighbors. (Christopher Hawthorne) Read more
The artist's crisply rendered, lusciously brushed and smartly composed pictures are acutely attuned to humor, especially to how funny it is to try to make farming sexy. (David Pagel) (Ends Saturday, Jan. 4) Read more
Lorenzo Hurtado Segovia
Making a mess of distinctions between painting and sculpture, not to mention art and craft, the Los Angeles artist who was born in Ciudad Juarez, Mexico, invites visitors into a world where nothing sits still — least of all, your imagination (David Pagel) (Ends Sunday, Jan. 26) Read more
There's no end to the fun Shapiro's sculpture delivers as you rearrange its loose composition, not just in your mind's eye, but in the space you share with others. Possibility and reality commingle, playfully, peculiarly, pleasurably (David Pagel) (Ends Sunday, Jan. 11) Read more
Forrest Bess: Seeing Things Invisible
In 1946, when he was 35, Bess began to transcribe his abstract visions into paint on canvas. Now 52 of those visionary paintings are on view in a show of heartbreaking beauty. According to best estimates, it includes between a third and a quarter of his output. Why it took so long is difficult to say, but we can be grateful that it finally happened. (Christopher Knight) (Ends Sunday, Jan. 5.) Read more
American landscapes at LACMA
The subject of a yearlong, one-room permanent collection installation at the Los Angeles County Museum of Art is 19th century American landscape art. The west wall has a spare lineup of all five LACMA paintings that show the American West, hung to create a continuous horizon line. The east wall is entirely covered, floor to ceiling and corner to corner, by a salon-style installation of 25 of its East Coast views. The face-off is stark between Eastern profusion and Western scarcity, the East Coast as unfolding history and the West as an elusive border. On the south wall in between, six photographs show Eastern landscapes, while 24 depict the West — a nearly exact reversal of the numbers in the two walls of paintings. Old and new landscapes are identified with old and new technologies: Paintings are "back there," photographs are "out here." (Christopher Knight) (Through Dec. 31.) Read more
Richard Diebenkorn: The Berkeley Years, 1953-1966
The exhibition charts the extensive give and take between total abstraction and representational painting that characterized Diebenkorn's productive years in the Bay Area. It has been slightly trimmed from its June debut in San Francisco; but, with roughly 100 works almost evenly divided between paintings and drawings, the Palm Springs version offers a reasonably full accounting of his development. (Christopher Knight) (Ends Sunday, Feb. 16) Read more
'John Divola: As Far As I Could Get'
Principally organized by the Santa Barbara Museum of Art, this show is a collaborative endeavor with the Pomona College Museum of Art in Claremont and LACMA. Because of the trifurcation, few will see the entire show. And those who do will be deprived of some fundamental benefits of a museum retrospective. That's a shame. The good news is that, even seen in disordered chunks, Divola's photographs can provide immensely satisfying rewards. (Christopher Knight) (Emds Sunday, July 6) Read more
Face to Face: Flanders, Florence and Renaissance Painting
Renaissance art made in Florence, Italy, more than half a millennium ago wouldn't look the way it does without art and artists working elsewhere in Europe. It's easy to forget that travel and trade between Italy and other countries was frequent, including travel by artists and trade in art. Yet cosmopolitan interchange played an indispensable role in the blooming notion of a Renaissance. One of the most important of these interchanges is the subject of a newly opened exhibition at the Huntington Library, Art Collections and Botanical Gardens in San Marino. "Face to Face: Flanders, Florence and Renaissance Painting" is a knockout, the fall's first great museum show. (Christopher Knight) (Ends Monday, Jan. 13) Read more
Throughout his career — Sam Francis died in Santa Monica in 1994 at 71 — the artist engaged philosophical conundrums in paint. He was an avid student of Jungian psychology and Japanese aesthetics. Watercolor was his most-common choice of painting medium, whether in the conventional form used on paper or its popular 1960s canvas-cousin, acrylic paint. Fluidity is key to all his most successful series, starting with luminous examples from the 1950s made with thinned oil paint. It applies to the early 1960s orbs of expanding color in the "Blue Balls" works; the mid-1960s edge paintings, which use lush color only along the framing edges of the canvas while leaving the central area a bright, somehow muscular and visually aggressive white; and, the incredibly complex 1970s grids, in which crisp linear structure melds with oozing liquidity. (Christopher Knight) (Ends Sunday, Jan. 5) Read more
Seven Yorkshire Landscape Videos
Dürer, Wang Hui, Constable, Cézanne, Ruscha, earlier Hockney and no doubt more — watching a mature artist use present technologies to engage in deep conversation with the art of the past is profoundly pleasurable. "Seven Yorkshire Landscape Videos" can be enjoyed in its own right, as a luxuriously sensuous visual ride unlike any our automobile-dependent city has to offer. Or it can be indulged as a deceptively simple work of art that actually contains multitudes — a conceptually faceted history of photographs within paintings within imagination within memory. (Christopher Knight) (Through Jan. 20) Read more
Bob Mizer & Tom of Finland
MOCA curator Bennett Simpson and artist Richard Hawkins, who organized the show, have assembled scores of photographs by Bob Mizer and drawings by Tom of Finland, plus vintage Physique Pictorial magazines, page layouts and story boards. One revealing surprise is that it is often difficult, if not impossible, to distinguish between works made decades apart. (Mizer died at 70 in 1992, Laaksonen at 71 in 1991.) But Mizer and Tom could be very, very funny, the wit in their pictures of wizards, gladiators, devils and truck-stop denizens happily worn on their sleeves. (Christopher Knight) (Through Jan. 26) Read more
Lesley Vance makes the kind of small, abstract paintings that would be easy to dismiss if they weren't so solid, so alive. The large main space at David Kordansky has been divided to better suit the work's intimate dimensions — the largest is 26 inches wide, but most are closer to letter size. At this scale, Vance uses surprisingly large brushes, confidently creating swirls and swipes of striated color that weave in and around flatter, more solid masses. The paintings continually flirt with recognition, suggesting a body part here, a wisp of smoke there, but these references flit by as if animated and the works continue to elude apprehension. They seem to be endlessly interesting. (Sharon Mizota) (Ends Saturday, Jan. 4) Read more
T.C. Boyle’s “Stories II” gathers all the short fiction he has published in the past 15 years — 58 stories, including 14 that have never appeared in book form. This is no mere collection, in other words, but an edifice intended, not unlike its equally massive predecessor “Stories” (1998), to define a legacy. To some extent, that’s a sign of Boyle growing older; he will turn 65 in December. Death, or the threat of death, is all over these stories — or more accurately, a sense of mortality, of time zeroing in. But even more, it’s a signifier that here, he is holding nothing back. In “Stories II” we stare down 15 years of fiction, and how does it add up? “All part of the questing impulse,” Boyle suggests, “that has pushed me forward into territory I could never had dreamed of when I first set out to write — that is, to understand that there are no limits and everything that exists or existed or might exist in some other time or reality is fair game for exploration.” Read more
When news emerged three years ago that filmmaker Shane Salerno and writer David Shields were working on an oral biography (with accompanying documentary) about J.D. Salinger, I assumed it would be all smoke and no fire. Salinger, after all, had gone to ground after the publication of his novella “Hapworth 16, 1924” in June 1965; even in the wake of his death, in January 2010 at age 91, his estate had preserved the silence of his final 45 years. But if Salerno and Shields' book “Salinger” is, at nearly 700 pages, a bit of a shaggy monster, what may be most astonishing about it is its (largely) even tone. The idea is to present a portrait of Salinger as both his own savior and something considerably darker, and for the most part, the co-authors get the goods. Read more
Optic Nerve 13
Adrian Tomine's Optic Nerve is one of my favorite alternative comics: smart, understated and with a subtle yet pointed bite. Merging straight realism with an impressionistic sense of narrative, his stories often seem to be offhanded when, in fact, they are highly structured and defined. As an example, look at "Winter 2012," one of three pieces in the newly released Optic Nerve 13, a one-pager, told by way of 20 small panels, in which Tomine portrays himself as a Luddite, distressed by the indignities of the electronic age. Optic Nerve 13's other stories include a long central piece, "Go Owls," in which a woman meets an older man in a 12-step program and winds up in a relationship that becomes increasingly abusive and fraught, and the exquisite "Translated, From the Japanese," a love letter from a mother to her baby that is among the most beautiful things Tomine has ever done. Read more
'Never Built Los Angeles'
When, in the 1920s, the pioneering Southern California social critic Louis Adamic called Los Angeles "the enormous village," he didn't mean it as a compliment. Rather, he was referring to L.A.'s insularity, its status as what Richard Meltzer would later label "the biggest HICK Town (per se) in all the hick land," a city of small-town values and narrow vision that "grew up suddenly, planlessly." A similar sensibility underpins "Never Built Los Angeles," a compendium of more than 100 architectural projects — master plans, skyscrapers, transportation hubs, parks and river walks — that never made it off the ground. Edited by former Los Angeles magazine architecture critic Greg Goldin and Sam Lubell, West Coast editor of the Architect's Newspaper, and accompanied by an exhibition at the Architecture and Design Museum, it's a lavish counter-history of the city as it might have been: a literal L.A. of the mind. Read more
'The Wet and the Dry: A Drinker's Journey'
"He who makes a beast of himself," Samuel Johnson famously observed about inebriation, "gets rid of the pain of being a man." And yet, if Lawrence Osborne's new book, "The Wet and the Dry: A Drinker's Journey," has anything to tell us, it's that there is more to drinking than derangement, that it may lead to a transcendence more profound. "The Wet and the Dry" is a paean to drinking, but it is also a travelogue unfolding largely through the Islamic states of the Middle East and a memoir of sorts, in which Osborne's upbringing, in "a steadfast English suburb" during the 1970s, becomes a lens through which to read his life. "The drinker knows that life is not mental and not a matter of control and demarcation," he argues. "The teetotaler, on the other hand, knows full well how even a molecule of alcohol changes body and mind. The Muslim, the Protestant puritan, and the teetotaler are kin; they understand the world in a very similar way, despite all their enormous differences, while the drinkers know that the parameters that contain us are not all human, let alone divine." Read more
'Men in Miami Hotels'
Charlie Smith's terrific new novel, "Men in Miami Hotels," walks a line between genre and something considerably wilder, a fictional territory where a character might lose his or her soul. The story of a Miami hoodlum named Cotland Sims, on the run from a brutal mob boss, it is both existential thriller and a book of homecoming, as Cot returns to Key West, where he was born and raised, to confront the living ghosts of his past. These include his on-again-off-again girlfriend Marcella and her husband Ordell (the county prosecutor), as well as his mother and his oldest friend from high school, a drag queen named CJ. To this mix, Smith adds an army of hired killers out to wreak vengeance on Cot, although their violence, while pervasive, ends up seeming almost incidental. Read more
'Return to Oakpine'
Ron Carlson's new novel "Return to Oakpine" revolves around a group of high school friends 30 years after graduation, in the small Wyoming town where they were raised. The book begins with a simple errand: A man named Craig Ralston is called upon to refurbish a garage apartment for his old compatriot Jimmy Brand, who is coming home to die. The year is 1999 and Jimmy is nearing 50, a writer who left home after high school, in the wake of a family tragedy. And yet, Carlson wants us to understand, we never escape the past, not even a little bit of it. In a town such as Oakpine, that can't help but bleed into the present, reminding us of old hurts, old longings, of who we were and who we never will become. This is the tension that drives "Return to Oakpine," between what we want to do and what we need to do, between our dreams and our responsibilities. Or, as Carlson observes late in this elegant and moving novel, "There was a vague lump in his throat that he had thought was excitement but now felt like an urgent sadness; actually it felt like both." Read more
Steven T. Seagle and Teddy Kristiansen’s haunting graphic novel “Genius” revolves around a physicist named Ted who was once a prodigy, before his priorities became realigned. Ted has two kids, and a wife who may be dying; do we need to say that he feels trapped, that his pressures have become too much for him? Still, Ted has one saving grace, which is his love for Einstein, who holds a place in his life akin to God. “I mean, I’m an atheist —” Ted explains, “most thinking people are — But Einstein is the pinnacle of a thinking man.” As “Genius” progresses, this relationship becomes increasingly prominent, until Einstein himself is animated in these pages, discussing the nature of the universe, the nature of discovery, and the essential notion that our lives are always in constant evolution, just waiting for that one idea, that one revelation, for everything to “start anew.” Read more
'The Faraway Nearby'
Rebecca Solnit's latest book, "The Faraway Nearby," began with a delivery of 100 pounds of apricots to her San Francisco home. The apricots came from her brother, who had collected them from a tree in their mother's yard. At the time, the older woman was in the throes of Alzheimer's; she had been moved into an assisted care facility, making the fruit a metaphor, an allegory, for everything that she had lost. First and foremost, this meant stories, which are at the center of "The Faraway Nearby," a book about narrative and empathy that moves between a dizzying array of tales — including "Frankenstein," the Arabian Nights and that of Solnit's own breast cancer scare — to look at the way stories bind us, allowing us to inhabit each other's lives with unexpected depth. Read more
Joe Ollmann's graphic novel “Science Fiction” is a minutely observed account of a relationship in crisis, from which there is (or might be) no way out. The setup is simple: Mark, a high school science teacher, and his girlfriend Susan, who works in a convenience store, rent an alien abduction movie that triggers what Mark decides are repressed memories of his own abduction years before. If this is difficult for Mark, it’s even harder for Susan because she can’t believe what he is telling her. Here we see the central conflict of “Science Fiction”: What happens when a loved one goes through an experience that is, in every way that matters, life-changing, and yet, we can’t go along for the ride? Read more
What makes Stephen King resonate for me is the way he can get inside the most mundane of situations and animate it, revealing in the process something of how we live. His new novel, "Joyland," operates very much from this territory: It's a drama that unfolds in miniature. The story of a college student named Devin Jones who spends the summer and fall of 1973 working at a North Carolina amusement park, "Joyland" is a thriller but it's also a homage to the disposable culture of the early 1970s, a time when "oil sold for eleven dollars a barrel." What King is getting at is what he's always getting at, that life is inexplicable, that joy and sorrow, triumph and tragedy, are all bound up and can assert themselves at any time. Read more
Richard Lange's third book, "Angel Baby," is a thriller that makes its own terms. Beautifully paced, deftly written, it's a novel of moral compromise, in which we have empathy for everyone (or almost everyone) and no one at once. The story of Luz, who runs away from her husband, a Mexican drug cartel leader, and heads for Los Angeles, "Angel Baby" takes us into uncomfortable territory -- only partly because of its brutality. Rather, Lange effectively upends our sympathies by drawing us close to not just Luz but also Jerónimo, the reluctant enforcer sent to find her, as well as Malone, a San Diego County burnout who makes his money ferrying illegals across the border, and Thacker, a corrupt border cop. Read more
'Appointment in Samarra'
Fran Lebowitz has called him “the real F. Scott Fitzgerald.” Ernest Hemingway said he was “a man who knows exactly what he is writing about and has written it marvelously well.” But mention John O’Hara today — 43 years after his death — and you’re likely to draw a look as blank as an unwritten book. Why? In part, perhaps, it’s because he was, by all accounts, difficult to get along with, a social climber, a bully, a vicious drunk. And yet, he also wrote three of the finest novels of the 1930s — “Appointment in Samarra,” “BUtterfield 8” and “Hope of Heaven.” Now, the first of these books is back in print: a tale of social success and social failure observed in precise miniature. Originally published in 1934, it unfolds over two days during Christmas 1930 and involves a socialite named Julian English, who is caught in a death spiral of alcoholism and bad behavior, as he loses everything he has ever held dear. Read more
PlayStation 4 / Xbox One
The next-gen video game consoles are here, and so far the games look an awful lot like the ones from the generation coming to an end. But the presentation of the consoles — the arguments they put forth about how games can and should be integrated into our lives — varies greatly. Sony’s PS4 takes a targeted approach by emphasizing games and the places players go to talk about those games. Microsoft’s Xbox One has broader, non-gaming ambitions, relying heavily on voice controls (look ma, no remote!) to have viewers magically shifting among television, film, music and sports apps. Read more
Video game critic
'The Legend of Zelda: A Link Between Worlds'
Another long-standing Nintendo franchise gets spruced up. Like "Mario 3D," the look and controls are familiar, the tone is entirely new, as this action-adventure emphasizes smarts and exploration over tedious dungeon crawling. Read more
'Super Mario 3D World'
Nintendo's Italian brothers Mario and Luigi are the closest thing the video game world has to a Mickey and Minnie, and this Wii U-exclusive may be the freshest spin yet on a trustworthy gaming tradition. The secret? Cats. Mario and pals shape-shift into felines with the help of a little video game magic, allowing the characters to crawl, scratch, climb and meow in completely unexpected ways. Trust us. Read more
"Rain," Sony's download-only PlayStation 3 title, plays with an idea central to many fairy tales. What monsters come out to play when the lights are turned off? But ultimately, it ends up dealing with a far darker question — is there any monster quite so scary as loneliness? With such an emphasis on text and narration, this could be considered an interactive book more than a game but is, instead, a moderately paced exploration through a fantastically realized nighttime setting, where narrowly escaping the clutches of pursuers rewards players with more pieces of the narrative rather than larger battles. Read more
"Spaceteam" is high-stress nonsense, but high-stress nonsense at its most absurd, addictive and ridiculous. Available now for iOS and Android, think of "Spaceteam" as a board game for mobile devices. The concept is simple, as players are crew members on a ship that's in danger of exploding and must shout technobabble at one another to prevent destruction. But each has a different view, so one player's Voltsock is another player's Newtonian Photomist. Read more
"Gone Home," out now as a PC download, will likely feel more personal than any game you'll play this year. Players explore it from the first-person perspective of a college-aged daughter, Katie, who has been studying abroad and is visiting her family's new home for the first time. Traverse just one house and discover untold secrets about a family, be it struggles with failed ambitions or the teenage unease that comes with discovering one's sexuality. Read more
'The Legend of Zelda: The Wind Waker HD'
A remake of an old Gamecube title is not the Zelda game Wii U fans have been clamoring for, but Nintendo has freshened up "Wind Waker" to the point that it feels a new experience. This early 2000s Zelda title still stands as one of the franchise's crowning moments, as it set its main character loose on the high seas and gave the universe a zippy, cartoonish makeover. The animated film look works even better in HD, and the subtle adoption of new control techniques offered by the Wii U makes it one of the more accessible adventure role playing games around. Read more
'The Last of Us'
"The Last of Us" is not your typical doomsday narrative. Zombie-like attacks aside, tension here comes from an underutilized game-play tactic: conversation. Dialogue is almost as plentiful as weapons in this patiently cinematic tale of a smuggler and the reluctant bond he forms with the 14-year-old girl he's hired to protect. Developed by Sony-owned Naughty Dog, responsible for the hit "Indiana Jones"-inspired "Uncharted" series, "The Last of Us" acknowledges gaming clichés and then skillfully avoids them by keeping its focus on the relationship between Joel (the smuggler) and Ellie (the teen he watches over). It's an action game, but one with characters worth fighting for. Read more
‘The Dark Sorcerer’
A short film and not a game, but one designed to show what next-gen console the PS4 may be capable of. Quanitic Dream, the Paris-based developer working on the patient narrative "Beyond Two Souls," concocted this fantasy-comedy as a way to illustrate that character depth and detail can be sustained over long scenes filled with gameplay. But forget the technical stuff — it's a cute little video about a film shoot gone wrong, with goblins. Though there are no plans to turn "The Dark Sorcerer" into a game, director David Cage said fan response may inspire him to change his mind. Read more
'Mario and Donkey Kong: Minis on the Move'
The minis are diminutive, wind-up figurines that represent well-known Nintendo characters. They walk forward, they don't stop and it's up to the player to control and tinker with the cubic paths in front of them. That about covers the basics, but not the details. Every couple of puzzles a new element is added, be it cubes that rotate, bombs that can blow up cubes, cubes that come equipped with springs that will send the characters flying over spikes, cubes with hammers or cubes that can generate all-purpose, multi-use cubes. With 240 stages, there are a lot cubes. Read more
Games are wonderful at creating crazy, colorful universes full of whip-cracking vampire killers and interstellar space pirates, but they are less good at crafting ones inspired by more earth-bound cultural traditions. "Guacamelee!” is an exception. Perhaps not since LucasArts’ 1998 “Day of the Dead” noir title “Grim Fandango” has a game so lovingly draped itself in Mexican folklore. "Guacamelee!” is a colorfully humorous game centered almost entirely on the customs surrounding Day of the Dead. It’s a simple stylistic conceit that seems so obvious that it’s almost confusing it hasn’t been done with any regularity. Who needs zombies and vampires when there’s an entire holiday steeped in calavera imagery? Read more
The coolest store now open in downtown L.A. is called Acne Studios. That’s right. Get over it. If you don’t know, Acne (an acronym for Ambition to Create Novel Expression) was founded in 1996 in Stockholm by musician-turned-fashion designer Jonny Johansson. In seven years, it has grown into a $120-million brand with 40 stores around the world, men’s and women’s fashion collections, runway shows in Paris, as well as a publishing wing that has collaborated on projects with the likes of photographers Lord Snowden and William Wegman. Which is why when you walk into the new 5,000-square-foot boutique in the historic Art Deco Eastern Columbia Building on Broadway, it’s appropriate that you first lay eyes on “Giant Triple Mushroom,” a trippy toadstool of an installation by Belgian artist Carsten Holler that seems to symbolize the curious rise of a brand that is known for doing things differently. Read more
Standout Books on American Design
Several new style books focus on great American jewelry design. Here we zero in on two of the standout volumes of the season. 'David Webb: The Quintessential American Jeweler' and 'Jewels by JAR' have an eye for the dazzling. "David Webb: The Quintessential American Jeweler" American jewelry designer David Webb was a fixture on New York's social scene during the 1960s and '70s, beloved by Diana Vreeland, Nan Kempner, Doris Duke, Elizabeth Taylor, Barbra Streisand and many other style-setters. Webb is perhaps best known for his animal bracelets, more fierce than cute, featuring lions, tigers and dragons, which were part of the ladies-who-lunch uniform of the day. "Jewels by JAR," the catalog for the exhibition of the same name that runs through March 9 at the Metropolitan Museum of Art in New York, is a jewel of a book with 69 photographs of incredible pieces by Joel Arthur Rosenthal, today's preeminent American jewelry designer, who has been working in Paris since the late 1970s for a small group of in-the-know clientele. Designing under his initials, JAR, Rosenthal creates works of art using colorful gemstones, pearls and other materials such as beetle wings. Each piece is unique and "set in metals that are sometimes subject to a degree of alchemy," art dealer Adrian Sassoon writes in the introductory essay. Read more
Isabel and Ruben Toledo
Ignored by mainstream fashion designers for years, the plus-size market got a boost with the announcement that Isabel and Ruben Toledo would be designing a collection for size 14-plus retailer Lane Bryant. Isabel Toledo famously made the lemongrass yellow coat and dress that First Lady Michelle Obama wore to President Obama's first inauguration in 2009. Speaking about the collaboration with Lane Bryant, Isabel Toledo told Women's Wear Daily that she and her husband "were intellectually on board from the first moment." That statement to me is key. The excuse so many designers use for ignoring the plus-size market, and showing their clothes on increasingly skinny models, is that clothes just look better on bodies resembling bony hangers. But any designer worth his or her salt should look at designing for a different size or shape as an intellectual challenge. Read more
"Bohemian isn't a trend; it's a lifestyle." That's the motto upon which L.A. designer Cynthia Vincent has staked her decade-old brand, Twelfth Street, named after the street she grew up on in La Verne. The brand is known for its tribal print maxi-dresses and rompers, serape-stripe cardigans, rugged short Western boots and gladiator wedge sandals, all with a multi-culti, beach-and-canyon vibe. In a city where designers can come and go in a few seasons, Vincent is a fashion success story. She attended L.A.'s Otis Art Institute of Parsons School of Design, winning the Silver Thimble Award while she was there. In 1993, she started her first line, St. Vincent. She also opened a retail store, Aero & Co. in Los Feliz, to feature local independent designers. Read more
Designer Natalie Martin has mastered the art of gypset dressing, L.A.-style. In two years, the Aussie transplant has emerged as a go-to for boho-chic styles, including breezy kurtas, tunics, wrap skirts and maxi dresses, all priced under $300, and all crafted out of colorful, Balinese block print silks. Martin has a background in fashion marketing, putting in years at Italian leather goods brands Tod's and Hogan. Her namesake collection, which is sold at Barneys New York, Calypso St. Barth and other boutiques, as well and on her own website, brings a touch of Bali to L.A. Read more
Charlotte Olympia opens in Beverly Hills
London-based accessories designer extraordinaire Charlotte Dellal has opened her first L.A. Charlotte Olympia store, a glamorous, Art Deco-feeling boutique at the top of Rodeo Drive in Beverly Hills. The decor is an ode to Old Hollywood glamour from the moment you step inside the door, where Dellal (who has the curves and finger-wave blond hairstyle of a 1940s starlet herself) has her own pink marble Hollywood Walk of Fame star set into the ground, with "Charlotte Olympia" etched inside. "It's celebrating Los Angeles from an outsider's point of view," said Dellal, who launched her whimsical line in 2006. "I guess it's not all about Hollywood and film, but I'm a nostalgic person and I have always loved Old Hollywood." Read more
Malibu Barbie gets a makeover
With her beach blond hair, cheeky tan lines and chic shades, Malibu Barbie has been a style icon for many a young girl, including this one. Now, more than 40 years after she first hit the pop culture wave, Malibu Barbie is getting a makeover, from Los Angeles designer Trina Turk. The mythical Malibu icon is the perfect canvas for Turk’s cheerful 1960s and '70s-inspired SoCal aesthetic. Turk dresses the doll in a printed bandeau bikini and hexagon white lace cover-up and accessorizes her head-to-toe with a beach tote, pink shades, short-shorts, a peasant blouse, floppy sun hat and white wedge sandals. She’s even got a chunky cocktail ring, pink cuff bracelet and a bottle of sunscreen. To add to the fun, Turk’s June 2013 fashion collection, titled “Malibu Summer,” features the same items for women, so life-size Barbies can dress like their miniature muses. Read more
2013 marks 30 years that L.A.-based designer Tadashi Shoji has been making elegant formal wear for the rest of us. He got his start in the glitzy world of Hollywood, creating costumes for Stevie Wonder and Elton John, and more elaborate gowns for the red carpet for Florence Welch and Octavia Spencer. But the bulk of Shoji's $50-million namesake business is in department store sales of tasteful, figure-flattering and wallet-friendly cocktail dresses and evening gowns ranging in price from $198 to $508 for women who want to feel like celebrities in their own lives -- prom queens, mothers of the bride and the brides themselves. I recently sat down with the designer to discuss his favorite career moments, his new focus on selling in Asia, and what's next.n with the designer to discuss his favorite career moments, his new focus on selling in Asia, and what’s next. Read more
In just seven years, Paige Mycoskie has turned a passion for 1970s nostalgia into the next California lifestyle brand. Walking into her Aviator Nation store on Abbot Kinney in Venice is like stumbling into a frat house with a feminine influence. Steely Dan, Doors and Grateful Dead album covers and vintage skate decks nailed to the walls, a record player spinning Aerosmith's "Sweet Emotion," a 720 Degrees arcade game in the corner, stacks and stacks of foam trucker hats, T-shirts and hoodies spreading good vibes like "Pray for Surf" and "California Is for Lovers."... It's such a sensory experience, you half expect your shoes to be sticking to the floor from last night's kegger. Read more
The Los Angeles County Museum of Art has released its second Wear LACMA collection of fashion accessories created by local designers and inspired by the museum’s permanent collection. Custom perfumier Haley Alexander van Oosten of L’Oeil du Vert, accessories mavens Maryam and Marjan Malakpour of NewbarK and women’s clothing designer Juan Carlos Obando were tapped for the collection, which is for sale at the LACMA store and online, with all proceeds benefiting the museum. They had the run of the museum and could choose any piece as a starting point. What they came up with offers insight into who they are as designers and a chance to see a distinct part of their brand vision distilled. Read more
Style icon Paloma Picasso has been creating jewelry for Tiffany & Co. since 1980, famously reinterpreting Xs and O’s in bold silver and gold and celebrating the raw beauty of colorful stones in her modern-looking Sugar Stacks rings. Her newest collection for the jeweler, Olive Leaf, is more naturalistic than what has come before, with prices ranging from $150 for a thin silver ring band to $975 for a silver cuff to $100,000 for a diamond and white-gold bib. Picasso, 64, is married to French osteopathic doctor Eric Thevenet and splits her time between Lausanne, Switzerland, and Marrakech, Morocco. Read more
Designer, retailer and Hollywood royalty Jennifer Nicholson, who once headlined Los Angeles Fashion Week and showed her collections in New York and Paris, has returned to fashion after a nearly five-year hiatus. Her new venture is Pearl Drop, a Venice boutique with a “boho goddess festival vibe,” opened just in time to dress customers for this month’s Coachella Music and Arts Festival, one of Nicholson’s favorite springtime excursions. Read more
The Rodeo Drive shopping scene heats up with the opening of the new boutique from Celine, the LVMH-owned brand that helped usher minimalism back into style under the direction of designer Phoebe Philo. What can you find inside? We'll start with Celine’s spring runway collection and tailored classics, must-have handbags, and the fur-lined, Birkenstock-like sandals and fur-covered high heels that have fashion followers buzzing. Read more