Critics’ Picks: Feb 17 - Feb 23, 2017
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 UCLA pays tribute to a great director and on TV “The Missing” returns for a second season.
Click through to explore more and, where applicable, find directions to venues.
Sam Fuller Tribute
A tribute to the rambunctious Sam Fuller, director of such pulp classics as “Pickup on South Street” (1953) and “Shock Corridor” (1963), is always welcome, but the one scheduled at 7:30 p.m. Saturday by the UCLA Film & Television Archive is something special. Showing will be “Dogface,” a never-aired 1959 pilot for a potential CBS series on World War II, as well as the documentary “A Fuller Life,” directed by Samantha Fuller, the late director’s daughter. Fuller and Marsha Gordon, the author of a new book on Fuller’s war films, will host a post-screening discussion of the director’s work. Read more
‘Land of Mine’
Explosive devices that can detonate at any moment are intrinsically dramatic, and this Danish World War II film makes good use of that plot mechanism, but it has a whole lot more going for it as well. (Kenneth Turan) Read more
Beautifully shot on a tiny Eden-like Pacific island, this is the surprisingly convincing story of the forbidden love between two young people and how it plays out in a traditional South Seas culture. In Nauvhal with English subtitles. Read more
‘The Red Turtle’
A prize winner at Cannes, this immersive, meditative, stunningly beautiful animated feature is concerned with the rhythms of the natural world and the mysteries and wonders of ordinary life. Read more
'20th Century Women'
Mike Mills’ lovingly fictionalized snapshot of his late-1970s adolescence belongs to Annette Bening and her marvelously suggestive and layered performance. (Justin Chang) Read more
Amy Adams stars in this elegant, involving science fiction drama that is simultaneously old and new, revisiting many alien invasion conventions but with unexpected intelligence, visual style and heart. (Kenneth Turan) Read more
Paul Verhoeven’s brilliantly booby-trapped new thriller starring Isabelle Huppert is a gripping whodunit, a tour de force of psychological suspense and a wickedly droll comedy of manners. (Justin Chang) Read more
Michael Keaton gives a performance of ratty, reptilian brilliance as Ray Kroc, the American salesman who turned a California burger stand into the global fast-food behemoth that is McDonald’s, in John Lee Hancock’s shrewd and satisfyingly fat-free biopic. (Justin Chang) Read more
Sandra Hüller and Peter Simonischek give splendid performances as a high-strung businesswoman and her screw-loose dad in this magnificently unpredictable comedy from the German writer-director Maren Ade. (Justin Chang) Read more
Star Natalie Portman as Jackie Kennedy and director Pablo Larraín brilliantly pull back the curtain on one of the most public of private lives. (Kenneth Turan) Read more
'La La Land'
Starring a well-paired Ryan Gosling and Emma Stone, writer-director Damien Chazelle's tuneful tribute to classic movie musicals is often stronger in concept than execution, but it's lovely and transporting all the same. (Justin Chang) Read more
Beautifully acted by Ruth Negga and Joel Edgerton, this involving, socially conscious Jeff Nichols drama shows the personal lives of the interracial couple whose marriage led to the 1967 Supreme Court ruling that anti-miscegenation laws were unconstitutional. (Kenneth Turan) Read more
'Manchester by the Sea'
Powerful, emotional filmmaking that leaves a scar, Kenneth Lonergan's drama starring Casey Affleck and Michelle Williams is both heartbreaking and heartening, a film that just wallops you with its honesty, its authenticity, and its access to despair. (Kenneth Turan) Read more
Jim Jarmusch’s wonderfully serene and beguiling movie is a portrait of a young artist refining his craft, drawing impressions from his everyday existence and coaxing them into a pleasing and provocative shape. (Justin Chang) Read more
Martin Scorsese's wrenching adaptation of Shūsaku Endō’s 1966 novel, about 17th century Portuguese priests experiencing a crisis of faith in feudal Japan, ponders the dogmas and mysteries of Christian faith with astonishing rigor and seriousness. (Justin Chang) Read more
‘The Missing’ Second Season
An excellent sequel to the excellent 2014 limited series of the same name, linked by a theme — the obsessive search for a missing person — and the character of French detective Julien Baptiste (Tchéky Karyo). Like its predecessor, it runs on multiple chronological tracks, distinguished by a haircut, a hair color, weather, behavior and details that are not quickly explained, leaving a mystery in the middle whose solution proceeds alongside that of the mystery at the end: double the mystery, double the vertigo. Sole screenwriters Harry and Jack Williams, who also scripted the first series, do not hurry to fill in the blanks, as the older timeline advances toward the newer, and the newer timeline moves toward its conclusion. (Starz, Sunday) Read more
'QB1: Beyond the Lights'
Peter Berg (“Friday Night Lights”) is the executive producer of this oddly sweet, casually poignant fly-on-the-wall documentary series, produced by Complex Networks for the mobile platform Go90, about three talented high school quarterbacks in their senior year. As a person with no interest in football — if anything, some negative feelings toward it — I am not its likely audience, but I am interested in people, the places they live and the things they do, not distorted by the sensational demands and judgments of garden-variety reality television. The quarterbacks in Berg’s lens are extraordinary talents who have their collegiate near futures set and bear the unusual weight of their position and talent — they’re local stars, interviewed and photographed. But they’re also still-evolving teenagers stumbling into adulthood, with parents who support and worry over them. (Go90, Anytime) Read more
'Becoming Warren Buffett'
Peter Kunhardts’ intimate, cheery, cheering, charming biographical documentary on the ukulele-playing Omaha billionaire reminds us that not all moguls are cut from the same cloth. We find Buffett active and alert in his late 80s, cheerleading his company’s festive stockholder meetings, driving through a McDonald’s on the way to work to pick up one of three habitual breakfasts, depending on how prosperous he’s feeling: “$3.17 is a bacon and cheese biscuit, but the market’s down this morning, so I think I’ll pass up the $3.17 and go with the $2.95.” (HBO) Read more
Ex-”Human Giant” collaborators Paul Scheer and Rob Huebel have created a funny sketch-comedy take on HBO’s old hidden-camera show “Taxicab Confessions,” updated for the generation that doesn’t take taxis. Though series has been made (by Complex Networks) for Verizon’s Go90 mobile platform, you do not need to be a Verizon subscriber to use the app, which is available for both Android and iOS; there is a Web version as well at www.go90.com.) As in “Taxicab,” everything takes place within the confines of a car in motion. Some rides begin very much in the former show’s spirit — a bachelorette party, a couple discussing whether to have children – if ending quite differently. The show can be a little gruesome and, like much comedy nowadays, is not for the easily embarrassed. But there is also a post-apocalyptic scenario (“I’m a slave at the refinery, I do a 72-hour shift, take a three-hour break, then 72 more hours, then the weekend of course,” fare Scheer tells driver Huebel), and an episode in which the pale rider is Death, played by Scott Aukerman. (Go90) Read more
'The Witness for the Prosecution'
Streaming from the Anglo-centric subscription service Acorn TV, this new BBC adaptation of Agatha Christie’s short story and play stars Toby Jones (“Detectorists”) as a subsistence-level London barrister defending a young man (Billy Howle) from a charge of murdering the rich woman who kept him (Kim Cattrall, putting on an accent). Complicating matters, emotionally and practically, is the accused’s wife (Andrea Riseborough), a destabilizing Soho showgirl. (Acorn TV) Read more
'Lemony Snicket’s A Series of Unfortunate Events'
Written by Daniel Handler under the pen name Lemony Snicket and appearing from 1999 to 2006, the 13 books gathered together under the title "A Series of Unfortunate Events" tell the story of the Baudelaire orphans, Violet, Klaus and Sunny, and their search for peace and security in the aftermath of their parents’ death, as the wicked Count Olaf, a self-styled “ac-tor,” attempts to steal their fortune. In 2004, the first three volumes became a feature film, “Lemony Snicket’s A Series of Unfortunate Events,” starring Jim Carrey as Count Olaf. Some fans of the books — which here means “the writer of this review, among others” – found it disappointing. Now comes “Lemony Snicket’s A Series of Unfortunate Events,” the eight-episode Netflix series, premiering Friday the 13th, with Neil Patrick Harris as Olaf and Patrick Warburton as Snicket, who narrates retrospectively from within the story. I have no complaints and only praise. The only question is whether to savor or to binge. (Professionally, I had to binge; but I would advise you to take your time.) (Netflix, Anytime) Read more
Best on TV in 2016
New series I loved in 2016, in no particular order: "Baskets" and "Atlanta"; "Insecure"; "Better Things"; "Stranger Things"; “Crash Course: Philosophy”; "Full Frontal with Samantha Bee"; "The Good Place"; "Berlin Station"; "Lady Dynamite" and “Dice"; "Easy" and "High Maintenance." Read more
Chicago’s Lookingglass Theatre Company’s stage version of Herman Melville’s high-seas classic is a marvel of economy and a stunning example of physical theater. Adapted and directed by David Catlin, the production intimates the metaphysical reach of the novel with an acrobatic theatrical imagination that guarantees a whale of an adventure for all. Ends Sunday, Feb. 19. Read more
Brimming with intellectual heft and an equal amount of heart, Moisès Kaufman’s Tony-nominated drama vaults back and forth in time as it treats Beethoven’s years-long obsession composing the Diabelli Variations and a present-day academic’s struggle to complete her monograph on the Variations before she dies of a wasting disease. In an intimate reassessment of the play, director Thomas James O’Leary and his superb cast, buoyed by a dream design team, capture the fulminations of genius. (F. Kathleen Foley) (Ends Sunday, March 26) Read more
Based on an actual incident, Stephen Sachs' delightful and provocative comedy pits a boozy Bakersfield trailer dweller who has supposedly discovered an authentic Jackson Pollock at a local thrift shop against the intellectually snide art expert who has been sent to evaluate her find. In this reprise of his 2011 production, Sachs, who also directs, has once again cast delightful husband-and-wife acting team Jenny O’Hara and Nick Ullett as surprisingly equal adversaries in his intellectually well-balanced dialectic. For those who missed the production the first time around, this is a welcome opportunity to redress that oversight. (F. Kathleen Foley) (Ends Sun., Feb. 26) Read more
'Hansel & Gretel Bluegrass'
Imaginatively integrating video, animation and live performance, Bryan Davidson’s new adaptation set in Depression-era Appalachia links the fairy tale horrors of child abandonment with real-world dire poverty. (Philip Brandes) (Ends Sunday, May 21) Read more
What to listen to now: Ryan Adams, Fred Eaglesmith and Nikki Lane
This week’s picks include the latest from veteran singer-songwriter Ryan Adams, under-the-radar Americana artist Fred Eaglesmith and the outspoken country of Nikki Lane. Read more
Critics and staff writers
The best classical music performances of 2016
Yuja, Mirga, Mahler, Lenny, Louis, Luis and more. A year of the naked, the dead and the saved. The young and old and forgotten. A year in which 10 won’t do… Read more
Album: 'Bob Dylan — The Cutting Edge'
Among the many things Thomas Edison famously said, he remarked that "Genius is 1% inspiration and 99% perspiration," and he also insisted that "I have not failed once. I have simply found 10,000 ways that do not work." Both precepts are clearly evident in "1965-1966: Bootleg Series Vol. 12," the revelatory latest release of Dylan archival recordings that comes out Nov. 6. Culling a mind- and ear-boggling wealth of outtakes, alternate versions and rehearsal snippets during sessions over the 14 months of an astonishingly fertile period for Dylan, which yielded three of the most influential albums in rock history — "Bringing It All Back Home," "Highway 61 Revisited" and "Blonde on Blonde" — the new set throws open a panoramic window into the creative process of one of the 20th century's greatest artists. (Randy Lewis) Read more
When Adele sings on her new album, "25," about an emotional experience so vivid that "It was just like a movie / It was just like a song," she's probably thinking of a tune by one of her idols: Roberta Flack, say, or Stevie Nicks. But for fans of this 27-year-old British singer, such a moment could only be captured by one thing: an Adele song. With her big hair and bigger voice, Adele broke out in 2008 as part of the British retro-soul craze that also included Duffy and Amy Winehouse. Her debut album, "19," spawned a hit single in "Chasing Pavements" and led to a Grammy Award for best new artist. Yet she outgrew any style or scene with the smash follow-up, "21," which presented Adele as a great crystallizer of complicated feelings, an artist writing intimately about her own life (in this case about a devastating breakup) in a way that somehow made the music feel universal. Clearly, the pressure is on to duplicate that commercial success with "25," which comes after a long period of public quiet in which Adele recovered from throat surgery and gave birth to a son (and tweeted no more than a few dozen times). "Hello," the record's brooding lead single, set a record when it was released last month, racking up 1.1 million downloads in a week. But the song's enthusiastic embrace only underscored the other, more pressing demand on the singer as she returns: that her music still provide its trademark catharsis. Put another way, Adele's fans have been waiting for years for new Adele songs to explain their experiences to them. And they get a worthy batch on "25." (Mikael Wood) Read more
There's something delightfully perverse that David Bowie waited until he was 69 to release what's being described as his first jazz album. It was at that age too when veteran rock stars who include Rod Stewart and Paul McCartney took up with big bands or reached for the Great American Songbook to demonstrate their taste and hard-won stature. Even Bob Dylan got in on the act last year with "Shadows in the Night," his lovely (if desolate) tribute to Frank Sinatra. So when you hear that Bowie hooked up with a New York saxophonist and his crew for “Blackstar,” out Friday (just two days before his death from cancer), you think perhaps that Bowie has joined the club — that after cycling through countless styles and personas over his half-century career, he’s finally become a finger-snapping crooner with Count Basie on his mind. Ah, no. (Mikael Wood) Read more
Single: 'A Living Human Girl'
Out of the gate, teen band the Regrettes aren't holding back. The group's first major single, "A Living Human Girl," takes aim at the patriarchy in one verse and societal expectations of beauty in another, with lead singer Lydia Night rattling off perceived faults as if they're cause for celebration. Pimples? Check. Stretch marks? Bring 'em on. "I can dress how I want, not looking for a show of hands," she snarls over a snappy, '60s-inspired groove. Although the 15-year-old says the song was inspired by her first few days of high school in downtown Los Angeles, the tune's worldview transcends adolescence. (Todd Martens) Read more
Where to dine in Southern California if you love tasting menus
You can call it a tasting menu. You can call it omakase. You can call it dégustation, a banquet menu or modern kaiseki. What it tends to be is a meal made up of dozens of small tastes, served in exquisite rhythm, where the courses, their order and their precise composition has been determined for you the second you walk in the door, so that your only choice is really whether you want to gut it out with a bottle of Lodi Verdelho or submit to a relentless wine pairing. The chef is the artist and your belly is her canvas. And when a tasting menu is done well, it can be the summit of cuisine. Read more
Have you, by chance, tasted tonkotsu ramen? Because the Kyushu-style noodles may be at their peak in Los Angeles at the moment: thin, straight noodles served in a pork broth of maximum intensity. Tonkotsu ramen is often layered with slices of soft braised pork, garnished with simmered bamboo shoots and served with a soft-boiled egg. It is invariably a gut bomb that will stay with you longer than a double chili-cheese from Tommy’s. A Tokyo-based friend claimed that he once dropped 20 pounds just by cutting tonkotsu ramen out of his diet, and I believe him. The king of tonkotsu ramen in Los Angeles is probably Tsujita, a branch of a well-regarded Tokyo noodle shop that has clotted traffic on Sawtelle Boulevard since it opened half a dozen years ago. And now there is the Tsujita in Glendale’s Americana at Brand mall, a severely modern restaurant that gleams like a Tokyo dessert parlor, a place of long banquettes, long tables and coffered ceilings; theatrical lighting and a waitstaff that seems slightly stunned by the crowds. Read more
6 Great Restaurants for Spicy Food
Spicy food is glorious stuff, particularly in times of duress or when the weather is unreasonably chilly or when you’ve misplaced that bottle of Double Chicken Brand Sriracha you still keep in your bag. So which restaurant to head for when the need for a dose of chiles calls? Here are a half-dozen places around town where what’s on the menu can blow both your mind and the Scoville scale. Read more
Here’s Looking at You
Here’s Looking at You is a corner bistro from Jonathan Whitener and Lien Ta on the site of a former cheesesteak shop, all Edison bulbs, neo-midcentury cabinetry and a blend of post-punk and old-school hip-hop that has become to this kind of restaurant what Sade and David Byrne’s Brazilian compilations were to the last generation. Whitener comes to Here’s Looking at You from a stretch as chef de cuisine at Animal, the meaty, eclectic restaurant that redefined Los Angeles cuisine. And it is easy to see traces of Animal in Whitener’s cooking. Read more
Everson Royce Bar
Everson Royce Bar isn’t really a restaurant. To be fair, it doesn’t even try to be a restaurant – the word Bar is in its name. When you glance at the menu, the food takes up slightly less real estate than its shortlist of shots, and if you are a drinker of a certain bent, your attention is likely to linger on the sherry-cask Japanese whiskey than it is on the shrimp roll and the chicken thighs. Beard Award-winning chef Matt Molina is more or less serving regular bar snacks here, but superbly well, like the kitchen equivalent of a band like Metallica doing a covers set just because it can: steamed buns with pork belly, smoked potato taquitos, shrimp rolls and flaky, extra-rich biscuits with maple butter that happen to be about the best things it is possible to eat with bourbon. Read more
Gus’s Fried Chicken
You’re probably going to want to try Gus’s Fried Chicken. Because it’s pretty remarkable stuff, even in chicken-obsessed Los Angeles: a burnished red-gold, pieces bigger than they are small, whose peppery heat at first seems mild, even nonexistent, until it starts creeping up a few bites in, a heat that makes you glad you have a pint of sweet iced tea by your side. You may be thinking of Nashville hot chicken, the kind you can stand in line for at Howlin’ Ray’s in Chinatown, but this isn’t that — you don’t worry whether you’ve renewed your life insurance after a wing or two, and the crunch, although considerable, is of a completely different sort. Classic Nashville chicken has a complex, multilayered crunch that maintains much of its integrity even after a day or two in the fridge. Gus’s chicken is more of a batter-fried phenomenon, with a thin, fragile crust that shatters under your teeth, releasing a flood of scalding juice. Read more
Favorite Asian fried chicken joints
Does Los Angeles live by Nashville hot chicken alone? No — not as long as there’s a universe of Asian fried chicken too. Read more
Kettle Black is a new Italian restaurant from Beau Laughlin and his team, who also own Sawyer and the juice bar Clover on the block. The chef is Sydney Hunter III, who has been cooking in Los Angeles for 15 years or so, many of them at the right hand of Ludovic Lefebvre. Hunter’s Italian cooking is sure but eccentric, hewing to no particular regional cuisine and slightly edgy in its way, favoring a sweet-sour flavor palette, lots of crunch, and chiles used as much for fragrance as they are for heat: pizza, good handmade pastas, and fat purple slices of Japanese eggplant passed through the fire just long enough to add a bit of smokiness. Read more
There has never been a tempura restaurant in Los Angeles quite like Tempura Endo, the first American branch of a Kyoto, Japan, institution that dates to 1910. The restaurant occupies a modest storefront next door to a Japanese knife shop and right by a rental car yard. The location, although it is in the Beverly Hills triangle, has never been noted for fine dining – I remember a sushi bar that seemed really to specialize in sukiyaki. Tempura Endo is the other kind of tempura bar – an exquisitely expensive place that exists to serve intricate omakase dinners, well-calibrated multi-course meals presented with the detail and attention to seasonality of kaiseki, the lightness and purity you might not associate with two hours of deep-fried food. Read more
It is cold in Los Angeles. Rain is in the air. What you want to be eating is dizi, an Iranian lamb and chickpea stew, flavored with turmeric and dried lime — a popular street food dish from Tehran that seems to have a tonic effect against the chill. And for dizi, you should probably be at Nersses Vanak, a slightly faded restaurant in an industrial district of Glendale, where dizi, served with long-pickled garlic, platters of fresh herbs, and hot slabs of flatbread snatched smoking from the grill, is always the thing. Read more
Is it possible to become converted in a single bite? Because with a single fried chicken wing at the original Portland Pok Pok in 2007, I dropped my prejudices about non-European cooking in Oregon, the crossover potential of extreme Asian funk, and the ability of a non-Thai to prepare anything like upcountry Thai food. So eight years, many affiliated restaurants, a James Beard award, a Michelin star and a Chinatown noodle stand later, here we are at Pok Pok Los Angeles, an enormous restaurant in the old Fu Ling space in the Mandarin Plaza at the relatively deserted north end of Chinatown. Chef Andy Ricker's gift is the ability to make Thai food seem new again, to take it out of that comfortable place in the suburban strip mall, where it has become the default takeout comfort food for a huge chunk of Los Angeles, and put it back into the roadside stands and rural villages of Northern Thailand. Read more
Peter Saul: From Pop to Politics
Three paintings, 16 works on paper and one painted sculpture track aspects of the transformation Saul’s work underwent from 1957 to 1967. The Pop aspect is inescapable (and inescapably new for painting), but so is an established Surrealist sense of warped time/space dislocation and gestural paint-handling with Expressionist verve. In combination with vernacular subject matter, the mix sets his work apart. Ends Saturday, Feb. 18. Read more
Bouchardon: Royal Artist of the Enlightenment
His work nudged the visually delightful excesses of Rococo art toward the more sober gravity of Neo-Classicism.The only fragment of the artist’s extravagant monument to Louis XV that remains intact is the last object at the end of this enlightening exhibition. (Christopher Knight) (Ends Sunday, April 2) Read more
U.S. Courthouse Downtown
The $350-million, 633,000-square-foot federal courthouse, designed by Skidmore, Owings & Merrill, between Hill Street and Broadway, across the street from The Times, is an unusually polished work of civic architecture — especially by the standards of Los Angeles, where well-wrought public buildings have been comparatively rare in recent decades. Ten stories high, with broad shoulders and careful posture, it takes the form of a cube sheathed in walls of glass. Read more
Architecture’s top 10 for 2016
This was a year in which Los Angeles shook off some ambivalence about its own status as a dense, tall, post-suburban city — and in which the profession of architecture continued to embrace, reassess and excavate its own history. It was also a year in which architecture critics, thankfully, saw enough completed high-profile buildings — after several years in which the aftereffects of the 2008 crisis kept that supply low — to consider putting more than one on their year-end lists. Read more
‘Renaissance and Reformation: German Art in the Age of Dürer and Cranach’
LACMA’s show does an excellent job of translating 16th century German culture into a revealing 21st century exhibition. The museum has a reputation for organizing important shows of German art, mostly from the modern era, and “Renaissance and Reformation” impressively extends the range. Ends Saturday, March 26. Read more
Long before “sustainability” became a buzzword, Newton and Helen Mayer Harrison were delving into the human motivations and actions that run counter to the best interests of the planet. This fine mini-survey includes photo-text and installation work from 1971 to the present. (Leah Ollman) (Ends Sat., March 18) Read more
Mimi Lauter: Interiors
Lauter’s enthralling drawings have a visual grammar all their own. In them, color is motion — not in motion but motion itself. Similarly, space is texture. Lauter uses oil pastel and soft pastel as sculptural instruments, and her colors have a purity and intensity that shock the system into sensual overdrive. (Leah Ollman) (Through March 4) Read more
Theaster Gates: But to Be a Poor Race
Gates recycles — or transforms — just about everything he gets his hands on. And some things he doesn’t. At Regen Projects, The Chicago-based artist starts with the stuff he finds in his hometown, transforming worn-out fire hoses and the floorboards of basketball courts from shuttered public schools into large abstract paintings that seem to be haunted by ghosts — and all the more poignant for it. (David Pagel) (Through Feb. 25) Read more
Figures in Transformation: Harry Callahan and Robert Heinecken
This smartly focused show juxtaposes 12 photographs that Callahan made from 1942 to 1967 and 15 photographs that Heinecken made from 1964 to 1974. Conventional wisdom falls by the wayside as visitors see that the artists’ works have more in common than is commonly thought (David Pagel) (Eds Saturday, Feb. 18) Read more
Linda Stark: Painted Ladies
Packing loads of information into stark symbols and iconic compositions, the Los Angeles painter creates point-blank images whose elusiveness intensifies their emotional resonance. (David Pagel) (Through Feb. 25) Read more
Nothing rests easily in Khedoori's work, its drama typically tamped down — even in a romantic, wall-size painting of billowing black clouds. They hang in the air, a pregnant pause, quietly setting a stage for something momentous to happen. Khedoori starts with a primary paradox of art, in which an image is also an object. Playing with contradictions intrinsic to Modernist painting, she comes up with enchanting, unexpected hybrids. (Christopher Knight) (Through March 19) Read more
John McLaughlin Paintings: Total Abstraction
McLaughlin’s painting retrospective is the most moving and viscerally beautiful exhibition to be installed in BCAM since the building opened eight years ago. This is the first time a major institution has mounted a proper, full-scale retrospective. That such an indispensable painter didn’t merit one until 40 years after his death tells you all you need to know about how passed over this brilliant artist has been. In fact, I’ve been waiting those same 40 years for it. Ends Sunday, April 16. (Christopher Knight) Read more
The small exhibition is an elegiac tone poem, spoken in visual shades of black. With just 10 works by eight artists, it presents no defined thesis but resonates beyond its modest scale. (Christopher Knight) (Through March 31, 2017) Read more
I’m Batman. I’ve waited years — since the release of 1989’s “Batman” — to say those words and mean them. Considering that I’ve spent the bulk of my professional life writing rather than building a superhero’s physique, it seemed unlikely, save for Halloween, that such a day would come. This year we saw the release of the Oculus Rift and HTC’s Vive, which makes it possible to put on a pair of goggles and disappear into a digital landscape — as long as you have a high-priced, top-of-the-line computer. Now with Sony’s PlayStation VR, an add-on to the PlayStation 4 so many of us already have hooked up to our TVs, virtual reality is coming to the masses. Read more
Video game critic
The opening screen of the new Variable States video feature “Virginia” welcomes players to a small town named Kingdom. It’s laid before us as if it were a board game, with little trails leading to a cave or a gas station, a schoolyard or an observatory, all presented with the simple, cheery look of a brightly filled-in coloring book. Come in, stay awhile and bask in the beauty of small-town life, it seems to say. Press play, however, and things get twisted, and not with the typical things-are-not-what-they-seem subversion. Read more
Video game critic
The Wii U era is over. On Thursday morning, Nintendo unveiled its new console, the Nintendo Switch. Long code-named the Nintendo NX, the Nintendo Switch is a hybrid of sorts. The system, which will use cartridges rather than discs, will work with television sets. But it also will allow for portable use — a home gaming system that will work in the family room and on the go. Read more
'No Man's Sky'
Fourteen minutes and 54 seconds. I'm on a distant planet, and I need to get to my spaceship. Yet "No Man's Sky" is telling me that the vessel is a 14-minute, 54-second hike away. So I settle into the couch. But after three minutes of strolling through a salmon-colored rocky surface — and admiring some lavender plant life — I need a break, perhaps for good. This was the second time in one week I had quit "No Man's Sky." That's because there's another, more important number to mention when it comes to discussing "No Man's Sky": 18.4 quintillion. That is, there are more than 18.4 quintillion planets to discover in "No Man's Sky." You will not live long enough — here on Earth, that is — to collect them all. Read more
There are peculiar stone structures in the shape of sharks throughout the game "Abzu." They exist not to be investigated or warn of foreboding territory ahead. Instead, these objects are built for meditating. Have a seat, they beckon, and take in marine life. Play voyeur to a whale, a jellyfish, a shark or any number of undersea inhabitants. While "Abzu" is far from a documentary or a simulation, perhaps no other video game has ever been so singularly focused on re-creating the vast, majestic and mysterious nature of an aquatic universe. It does this with no voice, no text and no conflict. Your character in "Abzu" cannot "die" in the traditional video-game sense. Instead, the game centers on postcard-worthy imagery — swarming, silver schools of fish or sparkling green leaves or warm, orange coral — and Austin Wintory's thoughtful, patient score. Read more
'Mirror's Edge Catalyst'
Imagine if the world were filtered through the home screen of a smartphone. Picture opening your eyes to an image overloaded with headlines and messages. Notifications no longer buzz, they flash before you. "Warning," the display blinks in the lower right, "your bank balance is low." This is the view of Faith, early in "Mirror's Edge Catalyst." Having just been released from prison, Faith may not be happy with her financial prospects, but she definitely isn't too keen with the sensory overload of this futuristic, uncomfortably modern society. "Is this what the employees see all the time?" she wonders. In the world of "Mirror's Edge Catalyst," there aren't citizens so much as employees — workers for one of a handful of conglomerates that controls the world. You are identified not by your ethnicity or your interests but your job. Read more