What to do this weekend in L.A. Critics Picks: Feb 23 - March 1, 2018

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.

A new murder mystery is streaming, and some good TV shows just keep going.

Click through to explore more and, where applicable, find directions to venues.

Anne Wiazemsky. (Rialto Pictures)

Au Hasard Balthazar’

Robert Bresson’s “Au Hasard Balthazar” (1966) is one of the undisputed masterpieces of world cinema, as well as one of its abiding mysteries. Not even the keenest understanding of Bresson’s formally rigorous methods can quite account for the poetic alchemy he achieved here: Compacting the short, brutal life of a donkey into 95 minutes, the movie somehow achieves a heartbreaking, deeply human vision of the sublime. Read more

Justin Chang

Los Angeles Times Movie Critic

Michael B. Jordan, left, and Chadwick Boseman. (Matt Kennedy / Marvel / Disney)

Black Panther

A superhero movie whose characters have integrity and dramatic heft, filled with engaging exploits and credible crises grounded in a vibrant and convincing reality, laced with socially conscious commentary as well as wicked laughs, this is the model of what an involving popular entertainment should be. And even something more. Read more

Kenneth Turan

Film critic

Jérémie Renier and Marine Vacth. (Credit: Cohen Media Group)

Double Lover’

A Parisian woman (Marine Vacth) begins seeing identical twin psychiatrists (Jèrèmie Renier) in François Ozon’s delirious cracked mirror of an erotic thriller, which plays like the kinky love-child of David Cronenberg and Brian De Palma. Read more

Justin Chang

Los Angeles Times Movie Critic

"Early Man." (Lionsgate / TNS)

Early Man’

Four-time Oscar-winning director Nick Park, the creator of Wallace and Gromit, is back with a droll romp through prehistoric times that will put a smile on your face. Read more

Kenneth Turan

Film critic

Mary-Louise Parker. (Vertical Entertainment / Stage 6 Films)

Golden Exits’

Effortless intimacy and eloquent dialogue distinguish Alex Ross Perry’s melancholy Brooklyn dramedy, featuring strong performances from an ensemble cast that includes Adam Horovitz, Emily Browning, Lily Rabe and Mary-Louise Parker. Read more

Justin Chang

Los Angeles Times Movie Critic

Other recommendations:

'Call Me By Your Name'

Timothée Chalamet and Armie Hammer give superb performances as two young men falling in love in the northern Italian countryside in this rapturously beautiful collaboration between director Luca Guadagnino and screenwriter James Ivory. (Justin Chang) Read more

'A Fantastic Woman'

Chilean writer-director Sebastián Lelio's follow-up to “Gloria” is a compassionate and captivating portrait of a young transgender woman (a superb Daniela Vega) dealing with hostility and intolerance in the wake of her lover's death. (Justin Chang) Read more


Written and directed by Scott Cooper and powered by a dynamic trio of interwoven performances by Christian Bale, Wes Studi and Rosamund Pike, this latest example of the western revival grabs you by the throat and holds on for the duration. (Kenneth Turan) Read more

'Lady Bird'

As warm as it is smart, and it is very smart, this portrait of a high school senior year marks actor-screenwriter Greta Gerwig's superb debut as a solo director and yet another astonishing performance by star Saoirse Ronan. (Kenneth Turan) Read more

'Paddington 2'

Everyone’s favorite Peruvian-born, London-based bear is back, this time facing off against a nefarious stage actor (Hugh Grant) in this beautifully structured and executed comedy from director/co-writer Paul King. (Justin Chang) Read more

'The Post'

"The Post" goes against the contemporary Hollywood grain. Propulsive major studio cinema made with a real-world purpose in mind, it's a risky venture that succeeds across the board. Prodded into existence by Steven Spielberg, one of the few filmmakers capable of making the studio system do his bidding and of persuading major players like Meryl Streep and Tom Hanks to go along with him, "The Post" takes on a particularly counterintuitive subject. That would be the Washington Post's 1971 role in publishing what came to be known as the Pentagon Papers, a top-secret 47-volume, 7,000-page Department of Defense study of the war in Vietnam that exposed all manner of official prevarications and outright lies extending over the terms of four presidents. (Kenneth Turan) Read more

'The Shape of Water'

Magical, thrilling and romantic to the core, a sensual and fantastical "Beauty and the Beast" tale with moral overtones, Guillermo del Toro's film plays by all the rules and none of them, going its own way with fierce abandon.(Kenneth Turan) Read more

'Star Wars: The Last Jedi'

Building and improving on "The Force Awakens," writer-director Rian Johnson's grand space opera is the first flat-out terrific "Star Wars" movie since "The Empire Strikes Back," full of dramatic echoes of George Lucas' original trilogy but also rich in surprise and imagination. (Justin Chang) Read more

'Three Billboards Outside Ebbing, Missouri'

Uncommon writer-director Martin McDonagh and a splendid cast toplined by Frances McDormand, Woody Harrelson and Sam Rockwell present a savage film, even a dangerous one, the blackest take-no-prisoners farce in quite some time. (Kenneth Turan) Read more

Clare-Hope Ashitey. (JoJo Whilden / Netflix)

Seven Seconds’

Veena Sud, who developed AMC’s “The Killing,” has a new series, “Seven Seconds,” 10 episodes to binge on Netflix starting Friday. That is easy to do, graced as it is with well-wrought characters, wonderful performances, a keen sense of place and weather, and the old familiar questions of who gets justice, if anyone gets justice, and who receives their comeuppance. Sud teases your desire for answers, even as answers are not really her point. Viewers familiar with her previous show will find thematic and structural elements repeated, and many of its pleasures — to use that word advisedly, but not ironically. Once again, a crime is the occasion for character study. At its center is the now-wary, now-warmer relationship of two partnered investigators, although their peculiar traits have been differently apportioned between assistant prosecutor KJ Harper (Clare-Hope Ashitey) and Det. Joe “Fish” Rinaldi (Michael Mosley). Read more

Robert Lloyd

Television critic

Toby Jones, left, and Mackenzie Crook in "The Detectorists." (Acorn TV)

A few good shows

Though some critics seem to specialize in raking bad shows over the coals, what makes the job worthwhile for me is the chance to lift up the deserving underdog, both for the sake of a show that might last a little longer with promotion, but also for the sake of the world the show might make a little better. Some series dear to me have recently returned. They fly at least a little under the radar, although each has managed multiple seasons and been among the best shows on all the platforms that can conceivably be called television. Here are four that merit your attention. Read more

Robert Lloyd

Television critic

Shoshannah Stern, left, and Josh Feldman. (Gunther Campine / Sundance Now / AP)

This Close’

“This Close” makes a bit of history as the first television series created, written by and starring deaf artists. (Each one of those things may be historic on its own.) Not surprisingly, the show, from and featuring Shoshannah Stern and Josh Feldman, first called “Fridays,” was born on the web, the place you go when, because you want something done, you have to do it yourself. A second version, titled “The Chances,” was produced under the aegis of the youth-oriented entertainment house SuperDeluxe; it was featured at Sundance in 2017, as part of the festival’s short-form episodic showcase. And a year later, here we are. It was a long road, but it was worth it. Stern and Feldman play best friends Kate and Michael. Kate works for a PR firm; she speaks, read lips and can hear a little (when her hearing aids work — we get an audio impression of what it’s like when they don’t). Michael, who doesn’t speak, is a graphic novelist with an award-winning book under his belt. Anytime, Sundance Now. Read more

Robert Lloyd

Television critic

Holly Hunter and Tim Robbins. (HBO)

Here and Now’

Here and Now” is a 10-episode series from Alan Ball, whose previous shows for the network were “Six Feet Under” and “True Blood” and whose “American Beauty” screenplay won him an Oscar before that. Once again, we are in a world of glamorous depression and soft-edged epiphany, encompassed now in the photogenic city of Portland, Ore. with its rivers and bridges and soft, gray, depressive and flattering light. (Pot is also legal there, and it is a device in more than one plotline.) People unacquainted with Portland might believe that real estate prices are such that these characters could afford to live in the places we see them live, but this is in line with the series’ — and, let’s face it, television’s — inauthentic way with reality. Holly Hunter, swallowing her Southern accent, plays Audrey Bayer, a former therapist now operating a one-woman something-or-other called the Empathy Initiative. “Not a lot escapes me,” she says, though things do. Husband Greg Boatwright (Tim Robbins), whom she met on the Berkeley front lines back in the day, is a philosophy professor who in the distant past wrote a crossover million-seller, “The Layman’s Guide to the Here and Now.” Sundays, HBO. Read more

Robert Lloyd

Television critic

Other recommendations:

'Altered Carbon'

“Altered Carbon” adapts Richard K. Morgan’s 2002 novel into a 10-episode television series starring Joel Kinnaman as space-warrior turned detective Takeshi Kovacs. Its strategy, not unique among science fiction stories, is to adapt the tone and tropes of hard-boiled detective fiction to futuristic sci-fi, which is why its rainy, neon-noir vision of San Francisco some centuries hence (now called Bay City) may remind you strongly of “Blade Runner.” In the crazy future Morgan envisions, brought to colorful life by series creator Laeta Kalogridis (“Terminator Genisys”), human consciousness is downloaded into a “stack,” a gizmo slid into every person’s cervical vertebrae at age 1. These stacks can be swapped into new bodies — or “sleeves” — when the old ones break. Additionally, the information they contain can also be “needlecast” across great distances into waiting empty vessels, allowing instant travel not merely between Atchison and Topeka, but Earth and distant planets, where there is a sort of Imperial Stormtroopers versus Rebel Alliance thing going on. Read more

'Queer Eye'

The latest old show to be resurrected for a new generation is Bravo's Emmy-winning "Queer Eye for the Straight Guy," later, and presently, just "Queer Eye." The series took off from the premise that (some) gay men might have something to teach (certain) straight people about self-presentation and self-understanding, and that the world would be better for watching this happen. As a fan of the Bravo series, I approached the reboot with trepidation. The original cast — Carson Kressley, Kyan Douglas, Thom Filicia, Jai Rodriguez and Ted Allen, who have stayed more and/or less in the public eye since the show went off the air in 2007 — had a special combination of personalities and talents that added up to a greater whole. The new crew is, on the whole, not as droll as the original — the hair-flipping Van Ness is the designated Kressley, the chatterbox joker — but they are full of life and ideas, of fun and feelings, which they are ready to discuss. Indeed, the Netflix "Queer Eye" has been arranged to provide moments of revelation and education for the Fab Five as well; their own feelings and back stories have been stirred into the mix. As before, some of the best scenes take place in transit, as the week's subject and one or two of the team just talk, as they travel to or return from checking out clothes, buying a mattress, trimming a beard. Netflix, Anytime. Read more


In the excellent, intriguing and occasionally action-packed “Counterpart,” a contemporary Cold War thriller has been erected on a science-fiction foundation: An experiment 30 years ago accidentally split reality into two, as lightning might split a tree. These separately evolving planes have remained connected by a passage — in Berlin, appropriately enough — a supernatural Checkpoint Charlie kept secret from almost everyone in either world. An apparatus has grown up around maintaining this portal. At the bottom of this bureaucracy are clueless “interface” men, who speak codes they don’t understand to men who don’t understand them. Howard Silk (J.K. Simmons) is one of these. One day, he is called upstairs by his young, somewhat callow boss (the excellent Harry Lloyd) and introduced to his “other,” an outwardly identical Howard from the other world who is at once his twin and himself. Mind blown! (Robert Lloyd) (Sunday, Starz) Read more

'The Alienist'

Part "Gangs of New York," part "The Knick" and part "Mindhunter," TNT's "The Alienist" pairs gruesome, serial killer carnage with horse-and-carriage charm for this psychological thriller set in 19th century Manhattan. The 10-episode limited series, which premieres Monday, is as much about a murder investigation as it is about the roots of our present-day ideas on gender, mental illness and socio-economics. Adapted from Caleb Carr's bestselling 1994 novel, "The Alienist" takes viewers through the filthy tenements and opulent parlors of 1896 New York, exploring the baby stages of forensic science, modern psychology and feminism along the way. (Lorraine Ali) Read more


The truth is hard to swallow. That's the tagline for "Rotten," Netflix's new original documentary series about the shady business behind the food we eat. The six-part series, to be released Friday, considers the origin of our groceries with a skepticism usually reserved for true-crime productions and detective dramas. Episodes explore a shadowy garlic business routed through Chinese prisons, the mystery behind America's sudden spike in food allergies and a global scandal called Honeygate. The common thread throughout episodes such as "Cod Is Dead," "Lawyers, Guns & Honey" and "Garlic Breath" is the exploration of how corporate greed and corruption have quite literally changed the nature and origins of the food America consumes. And as with any well researched and reasonably argued documentary about eating in the 21st century, the idea is to educate the consumer about healthier and more responsible cuisine choices. And, of course, trust no one — as if that trip to the market weren't already fraught with carb counting, organic versus natural, and decoding countless cover names for corn syrup. (Lorraine Ali) Read more

‘David Bowie: The Last Five Years’

"Doctor Who” may have got its global premieres synchronized, but it took a year for “David Bowie: The Last Five Years,” a film about Britain’s other great cultural spaceman, to make it to the United States. Francis Whately’s film, which premiered in the U.K. in January 2017, arrives on HBO near what would have been the singer’s 71st birthday and the second anniversary of his death from liver cancer. Not much has changed in that time, of course, at least as concerns us here. Bowie still feels essential, necessary and oddly present — a useful example, the global legend as inspirational outsider. This is briefly a sad story — he dies in the end — but it isn’t a tragic one. Read more


Army scientist Frank Olson plunged to his death from a Manhattan hotel window in 1953. The authorities deemed it a suicide. His son contends he was murdered by the CIA. Director Errol Morris examines both possibilities in painstaking detail — exploring Eric Olson’s lifelong obsession with discovering the truth surrounding his father’s mysterious death — in “Wormwood,” a six-episode docu-series streaming Friday on Netflix. In Morris’ hands, it’s as much a true-crime whodunit as a conspiracy theorist’s dream come true, replete with covert, Cold War-era CIA operations, chemical and psychological warfare, government espionage and state-sponsored murder. The results are a mixed bag of gripping narratives and thinly sourced theories, firsthand accounts and cinematic re-creations, exhaustive research and flagrant conjecture. Read more

Peter Mendoza. (Craig Schwartz)

‘Elliot, A Soldier’s Fugue’

The first play in Quiara Alegría Hudes’ celebrated “Elliot” trilogy focuses on three generations of military men in a family living in Philadelphia, dreaming of Puerto Rico and still grappling with the traumatic fallout of their wartime experiences. This powerful lyrical drama, organized on the musical lines of a fugue, tracks Elliot as he ships off to Iraq, following in the heroic footsteps of his father and grandfather. Ends Feb. 25 Read more

Kirk Douglas Theatre, 9820 Washington Blvd., Culver City

Charles McNulty

Theater critic

Josiah Bania and Marin Ireland. (Chris Whitaker)


Pallid and careworn, Darja, an immigrant from Poland who calls the industrial wastelands of New Jersey home, is easy to overlook But as played by Marin Ireland, the protagonist of Martyna Majok’s bleak yet necessary drama won’t soon be forgotten. Reprising her touted off-Broadway performance in a play that records the story of one casualty of the American dream, Ireland creates a scrupulously honest portrait in a palette of grays. Ends March 4. Read more

Geffen Playhouse, Gil Cates Theater, 10886 Le Conte Ave., Westwood

Charles McNulty

Theater critic

Tina Muñoz Pandya, left, Amanda Raquel Martinez and Leslie Ann Sheppard. (Jenny Graham)

‘Pirates of Penzance’

For those who have dreamed of being part of the merriment of a Gilbert & Sullivan light opera, this semi-immersive staging by the Chicago company the Hypocrites represents the opportunity of a lifetime. The stage, outfitted with kiddie pools, fairy lights and even a tiki bar that serves alcoholic refreshments, is where theatergoers congregate for this jocular, beach party update of a musical entertainment already overtopped with daffy cleverness. Ends Feb. 25. Read more

Pasadena Playhouse, 39 S. El Molino Ave., Pasadena

Charles McNulty

Theater critic

Other recommendations:

'The King and I'

This tour of the Tony-winning revival of Rodgers and Hammerstein’s classic musical, which recapitulates Bartlett Sher’s stunning original staging, features Laura Michelle Kelly as the elegant but scrappy Anna, Jose Llana as the comically poignant King of Siam, and a mother lode of classic tunes, rendered with brio by an exceptional cast. If you’re at all a fan of classic American musicals, this particular production is a joy – a real gift that proves a bracing pick-me-up in trouble times. Ends Saturday, Jan. 21. Read more

Pantages Theatre, 6233 Hollywood Blvd., Hollywood

'Priscilla Queen of the Desert'

The eponymous vehicle for fabulously dressed, bantering drag queens has pulled up at the Pantages at last. The heart of this jukebox musical lies, not surprisingly, in the jukebox, featuring eye-popping, drag-inflected renditions of dance-club anthems such as "It's Raining Men," "MacArthur Park" and "I Will Survive." (Margaret Gray) (Ends Sunday) Read more

Pantages Theatre, 6233 Hollywood Blvd., Hollywood

‘Henry V’

Co-directors Julia Rodriguez-Elliot and Geoff Elliott play fast and loose with the Bard in their breathlessly truncated production, which features an authoritative Rafael Goldstein in the title role. Intrepid vandals in the high church of Shakespeare, they may spray paint out a passage or two but keep the meaning intact in a richly articulate staging that never flags in energy and style. (F. Kathleen Foley) (Ends April 6) Read more

A Noise Within, 3352 E. Foothill Blvd., Pasadena


Miracles abound in this musical, an underappreciated 1997 charmer that is notable for containing the first score by Jeanine Tesori (“Caroline, Or Change,” “Fun Home”). The story follows a disfigured young North Carolina woman on a 900-mile journey to seek out a televangelist she hopes can mend her. It’s given a spirited staging by director Kari Hayter and much of the rest of the team behind the Chance’s towering production of “Parade” last year. (Daryl H. Miller) (Ends March 4) Read more

Chance Theater, 5522 E. La Palma Ave., Anaheim

‘Alright Then’

Orson Bean and Alley Mills, one of L.A. theater’s most visible couples, thank the heavens for their later-life marriage in a feel-good show about love and gratitude. They share stories from their at-times rocky upbringings to set the scene for the miracle of their meeting, making each other laugh and shedding grateful tears. (Daryl H. Miller) (Ends March 25) Read more

Pacific Resident Theatre, 703 Venice Blvd., Venice

‘The Chosen’

Learning to see past differences and getting to know the person underneath is a lesson for all time in Chaim Potok’s 1940s-set novel, adapted by Potok and Aaron Posner. The tale of an unexpected friendship between Brooklyn teens from different strains of Judaism is given a poignant staging, with particularly fine performances by Sam Mandel as the youthful narrator and, unforgettably, Alan Blumenfeld as a charismatic rabbi. (Daryl H. Miller) (Ends May 14) Read more

The Fountain Theatre, 5060 Fountain Ave., L.A.


Wild and crazy guys for 30 years and counting, Culture Clash, backed by buoyant Los Angeles band Buyepongo, dishes up a fanciful melange, based on Aristophanes’ “The Frogs,” that takes dead aim at the country’s fractured immigration policies. The show is almost indescribable — hyper, nutty, bawdy, savagely hilarious — and unexpectedly wrenching. (F. Kathleen Foley) (Ends Sunday, Feb. 18) Read more

Getty Villa, Fleischman Theater, 17985 Pacific Coast Hwy., Pacific Palisades

'A Delicate Ship'

Anna Ziegler peels away the layers of her characters to their pulsing human core in this practically perfect memory play, a fateful romantic triangle that commences in the simplest situation and escalates to the dire. Under Andre Barron’s appropriately delicate direction, the cast, which includes Paris Perrault and Philip Orazio, is superb, but it is Josh Zuckerman who dazzles in a tour-de-force turn as a wayward yearner whose cheekiness covers hidden depths of anguish. (F. Kathleen Foley) (Ends March 11) Read more

‘I Am Not a Comedian… I’m Lenny Bruce’

In this meticulously researched solo biography tracing the life and prosecution of the groundbreaking early 1960s comic provocateur, actor Ronnie Marmo and director Joe Mantegna offer subsequent generations not only a sense of who Bruce was but more importantly why he mattered. Through March 28. Read more

Theatre 68, 5112 Lankershim Blvd., North Hollywood

Chadwick Boseman. (Matt Kennedy / Marvel Studios-Disney / AP)

Black Panther’ soundtrack

There’s a scene in “Black Panther” — director Ryan Coogler’s breathlessly awaited Marvel Comics adaptation that promises to smash box-office records when it opens Thursday night — in which a bad guy busy raining fire from the passenger seat of a getaway car commands his driver to turn on some music. “It’s not a funeral,” the bad guy sneers, and suddenly we’re being pummeled by “Opps,” a throbbing, darkly futuristic hip-hop tune by a trio of rappers led by Compton’s Kendrick Lamar, who put together the movie’s all-star soundtrack and appears on each of its 14 songs. The villain’s line is a bleak joke of course, but he’s dead-on about his surroundings: “Black Panther” is most definitely not a funeral — and its wildly creative music accounts for much of its vital life force. Read more

Mikael Wood

Pop Music Writer

Inara George. (Mel Melcon / Los Angeles Times)

Album ‘Dearest Everybody’

Before Inara George was a musician, she spent four years as the daughter of one. Well respected today in Los Angeles pop circles for her solo work and for her many collaborations — including the Living Sisters and the Bird and the Bee — George wasn’t even 5 when her father, Little Feat frontman Lowell George, died unexpectedly of a heart attack in 1979. The tragedy — Lowell was only 34 — went some way toward defining Inara’s childhood, says the singer, who grew up in Topanga Canyon with her mother. As she began writing her own songs, though, Inara became determined to establish a presence outside her father’s legacy. On “Dearest Everybody,” her fourth solo album, George, 43, finally turns her attention to the death of the man known for founding one of rock’s cleverest, most idiosyncratic bands. Read more

Mikael Wood

Pop Music Writer

Sharon Jones. (Jacob Blickenstaff / Abramorama)

Album ‘Soul of a Woman’

Sharon Jones struggled as a singer for too long to let anything interfere with her success when it finally arrived. That’s the impression you get from “Soul of a Woman,” the final album this tough, leather-lunged R&B belter made before she died in 2016 of pancreatic cancer. Due Friday, nearly a year to the date after her death, the 11-track set was recorded in the wake of some serious professional accomplishments, including Jones’ first Grammy nomination and an acclaimed documentary that examined her unlikely breakthrough at age 40 following years of unnoticed labor in gospel choirs and wedding bands around New York. At the same time, Jones’ body was slowly failing her. Bosco Mann, who produced “Soul of a Woman” and plays bass in the singer’s longtime backing band, the Dap-Kings, says they scheduled their studio sessions around her treatment plan. Read more

Mikael Wood

Pop Music Writer

Taylor Swift. (John Salangsang/ Invision / AP)

Album ‘Reputation’

For Taylor Swift, love — or the idea of it — has always represented a refuge, an escape, a shelter in a storm. When she emerged, just over a decade ago, romance was a means of lifting herself out of the too-smallness of high school; later, its enduring promise cushioned her after any number of messy breakups. Swift’s idealizing impulse resonated with fans, who were using her music the same way she was using her imagination, and she quickly became one of the biggest and most closely observed pop stars on the planet. Now, on her sixth studio album, “Reputation” love is an antidote to the celebrity she so doggedly cultivated (and then fumbled as soon as everyone was watching). Read more

Mikael Wood

Pop Music Writer

Other recommendations:

Album 'The Thrill of It All'

Who is Sam Smith kidding? “Every time you hurt me, the less that I cry,” he sings, vowing to guard his fragile heart, in “Too Good at Goodbyes,” the gospel-inspired opener from his new studio album, “The Thrill of It All.” But if there’s anything this young British soul star has made clear since he emerged five years ago, it’s that he’ll never, ever run out of tears. Read more

Tim Buckley recordings

In early September 1969, the dynamic singer and songwriter Buckley played three nights at the Troubadour in West Hollywood. A tireless explorer influenced more by Nina Simone than Bob Dylan, he was accompanied during the gigs by himself and musicians playing a Fender Rhodes electric organ, electric and acoustic guitars, bass, drums and congas. Reissue producers Bill Inglot and Pat Thomas recently unearthed a bounty of tapes from those three nights in September, some of which already had been mined for an earlier concert recording, “Live at the Troubadour 1969.” The results of their effort can be found on “Greetings From West Hollywood” and “Venice Mating Call,” which come out Oct. 13. the two new releases, the former available on LP and the latter on compact disc, present wondrously remastered, previously un-issued versions from those Troubadour nights. (Randall Roberts) Read more

Nancy Silverton, left, Genet Agonafer and Suzanne Tracht. (Mariah Tauger / For The Times)

Jonathan Gold’s top 10 L.A. food trend predictions for 2018

1. Women in the kitchen Not so long ago, female-led kitchens in Los Angeles were so common as to seem almost unremarkable, and the era when the best restaurants were presided over by the likes of Nancy Silverton, Suzanne Goin, Evan Kleiman, Dominique Crenn, Lydia Shire, Mary Sue Milliken, Susan Feniger, Suzanne Tracht, Odette Fada, Sossi Brady, Monique King, Xiomara Ardolina, Genet Agonafer and Josie Le Balch, among so many others, was among the greatest in the history of American cooking. The history of new California cooking to a certain point was the story of women’s cooking in the state, and a chefs’ cookbook shelf without the works of Kleiman, Goin, Alice Waters and Judy Rogers is not really a shelf at all. Read more

Jonathan Gold

Restaurant critic

Grilled prime hanger steak. (Allen J. Schaben / Los Angeles Times)

Marché Moderne

The new Marché Moderne has all the accouterments of a grand modern restaurant, the vast open kitchen and the oversized flower arrangements; the enormous bowls of crushed ice holding Champagne; the heavy Laguiole steak knives and the vintage red Berkel, the ‘50s-era meat slicer that every chef knows is the most glamorous way to shave transparent curls of meat from a well-aged ham. Important courses are rushed to the table in gleaming copper saucepans, which most of the customers have probably priced out at Williams-Sonoma. Tablecloths are ironed and white. The high, beamed ceilings are of the sort you might expect in an Aspen ski chateau. Most of the customers valet park although there is free strip mall parking literally three steps away. Read more

Marché Moderne, 7862 E. Pacific Coast Highway, Newport Beach

Jonathan Gold

Restaurant critic

Neo Margarita pizza at Pizzana restaurant. (Francine Orr/ Los Angeles Times)

Jonathan Gold’s 10 best dishes of 2017

I’m wondering whether there has ever been a dining year quite like 2017 here in Los Angeles. The most interesting new kitchens seemed to be either in fantastically expensive tasting menu restaurants or in food courts; they stock their wine lists with either dreary classics or puzzling natural wines; and fill their pantries with farmers market vegetables or the product of their own backyards. Some of the best food came from what marketing people call brand extensions, others from the world of haute cuisine. As always, inspiration came from nearly every part of the world. Can 2017 be summed up in 10 dishes — 10 dishes that don’t happen to include well-done steak, double ice cream and Big Macs inhaled in silence? We’ll try. Read more

Jonathan Gold

Restaurant critic

Vespertine chef Jordan Kahn. (Allen J. Schaben / Los Angeles Times)

Jonathan Gold’s 101 Best Restaurants 2017

Let us address the spaceship in the docking port here — not everybody is going to be ecstatic that we are naming Vespertine the best restaurant in Los Angeles. The entire experience at Vespertine, from the lack of right angles in the dining room, to the throbbing four-note soundtrack, to the overwhelming abstraction of the food, to the stunning cost of dinner, is going to drive many of you insane. Yet looked at as an artwork, where the architect Eric Owen Moss, the ceramicist Ryota Aoki and the musicians in the post-rock band This Will Destroy You are as vital to the experience as the chef, Vespertine is in its way perfect. Read more

Jonathan Gold

Restaurant critic

Other recommendations:

Sari Sari Store

I have stopped by Sari Sari Store five times in three days, and I’m not sure if I should be admitting this to you or to a therapist. My colleagues and I have probably adored Sari Sari Store a little too much lately, partly because we’re as likely to become crushed out on a new restaurant as a 14-year-old is on the latest Zayn track, and partly because the idea of a Filipino-style lunch counter run by République’s Margarita and Walter Manzke is just too much, especially in downtown L.A.’s Grand Central Market. Read more

Sari Sari Store, Grand Central Market, 317 S. Broadway, Los Angeles


If you gaze long into Nothingness, or at least into the San Gabriel Sichuan restaurant of that name, the Nothingness that stares back at you is likely to include steamed whole fish, braised lamb with jelly noodle, and pig feet with hot pepper. The steam rising from hot pots may suggest an infinite void, but only for that moment before the vivid red of the roiling broth becomes visible through the mist. Also, I imagine the empty world does not smell quite so strongly of garlic and toasted chiles. Why is there something rather than nothingness? Because the presumption of nonexistence does not allow for the possibility of live crawfish steamed in chile sauce, while Nothingness the restaurant does. Does existence precede essence? I haven’t read a lot of philosophy since college, but I maintain that the snap of the shell, the softness of the flesh, indicate that it probably does. Read more

288 Nothingness, San Gabriel Blvd., Suite 103/104, San Gabriel


A juane is an unusual dish in the Peruvian repertoire, a huge, overstuffed tamal from the headwaters of the Amazon, a kind of combo meal made in its area of origin as a convenient takeaway lunch for travelers. Juanes take their name from John the Baptist — the bulging roundness is said to resemble the severed head of the saint on a plate — and they are often served on his saint’s day. When wrapped in the traditional bijao leaf, the late chef Felipe Rojas-Lombardi wrote, it looks a little like a hobo’s bundle on the end of a stick. You can stow almost anything in a juane before you boil it — rice and chicken, yuca root, plantains, hearts of palm, ground peanuts, sometimes boneless fish. At Rosaliné, the buzzy new Peruvian restaurant on Melrose, Ricardo Zarate makes his with chickpeas, hard-boiled eggs and pork shanks. Bijao is a little hard to find in California, so he steams everything in banana leaves. Read more

Rosalinén, 8479 Melrose Ave., West Hollywood

Favorite dishes from Food Bowl 2017

I’m not sure what you’ve been doing this month. I’ve been spending most of my evenings at the first edition of Food Bowl, The Times’ month of food events that’s been a welter of special dinners, film screenings, art displays, farmers market events, visiting chefs from some of the best restaurants in the world, panel discussions on everything from Filipino cooking to sustainable seafood to the problem of food waste, and a vast night market in the glow of City Hall. I’ve mourned dozens of dinners and events I was unable to attend. And I’ve eaten really well. Read more


Pizza, as every New Yorker is fond of telling you, is the food of the people; cheap, tasty sustenance sold by the slice. But in Los Angeles, pizza has another dimension, as anyone who has ever considered dropping six grand on a custom pizza oven can attest — in certain circles a wood-burning Italian-made behemoth is as necessary as a fire pit or a screening room. Famous pizza virtuosi make regular stops at the homes of talk show hosts and sitcom auteurs, who know that a perfectly made Margherita is worth its weight in osetra caviar. Pizza is also the food of the rich. Daniele Uditi, chef of the chic Brentwood pizzeria Pizzana, earned his bones at his family’s bakery near Caserta, the buffalo mozzarella capital of Italy, and in Naples, home of modern pizza, before he moved to Los Angeles. He probably became well known when actor Chris O’Donnell rescued him from a dead-end restaurant job and hired him to cook for him and his friends. Uditi’s pizza was a poorly kept secret, even among a lot of people who don’t run in Hollywood circles — he was regularly touted as a celebrity chef in Italian newspapers. So it became almost inevitable that he end up with a Brentwood restaurant of his own, in partnership with O’Donnell, wife Caroline O’Donnell, and Candace and Charles Nelson of Sprinkles Cupcakes. People line up for hours outside Pizzana’s blue, tiled dining room. Read more

Pizzana, 11712 San Vicente Blvd., Los Angeles

"The Divine Spouse," Miguel Cabrera. (LACMA)

Best art in 2017: Our critic’s top 10 exhibitions, plus one very big worry

Good things of course continue to happen in museums — in L.A., most notably, the Getty-funded initiative to underwrite a slew of exhibitions of Latino and Latin American art, the emergence of the long-sleepy California African American Museum as a lively destination and the announcement that a museum will be built at UC Irvine specifically to trace the development of California art. Here, in chronological order of their openings, are the 10 best museum exhibitions I saw in Los Angeles this year. Read more

Christopher Knight

Art critic

The Elbphilharmonie. (Franziska Krug / Getty Images)

Best architecture in 2017: In a tough year, plenty of highlights

This was a year that saw building booms continue in several American cities, including Los Angeles and Seattle, along with backlashes against those booms from homeowner groups and others. It was marked by a return to basic, even stoic architecture after a couple of decades of flamboyant form-making. It was a year — above all — in which crises like homelessness and climate change seemed to outpace any and all efforts to keep them in check or even, depressingly, to get a firm sense of their true scale. All the same there was no shortage of highlights. Despite the challenges and debacles of 2017 — and there were plenty — keeping this list to 10 seemed to me tougher than in years past. Read more

Christopher Hawthorne

Architecture critic

Other recommendations:

Vija Celmins

This quietly gripping show, the first in L.A. for Celmins in more than a decade, concentrates on recent work — paintings, drawings, sculpture and prints. Imagery that Celmins has mined for 50 years prevails (rippling oceans and star-flecked night skies), but there are also thrilling, newer directions represented, such as “reverse” night skies, and an exquisite mapping of the veiny cracks of a glazed ceramic surface. Celmins’ focus on outward appearances registers, ultimately, as a deeply personal, interior process. (Leah Ollman) (Through March 31) Read more

Matthew Marks Gallery, 1062 N. Orange Grove and 7818 Santa Monica Blvd., West Hollywood.

Robert Irwin

Now approaching 90, the painter-turned-pioneering-artist-of-light-and-space continues to astonish. Irwin has reimagined the gallery’s 5,000-square-foot ground level space as an immaculate, immersive sculpture. The environment reinvents itself — or rather, we reinvent it, perceptually — through shifts in light and perspective. This is Irwin at his catalytic best. (Leah Ollman) (Through April 21) Read more

Sprüth Magers, 5900 Wilshire Blvd., L.A


Star Wars: Secrets of the Empire

Just after donning our virtual reality headsets — and before pulling down the visors to completely surrender to a digital galaxy — four of us would-be rebels were given one major rule: no running. No running? No problem. As a skeptical admirer of virtual reality technology, I’m accustomed to the disorientation and even feelings of motion sickness that come from wearing any of the multiple headsets I have in my apartment. So while “Secrets of the Empire” promises excitement — namely a battle with Stormtroopers amid a space station built on a potentially unstable lava-filled planet — I was mainly worried that I’d eaten too much for lunch. A few minutes into the attraction, however, something unexpected happened. I started running. Read more

Todd Martens

Video game critic

"Cuphead." (Studio MDHR)


Video games often help define new entertainment frontiers, be they interactive, immersive or centered on virtual or augmented realities. Yet “Cuphead” resurrects a few nearly forgotten advances — namely the lost art of hand-drawn animation and the abandoned joy of big band jazz. Though the fast-paced and brutally difficult action game looks to bygone eras, its everything-old-is-new-again tone doesn’t exactly feel retro. By channeling the insanity of Walt Disney Pictures’ “Silly Symphonies” and the surreal but rough-around-the-edges work of Fleischer Studios, “Cuphead” possesses an anything-goes childlike weirdness with a sinisterly adult edge. Read more

Todd Martens

Video game critic

"Monument Valley 2." (Ustwo)

Monument Valley’

Some of the most popular modern fairy tales are played rather than told. Ustwo’s “Monument Valley” spun a story about a quiet princess — Ida — who worked, often alone, to restore a colorful, geometric habitat, one inspired equally by the meticulously designed illustrated architecture of M.C. Escher as well as the joy of optical illusions. Since its release in 2014, that experience has been downloaded more than 30 million times. Gray feels confident that “Monument Valley” succeeded in its mission statement. Now the design firm is back with a new game, one that once again wants to shift the mainstream awareness of what games can — and should — accomplish. On Monday, Ustwo unveiled “Monument Valley 2,” a sequel that aims to take the calm and abstract shapes and ruins of the first title and inject even more emotional depth. Read more

Todd Martens

Video game critic

Other recommendations:

The Nintendo Switch

Not since the debut of its original Nintendo Entertainment System has the Japanese company released a home video game console with as much potential to shake up how we play as the Nintendo Switch, which is out Friday. Thirty years ago, Nintendo reinvented the video game medium. Not only did the NES lead to such genre-defining interactive entertainment as “Super Mario Bros.” and “The Legend of Zelda,” but it also liberated games from the arcade and brought them to the American living room. Where they could increasingly be played for hours, days, weeks, months. Rather than intense, cliffhanger-like action that demanded the next 25 cents, home games had pace, tempo and rudimentary stories. They were also accessible — no obscenely pricey home computer or trip to a teenage-infested arcade needed. The Switch takes that livability to another level. It is a home video game console that’s connected to a television. But it’s also a hand-held device designed for ultimate mobility. And at least one of its games barely requires the use of a screen at all. Read more

Playstation VR

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


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

'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