What to do this weekend in L.A. Critics Picks: July 7 - 13, 2017

‘Beatriz at Dinner’

Salma Hayek gives perhaps the best performance of her career as an empathetic holistic healer who comes face-to-face with a rotten billionaire real-estate mogul (a marvelous John Lithgow) in this queasily funny and suspenseful dark comedy from director Miguel Arteta and screenwriter Mike White. (Justin Chang) Read more

'Dawson City: Frozen Time'

The one-of-a-kind documentary “Dawson City: Frozen Time” is an aesthetic knockout that's crammed with wild tales, amazing facts and unconventional personalities; a doc that's also a detective story, a history of a particular place that turns into an examination of an art form as well as a gloss on the political history of the 20th century; this Bill Morrison-directed epic uses stunning images from a celebrated cache of silent films to tell the story of the Klondike gold rush town in the most entrancing way. See it now on the big screen or forever regret it. (Kenneth Turan) Read more

‘It Comes at Night’

Confirming the filmmaking skill of writer-director Trey Edward Shults (“Krisha”), this nightmarish post-apocalyptic thriller about two families seeking refuge in the wilderness is a tour de force of narrative economy, etched in dim light and implacable shadows. Read more

‘The Lost City of Z’

Based on David Grann’s nonfiction bestseller about the British explorer Percy Fawcett (well played by Charlie Hunnam), James Gray’s rich, meditative and deeply transporting adventure epic is the sort of classical filmmaking that feels positively radical. (Justin Chang) Read more

‘My Cousin Rachel’

Daphne du Maurier’s melodramatic thriller of a novel is turned into a triumphant exercise in dark and delicious romantic ambiguity courtesy of an extremely persuasive performance by Rachel Weisz. Read more

‘The Keepers’

The Netflix seven-part documentary series “The Keepers” looks at one of Baltimore’s most vexing cold cases through the eyes of the women who continue to push for justice for Sister Cathy: Her former students at Archbishop Keough High School. Now in their 60s, Gemma Hoskins and Abbie Schaub have spent decades trying to get to the bottom of the murder of their beloved teacher Sister Cathy, who was 26 at the time of her death. But as “The Keepers” shows, the unsolved case has wider implications than your average whodunit. The school has since become the focus of dozens of allegations of repeated sexual abuse in the ‘60s and ‘70s by its chaplain, the Rev. Joseph Maskell, and other members of the clergy. Days before her death, Sister Cathy vowed she was going to fix the problem. Did she pay the ultimate price for trying to protect the girls? (Lorraine Ali) Read more

‘Twin Peaks’

It’s not unusual for a television show to return from the dead to finish old business and propose new, in the form of a TV movie (“Gilligan’s Island,” “Mary and Rhoda”) or new series (“Still the Beaver,” “Fuller House”), or a series of TV movies (“Perry Mason,” “The Rockford Files”), or a fold into another series altogether (the “Seinfeld” stealth return, folded into a season of “Curb Your Enthusiasm”), or the very same series, just after a long break (“Doctor Who”). So it is with “Twin Peaks,” a Pacific Northwest hallucinatory soap opera that lived for two seasons on ABC from 1990-91, and has come back to life on Showtime. It is a splendid, focused and wholly assured resurrection whose coming had oddly been predicted at the end of the second season, when Laura Palmer (Sheryl Lee), or rather her posthumous “doppelganger,” told FBI agent Dale Cooper (Kyle MacLachlan) that they would meet again after 25 years. That conversation is replayed at the opening of the long-belated, long-awaited new season. (Robert Lloyd) Read more

'The Handmaid's Tale'

Margaret Atwood published "The Handmaid's Tale," her novel about a near-future, totalitarian patriarchal theocracy, in 1985. It was right in the middle of the Reagan years, and as a Canadian she was looking south across the border at a resurgent American Puritanism, exemplified by the so-called Moral Majority and a flogging of "traditional values" in the face of various liberation movements. American fascism, she reckoned, would wear a holy face. The book has been adapted a number of times — as a 1990 film directed by Volker Schlöndorff with a screenplay by Harold Pinter — but also for the stage, for radio, as an opera and as a ballet. Now, as all things must, it has come to television, worked by Bruce Miller ("The 100," "Eureka") into a studiously handsome, generally impressive 10-part series. (Robert Lloyd) (Hulu, Anytime) Read more

'13 Reasons Why'

“Mean Girls.” “Freaks and Greeks.” “Heathers.” Perhaps you’ve heard: High school is a treacherous place. Students are ruthless to one another. Hormones are bad-behavior accelerants. And adults? Utterly clueless. Now throw in social media-shaming, sexism and suicide, and you have the basic building blocks for the addictive mystery that is “13 Reasons Why.” Directed by Tom McCarthy (“Spotlight”), this Netflix original series is based on Jay Asher’s 2007 young-adult novel of the same name. A girl ends her own life, but why? The answer slowly unfolds over 13 episodes, each an hour long and all of which begin streaming Friday. Stock up on provisions because you won’t be leaving the couch for half a day. (Lorraine Ali) (Netflix, Anytime) Read more

'The Perfect American'

“The Perfect American” is the operatic portrait of an idealist American artist as a less-than-perfect old man, which is to say a blend of sunshine, supremacy and insecurity. In Philip Glass’ most recent portrait opera (a great lives series that has included Einstein, Gandhi, Akhnaten, Columbus, Galileo and Kepler), Walt Disney takes stock as he confronts a virulent lung cancer. (Mark Swed) Read more

Terrace Theater, 300 E. Ocean Blvd., Long Beach

Single: 'Sign of the Times'

Heeeeeere’s Harry! Months after his bandmates in One Direction launched their inevitable solo careers, Harry Styles finally released his debut single under his own name Friday. It’s a sweeping power ballad called “Sign of the Times” that strongly recalls music from the early 1970s, such as David Bowie’s album “Hunky Dory” and “All the Young Dudes” by Mott the Hoople (which Bowie helped create). (Mikael Wood) 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

Album: '25'

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

Maestro

The morning after my last meal at Maestro, Danny Godinez’s new Mexican restaurant in Old Pasadena, I pulled the leftover barbacoa out of the refrigerator to see if I could salvage enough for a taco. There were still a few scraps of lamb left, but the container seemed half-filled with a mysterious goo. I was about to abandon the project – congealed lamb fat is no fun. I dipped in a spoon to see whether it might be worth reheating. And I was flabbergasted to discover that what I’d thought was grease was in fact beautifully jellied consommé, clear and as richly flavored as a demi-glace, without a speck of fat. This was Mexican food with a different point of view. And while I’m not sure I don’t prefer the magnificent hangover barbacoa from the beloved Aqui es Texcoco in Commerce or the dense, oily barbacoa from My Taco in Highland Park, Godinez’s version is very, very good — more delicate than its counterparts, slightly stringy, and without the insanely delicious pockets of fat that burst on your tongue, but still lovely and substantial. Read more

Maestro, 110 E. Union St., Pasadena

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

The Tsujita

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

The Tsujita, 769 Americana Way, Glendale

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

Everson Royce Bar, 1936 E. 7th St., Los Angeles

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

Gus’s Fried Chicken, 1262 Crenshaw Blvd., Los Angeles

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

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

Kettle Black, 3705 Sunset Blvd., Los Angeles

An Te Liu: Transmission

Toronto-based Liu presents 18 sculptures here in one immersive installation that is both visually and conceptually elegant. His bronze casts of plastic-foam packaging material prompt a meditation on objecthood and time. (Leah Ollman) (Ends Saturday, July 15) Read more

Anat Ebgi, 2660 S. La Cienega Blvd., Los Angeles

Analia Saban: Folds and Faults

Saban has made it her cunning practice to reconstitute painting and sculpture, to fiddle with foundations, essences and definitions, to take nothing for granted. She is consistently inventive with materials (folding concrete like paper, weaving dried paint as if thread), and at her best, the work is witty, chewy, subversive. (Leah Ollman) (Through Aug. 19) Read more

Spruth Magers, 5900 Wilshire Blvd., Los Angeles.

Concrete Poetry: Words and Sounds in Graphic Space

This lively show traces the efflorescence of an international movement from its beginnings in the early 1950s through the ’70s. Concrete poets staged a revolution against syntax and conventional form, making work mean to be seen (and sometimes heard and touched), as much as to be read. The 100+ poems, posters and books here feel fresh with the spirit of experimentation, invention and liberation. (Leah Ollman) (Ends Sun., July 30) Read more

Getty Research Institute, 1200 Getty Center Drive, Los Angeles

Sabrina Gschwandtner: Hands at Work

The Los Angeles-based artist’s “film quilts” pay homage to many varieties of labor but primarily domestic craft, work traditionally associated with women. From afar, these assemblages are pure pattern, color and light. Up close, it becomes clear that the designs are made from strips of 16mm film, stitched together with thread. Each of these vibrant works functions also as a personal archive and a subtle social statement. (Leah Ollman) (Through July 29) Read more

Shoshana Wayne Gallery, Bergamot Station, 2525 Michigan Ave., Santa Monica

Theodora Allen: Vigil

In her entrancing second show here, the Los Angeles painter continues to visualize the space of dreams and visions. Her two new bodies of work evoke a state of altered consciousness: physical reality feels muted, spiritual awareness elevated. (Leah Ollman) (Through Aug. 19) Read more Blum & Poe, 2727 S. La Cienega Blvd., Los Angeles

Blum & Poe, 2727 S. La Cienega Blvd., Los Angeles

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

'Virginia'

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

'Abzu'

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