Critics’ Picks: Oct. 25-31, 2013
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, two grim dramas (“All Is Lost” and “12 Years a Slave”) lead the movie picks; “The Good Wife” is set to deliver a much-anticipated episode on TV; and the remarkable paintings of Forrest Bess are featured at the Hammer Museum.
Click through to explore more and, where applicable, find directions to venues.
‘All Is Lost’
“All Is Lost” begins in darkness. There is a voice, though. Weary, almost apologetic, our man speaks of struggle, of trying and failing against an unforgiving sea. But soon the words stop and other languages — sight, sound, silence — pick up the story. And a face. Weathered and worn by time, Robert Redford is our man. The only one you will see in this spare and unsparing film. A superhero in a hoodie and sneakers in the unlikeliest of action adventures. The mission impossible is not to save the world, but himself. And the emotional crosscurrents we see on it become the film’s narrative anchor. (Betsy Sharkey) Read more
‘12 Years a Slave’
When a director who never ever blinks takes on a horrific subject, a nightmare in broad daylight is the inevitable result. Welcome, if that is the right word, to the world of “12 Years a Slave.” Based on an 1853 memoir detailing the appalling experiences of Solomon Northup, a free man of color who was brazenly abducted and sold into slavery, this film intends to do more than tell us a story. It wants to immerse us in an experience, and it does. Obviously, no film can re-create the unspeakable degradation of one human being owning another, but in making the attempt “12 Years” insists we feel things in a particularly oppressive way. This is impressive filmmaking, but it is not easy to take in. (Kenneth Turan) Read more
'Aka Doc Pomus'
Aka Doc Pomus If you care at all about the early days of rock 'n' roll, you either know who Doc Pomus was or count one of his songs as among your favorites. This documentary tells his extraordinary story. (Kenneth Turan) Read more
When Paul Greengrass directs a thoroughly dramatic tale based on true events and Tom Hanks takes on the title role, you think you know what to expect. But just you wait — the piercingly realistic "Captain Phillips" will exceed your expectations. The story of the six days that Richard Phillips, captain of the cargo ship Maersk Alabama, spent in April 2009 first trying to avoid a gang of Somali pirates and then as their restive captive, this film does an impeccable job of creating and tightening the narrative screws. (Kenneth Turan) Read more
Writer-director Nicole Holofcener is her own person, and her work, once seen, reminds you of no one else's. Actors James Gandolfini and Julia Louis-Dreyfus are the boldface names that will convince moviegoers to see her latest film, "Enough Said," but it is Holofcener's world they will be entering — and celebrating when they leave. In this, her fifth feature, Holofcener continues to make funny, melancholy, dead-on honest films about fallible people attempting not to make a complete mess of their lives. (Kenneth Turan) Read more
Julia Louis Dreyfus in 'Enough Said'
If you haven't caught Julia Louis-Dreyfus as the delightfully out-of-her depth vice president in her Emmy-winning HBO comedy "Veep," and have only dim memories of Elaine, "Seinfeld's" yuppie princess with a pea, "Enough Said" is an excellent example of her goofy, gracious way with comedy. Writer-director Nicole Holofcener's bittersweet romantic comedy about the difficulties of middle-age relationships is right in the actress' sweet spot, where insecurities and good intentions battle it out. Both Louis-Dreyfus and costar James Gandolfini (in his final role) are excellent with all the emotional fumbling that goes on as they teeter toward love. Yet for all Gandolfini's sweetness as a seriously lovable lug, Louis-Dreyfus carries the movie on those ever so slight shoulders. (Betsy Sharkey) Read more
Words can do little to convey the visual astonishment this space opera creates. Directed by Alfonso Cuaron and starring Sandra Bullock as an astronaut in trouble, this is a film whose impact must be experienced in 3-D on a theatrical screen to be fully understood. (Kenneth Turan) Read more
'Inequality for All'
That topic, as the title indicates, is the widening income gap in the United States between the hugely rich and the rest of us. Reich and documentary director Jacob Kornbluth turn out to be the ideal collaborators to tell the story of what that gap is, why it happened and why it's important, all in a totally engaging way. In addition to his impeccable classroom style (we seem him teaching his popular "Wealth and Poverty" class at Berkeley), Reich's real-world credentials are impressive, including a stint as secretary of Labor under President Bill Clinton. (Kenneth Turan) Read more
Like the kidnapping at the tortured heart of "Prisoners," once this chilling thriller about a parent's worst nightmare grabs you, it refuses to let go. The linchpins for the devastation wrought in the film are Hugh Jackman, Jake Gyllenhaal and Paul Dano. Exciting, terrifying, worrisome stuff saturates every second of "Prisoners," holding you captive, keeping you guessing until the bitter end. (Betsy Sharkey) Read more
A compulsively watchable documentary about a deadly 48 hours in which 11 people died on K2 is a complex and gut-clenching human drama that has the great advantage of all being true. (Kenneth Turan) Read more
‘The Good Wife’ (October)
“Hit the Fan” — the episode we’ve all been waiting for, in which Will (Josh Charles) reacts to Alicia’s (Julianna Margulies) decision to leave Lockhart & Gardner to start another firm with colleague Cary (Matt Czuchry) — has finally come due. “The Good Wife,” now into its fifth season, is unarguably the best drama on a broadcast network and one of the best dramas on television, full stop. Year after year (married) creators Michelle and Robert King have overseen a miraculous combination of character drama and legal procedural. What began as a vehicle for Margulies exploring what happens to the wronged political wife after the humiliating news conference quickly became a strong ensemble piece with an incomparable floor-to-ceiling cast: Christine Baranski, Archie Panjabi, Alan Cumming, Chris Noth and a host of A-list guest stars. CBS, Sundays. Read more
A French miniseries in eight parts, based on a 2004 film of the same French name (“Les Revenants”) but a different English one (“They Came Back”). The word “zombie” is often mentioned in press for the series, in which several characters, deceased, of different ages and dates of death, return to a small French mountain town — confused but, unlike your average zombie, with their mental faculties intact and physically none the worse for wear. (They are better off, in fact, being not dead, or undead, and bodily whole.) It is not a zombie story at all, as we understand the term. Or not yet — I am about halfway through the episodes as I write this. Though much has been established, nothing has been explained — and I fear the explanation, in a way, as much as the bad things that may happen before we get there, for the series comes alive in the uncanny and inexplicable, and answers are just things writers make up. Sundance Channel, Thursdays Read more
One can only hope this will be the last incarnation of Transylvania's most famous resident, though undoubtedly he will show up at some point consulting with Sherlock Holmes or having tea with a Bennet sister or two. Certainly he is on the road to moral reclamation and civilization here, played by Jonathan Rhys-Davies (with, it must be said, a truly deplorable American accent) more as sword of vengeance than blood-sucking monster. (Mary McNamara) (NBC, Fridays) Read more
'American Experience: War of the Worlds'
Orson Welles' October 30, 1938, broadcast version of H.G. Wells' 1898 Martian-invasion novel -- "The Mercury Theatre's own radio version of dressing up in a sheet and jumping out of a bush and saying 'Boo!,'" as he added at the broadcast's close, when reports of actual panic were already flooding in -- is recalled. This is how things went viral back in the days when telephones had cords and cameras shot film and moving pictures only moved at the movies -- a radio culture that filled the mind with pictures. (Robert Lloyd) (PBS, Tuesday) Read more
For those who consider themselves too high-brow for "The Walking Dead" or any of the many fine supernatural tales unwinding on TV today, we give you "The Returned," a six-part French supernatural thriller debuting Halloween night on Sundance. Yep, that's right, the undead and subtitles. (French majors, I sense some easy extra credit.) In a small mountain town, people presumed dead for several to many years begin showing up, seemingly untouched by time or decay, as confused by their status as friends and family members are. (Mary McNamara) (Sundance, Thursdays) Read more
Almost more PSA than report, this two-part portrait of Latino youth at a crossroads is meant to be inspirational and inspiring, and is. Presented as part of the series "Independent Lens," it's both a pitch to kids to stay in school -- Latinos have a high dropout rate -- and a plea (indirect but unmistakable) to everyone else to support institutions that support kids, not just school but any outreach program that can make life less risky for those at risk. Part one focuses on three girls, part two on three boys, each representing a different city and challenge; covered ground includes immigration, sexual identity, gangs, teenage pregnancy and homelessness. (Robert Lloyd) (PBS, Monday) Read more
Last week, Showtime's consistently overly analyzed series threw many a recapper into a postmortem tizzy. For almost Three Whole Episodes the audience was led to believe (if they did, and personally I didn't) that Clare Danes' super-agent Carrie Mathison was suffering not only from a complete bipolar breakdown, but a complete personal betrayal by her mentor/boss/father figure Saul (Mandy Patinkin). (Mary McNamara) (Showtime, Sundays) Read more
Long on visual splendor, with a curlicued Budapest standing in for sober-sided Victorian London, this Anglo-American limited series has a thing or two to do with the Bram Stoker original, and many more things that don't. Here, old Vlad comes masquerading as an American industrialist, pitching free energy -- this may well be the first vampire film to name check Nikola Tesla -- and harboring a righteous cause: to take down the centuries-old secret society that killed his wife, back in the Romanian Dark Ages. (NBC, Fridays) Read more
John Pollono, author of the much-feted “Small Engine Repair,” has supplied Rogue Machine with the world premiere of another gritty New Hampshire drama. The play, about the reunion between a stressed-out retail clerk and her recovering alcoholic ex-husband after their teenage daughter goes missing, provides further theatrical evidence that the traumatic past doesn’t die but rather moves underground, waiting for justice yet grateful for even a flicker of sympathy. The production, directed with emotional sensitivity by Rogue Machine artistic director John Perrin Flynn, lays on the local color a bit thick in the opening moments. We’re in white working-class New England, and the accents (similar to the “Saturday Night Live” Boston teen sketches) and grim furnishings don’t let us forget it. Through November 4. Read more
Rogue Machine, 5041 Pico Blvd., Los Angeles
Rogue Machine Theatre presents the West Coast premiere of Deanna Jent's harrowing drama based on her own experiences as the mother of a severely autistic teenager. A mother wrestles with a conflict of almost Sophoclean sparity: reconciling her love for her son with her obligation to the rest of her family. Beautifully directed by Elina de Santos with a remarkable cast. (Margaret Gray) (Ends Sunday, Dec. 22) Read more
Rogue Machine at Theatre Theater, 5041 Pico Blvd., Los Angeles
'El Grande de Coca-Cola'
Prolifically produced for almost 40 years, this lunatic revue, set in a seedy cabaret somewhere south of the border and delivered mostly in gibberish Spanish, has been directed by Alan Shearman and stars Ron House, both of whom have been with the show, as writers and performers, since its inception. Formerly two acts, the play has been judiciously pared to a breezy 75 minutes — and the comic momentum never flags. Wearing a hairpiece that looks like a small animal in distress, House is the lynchpin of a superlative, marvelously agile cast. If you don't like broad slapstick, give "El Grande" a very wide berth. But if you're in the mood to get goofy and giggle, this could be your ticket. (F. Kathleen Foley) (Ends Saturday December 14) Read more
This is a show about clowning, and I’m the straight man,” says actor Lorenzo Pisoni early on in “Humor Abuse,” currently sending Mark Taper Forum audiences skyward with the velocity of a helium balloon. He pauses, then adds, “Seriously.” Pisoni is only being honest, albeit self-effacing, and thus begins a rapturous 90 minutes that sail past like cascading juggling pins. By keeping its knee-slapping, gasp-inducing and heart-tugging elements in quietly accelerating balance, this Obie-winning solo piece about growing up with the Pickle Family Circus lands an uproarious, astounding and affecting tour de force. Co-created with ace writer-director Erica Schmidt, “Humor Abuse” follows a course as deceptively casual as the lights that designer Ben Stanton runs above our heads from upstage center, where the original Pickle curtain hangs behind a steamer trunk. (David C. Nichols) (Ends Sunday) Read more
'The Laramie Project: 10 Years Later'
This potent follow-up to the landmark Tectonic Theater docudrama reminds anew of how theater provides context in ways no other form can match. Director Ken Sawyer's inspired staging wraps us around the action, up close and personal, and the ensemble is beyond praise, interfacing with preternatural versatility and control. A haunting achievement as trenchant as it is artful, and not to be missed. (David C. Nichols) (Through Nov. 24) Read more
Davidson/Valentini Theatre, The Village at Ed Gould Plaza, 1125 N. McCadden Place, Los Angeles
John Pollono, author of the much-feted "Small Engine Repair," has supplied Rogue Machine with the world premiere of another gritty New Hampshire drama. The play, about the reunion between a stressed-out retail clerk and her recovering alcoholic ex-husband after their teenage daughter goes missing, provides further theatrical evidence that the traumatic past doesn't die but rather moves underground, waiting for justice yet grateful for even a flicker of sympathy. The production, directed with emotional sensitivity by Rogue Machine artistic director John Perrin Flynn, lays on the local color a bit thick in the opening moments. We're in white working-class New England, and the accents (similar to the "Saturday Night Live" Boston teen sketches) and grim furnishings don't let us forget it. Through November 4. Read more
'The Old Settler'
A humanist work with a moving vision of endurance and connectedness, the best qualities in John Henry Redwood's romantic dramedy set in 1943 Harlem are admirably served by this fine staging featuring Ruby Hinds and Jolie Oliver. (Philip Brandes) (Ends Sunday) Read more
'Pericles, Prince of Tyre'
Arguably largely written with a mediocre collaborator, Shakespeare's hectic play has a baffling array of reiterative subplots. However, buoyed by solid acting and superb technical elements, director Julia Rodriguez-Elliott wisely embraces the random nature of the piece in this blissfully eclectic production, which succeeds surprisingly — and sublimely. (F. Kathleen Foley) (Ends Sunday) Read more
"Richard II," Shakespeare's history play about the fate of a king who talks a better game than he delivers, is given an entrancing stripped-down production. Jessica Kubzansky, the theater's co-artistic director, has adapted and directed this deft distillation, which begins after Richard has been taken prisoner. Performed by an adroit cast of three, Kubzansky's version proceeds in flashbacks that are staged with laser-like precision, each scene offering another angle on this political object lesson. (Charles McNulty) (Ends Sunday) Read more
Boston Court Performing Arts Center, 70 North Mentor Ave., Pasadena
N. Richard Nash’s 1950s-era chestnut about a “spinster” swept up in romance by a dazzling con man can be laughably archaic. However, director Jack Heller crafts a striking, specific portrait of a bygone time. As for the pitch-perfect performances, they should all be distilled, bottled and preserved for posterity. (F. Kathleen Foley) (Ends Sunday, Dec. 22) Read more
'Smoke and Mirrors'
As actor and Magic Castle illusionist Albie Selznick’s superb theatrical magic show explores the connections between his life and art, perhaps his greatest feat is making any trace of boredom completely disappear. (Philip Brandes) (Ends Sunday, March 15) Read more
This latest entry from the matchless Quebec-based franchise nominally concerns the evolution of mankind. Yet in the masterful hands of writer-director Robert Lepage, a mesmeric creative team and 46 Olympic-worthy athletic artistes, it's really about transformation in totum, not to mention humanity's determination to achieve superhuman feats. It's why we love Cirque du Soleil, and always will. (David C. Nichols) (Ends Sunday, March 16) Read more
'A View From the Bridge'
Arthur Miller's durable drama about an Italian American longshoreman's incestuous obsession with his orphaned niece is helmed by co-directors Marilyn Fox and Dana Jackson, whose wrenchingly truthful staging, while larger than life, never lapses into overstatement. As for the actors, from Vince Melocchi's towering Eddie, the ill-fated protagonist of the piece, right down to the non-speaking bystanders, you simply won't see any better. (F. Kathleen Foley) (Ends Sunday) Read more
Great, just what the world needs: more enthusiasm for something Beatles-related. It’s a little tiresome, after all, this relentless fawning. Seems like every fiscal quarter something else pops up: an anniversary, reissue, Cirque du Soleil production, documentary, or surprising new solo album. Can’t we give it a rest and focus on, say, the Kinks, James Brown or Pulp for a while? Not while a Beatle’s still making records as consistent and well-crafted as “New.” With peaks as high as any music he’s done this century and nary a valley as low as “Silly Love Songs,” “Let ‘Em In,” “Ob-La-Di, Ob-La-Da” or his oft-treacly last record of standards, “Kisses on the Bottom,” Paul McCartney’s latest studio album is pretty damned good — damn it. Thirteen songs (a dozen plus a hidden track) that move from hard rock to gentle balladry to new wave-inflected pop-rock, McCartney at age 71 balances past and present, memory and the future, distortion and clarity, notions of new and old, on “New.” (Randall Roberts) Read more
Pop music critic
Los Angeles Philharmonic and Pacific Symphony
The Los Angeles Philharmonic and Pacific Symphony are reviving major scores that the orchestras commissioned and premiered for special occasions. Amid the final concerts of Esa-Pekka Salonen’s 17-year tenure as music director of the Los Angeles Philharmonic, he premiered his Violin Concerto in spring 2009. Since then he and violinist Leila Josefowicz, for whom it was written, have played it dozens of times all around the world. It will be played with the L.A. Phil on Friday, Saturday and Sunday at Walt Disney Concert Hall. William Bolcom’s “Canciones de Lorca,” which the Pacific Symphony commissioned to open the Renée and Henry Segerstrom Concert Hall in 2006 has not, for some mysterious reason, fared so well. Written for Plácido Domingo, it is a set of lusty Lorca poems set to some of Bolcom’s most beguiling music. The “Canciones” will be featured in a program of Spanish music Thursday, Friday and Saturday at Segerstrom Concert Hall. Conducted by Carl St.Clair, the program also includes Rodrigo’s Concierto de Aranjuez (with the young Chinese guitarist Xuefei Yang) and De Falla’s “El Amor Brujo” (with mezzo-soprano Ola Rafalo). Read more
Walt Disney Concert Hall, 111 S. Grand Avenue, Los Angeles
Trafficking in a mixture of chamber music, intricate post-rock and jazz, the Claudia Quintet has carved out a distinctive niche under the leadership of Grammy-nominated drummer/composer John Hollenbeck (even if it's obviously a challenge to define where exactly that niche lies). Regardless, this album marks a return to all-instrumental composition for the quintet, which in 2011 featured vocalists Kurt Elling and Theo Bleckmann on "What Is the Beautiful?" which was inspired by the poetry of Kenneth Patchen. Still, in the best music there's a sense that someone is talking to you, and here the subject is Hollenbeck's favorite month in "September," a time when the composer typically finds creative solitude. Though the 10 pieces are the result of Hollenbeck (for the first time) communicating them to the band without writing them down, each bears the group's tightly composed signature. (Chris Barton) Read more
That was fast. This summer was the first time portable music players finally went really high end, thanks to Astell&Kern, a South Korean audio outfit. The AK 100 and it’s big brother AK 120, which came out in time for a hi-def Fourth of July, make iPods and Android devices sound, in comparison, downright primitive -- like an AM car radio in a ’55 Chevy. The only problem has been price. Hold your breath: The two A&K models are, respectively, $699 and $1,299. Now for Labor Day, and from China (where Labor Day may not mean too much), there is the Fiio X3. It, too, will play HD downloads and it has the same digital-to-analog converter (which has a major influence on the quality of any files, even lowly mp3s) as the A&K players. It may not have A&K’s same sweet and open sound, but the price is $200.The means there really is a better alternative to the iPod, which will not play HD downloads. Yes, the X3 is thicker and clunkier than an iPod Touch and significantly more so than a Nano. (Mark Swed) Read more
Album: 'Coin Coin Chapter Two: Mississippi Moonchile'
Matana Roberts does not make easy listening music. Although in mainstream culture jazz is frequently relegated to an awards show backdrop or an oh-so-spooky bit of shading for pay-cable political dramas, the music remains a springboard into avant-garde expression for this Chicago-born saxophonist, who explores both personal and social history on "Coin Coin Chapter Two: Mississippi Moonchile." A challenging, engrossing listen that follows her ambitious "Chapter One" from 2011, this 49-minute piece (broken into 18 seamless tracks) continues Roberts' synthesis of free improvisation and spoken word into a unique, shape-shifting compositional voice that she calls "panoramic sound quilting." Where Roberts' last record could be tumultuous with passages of fiery blowing offset by a big band drive, "Mississippi Moonchile" is a swirling celebration of smaller-ensemble free jazz. (Chris Barton) Read more
Album: 'My Name Is My Name'
As Walter White would surely tell you, slinging drugs is a dirty job. But if you’re going to do it, own up and do it right. On his new album, “My Name Is My Name,” rapper Pusha T does just that, boasting that he “sold more dope than I sold records” with the pride of Heisenberg, and using musical sounds as glistening and well-crafted as his underground lab. The debut solo record from half of the duo the Clipse and member of Kanye West’s G.O.O.D. Music collective is hard and minimal, filled with state-of-the-art beats that pop with bravado. A masterful rapper, Pusha’s flow contains multitudes: He hints at Mase on “Let Me Love You” by moving through lines with a similar rhythm, and does the same with fellow Virginia rapper Missy Elliott’s flow elsewhere. He does this not as mimicry but as verbal nods to the big history behind him, one he’s pushing forward with an ear for just-weird-enough beats that can soothe one minute and shock the next. (Randall Roberts) Read more
Album: 'Holding It Down'
If there's any one thread running through today's pop music, it's the amazing ability for most songs to be about absolutely nothing. Despite scores of crises around the world, the biggest hits of the summer (i.e. "Get Lucky" and "Blurred Lines") are party-ready, escapist marshmallow fluff. The year's revolving door of package music festivals — events once at least peppered with voter registration and social outreach booths — mostly exist as target marketing efforts and a means of giving music fans the sunny feeling of how wonderful it is to attend a music festival. At their best, hip-hop and jazz remain most adept at breaking the mold, and the footprints of both genres can be heard on Vijay Iyer's and Mike Ladd's inspiring new album. An ambitious collaboration between one of the most celebrated jazz pianists today in Iyer and poet-MC Ladd, who has worked with a host of underground rap acts including El-P's Company Flow and Saul Williams, "Holding It Down" is the duo's third in a series of unclassifiable blends of music, theater and spoken word that paint a vivid oral history of post-9/11 America. (Chris Barton) Read more
Album: 'Wise Up Ghost'
Few musical pleasures are as satisfying as an eloquent artist with a sharpened pen and bitter tongue delivering perfectly pitched poison -- especially if the songwriter name-checks Disco-Tex and His Sex-O-Lettes and cites soldiers “playing their Doors records and pretending to be stoned.” It doesn’t hurt if the band propelling these darts is the Roots. Bitterness and Elvis Costello, how sweet the sound. On “Wise Up Ghost,” the musician's powerful new collaboration with the hip-hop group (and “Late Night With Jimmy Fallon” backing band), the artist offers a dozen songs that tackle war, peace, dishonor, disappointment and strife. A record that pops with urgency, it’s a journey into the world of big-picture alienation, one that highlights the little lives trying to survive amid the chaos. (Randall Roberts) Read more
It can be a delicate thing, honoring jazz history. On one hand, you might lose count when trying to tally the many tribute concerts and reissues dedicated to an artist like Miles Davis, but on the other, no other music carries such a vital link to its past like jazz. Take, for example, the continuation of jazz tradition that is "Tootie's Tempo," a gorgeous showcase for 78-year-old drummer Albert "Tootie" Heath, who can be heard on recordings from one side of jazz tradition to the other with the likes of Lester Young, John Coltrane, Anthony Braxton and Herbie Hancock. Backed by a pair of talented artists from this generation in the Bad Plus' Ethan Iverson and in-demand bassist Ben Street, the record is a study honoring tradition even while maintaining a sharp focus on forward motion. (Chris Barton) Read more
Album: 'World Boogie Is Coming'
Brothers Cody and Luther Dickinson were raised on Memphis blues, soul, R&B and rock ‘n’ roll. Their late father, Jim, is an unsung hero of rock ‘n’ roll who worked with, among others Big Star, the Rolling Stones and the Replacements. For nearly two decades his Grammy-winning sons have explored similar musical terrain while expanding the conversation — no small feat for a music born in these same woods nearly a century earlier. Teamed with longtime bassist Chris Chew, the brothers' eighth studio album as the North Mississippi Allstars gathers many styles of primal American music, including Southern boogie, rural blues and electrified foot-stomping guitar music. (Randal Roberts) Read more
Album: 'Dawn of Midi'
How, exactly, does one define Dawn of Midi? Composed of bassist Aakaash Israni, drummer Qasim Naqvi and pianist Amino Belyamani who have roots in Morocco, India, Pakistan and the fertile music program at CalArts, the group that is superficially a piano trio is far from anyone's definition of jazz with this album, which has a single, locked-groove composition that spirals through nine tracks and 47 engrossing minutes. The closest analogue may be the Necks, a category-defying Australian trio who built a following around long-form improvised sets. But where the Necks' sound features an in-the-moment ebb and flow, Dawn of Midi is dedicated to perpetual forward motion, a rigorously composed blend of minimalism and trance music. (Chris Barton) Read more
Album: 'North Hero'
Never underestimate the power of the Midwest. Continuing a recent run of Minnesota-born jazz talent that includes guitarist Todd Clauser and the Bad Plus, bassist Chris Morrissey offers a snapshot of his inviting way with melody on the wryly titled “North Hero.” The product of a successful Kickstarter campaign last year, the album was also produced by Bad Plus drummer Dave King, a connection that stands to reason given Morrissey also performed with King’s limber Minneapolis-based project Happy Apple. With those kinds of connections you might expect Morrissey to have nimble chops, and he's also been heard backing the intricate indie rock of Andrew Bird along with fellow singer-songwriters Ben Kweller and Sara Bareilles. (Chris Barton) Read more
Album: 'Big Sur'
Is there an artist as well-suited to record an album inspired by Big Sur as Bill Frisell? Having spent much of his long career working a fertile seam in the jazz world that shares ground with Americana and folk, Frisell and his often twang-dusted tone seems tailor-made for sweeping vistas and pastoral wonders. Stemming from a 2012 commission by the Monterey Jazz Festival, “Big Sur” is the result of Frisell holing himself up in a cabin at the 860-acre Glen Deven Ranch and writing music for wherever this natural muse took him. (Chris Barton) Read more
If you follow the restaurant scene in Los Angeles, you have known about Govind Armstrong for years, possibly since he was a teenage cooking prodigy whose mom drove him to stints on the line at the original Spago the way that other moms drive their kids to Little League practice. Or perhaps you know him from his long collaboration with locavore Ben Ford, or from his solo gigs at Table 8 and 8 Oz. Burger Bar. You may have followed Armstrong’s short-lived adventure in New York, which wasn’t well-received, and his appearances on “Top Chef” and on the list of People magazine’s 50 Most Beautiful People. It is more likely that you noticed his restaurant Post & Beam, which he started a couple of years ago with business partner Brad Johnson and is the most ambitious restaurant ever to open in the Crenshaw District. At Willie Jane, the new restaurant he runs with Johnson on Abbot Kinney’s restaurant row, Armstrong’s style has become more refined yet — it’s kind of a fantasy mash-up of Low Country cuisine with farm-driven California presentation, heavily reliant on the sharply tart notes that have become his trademark, and heavily reliant on Geri Miller’s urban farm Cook’s Garden next door. Read more
Willie Jane, 1031 Abbot Kinney Blvd., Venice
How do you know you're in a serious restaurant at the moment — a place where the chef ferments his own turnips, keeps a copy of "Modernist Cuisine" by his bedside and dreams of visiting Spain's Mugaritz restaurant? There will probably be a seaweed or two on any given plate, for the color, the crunch and the occasional spark of brininess, and bits of citrus zest will make it into places where you have never tasted citrus before. You will see at least one slow-poached egg, cooked to a perfect near-runniness at 63 degrees Celsius; top-shelf boutique greens that disappear long before you straggle into the farmers market on Wednesday morning; and a couple of flavors snagged from the bartender's cache. The presentation will be modern French, but the dishes may well be inspired by Italy, China and especially Japan, because Japanese (and New Nordic) cooking are what young chefs are crushing out on these days. Read more
Los Angeles burgers
The eyes of the world were recently focused on what surely must be the most repulsive hamburger in the history of mankind: 10,000 bits of cloned cow stem-cell tissue formed into a patty, seared in foaming butter and served to three food scientists in front of a crowd of decidedly unhungry journalists. If you would rather eat a hamburger than grimace at what your great-grandchildren might be forced to consider lunch, you can do better. Read more
101 Best Restaurants
If you take into account Los Angeles’ superb produce, its breathtaking diversity and its imagination, it can be one of the most pleasurable places to eat on Earth. What follows is a ranking of the best restaurants. How many have you tried? Where would you like to go? Create a list and share it with your friends. Read more
14 great Mexican restaurants
No places matches the breadth and depth of Mexican restaurants we have in Southern California, except Mexico City itself – and maybe not even there. You can find the cooking of almost every region in the country here, crafted at street-corner taco trucks as well as cutting-edge places like the new Corazon y Miel and Bizarra Capital. Here are Los Angles Times restaurant critic Jonathan Gold’s choices for 14 of the most essential places to try. 1. Babita: One of the most serious Mexican restaurants on the Eastside, a casual corner joint whose service is burnished to a white-tablecloth sheen. Chef-owner Roberto Berrelleza is especially gifted at the cuisine of his hometown of Los Mochis on the Sinaloa coast. Read more
Corazon y Miel
"Corazón y miel," your waitress wants it to be known, is the signature dish of Corazón y Miel. Corazón y miel, hearts and honey, is a small bowl of warm, seared chicken hearts in a sweet, honeyed vinaigrette, tossed with a few slivers of onion, like a chicken heart escabeche. The grayish hearts look a little gnarly, organy, probably more than you want to be dealing with before your third margarita. The bowl travels around the table twice. Someone finally spears a heart. She chases it with a shot of tequila. She spears another. She corrals the bowl for herself. Like the restaurant, a dim tuck 'n' roll gastropub in the working-class suburb of Bell, the hearts are an unlikely source of deliciousness. The hearts have won again. Read more
If you are the kind of restaurant-goer who gets hung up on first impressions, M.A.K.E., Matthew Kenney’s raw-vegan restaurant in Santa Monica Place, may not be for you. But Kenney, who was a renowned New York chef well before he adopted the raw-food thing, is solidly a creature of the food world, and a lot of his techniques are also found in the famous modernist kitchens where dehydrators and Vege-Mixes are as commonly used as pots and pans. The spray of thinly sliced carrots erupting from a base of cumin-scented nut butter is a dish you might see in any modernist dining room. And if the lasagna, sushi rolls and kimchi dumplings are more raw-vegan riffs than the things themselves, it’s just the way the juice-cleanse generation wishes things to be. Read more
A former underground dining club from Julie Retzlaff and her husband, chef Whitney Flood, Muddy Leek is less an edgy pop-up than a comfortable place to drop in for a glass of grenache and a snack on a Tuesday night. There may be the occasional tiny rabbit kidney garnishing a plate of rabbit hash, a little dish of rillettes made with the shredded remnants of duck confit, or a smear of chicken liver mousse on toast, but you are not here to be challenged, you are here because you want to eat nicely composed small plates, and it is nice. Read more
Tamarind of London
Is it easy to mistake Tamarind’s careful spicing for blandness or the mild juiciness of its chicken tikka for timidity? Could it be a good thing that the parade of grilled-mushroom salads, coconut-scented vegetable korma, chickpea dal, smoky eggplant curry and hot nan stuffed with coconut and dates tends to complement the scent of a pretty Sonoma Chardonnay? Tamarind, the Newport Beach sibling of the first London Indian restaurant to earn a Michelin star, is Southern California’s most luxurious Indian restaurant. Read more
The new restaurant from Jason Travi, whose Mediterranean-style cooking you may have tried at the late Fraiche in Culver City, is a really good bar with high-concept eats – channeling a 1950s New England seafood joint crossed with grungy Montreal bistro, and almost inexpensive unless you let the cocktails, the maple syrup eggs and the crunchy oyster sliders add up. You would be surprised how quickly you can inhale a plate of chilled oysters, nostalgia-flavored fish sticks or even a half dozen clams casino, whose blanket of crisp, bacony bread crumbs in no way slows you down. And there are freshly fried apple-cider doughnuts for dessert. Read more
Forrest Bess: Seeing Things Invisible
In 1946, when he was 35, Bess began to transcribe his abstract visions into paint on canvas. Now 52 of those visionary paintings are on view in a show of heartbreaking beauty. According to best estimates, it includes between a third and a quarter of his output. Why it took so long is difficult to say, but we can be grateful that it finally happened. (Christopher Knight) (Ends Sunday, Jan. 5.) Read more
Hammer Museum, 10899 Wilshire Blvd., Westwood
Albert Contreras is making the best paintings of his life. One hundred and eighteen of them, all made over the last few months, fill Peter Mendenhall Gallery with enough luscious color to put a sunset to shame. Next to the 81-year-old-artist’s glitter-sprinkled paintings, Liberace’s costumes look like outfits your grandmother might wear, when she wasn’t up to anything special. Screaming pinks, screeching yellows and blazing whites transform the intimately scaled main gallery into an operatic tone poem. No one is better than Contreras at making a thin slice of the spectrum feel as if it were infinite: jam-packed with enough eye-grabbing excitement and slow, simmering satisfaction to last a lifetime — or two. (David Pagel) (Through Nov. 2) Read more
Face to Face: Flanders, Florence and Renaissance Painting
Renaissance art made in Florence, Italy, more than half a millennium ago wouldn't look the way it does without art and artists working elsewhere in Europe. It's easy to forget that travel and trade between Italy and other countries was frequent, including travel by artists and trade in art. Yet cosmopolitan interchange played an indispensable role in the blooming notion of a Renaissance. One of the most important of these interchanges is the subject of a newly opened exhibition at the Huntington Library, Art Collections and Botanical Gardens in San Marino. "Face to Face: Flanders, Florence and Renaissance Painting" is a knockout, the fall's first great museum show. (Christopher Knight) (Ends Monday, Jan. 13) Read more
The Huntington Library, Art Collections and Botanical Gardens, 1151 Oxford Rd, San Marino
'Junípero Serra and the Legacies of the California Missions'
"Junípero Serra and the Legacies of the California Missions" surveys the impact of the devout Franciscan friar who established nine of the state's 21 missions, transforming the region. Serra also towed the colonial line for Spain, was fervent about his religion and saw no contradiction between Christian charity and a slave system that destroyed the Indians' traditional way of life. The exhibition, which coincides with the 300th anniversary of Serra's birth, looks at all sides of his mixed legacy. (Christopher Knight) (Ends Monday, January 6) Read more
The Huntington Library, Art Collections and Botanical Gardens, 1151 Oxford Rd, San Marino
Throughout his career — Sam Francis died in Santa Monica in 1994 at 71 — the artist engaged philosophical conundrums in paint. He was an avid student of Jungian psychology and Japanese aesthetics. Watercolor was his most-common choice of painting medium, whether in the conventional form used on paper or its popular 1960s canvas-cousin, acrylic paint. Fluidity is key to all his most successful series, starting with luminous examples from the 1950s made with thinned oil paint. It applies to the early 1960s orbs of expanding color in the "Blue Balls" works; the mid-1960s edge paintings, which use lush color only along the framing edges of the canvas while leaving the central area a bright, somehow muscular and visually aggressive white; and, the incredibly complex 1970s grids, in which crisp linear structure melds with oozing liquidity. (Christopher Knight) (Ends Sunday, Jan. 5) Read more
Pasadena Museum of California Art, 490 East Union Street, Pasadena
American landscapes at LACMA
The subject of a yearlong, one-room permanent collection installation at the Los Angeles County Museum of Art is 19th century American landscape art. The west wall has a spare lineup of all five LACMA paintings that show the American West, hung to create a continuous horizon line. The east wall is entirely covered, floor to ceiling and corner to corner, by a salon-style installation of 25 of its East Coast views. The face-off is stark between Eastern profusion and Western scarcity, the East Coast as unfolding history and the West as an elusive border. On the south wall in between, six photographs show Eastern landscapes, while 24 depict the West — a nearly exact reversal of the numbers in the two walls of paintings. Old and new landscapes are identified with old and new technologies: Paintings are "back there," photographs are "out here." (Christopher Knight) (Through Dec. 31.) Read more
Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles
James Turrell: A Retrospective
Light, the essential ingredient for sight, is Turrell's principal medium. Spiritual perception is his art's aim. The ancient metaphor of light as the engine of enlightenment is conjured in a modern way. (Christopher Knight) (Through April 6) Read more
Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles
2013 California-Pacific Triennial
More than 2,000 years ago, the Silk Road emerged as a network of flourishing trade routes between Asia and Europe, as well as parts of North and East Africa. Cultures crossfertilized. Civilizations prospered, others flamed out. Art recorded the complex new entanglements. For the next 41⁄2 months, a modern Silk Road is passing through Southern California. This superhighway runs through the Orange County Museum of Art, where the 2013 California-Pacific Triennial is now on view. A prime difference from its ancient predecessor is that Asia's trading partners here focus on the Americas, not Europe. Enlarging the geographic purview to encompass artists working in countries around the vast Pacific Rim, OCMA has changed its old biennial format, which looked exclusively at California artists. (Christopher Knight) (Ends Sunday, Nov. 17) Read more
Orange County Museum of Art, 850 San Clemente Drive, Newport Beach
T.C. Boyle’s “Stories II” gathers all the short fiction he has published in the past 15 years — 58 stories, including 14 that have never appeared in book form. This is no mere collection, in other words, but an edifice intended, not unlike its equally massive predecessor “Stories” (1998), to define a legacy. To some extent, that’s a sign of Boyle growing older; he will turn 65 in December. Death, or the threat of death, is all over these stories — or more accurately, a sense of mortality, of time zeroing in. But even more, it’s a signifier that here, he is holding nothing back. In “Stories II” we stare down 15 years of fiction, and how does it add up? “All part of the questing impulse,” Boyle suggests, “that has pushed me forward into territory I could never had dreamed of when I first set out to write — that is, to understand that there are no limits and everything that exists or existed or might exist in some other time or reality is fair game for exploration.” Read more
When news emerged three years ago that filmmaker Shane Salerno and writer David Shields were working on an oral biography (with accompanying documentary) about J.D. Salinger, I assumed it would be all smoke and no fire. Salinger, after all, had gone to ground after the publication of his novella “Hapworth 16, 1924” in June 1965; even in the wake of his death, in January 2010 at age 91, his estate had preserved the silence of his final 45 years. But if Salerno and Shields' book “Salinger” is, at nearly 700 pages, a bit of a shaggy monster, what may be most astonishing about it is its (largely) even tone. The idea is to present a portrait of Salinger as both his own savior and something considerably darker, and for the most part, the co-authors get the goods. Read more
Optic Nerve 13
Adrian Tomine's Optic Nerve is one of my favorite alternative comics: smart, understated and with a subtle yet pointed bite. Merging straight realism with an impressionistic sense of narrative, his stories often seem to be offhanded when, in fact, they are highly structured and defined. As an example, look at "Winter 2012," one of three pieces in the newly released Optic Nerve 13, a one-pager, told by way of 20 small panels, in which Tomine portrays himself as a Luddite, distressed by the indignities of the electronic age. Optic Nerve 13's other stories include a long central piece, "Go Owls," in which a woman meets an older man in a 12-step program and winds up in a relationship that becomes increasingly abusive and fraught, and the exquisite "Translated, From the Japanese," a love letter from a mother to her baby that is among the most beautiful things Tomine has ever done. Read more
'Never Built Los Angeles'
When, in the 1920s, the pioneering Southern California social critic Louis Adamic called Los Angeles "the enormous village," he didn't mean it as a compliment. Rather, he was referring to L.A.'s insularity, its status as what Richard Meltzer would later label "the biggest HICK Town (per se) in all the hick land," a city of small-town values and narrow vision that "grew up suddenly, planlessly." A similar sensibility underpins "Never Built Los Angeles," a compendium of more than 100 architectural projects — master plans, skyscrapers, transportation hubs, parks and river walks — that never made it off the ground. Edited by former Los Angeles magazine architecture critic Greg Goldin and Sam Lubell, West Coast editor of the Architect's Newspaper, and accompanied by an exhibition at the Architecture and Design Museum, it's a lavish counter-history of the city as it might have been: a literal L.A. of the mind. Read more
'The Wet and the Dry: A Drinker's Journey'
"He who makes a beast of himself," Samuel Johnson famously observed about inebriation, "gets rid of the pain of being a man." And yet, if Lawrence Osborne's new book, "The Wet and the Dry: A Drinker's Journey," has anything to tell us, it's that there is more to drinking than derangement, that it may lead to a transcendence more profound. "The Wet and the Dry" is a paean to drinking, but it is also a travelogue unfolding largely through the Islamic states of the Middle East and a memoir of sorts, in which Osborne's upbringing, in "a steadfast English suburb" during the 1970s, becomes a lens through which to read his life. "The drinker knows that life is not mental and not a matter of control and demarcation," he argues. "The teetotaler, on the other hand, knows full well how even a molecule of alcohol changes body and mind. The Muslim, the Protestant puritan, and the teetotaler are kin; they understand the world in a very similar way, despite all their enormous differences, while the drinkers know that the parameters that contain us are not all human, let alone divine." Read more
'Men in Miami Hotels'
Charlie Smith's terrific new novel, "Men in Miami Hotels," walks a line between genre and something considerably wilder, a fictional territory where a character might lose his or her soul. The story of a Miami hoodlum named Cotland Sims, on the run from a brutal mob boss, it is both existential thriller and a book of homecoming, as Cot returns to Key West, where he was born and raised, to confront the living ghosts of his past. These include his on-again-off-again girlfriend Marcella and her husband Ordell (the county prosecutor), as well as his mother and his oldest friend from high school, a drag queen named CJ. To this mix, Smith adds an army of hired killers out to wreak vengeance on Cot, although their violence, while pervasive, ends up seeming almost incidental. Read more
'Return to Oakpine'
Ron Carlson's new novel "Return to Oakpine" revolves around a group of high school friends 30 years after graduation, in the small Wyoming town where they were raised. The book begins with a simple errand: A man named Craig Ralston is called upon to refurbish a garage apartment for his old compatriot Jimmy Brand, who is coming home to die. The year is 1999 and Jimmy is nearing 50, a writer who left home after high school, in the wake of a family tragedy. And yet, Carlson wants us to understand, we never escape the past, not even a little bit of it. In a town such as Oakpine, that can't help but bleed into the present, reminding us of old hurts, old longings, of who we were and who we never will become. This is the tension that drives "Return to Oakpine," between what we want to do and what we need to do, between our dreams and our responsibilities. Or, as Carlson observes late in this elegant and moving novel, "There was a vague lump in his throat that he had thought was excitement but now felt like an urgent sadness; actually it felt like both." Read more
Steven T. Seagle and Teddy Kristiansen’s haunting graphic novel “Genius” revolves around a physicist named Ted who was once a prodigy, before his priorities became realigned. Ted has two kids, and a wife who may be dying; do we need to say that he feels trapped, that his pressures have become too much for him? Still, Ted has one saving grace, which is his love for Einstein, who holds a place in his life akin to God. “I mean, I’m an atheist —” Ted explains, “most thinking people are — But Einstein is the pinnacle of a thinking man.” As “Genius” progresses, this relationship becomes increasingly prominent, until Einstein himself is animated in these pages, discussing the nature of the universe, the nature of discovery, and the essential notion that our lives are always in constant evolution, just waiting for that one idea, that one revelation, for everything to “start anew.” Read more
'The Faraway Nearby'
Rebecca Solnit's latest book, "The Faraway Nearby," began with a delivery of 100 pounds of apricots to her San Francisco home. The apricots came from her brother, who had collected them from a tree in their mother's yard. At the time, the older woman was in the throes of Alzheimer's; she had been moved into an assisted care facility, making the fruit a metaphor, an allegory, for everything that she had lost. First and foremost, this meant stories, which are at the center of "The Faraway Nearby," a book about narrative and empathy that moves between a dizzying array of tales — including "Frankenstein," the Arabian Nights and that of Solnit's own breast cancer scare — to look at the way stories bind us, allowing us to inhabit each other's lives with unexpected depth. Read more
Joe Ollmann's graphic novel “Science Fiction” is a minutely observed account of a relationship in crisis, from which there is (or might be) no way out. The setup is simple: Mark, a high school science teacher, and his girlfriend Susan, who works in a convenience store, rent an alien abduction movie that triggers what Mark decides are repressed memories of his own abduction years before. If this is difficult for Mark, it’s even harder for Susan because she can’t believe what he is telling her. Here we see the central conflict of “Science Fiction”: What happens when a loved one goes through an experience that is, in every way that matters, life-changing, and yet, we can’t go along for the ride? Read more
What makes Stephen King resonate for me is the way he can get inside the most mundane of situations and animate it, revealing in the process something of how we live. His new novel, "Joyland," operates very much from this territory: It's a drama that unfolds in miniature. The story of a college student named Devin Jones who spends the summer and fall of 1973 working at a North Carolina amusement park, "Joyland" is a thriller but it's also a homage to the disposable culture of the early 1970s, a time when "oil sold for eleven dollars a barrel." What King is getting at is what he's always getting at, that life is inexplicable, that joy and sorrow, triumph and tragedy, are all bound up and can assert themselves at any time. Read more
Richard Lange's third book, "Angel Baby," is a thriller that makes its own terms. Beautifully paced, deftly written, it's a novel of moral compromise, in which we have empathy for everyone (or almost everyone) and no one at once. The story of Luz, who runs away from her husband, a Mexican drug cartel leader, and heads for Los Angeles, "Angel Baby" takes us into uncomfortable territory -- only partly because of its brutality. Rather, Lange effectively upends our sympathies by drawing us close to not just Luz but also Jerónimo, the reluctant enforcer sent to find her, as well as Malone, a San Diego County burnout who makes his money ferrying illegals across the border, and Thacker, a corrupt border cop. Read more
'Appointment in Samarra'
Fran Lebowitz has called him “the real F. Scott Fitzgerald.” Ernest Hemingway said he was “a man who knows exactly what he is writing about and has written it marvelously well.” But mention John O’Hara today — 43 years after his death — and you’re likely to draw a look as blank as an unwritten book. Why? In part, perhaps, it’s because he was, by all accounts, difficult to get along with, a social climber, a bully, a vicious drunk. And yet, he also wrote three of the finest novels of the 1930s — “Appointment in Samarra,” “BUtterfield 8” and “Hope of Heaven.” Now, the first of these books is back in print: a tale of social success and social failure observed in precise miniature. Originally published in 1934, it unfolds over two days during Christmas 1930 and involves a socialite named Julian English, who is caught in a death spiral of alcoholism and bad behavior, as he loses everything he has ever held dear. Read more
“Rain,” Sony’s download-only PlayStation 3 title, plays with an idea central to many fairy tales. What monsters come out to play when the lights are turned off? But ultimately, it ends up dealing with a far darker question — is there any monster quite so scary as loneliness? With such an emphasis on text and narration, this could be considered an interactive book more than a game but is, instead, a moderately paced exploration through a fantastically realized nighttime setting, where narrowly escaping the clutches of pursuers rewards players with more pieces of the narrative rather than larger battles. Read more
Video game critic
"Spaceteam" is high-stress nonsense, but high-stress nonsense at its most absurd, addictive and ridiculous. Available now for iOS and Android, think of "Spaceteam" as a board game for mobile devices. The concept is simple, as players are crew members on a ship that's in danger of exploding and must shout technobabble at one another to prevent destruction. But each has a different view, so one player's Voltsock is another player's Newtonian Photomist. Read more
"Gone Home," out now as a PC download, will likely feel more personal than any game you'll play this year. Players explore it from the first-person perspective of a college-aged daughter, Katie, who has been studying abroad and is visiting her family's new home for the first time. Traverse just one house and discover untold secrets about a family, be it struggles with failed ambitions or the teenage unease that comes with discovering one's sexuality. Read more
'The Legend of Zelda: The Wind Waker HD'
A remake of an old Gamecube title is not the Zelda game Wii U fans have been clamoring for, but Nintendo has freshened up "Wind Waker" to the point that it feels a new experience. This early 2000s Zelda title still stands as one of the franchise's crowning moments, as it set its main character loose on the high seas and gave the universe a zippy, cartoonish makeover. The animated film look works even better in HD, and the subtle adoption of new control techniques offered by the Wii U makes it one of the more accessible adventure role playing games around. Read more
'The Last of Us'
"The Last of Us" is not your typical doomsday narrative. Zombie-like attacks aside, tension here comes from an underutilized game-play tactic: conversation. Dialogue is almost as plentiful as weapons in this patiently cinematic tale of a smuggler and the reluctant bond he forms with the 14-year-old girl he's hired to protect. Developed by Sony-owned Naughty Dog, responsible for the hit "Indiana Jones"-inspired "Uncharted" series, "The Last of Us" acknowledges gaming clichés and then skillfully avoids them by keeping its focus on the relationship between Joel (the smuggler) and Ellie (the teen he watches over). It's an action game, but one with characters worth fighting for. Read more
‘The Dark Sorcerer’
A short film and not a game, but one designed to show what next-gen console the PS4 may be capable of. Quanitic Dream, the Paris-based developer working on the patient narrative "Beyond Two Souls," concocted this fantasy-comedy as a way to illustrate that character depth and detail can be sustained over long scenes filled with gameplay. But forget the technical stuff — it's a cute little video about a film shoot gone wrong, with goblins. Though there are no plans to turn "The Dark Sorcerer" into a game, director David Cage said fan response may inspire him to change his mind. Read more
'Mario and Donkey Kong: Minis on the Move'
The minis are diminutive, wind-up figurines that represent well-known Nintendo characters. They walk forward, they don't stop and it's up to the player to control and tinker with the cubic paths in front of them. That about covers the basics, but not the details. Every couple of puzzles a new element is added, be it cubes that rotate, bombs that can blow up cubes, cubes that come equipped with springs that will send the characters flying over spikes, cubes with hammers or cubes that can generate all-purpose, multi-use cubes. With 240 stages, there are a lot cubes. Read more
Games are wonderful at creating crazy, colorful universes full of whip-cracking vampire killers and interstellar space pirates, but they are less good at crafting ones inspired by more earth-bound cultural traditions. "Guacamelee!” is an exception. Perhaps not since LucasArts’ 1998 “Day of the Dead” noir title “Grim Fandango” has a game so lovingly draped itself in Mexican folklore. "Guacamelee!” is a colorfully humorous game centered almost entirely on the customs surrounding Day of the Dead. It’s a simple stylistic conceit that seems so obvious that it’s almost confusing it hasn’t been done with any regularity. Who needs zombies and vampires when there’s an entire holiday steeped in calavera imagery? Read more
Isabel and Ruben Toledo
Ignored by mainstream fashion designers for years, the plus-size market got a boost with the announcement that Isabel and Ruben Toledo would be designing a collection for size 14-plus retailer Lane Bryant. Isabel Toledo famously made the lemongrass yellow coat and dress that First Lady Michelle Obama wore to President Obama’s first inauguration in 2009. Speaking about the collaboration with Lane Bryant, Isabel Toledo told Women’s Wear Daily that she and her husband “were intellectually on board from the first moment.” That statement to me is key. The excuse so many designers use for ignoring the plus-size market, and showing their clothes on increasingly skinny models, is that clothes just look better on bodies resembling bony hangers. But any designer worth his or her salt should look at designing for a different size or shape as an intellectual challenge. Read more
"Bohemian isn't a trend; it's a lifestyle." That's the motto upon which L.A. designer Cynthia Vincent has staked her decade-old brand, Twelfth Street, named after the street she grew up on in La Verne. The brand is known for its tribal print maxi-dresses and rompers, serape-stripe cardigans, rugged short Western boots and gladiator wedge sandals, all with a multi-culti, beach-and-canyon vibe. In a city where designers can come and go in a few seasons, Vincent is a fashion success story. She attended L.A.'s Otis Art Institute of Parsons School of Design, winning the Silver Thimble Award while she was there. In 1993, she started her first line, St. Vincent. She also opened a retail store, Aero & Co. in Los Feliz, to feature local independent designers. Read more
Designer Natalie Martin has mastered the art of gypset dressing, L.A.-style. In two years, the Aussie transplant has emerged as a go-to for boho-chic styles, including breezy kurtas, tunics, wrap skirts and maxi dresses, all priced under $300, and all crafted out of colorful, Balinese block print silks. Martin has a background in fashion marketing, putting in years at Italian leather goods brands Tod's and Hogan. Her namesake collection, which is sold at Barneys New York, Calypso St. Barth and other boutiques, as well and on her own website, brings a touch of Bali to L.A. Read more
Charlotte Olympia opens in Beverly Hills
London-based accessories designer extraordinaire Charlotte Dellal has opened her first L.A. Charlotte Olympia store, a glamorous, Art Deco-feeling boutique at the top of Rodeo Drive in Beverly Hills. The decor is an ode to Old Hollywood glamour from the moment you step inside the door, where Dellal (who has the curves and finger-wave blond hairstyle of a 1940s starlet herself) has her own pink marble Hollywood Walk of Fame star set into the ground, with "Charlotte Olympia" etched inside. "It's celebrating Los Angeles from an outsider's point of view," said Dellal, who launched her whimsical line in 2006. "I guess it's not all about Hollywood and film, but I'm a nostalgic person and I have always loved Old Hollywood." Read more
Malibu Barbie gets a makeover
With her beach blond hair, cheeky tan lines and chic shades, Malibu Barbie has been a style icon for many a young girl, including this one. Now, more than 40 years after she first hit the pop culture wave, Malibu Barbie is getting a makeover, from Los Angeles designer Trina Turk. The mythical Malibu icon is the perfect canvas for Turk’s cheerful 1960s and '70s-inspired SoCal aesthetic. Turk dresses the doll in a printed bandeau bikini and hexagon white lace cover-up and accessorizes her head-to-toe with a beach tote, pink shades, short-shorts, a peasant blouse, floppy sun hat and white wedge sandals. She’s even got a chunky cocktail ring, pink cuff bracelet and a bottle of sunscreen. To add to the fun, Turk’s June 2013 fashion collection, titled “Malibu Summer,” features the same items for women, so life-size Barbies can dress like their miniature muses. Read more
2013 marks 30 years that L.A.-based designer Tadashi Shoji has been making elegant formal wear for the rest of us. He got his start in the glitzy world of Hollywood, creating costumes for Stevie Wonder and Elton John, and more elaborate gowns for the red carpet for Florence Welch and Octavia Spencer. But the bulk of Shoji's $50-million namesake business is in department store sales of tasteful, figure-flattering and wallet-friendly cocktail dresses and evening gowns ranging in price from $198 to $508 for women who want to feel like celebrities in their own lives -- prom queens, mothers of the bride and the brides themselves. I recently sat down with the designer to discuss his favorite career moments, his new focus on selling in Asia, and what's next.n with the designer to discuss his favorite career moments, his new focus on selling in Asia, and what’s next. Read more
In just seven years, Paige Mycoskie has turned a passion for 1970s nostalgia into the next California lifestyle brand. Walking into her Aviator Nation store on Abbot Kinney in Venice is like stumbling into a frat house with a feminine influence. Steely Dan, Doors and Grateful Dead album covers and vintage skate decks nailed to the walls, a record player spinning Aerosmith's "Sweet Emotion," a 720 Degrees arcade game in the corner, stacks and stacks of foam trucker hats, T-shirts and hoodies spreading good vibes like "Pray for Surf" and "California Is for Lovers."... It's such a sensory experience, you half expect your shoes to be sticking to the floor from last night's kegger. Read more
The Los Angeles County Museum of Art has released its second Wear LACMA collection of fashion accessories created by local designers and inspired by the museum’s permanent collection. Custom perfumier Haley Alexander van Oosten of L’Oeil du Vert, accessories mavens Maryam and Marjan Malakpour of NewbarK and women’s clothing designer Juan Carlos Obando were tapped for the collection, which is for sale at the LACMA store and online, with all proceeds benefiting the museum. They had the run of the museum and could choose any piece as a starting point. What they came up with offers insight into who they are as designers and a chance to see a distinct part of their brand vision distilled. Read more
Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles
Style icon Paloma Picasso has been creating jewelry for Tiffany & Co. since 1980, famously reinterpreting Xs and O’s in bold silver and gold and celebrating the raw beauty of colorful stones in her modern-looking Sugar Stacks rings. Her newest collection for the jeweler, Olive Leaf, is more naturalistic than what has come before, with prices ranging from $150 for a thin silver ring band to $975 for a silver cuff to $100,000 for a diamond and white-gold bib. Picasso, 64, is married to French osteopathic doctor Eric Thevenet and splits her time between Lausanne, Switzerland, and Marrakech, Morocco. Read more
Designer, retailer and Hollywood royalty Jennifer Nicholson, who once headlined Los Angeles Fashion Week and showed her collections in New York and Paris, has returned to fashion after a nearly five-year hiatus. Her new venture is Pearl Drop, a Venice boutique with a “boho goddess festival vibe,” opened just in time to dress customers for this month’s Coachella Music and Arts Festival, one of Nicholson’s favorite springtime excursions. Read more
The Rodeo Drive shopping scene heats up with the opening of the new boutique from Celine, the LVMH-owned brand that helped usher minimalism back into style under the direction of designer Phoebe Philo. What can you find inside? We'll start with Celine’s spring runway collection and tailored classics, must-have handbags, and the fur-lined, Birkenstock-like sandals and fur-covered high heels that have fashion followers buzzing. Read more