Author: Rick Levin

Play Anything

Film

In order to understand my response to Sing Street, director John Carney’s love letter to Irish teens starting a garage band in mid-’80s Dublin, I’m going to have to tell you a bit about myself. I came of age in a small Northwest town at the ass end of the Cold War, when the threat of nuclear annihilation was about to be replaced by the plague of AIDS as the greatest goad to adolescent nihilism. Things weren’t good at home, and as it went at home, so it seemed to go with the world. Continue reading →

Getting Over It

Dysfunction is raised to the level of art in Jason Bateman’s The Family Fang

Film

Jason Bateman was that kid in high school everybody pretty much liked  — the vice president of the student body who ran track and dated not the prettiest but easily the coolest cheerleader, and who was on friendly terms with jocks and stoners alike (although secretly preferring stoners).  And yet, something about the guy strains against his better angels, as though being nice just isn’t cutting it. His mean streak is only a centimeter wide, but when he finds it, it’s like coming home. Continue reading →

Bernie The Man, The Symbol

While many locals made it into the Bernie rally, thousands were left to listen beyond the gates

CultureNews

As a persona, Bernie Sanders is a stock character drawn directly from the agitprop literature of the ’40s and ’50s: He’s that frumpy, tweedy Marxist firebrand who leans on the podium with a finger perpetually raised, haranguing us about the evils of monopoly capitalism and political cronyism. As a standard-issue New Deal democrat in an Orwellian age, Sanders’ royal “We (the People)” is, ironically enough, a distinctly working-class entity, which is the only reason his message seems revolutionary right here, right now.  Continue reading →

All the World’s a Stage Kiss

University Theatre takes on playwright Sarah Ruhl's love letter to the theater

Theater
Anna Klos, Clare McDonald, Conner Criswell and TJ Lagrow in Stage Kiss

Way back when, the late, great American writer Kurt Vonnegut published a short story — “Who Am I This Time?” — about a pair of community theater actors who, awkward in so-called real life, fall in love through the character they play on stage. In Vonnegut’s sure hands, the conceit is melancholy and sweet, a concession to the fraught slapstick of authentic emotional connection. Continue reading →

Bambi’s Secret

Tyrus, screening at the DisOrient Film Festival, looks at the revolutionary artist behind the iconic film who transcended Disney’s racism and disenfranchisement

Film
Artist Tyrus Wong at work

Still very much with us, the 105-year-old Chinese-born painter Tyrus Wong is quite possibly the most influential American artist you’ve never heard of — until now, that is. As the sole inspiration for the expressionistic animated style of Disney’s Bambi (more on that in a moment), Wong’s elegant and economical style, a melding of traditional Asiatic ink-and-brush painting and Western modernist influences, has literally suffused American culture, from dishware and Hollywood to Hallmark cards and museums everywhere. Continue reading →

Weed for Life

Local cannabis growers keep an eye on healthy, sustainable practices

Cannabis

When it comes to weed, a clutch of competing cannabis mythologies seems to guide our collective imagination, each one containing seeds of truth and shakes of misinformation and ignorance. One of the more subtle myths surrounding cannabis goes something like this: “Dude, it’s all good. Weed is a product of the earth, God-given, and we are meant simply to grow it, smoke it and enjoy. Unlike alcohol, weed never hurt anybody. It’s just a plant, for goodness sake.” Continue reading →

Miles Runs the Voodoo Down

Film

Although critically lauded as a talented and versatile actor, Don Cheadle has been flitting on the periphery of mainstream movies for the past two decades. Most casual moviegoers don’t recognize his name, though they may recognize Cheadle’s face from Iron Man 2, Showtime’s House of Lies or Steven Soderbergh’s Traffic, one of several films (including the 1998 political satire Bulworth) for which he deserved but never received an Oscar nod (he was nominated for his role in Hotel Rwanda). Continue reading →

Her Aim is True

Cottage Theatre hits the bull’s-eye with Irving Berlin’s classic musical Annie Get Your Gun

Theater
Stephanie Philo Newman in Cottage Theatre’s production of Annie Get Your Gun

It’s not necessarily downbeat to claim that a given theatrical production is completely carried by one performance in particular — to lavish praise on an actor who puts the play on her back and carts it expertly and, of equal importance, joyously from her first appearance on stage to the proverbial drop of the velvet curtain. This is especially true in community theater, a distinctly democratic institution where the egalitarian instinct gives a nudge to tender swaths of talent that blend in a stew of ability, some of it realized but not always. Continue reading →

His Aim is True

Elvis Costello takes a ‘Detour’ to Eugene

Music
Elvis Costello

He descended on the Carter era of gas lines and bloody carpets and post-love funk like some infernal geek bastard child of Buddy Holly and Johnny Lydon, spitting out lyrical venom over gorgeous hooks and bellicose riffs that plumbed the deepest, darkest wells of pop music — billboard fuzz attacking itself with newborn impunity — all of it churned out with a churlish amphetamine sneer that belied his antediluvian genius for melodic universalism within the three-minute cliché of radio-radio rock. Continue reading →

About a Boy

Film

It is a peculiarity of art that its failures are often more moving, more profoundly beautiful, than its successes, especially when the artist failing is a great one. Perfection has a monolithic aspect, airtight and intimidating; it can leave us cold. Better, sometimes, the flaw, the frayed end, which reveals the Icarus burn of lofty ambitions. Humanity, you might say, is never more humane than when it strives and crashes. Continue reading →