Movie review: Imbecility sinks ‘Battleship’ Director Peter Berg tries to impersonate Michael Bay here by being excessively loud ... my battleship,’ the game’s catchphrase. That might involve thinking, a verb clearly not utilized much during the creation of this film. In fact, it’s so dumb ... 05/18/2012 - 3:05 am | View Link
Movie review: 'Battleship' loud, dumb but stays afloat “Battleship,” a Universal Pictures release, is rated PG-13 for intense sequences of violence, action and destruction, and for language. Running time: 131 minutes. Two and a half stars out of four. “Battleship” is big, dumb fun that knows it’s big ... 05/17/2012 - 10:17 pm | View Link
Movie review: Loud, dumb and proud, "Battleship" stays afloat Rated PG-13. 131 minutes. At area theters. "Battleship" is big, dumb fun that knows it's big, dumb fun and enthusiastically embraces its big, dumb, fun nature. Director Peter Berg has crafted an almost fetishistic homage to Michael Bay — like Bay's ... 05/17/2012 - 8:00 pm | View Link
Concert review: Maroon 5 makes brief appearance at MGM MASHANTUCKET _ In an effort to drum up business for their upcoming release “Overexposed” the members of rock / pop band Maroon 5 performed a set in the Grand Theater at the MGM Grand at Foxwoods on Thursday night. Along with the new recording, the band ... 05/16/2012 - 1:00 pm | View Link
Movie Review: 'Battleship' loud, dumb but stays afloat "Battleship" is big, dumb fun that knows it's big, dumb fun and enthusiastically embraces its big, dumb, fun nature. Director Peter Berg has crafted an almost fetishistic homage to Michael Bay — like Bay's "Transformers" series, this is yet another ... 05/16/2012 - 12:13 pm | View Link
Riddley's Nurse has to hold the stage and fill us in on the situation as she serves as a terrified intermediary between us and the anguished offstage wails (and ineptly staged shadow play) of her mistress.
 though it plays well off Kenneth McLeish and Frederic Raphael's colloquial translation, the modern setting creates some problems.
The passionate pleas to Zeus, Hecate and other gods take on an air of unreality, and our belief in Medea's powers of sorcery is compromised, altering the impact of the play's ending.
Khary Moye delivers the firm, manly self-confidence and entitlement of a Jason who sees deserting Medea for the local king's daughter as a good career move, and reflects some erotic tension in his scenes with Medea.
Mbele-Mbong's vital Medea embodies the core of Euripides' tragedy with quicksilver shifts between unreasoning rage, practicality, grief, erotic subterfuge, maternal qualms and an unsettling aura of otherworldly powers.
At 89 and recently settled into "my beautiful new condo in Birmingham, Michigan," Stritch may have retired from her beloved stage, but she's nowhere near done performing.
Because you know what profession I'm in.
Wrapping up long careerFilmed from early 2011 through the middle of 2012, producer-director Karasawa's documentary catches Stritch at home in her longtime Carlyle Hotel residence and at work, wrapping up a wide-ranging showbiz career.
 for most of the years since her 1946 Broadway debut (in a flop called "Loco"), she's been a brassy-voiced, long-legged and opinionated reigning queen of the New York stage.
Karasawa's probing camera follows Stritch through not only rehearsal snafus but frightening diabetic episodes, and catches her limp - invisible onstage - as she walks up Fifth Avenue and her sleep-puffy face when she wakes up.
 Shakespeare's clown was early in her career, before she'd made her mark on Broadway in the 1950s in "Pal Joey" (singing "Zip"), "Bus Stop," "Call Me Madam" (understudying Ethel Merman before taking over for the national tour) and Noël Coward's "Sail Away."
Among many triumphs in a long career, she delivered the renowned rendition of Sondheim's "The Ladies Who Lunch" in "Company" in 1970 and won raves in the '96 revival of Edward Albee's "A Delicate Balance."
"Shoot Me" doesn't focus on this history, though plenty of it is referenced through posters, documentary film clips and personal photos - such as one with a young potential suitor named John F.
If you're launching a drama series on TV, it probably doesn't hurt to have Oscar winner Alfonso Cuarón on hand to direct your pilot episode.
The "Gravity" helmsman applies his considerable skills to the premiere episode of "Believe," a new J. J. Abrams project premiering Monday on NBC before moving to its regular Sunday time slot next week.
Just as Jim Caviezel's John Reese was shaved and shorn at the start of Jonathan Nolan's "Person of Interest," which Abrams co-produced, so too does death row inmate Tate (Jake McLaughlin) get cleaned up so he can become the antihero protector of a young girl with special powers she cannot always control.
On the side of the "good guys" - maybe - is Milton Winter (Delroy Lindo), a cartoonish figure when we first meet him, dressed as a priest and wearing a ridiculously oversize black hat like Max von Sydow in "The Exorcist" as he visits the prison to offer Tate what could turn out to be a Faustian bargain for his freedom.
Much of the premiere episode is devoted to sketching in the characters while Tate tries to keep Bo away from Moore (Sienna Guillory), who wants to kidnap her, presumably to use her powers for no good.
Throw in a pleasingly ersatz calypso score - with a pop sensibility and a show-tune bent - along with some exuberant dancing, and you have a highly enjoyable 90 minutes.
 Papa Ge (a wickedly good Max Kumangai), the demon of death, plays a rather significant role.
Kelley's production bursts with tropical color in Joe Ragey's painterly sets and Cathleen Edwards' bright costumes, but what really energizes the show, from beginning to end, is the glorious choreography by Gerry McIntyre, a member of the original 1990 Broadway cast.
There's meaning in every movement, from the broad, bold swirl of an up-tempo number like "Mama Will Provide" to the more somber, folkloric feel of "A Part of Us."
The likable cast features memorable turns by Dawn L.
The level of technological sophistication used by the creators of entertainment software, Gazzaley said, has been greater than the methods traditionally employed by scientists working in research labs.
Neuroscientists using technology have developed "video games" - quotes around that because this isn't about teenage boys, this is serious business - to enable scientists to study brain activity in players/patients.
Data on brain activity in patients with damaged brain function - due to injury, perhaps, or dementia, ADHD, depression - is fed into the video game, creating (as in Hart's demonstration), a "closed loop system to rewire the brain," said Gazzaley.
On Potrero Hill, on Connecticut Street in front of Goat Hill Pizza on Tuesday, a piece of sidewalk with goat footprints visible in the concrete, preserved from the '20s, was unveiled, along with a plaque explaining that goats once roamed the hill.
South by Southwest Interactive, at which, says Forbes magazine, "thousands of the world's most digital minds bump shoulders," hosted a Sunday panel discussion featuring San Francisco institutions.
Do Museums Still Matter?