Writer
David B. Edelstein
Latest Content
Cowardly Trilogy
N O MATTER WHAT the American Premier Stage dished out in its first two programs. I was prepared to be
Sir Roy Bankrolls the Arts or Why Britishers Saw Nicholas Nickleby for $8
C RITICS CHARGE THAT government subsidies for the arts in this country are laughable beside Great Britain's--and laughably administered. And,
'The Pity of It,' Iago
A NYONE CLAMORING for more "traditional Shakespeare after all the radical artsy-fartsiness in these part should zip over to the
Predictable Pratfalls
S LAPSTICK JUST DOESN'T WORK unless it's performed by people who can make you believe they are in continuous conflict
Something of a Middlebrow
I T IS A GARISH, cosmic nightclub, the figures on the floor drug-addled, lobotomized, throwing each other over, punching each
Aladdinescence
W ORD GOT AROUND last week after Aladdin 's messy opening night that the show resembled a high school pageant,
By Indirection
K AGEMUSHA begins with a simple tableau: a Japanese feudal lord, Shingen (Tatsya Nakada), sits in the center of the
So Far Away
T HERE IS A fundamental miscalculation in the new production of Uncle Vanya --the distance it puts us from the
Progress Report
J OHN SAYLES made The Return of the Secaucus Seven for his resume. He filmed it for $60,000 in 25
The Monsters Within Us
W HEN COMMERCIALS for Humanoids from the Deep splashed across television screens last spring--with scaly black creatures clawing at curvaceous
The Monsters Within Us
W HEN COMMERCIALS for Humanoids from the Deep splashed across television screens last spring--with scaly black creatures clawing at curvaceous
The Monsters Within Us
W HEN COMMERCIALS for Humanoids from the Deep splashed across television screens last spring--with scaly black creatures clawing at curvaceous
Smashing the Sidewalk
A LBERT INNAURATO'S Gemini begins with a deafening blast of construction, a counter-blast of Maria Callas and a volley of
Gideon's Babble
I N ALL THAT JAZZ, the camera is an ethereal, puckish tap-dancer, never holding an image for more than a
Of Balls and Men
N ORTH DALLAS FORTY is a film about the corrupt, exploitative, and brutal industry of professional sports as told by
