Using the simplest of launching pads—a nuclear family—along with a few chairs, a piano, and dozens of hats, the group conjures up magical hilarity, not to mention some very inventive musical numbers, over the span of 90 minutes.
Review
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More than 75 years after Hitler's ascension to power in Germany, the portrayal of Nazis on stage and screen is arguably more difficult than ever. It's simply too easy for actors to play caricature, even if they don't intend to.
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The prerelease narrative behind "Funny People" is that funnyman Judd Apatow has gone serious in his third outing as a writer-director and made a drama, albeit one set in the world of stand-up comics.
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Moooove over "Billy Elliot." There's a new strike-centered musical in town. Both sympathize with the workers and treat audiences like children, but at least "Click, Clack, Moo" has an excuse: It's children's theater.
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Lila Rose Kaplan's "Wildflower" is a wilted, stilted comedy. Its roots are submerged beneath a writing style lacking in nutrients.
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Now in its third year, this summer series of shorter works remains a pretty hit-or-miss affair, with a new offering from Neil LaBute the standout of Series A.
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The very bad seed in "Orphan," a Dark Castle offering awash in red stuff and implausibility, is a 9-year-old girl with chronic homicidal urges and a Russian accent.
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In the past year, movies aimed primarily at women -- including "Sex and the City," "He's Just Not That Into You" and "The Proposal" -- have scored at the boxoffice, demonstrating the potency of an underserved audience as well as the value of counterprogramming.
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Just because it happens to feature a bunch of cute, talking guinea pigs doesn't for one second mean that producer Jerry Bruckheimer's first foray into 3D isn't anything other than business as usual.
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The new indie release "Shrink" is an odd duck. On one hand, it wants to be taken seriously as a character study of a psychiatrist who must navigate the lives of several Hollywood types while trying to keep his own on track.
