Aurelia Butler

More stories

  • 75 Shares189 Views

    in Movies

    ‘Breaking,’ ‘Thanksgiving’ and More Streaming Gems

    Crime thrillers, a crackling slasher and a documentary exploration of a rare Beatles failure are among our recommendations for your streaming subscription services this month.‘Breaking’ (2022)Stream it on Paramount+.John Boyega is electrifying — sympathetic, credible, and scary — in Abi Damaris Corbin’s sensitive “Dog Day Afternoon”-style crime drama. Corbin dramatizes the story of Brian Brown-Easley, a desperate ex-Marine on the verge of homelessness who took over a Marietta, Ga., bank and held hostages, demanding the return of disability checks unfairly garnished by the VA. The tropes of such a story are firmly established, and there are few narrative surprises of note. But “Breaking” is firmly anchored by the terrific performances, with Boyega’s harrowing star turn nicely supplemented by Nicole Beharie’s cool-as-a-cucumber bank manager and the great Michael K. Williams as the sensible police hostage negotiator.‘Thanksgiving’ (2023)Stream it on Netflix.Eli Roth’s holiday slasher began as a fake trailer, sandwiched between Robert Rodriguez and Quentin Tarantino’s segments of the 2007 exploitation movie valentine “Grindhouse.” Roth opens this feature-length expansion with an impeccably staged, blood-spurting melee at a Black Friday sale — a sequence that’s gloriously meanspirited and occasionally stomach-turning, and easily the single best set piece of his career to date. The rest of the picture almost lives up to it; Roth knows how to build suspense, and he constructs a fine mixture of gory kills, snarky laughs and outrageous Massachusetts accents. (Its only major flaw is its slavishness to that trailer, which means that, as with trailers made after the movies they’re advertising, some of the best moments have already been given away.) It’s a thoroughly entertaining horror effort, designed and executed in gleefully bad taste.‘The Trust’ (2016)Stream it on Max.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 113 Shares179 Views

    in Music

    Yunchan Lim, Jan Lisiecki and Alexander Malofeev at Carnegie

    Jan Lisiecki, 28, is the elder statesman alongside Alexander Malofeev and Yunchan Lim in a trio of recent recital debuts at the hall.At 28, Jan Lisiecki can certainly be called a young musician. But of the pianists making recital debuts at Carnegie Hall recently, he’s something of an elder statesman.Last month, Yunchan Lim, then still in his teens, confidently pressed through the challenges of Chopin’s études. And on Tuesday, Alexander Malofeev, 22, was an unruffled guide through the richness of Russian late Romanticism and its afterglow.Both Lim and Malofeev were appearing at Carnegie for the first time, but Lisiecki has been an occasional presence with orchestras there since 2016. While the main hall’s scale can be daunting for a solo recitalist, with almost 3,000 people watching, on March 13 he seemed calmly at home from the start.The second half of Lisiecki’s program was given over to Chopin’s 24 Preludes (Op. 28), while before intermission came an assortment of other short pieces in that genre: a kind of prelude made of preludes. This was a canny mixture of chestnuts and rarities. Lisiecki combined the easily recognizable likes of Bach’s Prelude in C (the opening of “The Well-Tempered Clavier”) and Rachmaninoff’s in C sharp minor (Op. 3, No. 2) with much less common selections from sets of preludes by Szymanowski, Messiaen and Gorecki.Lisiecki plays with gentle judiciousness, aristocratic reserve and a touch that tends shadowy without losing a core of clarity. He clearly relishes soft playing, with sensitive effects of distant bells and moonlit drizzles in Messiaen’s “La Colombe” and “Le Nombre Léger,” and a murmured sotto voce in Chopin’s Op. 28, No. 15.His recordings of Chopin’s études and nocturnes offer lovely, generally introverted, smoothed, even sleepy takes on those works. But in an interview when the nocturnes were released, Lisiecki said that the album’s slow tempos wouldn’t work in concert.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 163 Shares199 Views

    in Music

    Sarah Shook & the Disarmers Took the Hard Path. The Music Kept Coming.

    After a tumultuous childhood in an ultraconservative family, River Shook finally heard country music at 23. It prompted a long journey of self-discovery.River Shook warned their father: If the family left western New York for North Carolina, something awful would happen.Living at home at 19, Shook was the introverted middle child who had relocated to so many new towns, they’d given up on making friends. Their parents, Robert and Rita, had led rough and wild early lives, Robert playing lead guitar in lascivious bands and Rita escaping an abusive first marriage and descending into hard drugs. The couple met through church, married and vowed to shelter their kids — home-schooled and raised on classical and Christian music, with boys, booze and bad behaviors verboten. Whenever God told Robert to move, everyone obeyed.This, though, was different. At 9, Shook realized they were bisexual and began questioning the family faith. They hid both from their parents, living a Janus-like life of two faces for a decade. But Shook had found confidants at the Wegmans where they worked, friends who supplied secret mix CDs featuring the Gorillaz and Elliott Smith. They were interning at a local dance studio, teaching yoga to kids and unsteadily emerging from a miasma of childhood depression. And then, in 2005, the family headed South.“I went from 0 to 100, from having been kissed once to having sex to having a threesome the next night,” the singer and guitarist said during a series of video interviews in early February, grinning wryly from the porch of their rural North Carolina home. (Yes, they stayed.) “And then I married a guy I met on Myspace three weeks later and got pregnant two months later. Upending everything my parents held dear was an act of self-preservation, because their belief system taught me I could not be myself.”During the last 20 years, Shook, now 38, has slowly discovered who they are — a nonbinary, atheist, vegan single parent using incisive and honest country songs to unpack past baggage. The process has been arduous, even life-threatening. When their band, Sarah Shook & the Disarmers, played 150 shows a year, they would drink until they blacked out almost every night. But in July 2019, following a Canadian bacchanalia, Shook accepted their own ultimatum: Sober up or die trying.That epiphany led to therapy, daily walks in the woods, a new name, and, ultimately, the Disarmers’ new album, “Revelations,” due March 29. A stirring country-rock record that two-steps between Waxahatchee’s incisive beauties and Tom Petty’s winking classics, “Revelations” is the work of a songwriter relishing newfound clarity and confidence.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 125 Shares99 Views

    in Music

    Cola Boyy, Indie Singer and Disability Activist, Dies at 34

    Cola Boyy, whose real name was Matthew Urango, sang and produced his own brand of disco music. Born with spina bifida, he had been a vocal advocate for people with disabilities.Cola Boyy, the California singer-songwriter who collaborated with MGMT and the Avalanches and advocated for people with disabilities, has died. He was 34.Cola Boyy, who was born Matthew Urango, died Sunday at his home in Oxnard, his mother, Lisa Urango, said. No cause was given.A self-described “disabled disco innovator,” Mr. Urango assembled diverse instruments to create a brimming mixture of funky rhythm and colorful sounds that accompanied his alluring voice, a striking balance of silk and chirp.Mr. Urango was born with spina bifida, kyphosis and scoliosis and had used a prosthetic leg since he was 2.As Cola Boyy, he released a debut 2021 album, “Prosthetic Boombox,” that garnered millions of streams on Spotify and other platforms and boasted lively and introspective tunes such as “Don’t Forget Your Neighborhood,” a collaboration with the indie pop group the Avalanches.He used his burgeoning platform as an artist to speak out for social causes, including those related to people with disabilities.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 138 Shares169 Views

    in Movies

    Jonathan Majors Accused of Assault and Defamation in Lawsuit by Ex-Girlfriend

    Grace Jabbari alleges several instances of violence by Majors, the former Marvel movie star. Majors’s lawyer said he was preparing a countersuit.The actor Jonathan Majors on Tuesday was accused of assault and defamation in a lawsuit filed by a former girlfriend, Grace Jabbari. The court documents include more details of Mr. Majors’s alleged conduct in the relationship at the heart of the criminal trial that ended in his conviction in December.The civil suit, filed in the Southern District of New York by Ms. Jabbari, a dancer and movement coach who dated Mr. Majors for two years beginning in 2021, accused Mr. Majors of having been violent toward her in New York, Los Angeles and London, including in one instance that left her with a head injury. The filing also accused Mr. Majors of repeatedly making threats to kill her and said he had “consistently engaged in an escalating pattern of abusive behavior towards women since as early as 2013.”On the accusation of defamation, the court documents said that Mr. Majors, 34, a former Marvel movie star, “implemented an extensive media campaign smearing” Ms. Jabbari. He called her “a liar at every turn,” the suit said, “and very specifically claimed that he has never put his hands on a woman, with the goal of convincing the world that Grace is not a victim of domestic abuse.”A lawyer for Mr. Majors, Priya Chaudhry, said she was not surprised by the suit, and that “Mr. Majors is preparing counterclaims against Ms. Jabbari.” News of the lawsuit was first reported by Rolling Stone.Brittany Henderson, a lawyer for Ms. Jabbari, said in a statement that “it takes true bravery to hold someone with this level of power and acclaim accountable.”Ms Henderson added: “We strongly believe that through this action, truth and transparency will bring Grace the justice that she deserves.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 125 Shares169 Views

    in Movies

    Jewish Film Professionals Denounce Jonathan Glazer’s ‘Zone of Interest’ Speech

    An open letter condemned remarks critical of Israel that Jonathan Glazer made when he accepted an Oscar for the film, which is about the Holocaust.Hundreds of Jewish actors, producers and others in the film industry have signed a letter condemning remarks critical of Israel that the director Jonathan Glazer made when he accepted an Oscar for his film about the Holocaust, “The Zone of Interest.”Described as a “statement from Jewish Hollywood professionals,” the letter was signed by the actors Debra Messing and Julianna Margulies; the producers Lawrence Bender and Amy Pascal; and the writer and showrunner Amy Sherman-Palladino, according to Variety, which first reported on it on Monday evening.The signatories were confirmed Tuesday by Allison Josephs, an activist who has promoted Jewish representation in films and television and who helped with outreach for the letter. She said that by Tuesday morning it had nearly a thousand signatures.The letter criticized a speech Glazer made when he accepted the Oscar for international feature at the Academy Awards earlier this month for “The Zone of Interest,” which follows the Nazi commandant who runs Auschwitz and his family as they lead quiet domestic lives just beyond the walls of the camp.“All our choices were made to reflect and confront us in the present,” Glazer, who is Jewish, said as he accepted the Oscar. “Not to say ‘Look what they did then,’ rather, ‘Look what we do now.’ Our film shows where dehumanization leads, at its worst.”“Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people,” he said. “Whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 125 Shares199 Views

    in Music

    Aribert Reimann, Masterful German Opera Composer, Is Dead at 88

    His works, which were radically individual, were among the most celebrated of the late 20th and early 21st century.Aribert Reimann, whose powerful operas based on works by Shakespeare, Kafka, Lorca and others made him one of the most significant opera composers of the late 20th and early 21st centuries, died on Wednesday in Berlin. He was 88.His publisher, Schott Music, announced the death.A prolific composer with widely performed works, particularly his operas and songs, Mr. Reimann (pronounced RYE-mahn) was revered for his ability to fuse complex and often challenging modern music with lyrical texts. His works were frequently devastating in their emotional impact, sounding like organic expressions of the human voice.“Like few other composers of his generation, Reimann knew how to tell stories in his operas which directly affected us humans living in the 21st century,” Dietmar Schwarz, the manager of the Deutsche Oper Berlin, said in a statement.Mr. Reimann enjoyed a close relationship with the opera house. Five of his stage works were performed there, most recently his ninth and final completed opera, “L’Invisible,” which was based on texts by the Belgian Symbolist Maurice Maeterlinck and premiered in 2017.Another stage work, based on Oscar Wilde’s “The Picture of Dorian Gray,” was planned for 2025 but was unfinished.A performance of Mr. Reimann’s ninth and final opera, “L’Invisible,” at the Deutsche Oper Berlin in 2017. Five of his works were performed at the theater.Lieberenz/Ullstein Bild, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 125 Shares189 Views

    in Music

    New York Philharmonic’s 2024-25 Season: What We Want to Hear

    Gustavo Dudamel, who takes over as music and artistic director in 2026, is getting a head start with three weeks of concerts and more programs.Next season, the New York Philharmonic will be without a full-time maestro or a designate music director for the first time in decades.But Gustavo Dudamel, the superstar conductor who takes over as the ensemble’s music and artistic director in 2026, will help fill the gap, leading three weeks of concerts, the Philharmonic announced on Tuesday.Dudamel, who currently leads the Los Angeles Philharmonic, is steadily ramping up his commitments in New York. He is already helping to shape programming and tours. And next season he might begin to take part in auditions, though talks are still underway, said Gary Ginstling, the Philharmonic’s president and chief executive. Dudamel will also lead the summer concert series in city parks.“This is how we’re going to introduce Gustavo to literally tens of thousands of New Yorkers across the boroughs,” Ginstling said. “When you look at the totality of that, it feels like we’re making huge strides toward his imminent arrival.”Ginstling described the coming 2024-25 season as one of “experimenting and exploring.” There will be five world premieres, including works by Nico Muhly, Jessie Montgomery and Kate Soper. The pianist Yuja Wang will serve as artist in residence, and the dancer Tiler Peck will organize a series of evening programs. The Philharmonic’s musicians will create a program focused on the orchestra’s legacy.Here are five highlights of the coming season, chosen by critics and editors for The New York Times. JAVIER C. HERNÁNDEZWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More