Film Review: Fighting With My Family

Merchant throws down with charmer of a wrestling tale  

Wrestler Saraya (Florence Pugh, center) is embraced by her supportive parents (Lena Headey and Nick Frost). 

Florence Pugh, the young British actress best known for Lady Macbeth and The Outlaw King, steps out of those historic costume drama roles and into a costume of another kind in the terrific new wrestling picture Fighting With My Family. Written and directed by British comedian Stephen Merchant (Hello Ladies; Extras) with a whole lot of heart and verve, the film is based on a true story previously chronicled in the documentary The Wrestlers: Fighting With My Family. Merchant’s fictionalized account brings a sports underdog story to life — always a risk for clichés — but does so with such earnest spirit and genuine affection that you can’t help but develop a rooting interest in the film’s indelible characters and immensely enjoy yourself along the way. Continue reading “Film Review: Fighting With My Family“

Film Feature: Carrie and Chris Pick the 2019 Oscars

Film critics Carrie and Chris on who will – and who should – win the 91st Academy Awards

The 91st Academy Awards air this Sunday, February 24th, on ABC at 5:00 pm PST (with the requisite pre-show fashion assessments starting hours before). As they did last year, Spinning Platters film critics Carrie Kahn and Chris Piper share their predictions – and hopes – for the major categories.  Guild awards – often harbingers of Oscars to come – have been all over the map this year, so there may actually be some genuine surprises. Tune in on Sunday to see how things play out, and to find out if we correctly read the minds of Academy voters.

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Album Review: Ladytron – Ladytron

Of all the bands that I’ve been obsessed with over my life time, Ladytron was one that I came to on the later portion of their career. While I appreciate their first two albums, it wasn’t until the dark post-rock infusion of Witching Hour that I my ears suddenly perked up and I realized how much more there was to this band. Even then I wasn’t fully hooked and completely obsessed until Velocifero blew my head apart. To say that I’ve been waiting and anticipating a new Ladytron album since Gravity the Seducer was released almost a decade ago is an understatement of the century – at least in my household – so imagine how excited I was when all the rumors were confirmed by an e-mail from Pledge Music that they were in the studio working on a new album and then later when Spotify notified me that a new single – at the time “The Animals” – had been officially released. I lost my shit. Plain and simple.

Continue reading “Album Review: Ladytron — Ladytron”

Theater Review: Role Players Ensemble Presents Award-Winning Off Broadway Hit Honky

(l-r) Michael L. Grayson II, Craig Eychner, Terrance Smith, Justin Hernandez, Miia Ashley, Micah Watterson, Khary Moore, and Emily Keyishian. Photo by Marian Bliss, 2019.

Honky is a play that explores race relations in modern day America. What could be a timely piece, however, falls victim to one-dimensional characters who appear to be caricatures of the very topic that the author is trying to advocate. Because of this, the play, although highly entertaining, does not quite send the proper message about what it means to be a person of color in America. It is very much from the perspective of playwright Greg Kalleres, and, unfortunately, there are a lot of playwrights out there who are discussing the topic of race with much more clarity. That being said, director Katja Rivera does an incredible job bringing the play to life. Rivera has an incredible eye for detail; there’s intention behind every move. Under a less skilled director, the material could’ve been a mess, but Rivera’s vision brings the clarity that the play’s words often lack. Continue reading “Theater Review: Role Players Ensemble Presents Award-Winning Off Broadway Hit Honky“

Burger Boogaloo 2019: NEW BANDS ANNOUNCED!!!

This year is the 10th Anniversary of the best little punk rock festival the Bay Area has to offer, Burger Boogaloo! It’s hosted by John Waters, who will tell stories and introduce each band. The initial lineup was announced a few months back, but today they added a SLEW of amazing bands! We now get the amazing Nobunny, The Dwarves, who will be coming to make up for the set they had to cancel last year (maybe Blag Dhalia will steal the mic for “Sonic Reducer” from the Dead Boys), King Tuff doing the classic record King Tuff Was Dead, Davila 666, The Chats, and Timmy’s Organism!   Also, The Jesus + Mary Chain will now be playing both Saturday and Sunday, doing a completely different set each night! All of this, plus the previously announced Shannon & The Clams, Scientists, Sheer Mag, Amyl and The Sniffers, and MORE!

The whole party is happening July 6th & 7th in Mosswood Park in Oakland, CA! A limited number of Valentine’s Day Special tickets went on sale today, as well as single day passes. Those can be purchased here!  

Film Feature: Highs and Lows from the 2019 Sundance Film Festival

After almost two weeks of screenings that ran daily from 8:30 am to midnight, the Sundance Film Festival wrapped up last weekend with its awards presentation. All the winners can be found here, but below I present my personal highlights from my week exploring the Fest’s good, bad, and downright weird. Some of these may be widely released during the year, so I offer my advice on the films you should SEE or SKIP.

1.) Most Over the Top Rip Off of The Office that Feels Like it Was Written At 3:00 am After Smoking Way Too Many Joints: Corporate Animals (Category: Midnight)

Corporate Animals.

Not only does director Patrick Brice (who also directed the much better Sundance offering The Overnight) use a corporate retreat setting for his horror satire, replete with a who’s who of standard office types (Demi Moore as the hard driving boss; Jessica Williams as the dispirited protégée; and Callum Worthy as the eager to please intern, to name a few), but he even casts Office alum Ed Helms as a guide who leads the team on a caving expedition that goes awry, to put it mildly. Trapped deep in a collapsed New Mexico cave (the scenery at least holds its own), the cast is forced to deliver too many stereotypical jokes, especially at the expense of Moore, whose cutthroat boss is little more than a caricature. The group’s descent into cannibalism is played for laughs, but the film isn’t half as edgy as it thinks it is, and the entire exercise feels like writer Sam Bain somehow managed to get his snickering Office fan-fiction greenlit. — SKIP Continue reading “Film Feature: Highs and Lows from the 2019 Sundance Film Festival”

Show Review: Link Link Circus at The Chapel

Link Link Circus self describes as the world’s smallest circus. I cannot vet that, but it may well be the smartest and most charming. There’s a delicious layer of meta and irony in that while circuses — which feature animals trained on the basis of their behavioral tendencies — never really talk about animal behavior science, and this circus, which features almost no animals, is all about this. Isabella Rossellini starts her performance with the popular notion that we should not attribute human characteristics to animals, and the idea that animals and humans are entirely different, and then gently, joyfully, dismantles this notion with delight. Continue reading “Show Review: Link Link Circus at The Chapel”

Theater Review: An Ode to Love and the Human Condition: A.C.T. Presents Edward Albee’s Seascape

Charlie (James Carpenter) and Nancy (Ellen McLaughlin) face the unknown in Edward Albee’s Pulitzer Prize (1975) winning play. Photo courtesy of Kevin Berne, 2019.

In Call of the Wild by Jack London, there’s a line that repeats several times, said to be a universal law, the law of life, that is, “Eat or Be Eaten.” In the subsequent passages, London sets up a horrific narrative that is often true: what separates “man” from other species that are deemed eatable, and, of these species, many will eat man; then is man truly of any value? Because of this need for survival, there’s so much fear that permeates our condition. What’s actually real, and what isn’t? In Edward Albee’s Seascape, two couples face these demons head on. One is of the human form and the other alien, but ultimately, we wonder, whose world is it? Continue reading “Theater Review: An Ode to Love and the Human Condition: A.C.T. Presents Edward Albee’s Seascape“

Album Review: Guided By Voices – Zeppelin Over China


The release of Zeppelin Over China (Feb 1st), an album title appropriately conjuring visions of a large scale and high concept endeavor, has every indication of a major milestone for Guided By Voices and frontman Robert Pollard. The double LP album consists of 32 songs and clocks in at 75 minutes (yes, that’s only ~2.5 minutes per song) — no song reaches four minutes. The experience of listening to Zeppelin Over China is a truly cohesive yet rambunctious audio journey, with the tone set immediately with the quick grungy cuts “Good Morning Sir” and “Step of the Wave”. If you aren’t impressed after the first five songs, the extended tracklist won’t win you over by the end. But if you are impressed, or willing to give the remainder a shot, then completing the album feels expectedly rewarding. Continue reading “Album Review: Guided By Voices — Zeppelin Over China“

Sketchfest Review: Bring The Rock with Greg Behrendt & Electrik Snöfläke at Swedish American Hall,

Bring The Rock is the thing I look forward to the most at every Sketchfest. It’s the perfect synthesis of the three things I enjoy the most: rock n roll, stand-up comedy, and autobiographical storytelling. I love this show so much that I have, in fact, written my story for the off-chance that I ever actually get invited to do this show. (Greg, I am a fan. I am trained in public speaking, and although I’m not a great singer or guitarist, I am passionate about both.) Last year, Bring The Rock didn’t end up happening at Sketchfest, and I was very, very sad. I was very happy to see it return this year. Continue reading “Sketchfest Review: Bring The Rock with Greg Behrendt & Electrik Snöfläke at Swedish American Hall,”