As a blood moon casts its red hue over Sunset Boulevard, a lo-fi guitar haze rips the night air and five long-haired, moustached men in trim jackets and denim pound their leather boots. They lure bouncy babes to the psychedelic sway of their kaleidoscopic “Dockweiler.”
Part of the collateral damage of the Alex Theatre's ambitious physical face-lift has been the suspension of the Glendale Pops series.
After editing montage sequences at Warner Bros. during World War II, Don Siegel made his directing debut with two shorts, both of which won Oscars in the same year. Neat trick.
Several years back, after Johnny Depp's twin triumphs in "Once Upon a Time in Mexico" and the first "Pirates of the Caribbean," I started referring to him as the God Who Walks Among Us. (I think that qualifies as "ironic hyperbole.")
Regardless of size, a good art show can transport an audience outside of its everyday reality and into another space of consciousness, however briefly.
A parking lot lined with red tassels marks the opening of the 18th Gelson's Market location in La Cañada Flintridge.
Martin Scorsese's sharp exposé “The Wolf of Wall Street” is the white-collar version of “Goodfellas” and “Casino”: it tells the same sort of historical/confessional story, and follows a very similar template.
For a while now, Nicolas Cage has seemed more punch line than artistic force. More memorable for stopping by "Saturday Night Live" in 2012 to join the "In the Cage" satire, a none too flattering impression perfected by the very funny Andy Samberg, than for dreadful films like "Ghost Rider" that inspired it.
Despite OK visual effects, a few chills and some newfangled movie monsters, writer-director Ajmal Zaheer Ahmad's supernatural thriller "Jinn" often feels like half of an old grindhouse double bill. It's a watchable if rather convoluted effort.
This is probably going to sound odd coming from a guy who has a giant picture of himself running with his column, but I don’t really get the whole “selfies” thing. If I could...