Right before the credits roll at the end of the film, “Colette,” there are photos of the real-life Colette and information about her life as a novelist, music hall performer and journalist.
There’s a lot more to the life of Colette than what is included in “Colette” the film.
It makes you wonder why more details weren’t included in the fact-based “Colette.”
It’s easy to see why The Princeton Review 2019 edition of “The Best 384 Colleges” ranked Muhlenberg College Theatre and Dance Department No. 9 for “Best College Theater,” placing the program among the Top 12 in the United States in 10 of the past 11 years.
“The Old Man & The Gun” is a throwback to 1970s’ “New Hollywood” film-making and the early films of, among others, directors Martin Scorsese, Frances Ford Coppola, George Lucas, Steve Spielberg and Brian Di Palma.
That “The Old Man & The Gun” has a 1970s’ look in production design, including cinematography, lighting, sets, costumes, vehicles, and music, shouldn’t be surprising because the fact-based story takes place in 1981 in Texas and nearby states and harks back to events of the previous decade.
After a one-month uptick in closed sales for Lehigh Valley houses following six months of declines, sales of houses in the Valley decreased by nearly double digits in September.
Closed sales dropped 9.7 percent in September to 651 houses sold, down from 721 houses sold in September 2017, according to the Greater Lehigh Valley Realtors (GLVR) September report, released Oct. 15.
For the year-to-date, the percentage of closed sales for 2018 is down slightly, by 1.5 percent, with 6,267 houses sold, compared to 6,360 houses sold year-to-date in 2017.
“First Man” is fiery, from the incendiary launch of the Saturn rocket during liftoff at Cape Kennedy.
“First Man” is jolting, from the vibrations of the seat in the Imax theater where the movie was seen for this review.
“First Man” is tender, in scenes between Ryan Gosling, who portrays Neil Armstrong, the first man to walk on the moon, as he comforts his two-year-old daughter, who died of a brain tumor.
The vagaries of fame and the music business have been covered in story and song many times over.
The Byrds’ “So You Want To Be A Rock ‘n’ Roll Star” (1967) pretty much said it all.
The Rolling Stones weighed in with “The Under Assistant West Coast Promotion Man” (1965).
“Billy Elliot The Musical” is a multi-layered show that has a bit of everything: family conflict, single parenthood, politics, labor strife, mentor and student, elder-care problems, boxing and ballet.
It’s an alphabet-soup mix of themes that would challenge any community theater, much less a troupe returning to its main stage for the first time in about a year to open a renovated and restored new space.
Jumping for joy: Lehigh Valley premiere of Elton John musical, ‘Billy Elliot,’ reopens restored 19th St. Theatre
When William Sanders looked around to select the play for the reopening of Civic Theatre of Allentown’s $5.5-million renovation and restoration of its historic Nineteenth Street Theatre, he needed to look no further than his favorite musical.
“Billy Elliot” premiered in London’s West End in 2005 and was nominated for nine Laurence Olivier Awards, receiving four, including best new musical.
“Smallfoot” is “Frozen” without the ice-skating.
And also without Olaf.
“Smallfoot” has gorgeous animation of snow-laden landscapes of mountains and trees. The detail of artistry is impressive. For example, the hair on Migo, a Yeti (voiced by Channing Tatum) is incredible, as is the animation of the face, eyes, mouth and physical movements of the character.
You’ve heard the term “clock-watcher.” It’s when an employee has his or her eye on the clock on the wall at work and his or her mind on the door. He or she is deemed a “clock-watcher.”
The clock on the wall is “in” the wall in “The House With A Clock In Its Wall” and the eyes of Uncle Jonathan (Jack Black); his nephew, Lewis (Owen Vaccaro), and the uncle’s platonic friend, Florence (Cate Blanchett), are trying to watch the clock, if they could only find it. This is not from lack of trying. At one point, Lewis is punching a mantle clock, but not “the” clock.