Latest news with #Revelations'
Chicago Tribune
17-05-2025
- Entertainment
- Chicago Tribune
Review: Hubbard Street Dance closes season with hopeful optimism — and Fosse
Hubbard Street Dance Chicago's season finale coinciding with Beyoncé's Chicago dates is perhaps just a happy accident. But as last night's freaky dust storm tapered off and audiences settled into their seats at the Harris Theater, Bob Fosse and Gwen Verdon's 'Sweet Gwen Suite' was a most poetic opening to the evening. The third of this trio of juicy morsels created for 1960s television specials is 'Mexican Breakfast,' which Beyoncé reimagined in her 'Single Ladies' video. It was a move that kicked off an existential conversation about artistic license, inspiration and ownership. She'd do it again in the 'Countdown' video. And again in 'Lemonade.' (Some say she plagiarized, but it's deeper than that.) In their Fall Series at Steppenwolf, we were forced to wait until the show was three-quarters finished to see dancers Cyrie Topete, Dominick Brown and Aaron Choate emerge in silhouette, hats tipped just right, puffs of cigarette smoke perfectly timed, bedazzled charro suits on point — all images now synonymous with Fosse. That program began with resident choreographer Aszure Barton's contemplative 'Return to Patience,' a tease in hindsight. But as a fitting bookend to Hubbard Street's 47th season, Fosse goes first, making it easy to follow instructions given at the top of every show by artistic director Linda-Denise Fisher-Harrell: 'Get your whole life together.' Here, Barton goes last, with a revival of her 2002 'Blue Soup.' The point is, this program doesn't creep or simmer, it goes from zero to 60 and pretty much stays there the whole time. The night's only world premiere, Matthew Rushing's 'Beauty Chasers,' expands on a section of another of his works called 'Sacred Songs.' Rushing created that piece last year as an extrapolation of Alvin Ailey's 'Revelations' — the signature work of the late choreographer's eponymous company, led by Rushing for the past two years. For it, he excavated spirituals used for the original 'Revelations' that got cut as the hour-long ballet was shortened for ease in touring. Where 'Revelations' and 'Sacred Songs' express facets of the African American experience, 'Beauty Chasers' seems a kind of prequel — opening on Topete (who was simply extraordinary the whole night) in a pool of light, wearing flesh-toned underthings. Shota Miyoshi takes a turn, too, elegantly writhing in his own pool of stark white light, then Bianca Melidor. Rushing has said 'Beauty Chasers' loosely references the Holy Trinity from Christianity — the Father, the Son and the Holy Ghost. For me, it's more like Genesis. In the beginning, there was (designer Jason Lynch's) light, then man. And then there was jazz. And it was good. The piece really begins to cook as a recording of Alice Coltrane and Pharoah Sanders' 'Journey to Satchidananda' drops in, a celestial arrangement for keys, flute, bass and drums. The trio of dancers gradually dresses each time they re-enter the scene, increasingly noticing, accepting and literally leaning on one another. 'Beauty Chasers'' hybrid score (arranged by sound designer Dante Giramma) and costumer Dante Anthony Baylor's final look — red, white and black palazzo pants and matching beaded necklaces — beautifully complement Rushing's blend of modern, afro-contemporary and traditional West African vocabularies. To be sure, it's something new for Rushing, well outside his comfort zone. Thus, the underbelly feels raw and vulnerable — the rewards worth all the risk. A one-act behemoth closing the show, 'Blue Soup' has many hallmarks of what we've come to know of Barton's catalog, enough to make me wonder if this is where it all started. There's a signature tension between the literal and the imagined, moments of authenticity layered with sarcasm and vaudevillian veneer. There are just a few clues the piece came early in Barton's career — mainly in how 'Blue Soup' wears its influences on its big, blue, shoulder padded zoot suit sleeves. Created a year after David Lynch's 'Mulholland Drive,' 'Blue Soup' borrows images from the film, though not quite as literally as Beyoncé borrowed from 'Mexican Breakfast.' Choate appears alone, a vision in a blonde wig, sky-high stilettos, satiny blue robe and leotard — azure blue. Choate awkwardly lip syncs at an old-timey microphone. It's 'Sh-Boom' by The Chords — a bop, to be sure. It's far more ridiculous than 'Mulholland Drive's' 'this is the girl' screen test, a sort of blending of that and the film's darker sections. As the lens opens, the full company joins, facing upstage for what seems like a long time until Angelo Badalamenti's 'Jitterbug' drops in — another nod to 'Mulholland Drive.' Admittedly, 'Mulholland Drive' is canon to me, a very particular film released as a very particular moment in this critic's life. I am thus programmed to adore 'Blue Soup,' but you needn't know any of Barton's tongue-and-cheek references to see how the piece points at the rot underneath the shimmer of Hollywood and the fallibility of a dream. Then there's all this incredible dancing — highlights too numerous to list, though Choate in that blonde wig is certainly one. Another: Andrew Murdock in a phenomenal solo dancing between four downstage circles of light, a kind of washed-up showman torn between what's real and what's imagined. And another: Jacqueline Burnett, back on stage after a long absence as though no time has passed, in the piece's most authentic moments, joined briefly by Elliott Hammans, who somehow supports her from the exact opposite corner of the stage. Despite a big, rousing group dance set to Paul Simon's 'Pigs, Sheep & Wolves,' complete with unhinged, stomping diversions and a fair amount of well-timed hip thrusts, the piece ends rather unsatisfyingly before the company bows. But fear not, you will leave the theater satisfied. You see, unlike 'Mulholland Drive,' 'Blue Soup' is more shimmer than rot, appearing hopeful by comparison — maybe big, rousing group dances just do that. So does text by Maya Angelou ('Sounds Like Pearls' to be exact). Where Lynch gave Barton permission to be weird, Angelou lent Hubbard Street Dance Chicago Spring Series (4 stars) When: Through Sunday Where: Harris Theater for Music and Dance, 205 E. Randolph St. Running time: 1 hour, 45 minutes with one intermission Tickets: $46-$121 at 312-334-7777 and
Boston Globe
25-04-2025
- Entertainment
- Boston Globe
When your mom drives you to New York and back four times a week for dance class … that's love
Four days a week, Natalya wakes up, cooks lunch and dinner, then stores the meals in to-go containers as 17-year-old Nasya packs up and gets dressed. They load their belongings into their car — the food, Nasya's dance shoes and clothes, Natalya's homework for her master's program — make a quick stop at BJ's for gas, call Natalya's mother to say a prayer, and are on the road by late morning. By 4:30, they've arrived at their destination: the Joan Weill Center in Manhattan, home of the renowned Ailey School, where Nasya is enrolled in the company's pre-professional school year program. She takes ballet and modern classes at the Ailey studios for three hours, then returns to the car, where her mother has been waiting. Natalya puts the keys in the ignition. They're back home in Dorchester by midnight. This has been the drill for Natalya and Nasya every Tuesday, Thursday, Friday, and Saturday (except they start earlier on Saturday) since Nasya began the Ailey program last September. Financially and logistically, a move, even temporarily, to New York City for the duration of the program was out of the picture for the Baines, so instead, they super-commute for dance class. Each week, they spend about 32 hours driving to or from New York City so Nasya can spend about 14 hours training with Ailey. Advertisement Nasya Baine, center, takes an intensive 'Contemporary with Muadi' dance class, on Wednesday at the OrigiNation Cultural Arts Center. At right is student Jay'dha Rackard, 17. Pat Greenhouse/Globe Staff 'I love seeing the reactions on people's faces when I tell them,' Nasya said with a laugh. When Nasya was offered a spot in Ailey's pre-professional program for this school year, both she and Natalya knew they'd do everything in their power to ensure she could attend. Founded by dancer and choreographer Alvin Ailey in 1958, the Advertisement Choreographed by Ailey himself, ' It's 'Revelations' that first spoke to an 11-year-old Nasya. While she had taken a few years of dance at Jamaica Plain's 'What I like most about Ailey is that you can see someone lift their hand for a count of eight, and they'll capture you right then and there,' she said. Nasya Baine waited her turn while others did a routine in dance class, at the OrigiNation Cultural Arts Center. Pat Greenhouse/Globe Staff Hooked, Nasya set her sights on a career in concert dance, with a job with the Ailey company as her ultimate goal. She worked closely with her dance mentor ( Advertisement 'I was like, 'Oh my gosh, is this my child?'' she said. 'She just looked so stunning and confident, like it was just natural.' Still, she was a little skeptical when Nasya told her she wanted to audition for Ailey's New York-based yearlong pre-professional program. Would her daughter really be willing to forgo normal teenage life for this dream? Nasya dithered until the last possible moment. ('If pacing was a person, that was me,' she said.) But when the morning of the audition came, she marched into Natalya's bedroom. 'Mama, do we have time to make it to the audition today?' Natalya checked the clock: 10:30. The audition was in Manhattan that afternoon. 'Hop in the car,' she said. 'Let's go.' Stories like Natalya and Nasya's are commonplace at Ailey, of relentlessly dedicated dancers and the families who support them at all costs. Company member Christopher Taylor, for one, wouldn't have gotten his start at Ailey without a push from his grandmother (she found the application for an Ailey summer program that he had abandoned in his backpack, thinking he'd opt for basketball camp instead). 'She saw the paper and said, 'Alvin Ailey!' ' Taylor said. ''No, you're going to do this.'' He went, then received a scholarship to the Ailey School. For Taylor's entire first year at the school, his grandmother rode the bus with him from North New Jersey to the studio and back. In spite of the sacrifices it required, Taylor always knew Ailey was the place for him. 'It was the first example of Black men and women dancing that I ever saw,' he said, remembering when a teacher showed his class a DVD of Ailey performances. 'They were storytelling with their bodies; they were celebrating us.' To be able to do that for a living, he says, is a blessing. Advertisement Alvin Ailey American Dance Theater's Christopher Taylor in Alvin Ailey's "Revelations." The company performs in Boston April 24-27 at the Boch Center Wang Theater. Paul Kolnik/Photo by ©Paul Kolnik That's the prize Nasya is chasing. It's why she left her school and enrolled in online classes and gave up sleeping in and seeing friends on Saturdays. It's why Natalya squeezes in all her studying for her master's degree while Nasya is in the studio; why she carefully saves up to pay for gas and tolls; and why she drives on endless loop, even when she's so exhausted that she has to roll the windows all the way down so the chill keeps her alert at the wheel. This weekend, Taylor and the company are in Boston to showcase Ailey's dynamic, stirring works. As they take to the stage, Nasya and Natalya will be somewhere between New York and here, making their way back from another day at the Ailey School. In her classes at Ailey, Nasya says, one concept that's emphasized is partnership — an Ailey artist thinks of everything in their space as a partner, from the air that suspends them on a jump, to the floor that catches them when they land. In other words: Every movement is the work of a team. For aspiring young dancers like Nasya, that couldn't be more true. Some younger students peered into the studio where Nasya Baine, left, takes an intensive dance class. Pat Greenhouse/Globe Staff Alyssa Vaughn is a writer and editor in Somerville.
Los Angeles Times
28-03-2025
- Entertainment
- Los Angeles Times
Why Alvin Ailey's new ‘Sacred Songs' is a homecoming: L.A. arts and culture this weekend
Alvin Ailey American Dance Theater's 'Sacred Songs' is a homecoming of sorts. It was initially conceived to celebrate the 60th anniversary of 'Revelations,' the seminal masterpiece that closes every Ailey show. ' 'Revelations' is a history lesson through dance that evades antiquity, a timeless reminder of how far we've come, and how far we have to go,' wrote critic Lauren Warnecke. 'Technically demanding, choreographically sound and aesthetically magnificent, … it's the closest we get in dance to a permanent exhibit.' Matthew Rushing, the company's interim artistic director who choreographed 'Sacred Songs,' was intrigued by the chapter in Jennifer Dunning's 1996 book 'Alvin Ailey: A Life in Dance' that detailed the classic's initial form. 'It was over an hour long and with live musicians and singers on stage,' he told The Times. 'But when it came time to take it on tour, he decided to condense it by removing half of the songs.' Rushing perused the list of omitted 'Revelations' songs and collaborated with composer Du'Bois A'Keen to reimagine this left-out collection of spirituals for a new piece. 'These spirituals have such power and history, but some of them are extremely well known and important to a lot of people,' he said. 'We wanted to present them in a fresh way. We spent two weeks brainstorming with musicians at the 92nd Street Y in New York, where 'Revelations' premiered in 1960. It was amazing to be in that room, creating sounds to honor the original.' Though the debut of 'Sacred Songs' was delayed by the pandemic, the piece made its world premiere last year at New York City Center as part of the Whitney Museum of American Art's exhibit 'Edges of Ailey' — complete with instrumentalists and a chorus on stage. Its music fuses jazz, African drums, gospel and hip-hop, and it went over so well that the suite was recently released as an album. The company will perform Rushing's 'Sacred Songs' as part of its seven shows at the Music Center's Dorothy Chandler Pavilion (April 2 to 6) — marking its Los Angeles premiere, a notable milestone for the L.A. native. While the dancers pays homage to Ailey and 'Revelations,' Rushing personally dedicates the song 'Troubles Troubling,' a reimagining of 'Troubles of This World,' to his late mother, Barbara DeLoach, who passed away as he was choreographing the piece. 'One of the omitted 'Revelations' songs happens to be about someone transitioning; the lyrics say, 'I'm going home to live with God,' ' said Rushing. 'I was able to choreograph this section as a way of grieving, and it's been the most amazing experience to watch that special part, sometimes with laughter or tears.' I'm Ashley Lee, and I'm looking forward to witnessing this new Ailey creation. I'm with my fellow Times staff writer Jessica Gelt to bring you more arts and culture news and things to do: 'Cypress Hill and the London Symphony Orchestra: Black Sunday Live at the Royal Albert Hall'When the hip-hop group released 'Black Sunday' in 1993, The Times' review noted it 'boasts even sharper insights, crisper beats and a more tantalizingly ominous tone' than their debut album. Last year, the icons reimagined this masterpiece release with the London Symphony Orchestra — yes, another 'Simpsons' joke predicted the future — and the resulting collaboration, conducted and arranged by Troy Miller, debuts stateside via a filmed performance. It's playing in theaters throughout L.A. on Sunday, Monday and Wednesday, ahead of the live album's release on June 6. 'Multiple Loads'Nicholas Pilapil's last play, 'God Will Do the Rest,' had me laughing, crying and returning for a second viewing. His new stage show centers on two men in L.A. who fall in and out of love over the course of a decade. Playwrights' Arena is presenting a reading as part of its New Pages Lab, a series designed for playwrights to hear their work with an audience. George Salazar and Adrián González star in the reading, directed by Shinshin Yuder Tsai. Admission is free with online RSVP. Sunday, 1 p.m. Art of Acting Studio, 1017 N. Orange Drive, L.A. 'Yorgos Lanthimos: Photographs''Lanthimos' worlds operate like a transparent watch exposed straight through to the gears,' wrote Times film critic Amy Nicholson of the filmmaker's 2024 movie 'Kinds of Kindness.' 'The fascination comes from seeing how each piece of the machine pressures the others to behave. His characters speak their minds without apology.' Starting Saturday, the Oscar-nominated director and screenwriter exhibits his still photography for the first time, featuring images from his recent books: 'i shall sing these songs beautifully,' made during the filming of 'Kinds of Kindness' and published by Mack; and 'Dear God, the Parthenon Is Still Broken,' shot during the making of his 2023 hit 'Poor Things' and published by Void. The exhibition is on view through May 24. MACK + Webber at 939, 939 S. Santa Fe Ave., Los Angeles. — Ashley Lee FRIDAY🎸🎭 Adobe Punk Sparks fly as a 1980s musical trio squatting in an old Bell Gardens adobe home power through rehearsal in this punk rock musical written and directed by Gabriel Garza and Theresa Chavez.⏰ Through April 13. Margo Albert Theatre, Plaza de la Raza, 3540 N. Mission Road. 🎭 Into the Woods Musical Theatre West presents Stephen Sondheim's fairy-tale-fueled musical.⏰ Through April 13. Carpenter Performing Arts Center, 6200 E. Atherton St., Long Beach. 🎼 🎻 Kerson Leong The Canadian violinist performs a dynamic program of sonatas by Poulenc, Fauré, Boulanger and Franck. Leong will also lead a master class at 11 a.m. Saturday.⏰ 7 p.m. Colburn School, 200 S. Grand Ave., downtown L.A. 🎸 Papa Roach/Rise Against The bands team up for the Rise of the Roach tour.⏰ 7 p.m. Kia Forum, 3900 .W Manchester Blvd., Inglewood. SATURDAY🎸 Franz Ferdinand The Scottish rockers reach L.A. in the Human Fear tour.⏰ 7 p.m. The Wiltern, 3790 Wilshire Blvd. 🎭 Jane Eyre Geoff Elliott directs Elizabeth Williamson's adaptation of the Charlotte Brontë novel. ⏰ Through April 20. A Noise Within, 3352 E. Foothill Blvd., Pasadena. 💃 A Jewish Child's Story Choreographer Louise Reichlin's autobiographical dance multimedia work reflects on her early dreams as the granddaughter of Jewish immigrants.⏰ 1:30 p.m. Culver City Senior Center, 4095 Overland Ave. 🎼 Nowruz: The Concert — Return of the MastersThe Pacific Symphony and Farhang Foundation's annual celebration includes the Pournazeri Trio — Kaykhosro, Tahmoures and Sohrab Pournazeri.⏰ 8 p.m. Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. 🪘🎵 Orquesta Akokán The Havana jazz ensemble provides a 21st century take on Cuban mambo.⏰ 8 p.m. The United Theater on Broadway, 929 S. Broadway, downtown L.A. 🎭 🎵 El Otro Oz Salsa, merengue, Mexican folk songs and Dora, 'a contemporary Latiné teenager,' take center stage in this bilingual musical inspired by 'The Wizard of Oz.'⏰ Through April 13. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. SUNDAY🎭 🎵 Adanza: Show Me Your Dreams A musical adventure featuring juggling, unicycles, breakdancing, animation, bubbles, glow sticks, drumming, aerial artists and more.⏰ 2 and 6 p.m. Sunday; 7 p.m. Friday; 3 and 7 p.m. Saturday. The Eastwood, 1089 N. Oxford Ave. 🎭 Aristotle/Alexander The Greek philosopher engages in an intellectual battle of wits with his star pupil in a new play written and directed by Alex Lyras.⏰ 3 p.m. Sundays; 8 p.m. Saturdays, through May 4. Company of Angels, 1350 San Pablo St. 🎼 🎹 Leif Ove Andsnes The Norwegian pianist performs Grieg's Piano Sonata in E minor, Op. 7; Geirr Tveitt's Piano Sonata No. 29, Op. 129, 'Sonata Etere'; and Chopin's 24 Preludes, Op. 28.⏰ 3 p.m. Soka Performing Arts Center, Soka University, 1 University Drive, Aliso Viejo. 🎨 Carole Caroompas 'Heathcliff and the Femme Fatale Go on Tour' is a series of works created by the feminist artist between 1997 and 2001, inspired by Emily Brontë's 19th century novel 'Wuthering Heights.'⏰ 10 a.m.-5 p.m. Tuesday-Sunday, through July 13. Laguna Art Museum, 307 Cliff Drive, Laguna Beach. 🎼 Hear Now Music Festival: Voices Raised The 14th annual event features three programs of new music by contemporary Los Angeles composers: Electroacoustic with Vocal (co-presented with People Inside Electronics), Brightwork Ensemble, David Cubek, conductor HEX and Fahad Siadat, director; Instrumental Chamber Music (April 13); and Vocal Chamber Music (May 18). ⏰ 5 p.m. 2220 Arts + Archives, 2200 Beverly Blvd. 📺 Neo-Japonism: Samurai and Beyond Japanese broadcaster NHK showcases its use of technology in the presentation of its annual 'Taiga' historical dramas.⏰ 11 a.m.-7 p.m. Monday-Friday; 11 a.m-8 p.m. Saturday-Sunday, through Sept. 1. Japan House, Ovation Hollywood, 6801 Hollywood Blvd. 🎨 Su Yu-Xin The L.A.-based artist discusses materiality, the intersection of art and science, and the ways color shapes our understanding of the world with OCMA CEO and director Heidi Zuckerman.⏰ 3 p.m. Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. A 90-year-old mystery was solved earlier this year when the Ebell of Los Angeles discovered that a series of frescoes painted by revered female muralist Maxine Albro in 1933 still exist beneath more than nine layers of paint in the center's north loggia. The frescoes were commissioned by the Ebell's president in 1933 and became a flash point for controversy, with many members of the prominent women's club complaining that they were too modern and did not fit with the aesthetic of the garden. The artworks were thought to have been destroyed in 1945, so it was with great joy that the Ebell discovered they had only been painted over and can be restored when the moment is right. Stephen Laughton's play, 'One Jewish Boy,' which premiered in London in 2018, is making its West Coast debut in an Echo Theater Company production at Atwater Village Theatre. The show explores the relationship between a young Jewish man and his mixed-race wife. It begins at a point of crisis in their marriage and unspools back to their first meeting in Ibiza many years ago. 'The debate between them is handled with admirable complexity, but the characters don't have enough room to develop beyond the central argument of the play,' writes Times theater critic Charles McNulty in his review. Ron Sossi, founder of L.A.'s Odyssey Theatre, died March 19 of congestive heart failure at age 85. Sossi was revered in the local theater community and known for his boundary-pushing experimentation and willingness to take big swings and risks when it came to the stage. Read Sossi's obituary by staff writer Cerys Davies, here. Joe Goode, the Los Angeles-based visual artist best known for his milk bottle paintings and his ties to the Light and Space movement, has died. He was 87. In an appreciation, Times Art Critic Christopher Knight writes, 'In the 1960s, Goode's work was uncomfortably tagged as Pop art. It shared some attributes of paintings by Ed Ruscha, his childhood friend from Oklahoma City, as well as Southern California artists as diverse as John Baldessari, Billy Al Bengston, Wallace Berman and Vija Celmins. But those artists approached representational imagery in a wide variety of ways. As his career developed over the next five decades, and as art movements began to unravel as a way to characterize art, the term fell away.' Ten Los Angeles-based contemporary arts institutions got a boost Friday when the Mike Kelley Foundation for the Arts announced its first Infinite Expansion Grants, which support upcoming projects that present, according to a news release, 'thought provoking and compelling work.' These new grants are a departure from previous years when the foundation supported more grantees with less money. By choosing only 10 organizations this time around, the foundation handed out larger grants ranging from $32,000 to $45,000. The current crop of grantees are: 18th Street Arts Center, the Brick, CalArts REDCAT, Fulcrum Arts/home LA, Future Roots/Canary Test, Human Resources, JOAN, Los Angeles Nomadic Division (LAND), Pieter Performance Space, and Self-Help Graphics & Art. The title 'Infinite Expansion' is derived from one of Kelley's large drawings that features a small landscape at its center with psychedelic wood-grain patterns radiating outward. 'In a nod to the title, these grants emphasize the resounding impact that arts organizations and artists make in the communities they build and the world at large,' the foundation wrote in its announcement. — Jessica Gelt A gorgeous read on outgoing Loewe fashion house head Jonathan Anderson, and 'his holistic approach to design, seamlessly fusing together art, fashion, poetry, architecture, and interior design.'
Boston Globe
23-03-2025
- Entertainment
- Boston Globe
In a Dorchester skating rink, a lesson in ballet choreography from a pair of former dancers
Accompanied by percussionist Roderick Jackson, Robinson and Machanic patiently took an enthusiastic crowd of children, teens, adults, and seniors through the three soulful acts of 'Revelations,' set to passionate spirituals that the performers could sing along to. Advertisement As they demonstrated the evocative movements, Robinson and Machanic also shared historical facts about Ailey's inspirations for 'Revelations,' rooted in his experiences growing up in Black churches in Texas. When the afternoon drew to a close, Machanic awarded T-shirts and prizes to participants who could recall some of these facts. The dance theater and Boston arts nonprofit Celebrity Series have been in partnership for nearly 60 years, but this year is the first to see more than one community educational event, according to Shaumba-Yandje Dibinga, founder of OrigiNation Cultural Arts Center in Boston and program manager for the 'Revelations' event. 'We normally do one, but we did four this year,' Dibinga said. 'Renee and Amos are legends. They led three back-to-back workshops yesterday and their energy never changed, they're spectacular.' The addition of three community events meant that around a thousand people in total were able to attend, Dibinga said. Machanic said that hosting more events meant fulfilling the vision of Ailey himself, who believed 'dance came from the people and that it should always be delivered back to the people.' Courtney Boston, the event's emcee, emphasized the importance of hosting these workshops in predominantly Black neighborhoods of greater Boston. 'We didn't want to have these events in Seaport or anywhere that our people might not have access to,' Boston said. 'We're right here in our neighborhoods and our backyards.' Advertisement Boston was pleased by the event's inclusivity of people from all walks of life, including those with dance backgrounds and those without. 'It was awesome. There's people being centered in Black culture today, using music and dance and arts to bring people together,' she said. 'I'm not a dancer, but they had me moving.'
Yahoo
23-03-2025
- Entertainment
- Yahoo
Netflix's new psychological thriller is one of the best movies I've seen in 2025 so far — stream it now
When you buy through links on our articles, Future and its syndication partners may earn a commission. 'Revelations' is a psychological thriller I've been keeping an eye on ever since the first trailer dropped a few weeks ago. The idea of exploring personal beliefs amidst a harrowing missing person's case sounded intriguing enough to pull me in right away, especially with 'Train to Busan' director Yeon Sang-ho at the helm. So when I sat down to watch it, I was more than excited. 'Revelations' is an intense, thought-provoking thriller, with eerie background music that will (probably) linger in your mind. Even thinking about the score now gives me chills. But what's more interesting is that it takes an analytical dive into the darker corners of human nature and how past trauma can drive people to do the unthinkable. It's even more unsettling when seemingly ordinary people, living seemingly normal lives, are capable of terrible things too. Now that 'Revelations' is streaming on Netflix, I urge you to watch it. This is definitely one of my favorite movies of 2025 so far, and although it's not perfect, there's a lot to like about it. Here's why you need to stream this psychological thriller on one of the best streaming services now. 'Revelations' follows a pastor and a detective, each driven by their own convictions. Pastor Sung Min-chan (Ryu Jun-yeol) is devoted to his church and community and wishes to do good. One day, an ex-convict named Kwon Yang-rae (Shin Min-jae) arrives at Min-chan's church after following a young girl inside. Noticing the man's weary appearance and unfamiliar face, Min-chan invites him to join the congregation. But when he spots the electronic anklet around Yang-rae's ankle, his faith is tested. Soon after, the young girl disappears. Convinced it's his divine duty to punish the guilty, Min-chan sets his sights on Yang-rae, determined to make him atone. Meanwhile, detective Lee Yeon-hui (Shin Hyun-been), assigned to the case, is tormented by visions of her dead sister — visions that pull her closer to the true monster lurking in the shadows. You might think I gave away too much in the synopsis above, but there's a reason for that. This isn't a mystery thriller where you slowly piece together clues until the kidnapper is revealed at the end. No, the movie identifies the culprit right away because it's not about who did it but about how the people around this deeply sinister person react, especially when shaped by their own beliefs and trauma. From the very first minutes of 'Revelations,' director Yeon establishes a lingering sense of dread, the kind that defines thrillers of this nature. A shot of a young girl walking through the rain to get to the church, and the man, Yang-rae, following closely behind. The movie's dynamic, spiritually charged camerawork is one of its strongest elements, pulling you in without any unnecessary introductions. But what makes it truly gripping is how every frame matters even if you don't realize it in the moment. Even the haunting background score ramps up the tension, growing more frantic as the characters sink deeper into the case. Watching a man of God grapple with a crisis of faith and spiral into darkness isn't exactly new stuff, but Ryu's performance elevates the premise so it's not too generic. He perfectly captures a man whose once-welcoming presence is unraveling, revealing something far more sinister beneath the surface. Min-chan's character is honestly tragic at times — he can never stand up for himself and he's always letting others walk over him at the first sign of confrontation. That's what makes his transformation one of the most compelling aspects of 'Revelations,' even if his performance far surpasses the script. He ends up doing some crazy things you wouldn't expect from a pastor. I like how there's no expectation to sympathize with the two leads we'll be following for the two-hour runtime either. Both Min-chan and Yeon-hui are haunted by their own demons, struggling against them for most of the movie. And it's interesting to see how these characters react so differently to their internal struggles. Shin Min-jae, however, takes the crown when it comes to standout performances. He doesn't need to say much when his character, Yang-rae, is on screen since his incredibly cold expression is enough to make you uncomfortable, a silent reminder of what he's capable of. Yeon takes some interesting creative paths in exploring Yang-rae's character, delving into his traumatic past and the cycle of abuse that shaped him. It doesn't ask you to feel bad for him, but it ensures he isn't just another simple villain in a crime thriller. I have to admit, 'Revelations' slips into a more conventional thriller in its second half once the characters are deep into the case and confront the truth near the end. So, the ending might not feel entirely satisfying for some (and I definitely wanted more). That said, everything leading up to it is nothing short of thrilling, and I'm confident the haunting shots of a devil's face and the unsettling music will keep you on edge for a while. If you're into dark, gripping thrillers that mess with your head, 'Revelations' is a must-watch. It has plenty of eerie messages hidden in different scenes throughout the movie and characters who blur the line between justice and obsession. Ryu Jun-yeol delivers a haunting performance as a pastor consumed by his own righteousness, and the unsettling music keeps you on edge the entire time. I'm not the only one who enjoyed this thriller. 'Revelations' has 73% on Rotten Tomatoes at the time of writing from over ten reviews. Daniel Hart from Ready Steady Cut said: 'Revelations weaves a dark, twisted tale of faith and trauma, with standout character depth from Yeon Sang-ho that grips and unnerves in equal measure.' Meanwhile, FandomWire's Manuel São Bento said in their review: 'Featuring two exceptional central performances, one of the most striking films of the year leaves a haunting reflection: are our choices truly our own, or merely inevitable responses to invisible forces that shape us?' Of course, not every critic enjoyed 'Revelations.' Robert Daniels from RogerEbert stated it's a 'ponderous picture lacking narrative momentum.' This is a take I can agree with considering the third act uses stereotypical genre tropes while falling into the trap of uneven pacing. Despite this flaw, it's still worth your time. 'Revelations' is now streaming on Netflix, and it's one to add to your watchlist. If you're not convinced, see what else is new on Netflix in March 2025. 5 Netflix movies and shows I can't wait to watch in spring 2025 Netflix just got this action crime thriller with Gerard Butler You need to binge-watch this crime drama on Netflix right now
