Experimental composer Sxip Shirey will be performing at 2:45 at the New Museum Block Party in Sara D. Roosevelt Park on July 21
New Museum of Contemporary Art, 235 Bowery at Prince St.
Sara D. Roosevelt Park, Chrystie St. between Delancey & Broome Sts.
Saturday, July 21, 12 noon – 5:00
212-219-1222
www.newmuseum.org
The sixth annual New Museum Block Party takes place on the Lower East Side on Saturday in nearby Sara D. Roosevelt Park as well as the museum itself. There will be live outdoor performances by experimental artists Chris Giarmo/Boys Don’t Fight, Yvonne Meier, Sxip Shirey, and High Priest of Antipop Consortium, a Bowery Artist Tribute in which visitors can remix and recontextualize poems that have ties to the neighborhood, a digital archive of New Museum catalogs (in which you can create your own mix-and-match mini-catalog), an Op art workshop, a Lower East Side photo show, an interactive paper workshop led by Nicolás Paris, an alternate-color demonstration, and free admission to the museum (with tours every hour at a quarter past), where you can check out the exhibitions “Ghosts in the Machine,” “Pictures from the Moon: Artists’ Holograms 1969 – 2008,” “The Parade: Nathalie Djurberg with Music by Hans Berg,” and “Carlos Motta: We Who Feel Differently.”
We don’t mean to be facetious or didactic, but Broadway Danny Rose is one of Woody Allen’s most consistently entertaining movies, and we say that with all due respect. In the hysterically frantic mob comedy, a group of old-time Borscht Belt comedians, including Sandy Baron, Corbett Monica, Jackie Gayle, Morty Gunty, Will Jordan, and Howard Storm (in addition to longtime Allen producer Jack Rollins), have gathered at the Carnegie Deli and are sharing legendary stories about Danny (Allen), with Baron claiming to have the best one of all, which is then told in flashback. Rose, a small-time New York talent agent who represents such minor-league acts as the Impresario of the Musical Glasses (Gloria Parker) and hapless ventriloquist Barney Dunn (Herb Reynolds), gets involved with local gangsters when one of his clients, has-been nightclub singer Lou Canova (Nick Apollo Forte), asks him to serve as a beard for his girlfriend, Tina Vitale (Mia Farrow), a gum-chewing, tough-talking moll whose former beau is a very jealous mobster. Danny and Tina are soon on the run, at one point finding themselves in a warehouse filled with Thanksgiving Day parade balloons, leading to one of the funniest laugh-out-loud scenes of Allen’s career. A character-driven comedy with a marvelous blend of slapstick and romance, Broadway Danny Rose is Allen at his very best, as actor, writer, and director. And if we might interject a concept at this juncture, just remember: star, smile, strong!
Just as Kirk has his Khan, Spock gets his Nero in J. J. Abrams’s immensely entertaining time-traveling Star Trek movie. Abrams (Lost) goes back to the very beginning, with the tumultuous birth of one James Tiberius Kirk (Chris Pine), whose father was a legendary member of Star Fleet. Soon he winds up aboard the U.S.S. Enterprise, surrounded by a crew that includes a logical Vulcan named Spock (Zachary Quinto); Uhura (Zoe Saldana), a hot language specialist; Leonard “Bones” McCoy (Karl Urban), a goofy doctor; seventeen-year-old helmsman Pavel Chekov (Anton Yelchin); engineer extraordinaire Montgomery Scott (Simon Pegg); and rookie pilot and swordsman Hikaru Sulu (John Cho). In this sort-of Star Trek Babies tale, the young cadets are suddenly thrust into action with Captain Pike (Bruce Greenwood), on a mission that involves evil villain Nero (Eric Bana), a rogue Romulan with an ax to grind. Star Trek fans will love all the little homages to the series and the previous films, with both obvious and obscure references every step of the way as we learn how this famous crew first met one another and developed their extremely familiar relationships. Star Trek is screening July 20 on board the flight deck of the Intrepid as part of the museum’s free summer movie series, which continues with The Muppets on July 27, Jurassic Park on August 3, and The Goonies on August 17.
Japanese director Takashi Miike’s first foray into the samurai epic is a nearly flawless film, perhaps his most accomplished work. Evoking such classics as Kurosawa’s Seven Samurai, Mizoguchi’s 47 Ronin, Aldrich’s The Dirty Dozen, and Eastwood’s High Plains Drifter, 13 Assassins is a thrilling tale of honor and revenge, inspired by a true story. In mid-nineteenth-century feudal Japan, during a time of peace just prior to the Meiji Restoration, Lord Naritsugu (Gorô Inagaki), the son of the former shogun and half-brother to the current one, is abusing his power, raping and killing at will, even using his servants and their families as target practice with a bow and arrow. Because of his connections, he is officially untouchable, but Sir Doi (Mikijiro Hira) secretly hires Shinzaemon Shimada (Kôji Yakusho) to gather a small team and put an end to Naritsugu’s brutal tyranny. But the lord’s protector, Hanbei (Masachika Ichimura), a former nemesis of Shinzaemon’s, has vowed to defend his master to the death, even though he despises Naritsugu’s actions. As the thirteen samurai make a plan to get to Naritsugu, they are eager to finally break out their long-unused swords and do what they were born to do. “He who values his life dies a dog’s death,” Shinzaemon proclaims, knowing that the task is virtually impossible but willing to die for a just cause. Although there are occasional flashes of extreme gore in the first part of the film, Miike keeps the audience waiting until he unleashes the gripping battle, an extended scene of blood and violence that highlights death before dishonor. Selected for the 2009 Cannes Film Festival and nominated for the Silver Lion at the 2010 Venice Film Festival, 13 Assassins is one of Miike’s best-crafted tales; nominated for ten Japanese Academy Prizes, including Best Picture, Best Director, Best Screenplay (Daisuke Tengan), Best Editing (Kenji Yamashita), Best Original Score (Koji Endo), and Best Actor (Yakusho), it won awards for cinematography (Nobuyasu Kita), lighting direction (Yoshiya Watanabe), art direction (Yuji Hayashida), and sound recording (Jun Nakamura). 13 Assassins is screening at Japan Society on July 21 at 8:20 as part of the Japan Cuts sidebar “Focus on Kôji Yakusho” and will be introduced by the actor; the July 20-21 mini-festival also includes such other Yakusho vehicles as his directorial debut, Toad’s Oil, as well as Shuichi Okita’s The Woodsman and the Rain, the New York premiere of Masato Harada’s Chronicle of My Mother, Kiyoshi Kurosawa’s Cure, and Masayuki Suo’s original Shall We Dance?