Tag Archives: review

Retro Movie Review: High Noon (1952)

High Noon opens on the happiest morning of Marshal Will Kane’s life. Played by Gary Cooper, Kane has just married Amy Fowler, played by Grace Kelly, and turned in his badge, ready to leave the small New Mexico town of Hadleyville behind for a life running a store. Then word arrives at the train station: Frank Miller, the outlaw Kane sent to prison years earlier, has been pardoned and is arriving on the noon train, with three of his old gang already waiting at the depot to meet him. Kane and Amy start to drive out of town. He stops the wagon himself, turns it around, and goes back to face what’s coming.

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Retro Movie Review: Annie Hall (1977)

Annie Hall opens with Woody Allen, as neurotic New York comedian Alvy Singer, addressing the camera directly, working through a Groucho Marx joke about never wanting to belong to a club that would have him as a member, before announcing flatly that he and Annie have broken up and he’s still trying to figure out why. From there the film abandons any pretense of a straight timeline. It jumps back to Alvy’s childhood in a house literally built under a Coney Island roller coaster, then forward through a first marriage, then to the night he meets Annie Hall, played by Diane Keaton, at a Manhattan tennis club.

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Retro Movie Review: La La Land (2016)

When La La Land came out in 2016, nobody quite knew what to do with it. A full-blown Hollywood musical, shot in widescreen Technicolor, with tap dancing and a jazz club and two beautiful people falling in love against the Los Angeles skyline — it won six Oscars and broke something loose in audiences that had forgotten musicals could do that. Then came the think pieces. Then came the people who decided loving it was embarrassing. The backlash arrived so fast it practically lapped the film.

A decade out, neither the worship nor the dismissal quite fits. What La La Land actually is — what it has quietly become — is one of the more honest films about ambition and romantic love that Hollywood has produced in a long time. It just hid that honesty inside a lot of pretty colors.

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Wine Review: Trentadue La Storia Petite Sirah

The Trentadue La Storia Petite Sirah is a striking example of the depth and nuance that a small, focused vineyard can produce. Visually, it presents a deep, almost opaque ruby color, hinting at concentration and power, while the nose is rich and layered, offering dark blackberry, black cherry, hints of dried violet, and a subtle graphite minerality that speaks to its Sonoma Coast wine origin.

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Retro Film Review: Duck Soup (1933)

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There are comedies that entertain, and then there are comedies that dismantle the very idea of structure itself. The Marx Brother’s Duck Soup belongs firmly in the latter category—a film so sharp, so relentless, and so unconcerned with convention that it continues to feel disruptive nearly a century after its release.

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Retro Movie Review: The Man Who Shot Liberty Valance (1962)

The street is quiet in the uneasy way only a frontier town can be. Lamps glow faintly through the windows of Shinbone’s storefronts, and the townspeople line the boardwalk in tense silence. In the center of the dirt street stands a thin young lawyer clutching a revolver he barely knows how to use. Across from him, lounging with casual cruelty, is a man who lives for moments like this. Liberty Valance flicks his whip against his boot and smiles. The lawyer’s hands tremble. Someone whispers a prayer. Then the gunfire cracks through the night, echoing down the empty street as a legend is born.

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Retro Movie Review: Fiddler on the Roof (1971)

Fiddler on the Roof (1971) unfolds with deceptive simplicity. Set in the rural village of Anatevka in early 20th-century Russia, it follows Tevye, a poor milkman, his wife Golde (Norma Crane), and their daughters as they live by long-held customs shaped by faith, family, and community. What begins as an affectionate portrait of tradition gradually reveals itself as a story about how vulnerable that structure becomes when personal choice and historical pressure collide.

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Opera’s Greatest Characters: Rigoletto, The Jester Who Can’t Outsmart the World

Matthew Aucoin as Rigoletto, LA Opera

Opera gives us kings, gods, and seducers. Rigoletto gives us a man who knows the world is cruel—and believes he can protect what he loves from it. He can’t.

Giuseppe Verdi’s 1851 masterpiece centers on Rigoletto, a court jester deformed in body and scorned in society. He survives by mocking the powerful, using cruelty as armor. Every insult reminds him he doesn’t belong—but at home, he is fiercely devoted to his daughter, Gilda. He hides her, shelters her, and convinces himself that ignorance equals safety. The love is real. The fear is genuine. The harm is inevitable.

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