Photo-Illustration: Vulture; Photos: Getty Images (Jason Miller, Mike Lawrence) |
The mere concept of the Tayvis wedding taking place at Madison Square Garden has become a war of taste: To do this is apparently tacky (like basically every summer wedding), attention seeking (she’s the most famous person in the world), and inconvenient (oh, because all of you live in Manhattan …?). It’s an idea that feels so allegedly bad that surely it can’t be true, right? Maybe this is a decoy, but unless we see a blurry paparazzi photo of them stepping out of an Escalade for a 12-person ceremony at Via Carota, we have to go with the facts we have, which are very few. What else could she do? Her geographic locations for the wedding are limited: Is she really going to fly 1,000 people to a private island, let alone cities with sentimental value like Cleveland (for Kelce) or somewhere in Pennsylvania (for her)? She lives in New York. She hangs out in New York. She eats at New York restaurants. Sure, this could be a perfect opportunity for someone with unlimited wealth to rent an Italian villa. Or buy out an entire state, like, say, Rhode Island. But MSG makes sense.
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Roxana Hadadi on Unidentified, in theaters |
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Haifaa al-Mansour’s films Wadjda and The Perfect Candidate were about women and girls interrupting Saudi Arabia’s traditionally male spaces, and they earned her a reputation as an architect of socially minded movies. Unidentified, her latest, initially appears to have similar concerns. Mila Al Zahrani plays Nawal, a true-crime-obsessed low-level employee at a police station who can’t stop asking questions about the murder of a young woman. The movie seems very well-intentioned and very much made for a western audience primed for Arab male brutality — until its final act. The pulpy pivot Unidentified takes is totally unexpected and totally welcome.
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Alison Willmore on Romería, in theaters in New York |
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What starts as a summer trip to a Galician port town for 18-year-old Marina (Llúcia Garcia) is revealed to be something much more intense in Carla Simón’s delicate, devastating semi-autobiographical film, which follows its young heroine as she’s abruptly immersed in a biological family she’s never met. Against the stunning backdrop of Spain’s Atlantic coast, Marina teases out details about the father she never knew and the mother she barely did in what emerges as a secret history of bohemianism, addiction, and shame.
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They don’t watch Drag Race, but they’ve been to a handful of her drag brunches. |
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The actor’s transformational role in The Death of Robin Hood is the best, most haunting thing about the film. |
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Apple TV’s puzzle-box adaptation plays coy with what should be this story’s driving questions. |
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The musical theater wunderkind is off to college, unless the right job comes along: “Of course I’m going to take it.” |
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