Connect with us

Entertainment

Review: Phish mounts a human-scale spectacle at Las Vegas Sphere

Published

on

Review: Phish mounts a human-scale spectacle at Las Vegas Sphere

The massive LED video screen that forms the interior surface of Sphere can be used to transport audiences to the tops of mountains, to outer space, to beneath the feet of an elephant standing as tall as a 20-story building.

On Friday night, Phish turned the place into a car wash.

Playing the second date in a sold-out four-night stand at this state-of-the-art venue just off the Las Vegas Strip, the veteran jam band from Vermont took full advantage of the technological capabilities that cost the building’s mastermind, Madison Square Garden Entertainment Chief Executive James Dolan, five years and more than $2 billion to bring to life last fall.

At one point in the nearly four-hour gig, the 160,000-square-foot screen — said to be the highest-resolution in the world — became a starry night sky so crisply rendered that you could almost believe the roof had retracted; at another point, Sphere transformed into an underwater kelp forest with sunlight streaming down from the top of the dome. The venue’s sound system was just as impressive, with a finely detailed mix and seatback haptics that allowed you literally to feel the oomph of bassist Mike Gordon’s low notes.

Advertisement

Phish’s show Friday was the second date in a sold-out four-night stand at Sphere.

(Alive Coverage)

Yet Phish’s production — the second by a band to play Sphere after U2’s opening engagement — wasn’t about excess or grandiosity; it was homey, friendly, deeply quirky. After the car-wash bit, which replicated the experience of crawling through one, a gigantic dog appeared and proceeded to lick what looked like the other side of the screen in slow motion as the band performed its song “You Enjoy Myself.”

The approach certainly differed from that of U2, whose 40-date residency launched in September and ended last month. Built around the Irish group’s 1991 album “Achtung Baby,” U2’s show riffed on big ideas about celebrity and media and the intersection of politics and capitalism; it used Sphere’s eye-popping tech to uphold the band’s distinct brand of rock-star heroism, reasserting U2’s place in a cultural lineage stretching from Frank Sinatra to Elvis Presley to the Beatles to Prince.

Advertisement

For Phish, perhaps music’s biggest cult band, Sphere wasn’t a means of self-glorification but of community-building: One thing you thought about over the course of the band’s two sets and an encore was how tiny the players looked onstage — the same size, in other words, as any of the 18,000 or so people in the crowd. Even when the screen would show a close-up of one of the players — Gordon, singer-guitarist Trey Anastasio, keyboardist Page McConnell and drummer Jon Fishman — the image would be warped almost beyond recognition.

Jam bands, of course, have a long history of elaborate visual presentations. Ahead of Phish’s run in Vegas, fans of the band wondered online whether its lighting designer, Chris Kuroda, would have the space to do his thing properly amid Sphere’s digital overload. (The answer was kind of.) So it makes sense that Sphere might become a destination for other acts in the tradition; indeed, next up at the venue is Dead & Company, which will begin a 24-show stint in May after saying that its 2023 tour would be its last.

Phish surrounded by visuals at Sphere in Vegas.

Phish performs.

(Rene Huemer / MSG Entertainment)

With no fear of being overshadowed by the room, Phish leaned into Sphere’s immersive potential with an assortment of water-themed visuals: hundreds of swimmers floating in doughnut-shaped inflatables atop the waves of a rippling sea; marine life darting through the columns of a vast sunken monument; a psychedelic waterfall pouring over a cliff that seemed almost untouchably far away from wherever you were sitting in the steeply raked amphitheater. As part of a production team parked behind dozens of glowing monitors in the middle of the room, Abigail Rosen Holmes, Phish’s creative director, manipulated these images in real time, responding — sometimes subtly, sometimes dramatically — to the twists and turns of the band’s improvisations.

Advertisement

In a funny twist, Phish’s lack of anxiety about being upstaged by what was happening on Sphere’s wraparound screen — the members themselves seem well aware that they’ve never been much to look at — meant that Friday’s show actually felt like it was about music, which was clearly the point for a band that famously never repeats a set list.

“Bathtub Gin” was jaunty and playful, with McConnell threading a bit of Gershwin’s “Rhapsody in Blue” into the song’s fabric; “Lonely Trip” was a lilting ballad with one of the evening’s few convincing vocal turns from Anastasio. “Split Open and Melt,” which came just before the evening’s intermission, was the highlight of the concert: a demented boogie-rock freak-out that landed somewhere between early Sonic Youth and electric-era Miles Davis.

For its encore, Phish played the plaintive “Wading in the Velvet Sea” as photos stretching back to the band’s beginnings in the mid-1980s flickered across Sphere’s screen, and for a moment the musicians seemed to be indulging in the kind of rock-god mythologizing the rest of the show resisted. Then you realized that most of the pictures depicted these guys in various humble backstage scenarios: just four lifers getting ready to go to work for their people.

Advertisement

Entertainment

‘Clayface’ trailer teases DC Studios’ first proper horror movie

Published

on

‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

Advertisement

“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

Advertisement

Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

Advertisement
Continue Reading

Movie Reviews

Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Published

on

Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

Advertisement

“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

Advertisement

“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”