Entertainment

Review: Julia Bullock’s song recital, ‘From Ordinary Things,’ is anything but ordinary

Published

1 month ago

January 19, 2026

Review: Julia Bullock’s song recital, ‘From Ordinary Things,’ is anything but ordinary

The art of the so-called art song is a thriving business. Singers galore are monthly recording songs from the rich 19th^{century classical repertory, while composers are busy making new ones. But what was once known as the Lieder recital — the German title for songs in a genre once dominated by Schubert, Schumann, Hugo Wolf and Richard Strauss — has approached its sell-by date.}

The smart shopper will already note signs of staleness and mold in the old practice of a singer in stiff white tie and tails or gaudy gown, standing, arm propped on piano, of the second banana accompanist. Attention here was meant to be drawn not to the singer but the marvels of song, as you followed the text in your program book. The recital acted like a religious experience in which a rarefied atmosphere befits radiance.

A new generation of singers, however, has been strikingly upending the song recital, turning to songs from a wide variety of sources old, new and genre fluid. Singers think thematically and theatrically. Pianists become welcoming creative partners. Other musicians, stage directors, choreographers and dancers may be invited in.

“From Ordinary Things,” which had its premiere as part of CAP UCLA’s series at the Nimoy Theater on Thursday night, is the latest project of one of the least ordinary and most compelling singers of this new generation, Julia Bullock. A rivetingly theatrical soprano, Bullock, in collaboration with percussionist/composer Tyshawn Sorey and director Peter Sellars, has developed a full-scale operatic evening, “Perle Noir: Meditations for Joséphine,” about the chanteuse Josephine Baker and slated next for Australia’s Adelaide Festival in March. Another project has been Bullock’s riveting staging, with dance, of Olivier Messiaen’s mystical, Amazonian, sex-love-death song cycle, “Harawi,” which came to the Wallis in October 2024.

Conor Hanick, a partner of Bullock’s in the experimental collective American Modern Opera Company (AMOC), was the pianist for “Harawi” and is again for “From Ordinary Things.” They are further joined by the equally versatile cellist, Seth Parker Woods. The title comes from the last line of “Shelter,” a song by André Previn with a text by Toni Morrison. “In this soft place/Under your wings/I will find shelter/From ordinary things.”

That leaves us Bullock with extraordinary things, and her program is surprising in all things. She begins in shock, singing unaccompanied, on a dark stage in a darkened hall, performers illuminated by powerful spotlights.

Julia Bullock performs at the UCLA Nimoy Theater on Thursday in Los Angeles.

(Carlin Stiehl/For The Times)

Stark, discomforting amplification diminishes intimacy and the luxurious richness of Bullock’s soprano, which easily fills a room on its own, suggests quiet terror, the lonely state of Nina Simone’s “Images.” The unaccompanied solo about a woman who “thinks her body has no glory” gets it from Bullock. That progresses without a break into the first song, “Nahandove,” from Ravel’s “Songs of Madagascar,” with piano and cello but not the flute in Ravel’s original setting. Here beauty is celebrated with voluptuous rapture, setting the mood for “Oh, Yemanja,” a mythic, watery mother’s prayer from Tania León’s opera “Scourge of Hyacinths.”

A highlight was to have been a pair of songs by León, with texts by Kevin Young, written for the recital, but they were apparently not yet ready. A line from one of them is “All light wrong?” With the program and song texts only available to download on the cellphone, the audience was left in the dark without texts and, with amplification obscuring diction, not knowing what’s what.

Another Young line — “are my chief complaints” — suited the blowsy loudspeakers that messed up balances, which extended to a performance of George Walker’s rarely heard Sonata for Cello, that ends the first half, for no apparent reason other than it gives the spotlight to the instrumentalists and it is a score that begs to be heard.

Parker has been a glowing advocate of the early work, written in 1957, by the late composer whose music is only in the past few years beginning to find its way to the public thanks to the efforts of reviving neglected Black composers. The sonata does not have the vibrant complexity of Walker’s commanding later works, but it is tight, strong, accessible and with an inspired slow movement that it would be hard to get enough of.

Cellist Seth Parker Woods and pianist Conor Hanick perform on a darkened stage

The strange second half brought fewer complaints. An intermission bought time to familiarize oneself with text squeezed onto the cellphone screen. Amplification proved less objectionable. Bullock announced that while putting the program together she had come across songs by Robert Owens, a little-known American composer who lived in Munich, Germany, and died in 2017 and who wrote songs in the style of Richard Strauss to texts by the 19^th century poet Joseph von Eichendorff. If not a find, a curiosity.

From there to the avant-garde. “Ultimate Rose” from Salvatore Sciarrino’s 1981 opera, “Vanitas,” turns early music, along with vocal and cello production, marvelously inside out. More Nina Simone, the harsh “Four Women,” then Previn. Along with “Shelter,” Bullock sang a song he wrote with Dory Previn (“It’s Good to Have You Near Again”) and arrangements he made of standards (The Gershwins’ “Love Walked In” and Rogers’ and Hart’s “Nobody’s Heart Belongs to Me”) for his album with Leontyne Price. The encore was Massenet’s “Elégie.”

Each song seems to exist for reasons of its own. Each song creates a different dynamic among the three performers. You listen, left in the dark, wondering but also in wonder, as Bullock asks you a question why each song mattered as much as it did.

You go home and read the texts and find there are no ordinary things.

Movie Reviews

Film reviews: ‘How to Make a Killing,’ ‘Pillion,’ and ‘Midwinter Break’

Published

7 hours ago

March 2, 2026

Press Room

‘How to Make a Killing’

Directed by John Patton Ford (R)

★★

“Trying to find your niche as a movie star isn’t easy,” said Frank Scheck in The Hollywood Reporter. Take Glen Powell. A year ago, the Twisters and Anyone but You star was being talked about as possibly the next
Tom Cruise. But he “stumbled badly” when he tried to play a macho action hero in November’s remake of The Running Man, and he’s now turned in a second straight box office flop. He took a risk with How to Make a Killing, playing a guy cheated by fate who we’re supposed to root for as he begins murdering off the seven rich relatives standing between him and an enormous inheritance. But c’mon. “Powell is charming, but he’s not that charming.”

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The movie “needed to pick a side,” said Jacob Oller in AV Club. It could have been “a clownish class comedy” or “bitter sociopathic satire,” but it winds up being neither, and “at the center of it all is Powell, making the
same face for an hour and 45 minutes, too unflappable to root for, too smug to magnetize as an inhuman American Psycho.” I’m not ready to give up on him, said Nick Schager in the Daily Beast. To me, he and co-star Margaret Qualley, who plays the femme fatale who eggs on the killing spree, come across as “such alluringly nasty delights” that this reworking of the 1949 black comedy Kind Hearts and Coronets “ survives its potentially lethal missteps and works on its own limited terms.” Though its teeth aren’t as sharp as they should be, “it’s smart and spiky enough to leave a pleasurably painful mark.”

‘Pillion’

Directed by Harry Lighton (Not rated)

★★★★

While this gay BDSM rom-com from a rookie director “might sound niche,” said Amy Nicholson in the Los Angeles Times, “free yourself to see it and you’ll discover it’s a universal romance.” Former Harry Potter side figure Harry Melling stars as a shy singleton who’s figuring out what he wants in a relationship when he happens into a submissive-dominant entanglement with a tall, handsome biker played by Alexander Skarsgard. Soon, Melling’s Colin is obeying his lover’s every order, including by shaving himself bald and sleeping like a dog on the floor. But the “kinky-funny” screenplay, which won a prize at Cannes, makes sure we see that Colin is not stuck but growing.

While the movie’s sex scenes are “refreshingly graphic,” they’re “never used or shock value,” said Odie Henderson in The Boston Globe. “The real shock comes from how emotionally involved the characters become within the construct of their kink.” And when Colin brings his new lover
home to meet the parents, Skarsgard and Lesley Sharp, as Colin’s suburban London mom, do memorable work because “neither of them
approaches the scene in a way you’d expect.” Until the ending, which “feels a little neat,” said Zachary Barnes in The Wall Street Journal, the movie “proceeds with an assurance of tone that’s especially impressive for a first-time filmmaker handling material like this.” Harry Lighton’s debut “could have been simply shocking, revving its engine in sexed-up style. Instead, Pillion purrs.”

‘Midwinter Break’

Directed by Polly Findlay (PG-13)

★★

Lesley Manville and Ciarán Hinds “would be appealing to watch just fumbling for their reading glasses,” said Natalia Winkelman in The New York Times. Unfortunately, this “staid” drama about an aging Irish couple puts that claim to the test. A “slow-moving film with a sappy score and mellow mood,” Midwinter Break opens with Manville’s Stella surprising Hinds’ Gerry by arranging a spur-of-the-moment trip to Amsterdam. Alas, “precious little conflict occurs until long afterward.”

But while Polly Findlay’s adaptation of a Bernard MacLaverty novel is a “delicate” film, said Lindsey Bahr in the Associated Press, its impact can be profound “if you can get on its level.” Stella, a devout Catholic, has an ulterior motive for dragging Gerry abroad, and when she nervously proposes how she’d like to live more purposefully in retirement, “it feels earth-shattering.” This is a couple accustomed to leaving much unsaid,
including how the violence of the Troubles led them to flee Belfast years earlier for Scotland. Manville and Hinds give the movie everything they’ve got, said Caryn James in The Hollywood Reporter. In a scene in which Stella pours out her heart to a stranger, “Manville delivers one of her most magnificent performances, which is saying a lot.” Alas, the script lets them down, “not because it needs more action but because this ordinary couple’s problems seem so unsurprising, their inner lives so veiled.”

Entertainment

After ‘Yellowstone’ and a twist of fate, Luke Grimes rides again as Kayce in ‘Marshals’

Published

9 hours ago

March 1, 2026

Press Room

After ‘Yellowstone’ and a twist of fate, Luke Grimes rides again as Kayce in ‘Marshals’

This story contains spoilers for the pilot of “Marshals.”

When the curtain came down on “Yellowstone” last year, Kayce Dutton had finally found his happily-ever-after.

The youngest son of wealthy rancher John Dutton (Kevin Costner) had secured a modest cabin in a mountainous region where he could reside in secluded peace with his beloved wife, Monica (Kelsey Asbille), and son, Tate (Brecken Merrill), far from the turbulent dysfunction of his family.

“Kayce found his little peace of heaven, getting everything he ever wanted and fought for,” said Luke Grimes, who plays the soft-spoken Dutton in “Yellowstone.”

Grimes reprises the role in CBS’ “Marshals,” which premiered Sunday. But in the new series, Kayce’s serenity has been brutally shattered, forcing him to find a new path forward after an unimaginable tragedy.

The drama is the first of several planned spinoffs of “Yellowstone,” which became TV’s hottest scripted series during its five-season run. And while some familiar faces return and events unfold against the magnificent backdrop of towering mountains and lush greenery, “Marshals” is definitely not “Yellowstone” 2.0.

Luke Grimes as Kayce Dutton in “Marshals,” which combines the gritty Western flavor of “Yellowstone” with the procedural genre.

(Sonja Flemming / CBS )

In “Marshals,” Kayce joins an elite squad of U.S. Marshals headed by his Navy SEAL teammate Pete Calvin (Logan Marshall-Green). The drama combines two distinct brands — the gritty Western flavor of “Yellowstone” with the procedural genre, a flagship of CBS’ prime-time slate.

During an interview at an exclusive club in downtown Los Angeles, Grimes expressed excitement about dusting off his cowboy hat and boots, though he admitted to having initial concerns about whether the project was a fit.

“I had never watched a procedural before, so I had to do some homework on what that was,” Grimes said hours before the gala premiere of “Marshals” at the Autry Museum of the American West in Griffith Park. “And I just couldn’t wrap my head around it at first. In the finale, Kayce had ridden off into the sunset. So I thought, ‘Let him be, let him go.’ ”

Those doubts eventually ebbed away.

“To be honest, there was a part of me that didn’t want to let Kayce go just yet,” Grimes said. “Saying goodbye to him was really hard, so the opportunity to keep this going was something I couldn’t pass up. We get to show his backstory and also this other side of him that we didn’t see in ‘Yellowstone.’ ”

But this Kayce is a man in crisis. “Yellowstone” devotees will likely be shocked by the “elephant in the room” — the revelation in the pilot episode that Monica has died of cancer. The couple’s sexy and loving chemistry was a key element in the series while also establishing Grimes as a heartthrob.

“I think fans will be upset — and they should be,” Grimes said as he looked downward. “Kayce is very upset. It’s the worst thing that could have happened to him. But as much as I’m really upset not to work with Kelsey, it’s a good idea for the show.”

He added, “His dream life is no longer available to him. Now the only thing he has is his son, who is not so sure he wants the same life as Kayce. A big part of the season is Kayce learning how to manage all these new things — new job, being a single father.”

A bearded man with his hands in his jeans looking downward.

Executive producer and showrunner Spencer Hudnut (CBS’ “SEAL Team”) acknowledged in a separate interview that viewers may be stunned by the tragedy. “Real life intervenes for Kayce. Unfortunately it happens to so many of us.”

But he stressed that although Monica is physically gone, her presence will be heavily felt this season.

“She is guiding Kayce, and their relationship is moving forward,” Hudnut said. “His dealing with his inability to confront his grief is a big part of the season. It became clear that something horrible had to happen to put Kayce on a different path.”

As the development evolved, Grimes embraced the procedural concept: “This is a very different show and structure. This is an action show, very fast paced. I meet a lot of fans who say they really want to see Kayce go full Navy SEAL.”

Alumni from “Yellowstone” returning in “Marshals” include Gil Birmingham as tribal Chairman Thomas Rainwater and Mo Brings Plenty as his confidante Mo.

“Yellowstone” co-creator Taylor Sheridan, who had already spearheaded the prequels “1883” and “1923,” will further expand the “Yellowstone” universe later this month with “The Madison,” starring Michelle Pfeiffer and Kurt Russell, about a New York City family living in Montana’s Madison River territory. Later this year, Kelly Reilly and Cole Hauser will star in “Dutton Ranch,” reprising their respective “Yellowstone” roles as John Dutton’s volcanic daughter Beth Dutton and her husband, boss ranch hand Rip Wheeler.

Hudnut said fans of “Yellowstone” will recognize themes that were central to that series: “The cost and consequences of violence, man versus nature, man versus man.”

“We’re trying to tap into what people loved about ‘Yellowstone’ but to tell the story in a different framework,” he said. “The procedural brand is obviously very successful for CBS. And nothing has been bigger than ‘Yellowstone.’ So the challenge is, how do you marry those things?”

Taking on the lead role prompted Grimes to reflect on how “Yellowstone” transformed his life after co-starring roles in films like “American Sniper” and “Fifty Shades of Grey” and playing a vampire in the TV series “True Blood.”

“‘Yellowstone’ changed my life in many, many ways,” he said. “The biggest change is that I now live where we shot the show in Montana. The first time I went there, I would have never thought I would ever live there.

“I would come back to the city after shooting. But a little bit more each year, I felt more out of place here, and more peace and at home there. I’m a big nature person — I never was a big city person, but I had to be here to do what I wanted. But after the third season, my wife and I decided to move there. We wanted to start a family.”

The topic of a Kayce spinoff kept coming up during the filming of the finale, but “meanwhile we were having a baby, so that was the biggest thing on my plate.”

A man in a blue shirt standing with his arms crossed as horses with saddles graze in the background.

Grimes was also dealing with the off-screen drama that impacted production due to logistical and creative differences between Costner and Sheridan. Costner, who was the show’s biggest attraction, exited after filming the first part of the final season. His character was killed off.

Asked about the backstage tension, Grimes said, “I just tried to do my job to the best of my ability, and not get caught up in all that. It was sort of frustrating, but I felt lucky to have a job.”

He recalled getting a call from Sheridan about the plans for a spinoff: “He said, ‘I think you should talk to the guy who is going to be the showrunner. I’m not telling you to do it, and I’m not telling you not to do it. But Spencer is great and he has some good ideas.’ ”

Hudnut said Kayce “was always my favorite character. Also, Luke is not Kayce. Kayce is an amazing character, but Luke is really thoughtful and smart. He is a true artist and has an artist’s soul, while Kayce is kicking down doors and terrorizing people. And Luke has such a great presence. He can do so much with just a look to the camera. He is a true leading man.”

In addition to starring in “Marshals,” Grimes is also an executive producer. He pitched the opening sequence — a flashback showing Kayce in the battlefield. He also performs the song that plays over the final scene, in which he visits his wife’s grave. The ballad is from Grimes’ self-titled country album which was released last year.

“Luke’s creative fingerprints are all over the pilot,” Hudnut said.

Grimes said he does not feel pressure about being the first follow-up from “Yellowstone” to premiere.

“We’re not trying to make the same show, so no matter what happens, its a win-win,” he said. “I had a blast doing it.”

Movie Reviews

Roll On 18 Wheeler: Errol Sack’s ‘TRUCKER’ (2026) – Movie Review – PopHorror

Published

19 hours ago

March 1, 2026

Press Room

Roll On 18 Wheeler: Errol Sack’s ‘TRUCKER’ (2026) – Movie Review – PopHorror

I am a sucker for all those straight-to-video slasher movies from the 90’s; there was just a certain point where you knew the acting was terrible, however, it made you fall in love. I can definitely remember scanning the video store sections for all the different horror movies I could. All those movies had laughable names and boom mics accidentally getting in the frame. Trucker seems like a child of all those old dreams, because it is.

Let’s get into the review.

Synopsis

When a group of reckless teens cause an accident swroe to never speak of it. The father is reescued by a strange man. from the wreckage and nursed back to health by a mysterious old man. When the group agrees to visit the accident scene, they meet their match from a strange masked trucker and all his toys with revenge on his mind.

Roll on 18 Wheleer

Trucker is what you would imagine: a movie about a psychotic trucker chasing you. We have seen it many, many times. What makes the film so different is its homage to bad movies but good ideas. I don’t mean in a negative way. When you think of a slasher movie, it’s not very complicated; as a matter of fact, it takes five minutes to piece the film together. This is so simple and childlike, and I absolutely love it. Trucker gave us something a little different, not too gory, bad CGI fire, I mean, this is all we old schlock horror fans want. Trucker is the type of film that you expect from a Tubi Original, on speed. However, I would take this over any Tubi Original.

I found some parts that were definitely a shout-out to the slasher humor from all those movies. Another good point that made the film shine was the sets. I guess what I can say is the film is everything Joy Ride should have been. While most modern slashers are trying to recreate the 1980s, the film stands out with its love for those unloved 1990’s horror films. While most see Joyride, you are extremely mistaken, my friend; you will enjoy this film much more.

In The End

In the end, I enjoyed the entire film. At first, I saw it listed as an action thriller; I was pleasantly surprised, and Trucker pulled at my heart strings, enveloping me in its comfort from a long-forgotten time in horror. It’s a nostalgic blast for me, thinking back to that time, my friends, my youth, and finding my new home. Horror fans are split down the middle: from serial-killer clowns (my side) to elevated horror, where an artist paints a forty-thousand-year-old demon that chases them around an upper-class studio apartment. I say that a lot, but it’s the best way to describe some things.

The entire movie had me cheering while all the people I hated suffered dire consequences for their actions. It’s the same old story done in a way that we rabid fans could drool over, and it worked. In all the bad in the world today, and my only hope for the future is the soon-to-end Terrifier franchise. However, the direction was a recipe to succeed with 40+ year old horror fans like me. I see the film as a hope for tomorrow, leading us into a new era.

Trucker is set to release on March 10th, 2026