Tags » Pam MacKinnon

The Parisian Woman: A Modern Dangerous Liaisons - D.C. Style.

The Parisian Woman: A Modern Dangerous Liaisons – D.C. Style.

By Ross

I’ve never really thought about Uma Thurman with any particular strong opinion of her as an actress. 934 more words

Ross Says:

In the Land of Sinners, the Whore Is Queen

We begin with a lovers’ quarrel.  “Who are you writing?” Peter (Martin Csokas) barks at Chloe (Uma Thurman).  Peter’s jealousy has gotten worse recently—or maybe Chloe has changed since January.  335 more words

Reviews

An Indifferent Broadway Says Au Revoir To Love-Struck 'Amélie'

This afternoon’s performance will be the last chance Broadway audiences have to see Amélie, a sweetheart of a musical that left most critics, and most tickets, unmoved following its opening last month at the Walter Kerr Theatre. 932 more words

Breaking News

“Amélie” – Offers Charm But Not Much Energy

By Karen Isaacs

Charming is a word that can sometimes be used to damn something with faint praise.

Amélie, the new musical based on the successful French film, is — there is no other way of putting it — charming. 672 more words

Reviews

The Reviews for AMELIE are In...

The new musical Amélie is now open, but the critics can’t help pining for the 2001 French film, on which the musical is based, that they wish they’d watched instead. 414 more words

On Broadway

Broadway Review: 'Hamilton's Phillipa Soo Leads A Sweet, Tuneful 'Amélie'

Amélie, Jean-Pierre Jeunet’s good-natured 2001 film, was produced for an estimated $10.7 million and has grossed $132 million to date. That’s not bad for a sentimental fantasy about a painfully shy young woman – the film made an indie star of Audrey Tautou – who is inspired after the death of Princess Diana to spread anonymous good cheer to her Paris acquaintances. 776 more words

Breaking News

A Big and Distracted Amélie

By Patrick Hurley

There is a moment, less than a minute into the production of Amélie, a new musical playing now at the Ahmanson, where anyone who is familiar with the 2001 French film must abandon the expectation that all of the cinematic devices that made the film alive and vibrant will be translated into hyper-theatrical ones. 1,047 more words

Patrick Hurley