mon 28/07/2014

Matt Wolf

matt.wolf

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Bio
Matt is London theatre critic of The International New York Times (formerly The International Herald Tribune) and London correspondent for the broadway.com website; he spent 21 years as London arts and theatre critic for the Associated Press and over 13 years as Variety's UK drama critic. He has been on the judging panel of the Evening Standard Theatre Awards since 2009.

Articles by Matt Wolf

Goddess

Women everywhere may start cutting loose in their kitchens after seeing Goddess, a sweet if slight Australian film that suggests a hybrid of Mamma Mia! and Shirley Valentine. Adapted (and greatly...

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Jersey Boys

Given that Jersey Boys is about a singer, Frankie Valli, whose voice - or so we are told within the first five minutes - constitutes "a gift from god", it's a shame Clint Eastwood's film of the stage...

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Skylight, Wyndham's Theatre

A totemic play from (nearly) 20 years ago surfaces afresh in Stephen Daldry's West End revival of Skylight, the power of David Hare's intimate epic fully intact if somewhat redistributed as is to be...

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The Fault in Our Stars

For a film that begins with the remark "this is the truth, sorry", The Fault in Our Stars could up its honesty quotient. Slickly made and very nicely acted within the confines allowed by the script,...

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Clarence Darrow, Old Vic

Kevin Spacey is seen before he is heard in Clarence Darrow, the solo play that is doing a brief if ferociously bracing run at the Old Vic, but once the actor stops fiddling with his onstage desk and...

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Venus in Fur

For an artist who famously can't travel to America, Roman Polanski would appear to have an unstoppable passion for filming small-cast Broadway hits. On the back of Death and the Maiden and Carnage,...

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Maleficent

For the latest in a seemingly endless line of misunderstood cultural icons, meet Maleficent, the preternaturally smooth-cheeked anti-hero (or maybe not ) of the new celluloid blockbuster of the same...

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Run and Jump

Not a lot gets spoken in Run and Jump, the gently eloquent first feature from San Francisco-born filmmaker Steph Green, a dramatic strategy that leaves the actors to charge the unsaid with...

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Concussion

A blow to the head provides the catalyst needed for Abby (Robin Weigert) to re-think her life in Concussion, writer-director Stacie Passon's acute American indie about a lesbian couple coming adrift...

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The Silver Tassie, National Theatre

"I don't think it makes a good play, but it's a remarkable one," Sean O'Casey famously remarked of The Silver Tassie, his late-1920s drama about the depredations of war, and how simultaneously right...

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The Love Punch

Even Emma Thompson's finely honed deadpan delivery can go only so far in The Love Punch, a caper movie (remember those?) that moves from the implausible to the preposterous before sputtering to a...

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A View From the Bridge, Young Vic

What is it with the London theatre and this particular Arthur Miller play? In 1987, Michael Gambon reached a career-best peak playing the Italian-American longshoreman, Eddie Carbone, in a defining...

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Olivier Awards 2014: Mormons, Ghosts, and Chimerica

Gavin Creel licked his trophy in delight, Zrinka Cvitešić spoke of making Croatian history, and Sharon D Clarke let out an exultant "wow" from the podium that was surely heard well beyond the walls...

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20 Feet From Stardom

Always the bridesmaid but never the bride: that adage, and its many equivalents, courses through 20 Feet From Stardom, the hugely entertaining but also gently poignant documentary that was a popular...

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A Long Way Down

You'd have to go a long way to find a film as truly, mind-bogglingly bad as A Long Way Down, which trumps A New York Winter's Tale as the worst celluloid entry in this still-young film year and may...

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Urinetown, St James Theatre

It's tempting with this show less to write a review per se than to simply pile on the puns, but that would be to piss on - sorry, I meant do a disservice to - both the musical that is Urinetown...

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