mon 22/12/2014

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

If I Stay

Beethoven went deaf at 26, we're helpfully informed near the start of If I Stay in a bit of information that pales next to the tin ear on display in this late-summer romantic tragedy, which aims to...

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The Lion, St James Theatre Studio

This has been a busy season for Off Broadway musicals crossing the pond to London, from Dessa Rose and Dogfight to Forbidden Broadway and See Rock City. But for simplicity of approach coupled with...

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Into the Storm

One isn't long into the latest weather-related doomsday movie before a nagging question occurs: did the script for this late-summer image of elemental Armageddon at some point blow away? We all know...

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What If

For an actor whose post-Potter CV has been so wide-ranging - an Irish cripple on stage one minute, a young widowed lawyer in a period horror film or the poet Allen Ginsberg the next - Daniel...

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Lauren Bacall: 'Just put your lips together and blow'

Lauren Bacall, who has died at the age of 89, was an iconic figure on screen. She spoke one of the immortal lines in film history when all but exhaling the remark, “You just put your lips together...

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A Promise

The long march of history pales next to the clamped-down passions and pulpy theatrics of A Promise, the first English-language film from that often most sinuous and witty of French directors, Patrice...

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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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