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variety.com
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Post Malone, ELO’s Jeff Lynne, Gloria Estefan and More Light Up Songwriters Hall of Fame Ceremony
Jem Aswad Executive Editor, Music We say every year that the Songwriters Hall of Fame Induction ceremony is the music industry’s best-kept secret — an invite-only, insider combination of a superstar awards show and a family reunion for the tight-knit songwriting and music-publishing community that is in its 52nd year and has never been televised or livestreamed. In fact, we’ve said it so many times that longtime SHOF CEO Linda Moran quoted us in her opening remarks on Thursday night. While the show has had honorees pull out in the past — Jay-Z due to the impending birth of his and Beyonce’s twins, less happily the Kinks’ Ray Davies due to the death of his sister — this year’s event was the first time two honorees canceled, deferring their inductions to next year: the reclusive Sade, who everyone figured had about a 40% chance of showing up, postponed several months ago due to a scheduling conflict, and Snoop Dogg, who pulled out abruptly for undisclosed reasons earlier in the week. But the SHOF is such a star-studded evening that the event was a rousing success filled with great music regardless — and the silver lining was the fact that it was over in a relatively tidy three hours (it often stretches toward five).
variety.com
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‘The Lesson’ Review: A Fine Cast Classes Up a Barbed, Brittle Literary Melodrama
Guy Lodge Film Critic Films about fictitious great writers often stumble when it comes to the character’s actual writing: Viewers must suspend disbelief that a lofty literary reputation has been built on the purplest of screenwriter-devised prose. A blackly comic melodrama in which writerly ego, ambition and insecurity do increasingly destructive battle, “The Lesson” gets around that trap by folding questions of authorship into its arch country-house mystery: Who is writing what, and to what extent it matters, are the questions that keep director Alice Troughton and screenwriter Alex MacKeith’s mutual debut feature interesting, even as it slides into occasional, overheated cliché. When the film’s own words don’t quite pass muster, however, a tight, tony ensemble of actors gives them some polish and punch. A big, ripe turn by Richard E. Grant — as a celebrated British novelist looking to emerge from a gloomy hiatus with one more masterwork — represents the chief selling point of this low-key Tribeca premiere, though as his wary potential protégé, it’s Irish up-and-comer Daryl McCormack (fresh off his BAFTA nomination for “Good Luck to You, Leo Grande”) who carries the bulk of the film in quieter, wilier style. With a chablis-dry Julie Delpy playing intermediary in their passive-aggressive duel, this U.K.-German co-production is the kind of accessibly upscale fare more frequently served to its target audience in another European language; Bleecker Street will release it Stateside.

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