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Beyoncé Returns

She's back! Beyoncé affirms Houston roots in energetic, fast-paced concert

Elizabeth Rhodes
Dec 11, 2013 | 6:21 am

Beyoncé's Mrs. Carter Show World Tour proves that you don't need a new album in order to fill seats at concerts around the world.

Looking curvaceous and toned in a series of body-hugging costumes — that vegan diet she's on with Jay-Z must be working (although it likely negated a stop at her fave resturant Pappasito's) — the superstar singer wowed her hometown fans with an impressive two-hour show that rocked Toyota Center on Tuesday night. Backed by an 11-piece band, two singers from The Mamas, many female dancers and two male dancers called Les Twins, the exciting show included songs that spanned more than a decade.

The singer, who has been on tour since April, made this her second stop in Houston following her sold-out date in July as part of a trek which has taken her across the U.S., Europe and Australia.

"I grew up on McGregor, Third Ward. My church is St. John's. I grew up listening to UGK," she said. "I am a Houston girl."

Following a brief intermission after Luke James' opening performance, the show kicked off with an enormous screen showing the coronation of "Queen Bey" dressed in Marie Antoinette regalia, a theme that was repeated throughout the concert. Gracefully emerging from a hole in the stage wearing a white leotard, the singer immediately launched into "Run the World (Girls)" and was greeted by an ecstatic hometown crowd.

After several songs featuring elaborate pyrotechnics, the singer, wearing yet another sequined leotard, emerged through golden doors onto a fiery stage and performed her 2003 hit "Naughty Girl." Joined by two singers of The Mamas, she then launched into "Party," soon to be accompanied by Vegas-style dancers brandishing huge feather fans.

"1+1" began with a lone pianist playing a grand piano, soon joined by the singer who was now sporting a near-blinding purple sequined jumpsuit. After languishing on the piano as three women played trumpet and saxophone, she hopped on a hook-like apparatus which carried her from the main stage to a smaller audience-surrounded stage at the other end of the arena. Now on the smaller stage, Beyoncé interacted with fans as she touched their hands while she called for those in certain seating sections to participate. Before performing "Love on Top," she let a young fan sing the lyrics first.

She continued with the Destiny's Child hit, "Survivor," before hopping back on the apparatus that carried her back to the main stage. After a short countdown, fans went wild when she emerged in a black and gold skirted leotard and began singing the hit "Crazy in Love." She launched into the monster hit, "Single Ladies (Put a Ring on It)", which elicited raucous applause from the crowd. While she caught her breath, many images of the signer flashed on the screen, including one of her one-year-old daughter, Blue Ivy.

As the end of the show neared, she honored Whitney Houston by singing lines from her song, "I Will Always Love You," before transitioning into her own hit, "Halo." After the last song, the singer proceeded to repeatedly thank the crowd and even sang "Happy Birthday" to two fans who held up signs.

The show did not disappoint the singer's eager hometown crowd as the performance was replete with wild pyrotechnics displays, stunning choreographed dance, sparkly outfits, and even twin dancers.

During the show, the international superstar made sure to let the crowd know that although she's famous now, her roots are in Houston. "I love Houston, Texas. It don't matter where I am, I always take Houston, Texas with me," she shouted.

The singer went on further to remind fans of where she really came from. "I grew up on McGregor, Third Ward. My church is St. John's. I grew up listening to UGK," she said. "I am a Houston girl."

And that she is. She made it clear that she was beyond excited to be in Texas when she posted two photos of herself and Blue Ivy wearing a cowboy hat and a University of Texas jersey on Instagram Tuesday. Even after being propelled to superstardom, Beyoncé appreciates her heritage and made sure to show it to her hometown fans.

Beyoncé performed before a sold-out hometown crowd.

Beyonce Houston concert December 2013
Photo by Robin Harper Invision for Parkwood Entertainment/AP Images
Beyoncé performed before a sold-out hometown crowd.
unspecified
news/entertainment

Movie review

Messy Frankenstein movie The Bride! stitches camp and confusion

Alex Bentley
Mar 9, 2026 | 3:45 pm
Christian Bale and Jessie Buckley in The Bride!
Photo by Niko Tavernise
Christian Bale and Jessie Buckley in The Bride!.

The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

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The Bride! is now playing in theaters.

movies film maggie gyllenhaal annette bening christian bale jessie buckley peter sarsgaard penélope cruz movie review
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