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    Art for Art's Sake

    Houston's coup d'art at Dallas fair

    Steven Devadanam
    Feb 6, 2010 | 8:48 pm

    It’s Day Two of the Dallas Art Fair, and the contemporary contingent from the H continues to make a stir.

    Following Friday's nine-hour spree at Fashion Industry Gallery, the scene moved uptown for an opening of work by Michael Craig-Martin at the Goss-Michael Foundation. The crowds swelled around a new digitally animated portrait of George Michael and epic acrylic renderings of quotidian objects and – a first for Craig-Martin – abstracted typography. Gallivanting about the gallery were the erudite Till Richter accompanied by a glowing Mallory Colbert, Judy Nyquist conversing with artist/curator/writer Rachel Cook, and duo Deborah Colton and Carolyn Farb clinking cups with securities magnate Ignacio Martin-Duarte and spouse Pamela.

    Following Saturday morning’s first installment of a symposium on authenticating obscure works credited to Frida Kahlo, the public packed the entrance of f.i.g. to get a glimpse of the galleries. The mood among the Houston contingency was characterized by general positivism, as reports of securing crucial contacts buttressed smoldering sales.

    The impact of visiting Houston collectors could be felt across the maze of white walls, as 4411 Montrose’s Jeff Shankman and Antonia Caliboso spoke of acquiring the fair’s showcase lobby piece, a Plexiglass-clad C-print by Angel Musco, and Lester Marks imparted his art world wizardry upon a group tour of the art arcade. Also making the rounds were arts organization leaders such as Blaffer Gallery's Claudia Schmuckli and DiverseWorks headmistress Diane Barber.

    Those craving more of Michael Craig-Martin bopped down Ross Ave. for a special engagement with the conceptual colorist at the Nasher Sculpture Center. Admiring the renowned mentor of the Young British Artists movement was Houstonian Fredericka Hunter, taking pause from the throngs circling her Texas Gallery booth at the show. Lecture attendees dispersed back to the fair, while a few indulged in the Nasher exhibition of Catalan sculptor Jaume Plensa (whose show is complemented by a must-see installation, Sho, at the entrance to Southern Methodist University's Meadows Museum).

    By late afternoon, the teeming corridors had quieted down, allowing visitors a more intimate inspection of the art. Yet the vibe bordered on that of a low-key museum exhibition, rife with ambling tourists – and unlike Houston, the Dallas collectors were nowhere to be seen. Despite the presence of chief New York, San Francisco and London galleries, it remains unclear whether Dallas Art Fair will hold a candle to Basel, ARCO or The Armory. But you would also be hard pressed to spot Ross Perot at any of those expos.

    On tap for Saturday evening: a performance by the Booker T. Washington High School for the Performing and Visual Arts on the f.i.g. lawn, followed by the unveiling of the new artspace Dallas Contemporary and its inaugural exhibition, James Gilbert: Warnings and Instructions.

    Check back for choice event photos and up-close art coverage – expect big hair and small wonders.

    unspecified
    news/entertainment

    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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