The Eagles will play at American Airlines Center on October 11 as part of their "History of the Eagles" tour.
Photo by Sam Jones
The Eagles, a band with a reputation that has been burnished by their relative lack of output, are headed back to Dallas, adding a stop at American Airlines Center on Oct. 11 as part of the fall leg in the "History of the Eagles" tour.
The band had previously announced a 12-city reunion tour taking place in July. The Dallas date, one of 23 added in the fall, is the tour's only stop in Texas.
The Eagles burned hot and heavy in the 1970s, releasing six albums in seven years before an acrimonious break-up in 1980. Singers Glenn Frey and Don Henley both went on to successful solo careers in the '80s. The band has been back together in one form or another since 1994, even releasing a new album in 2007 called Long Road Out of Eden.
Fans can expect the band, which now consists of original members Frey and Henley, along with Joe Walsh and Timothy B. Schmit, to play many of their iconic songs like "Hotel California," "New Kid in Town," "Take It to the Limit," "Lyin' Eyes," "Take It Easy" and more.
The band, which last came to Dallas in 2010, is touring in support of its latest project, a documentary also called History of the Eagles. The DVD features the documentary that first aired on Showtime, a concert from the band's Hotel California tour in 1977 and never-before-seen home movies, among other things.
Tickets go on sale to the general public starting June 15, although anyone with an American Express card can buy tickets starting June 9.
The opening scenes of the new drama Dreams are bracing, fictional sequences that call to mind real-life scenarios. In them, a young Mexican man named Fernando (Isaac Hernández) goes through a somewhat harrowing journey from the back of a semi truck in South Texas all the way to San Francisco. It’s a familiar immigrant story that seems to set the stage for a film with something interesting to say.
It turns out, however, that Fernando has not made the long and arduous trek for a job. Instead, it’s to be with Jennifer McCarthy (Jessica Chastain), a rich woman who helps lead a foundation dedicated to multiple things, including funding dance academies. Fernando, a talented dancer, and Jennifer have been in an off-and-on affair for years, with Jennifer wanting to keep their relationship a secret.
Although both are drawn to each other in an inexplicable, lustful way, their bond is tenuous, with each of them dissatisfied for different reasons. Fernando clearly sacrifices much more of himself than Jennifer, who wants for nothing except maybe more affection from her father, Michael (Marshall Bell), and brother, Jake (Rupert Friend).
Writer/director Michel Franco seems to try to inject tension into Fernando and Jennifer’s relationship from the start, an attempt that is only halfway successful. It’s clear from the way they greet each other - not to mention a steamy sex scene shortly thereafter - that they have known each other for a good length of time. Franco is able to get across this familiarity with an economy of scenes, and the intensity of their bond holds for a while.
But as the film progresses and both of them grow disenchanted with their arrangement, Franco starts taking the story in some odd directions. The biggest issue is that it’s never clear at what point in time the story is taking place. Fernando ends up making multiple trips back and forth across the border, with Jennifer doing the same at one point, and Franco’s use of flashbacks muddies the waters, wrong-footing the audience when he should be trying to draw them further into Fernando and Jennifer’s complications.
Revelations in the final act make the story even more confusing, as both main characters start saying and doing harsh things that seem to come out of nowhere. That would be all well and good if Franco actually committed to their changes of heart, but he keeps things wishy-washy for most of the final 15 minutes, resulting in an ending that makes little sense for either character.
Despite the story issues, both Chastain and Hernández give compelling performances. Chastain has been a little under the radar since winning an Oscar for The Eyes of Tammy Faye, but she keeps this character interesting longer than it should have been. Hernández has limited credits and appears to have been cast for his dancing ability, but he goes toe-to-toe with Chastain on more than one occasion and acquits himself well.
Dreams had all of the ideas to explore a more in-depth story about the complicated immigration policies between Mexico and the U.S., or how wealthy people take advantage of those less fortunate. But Franco never finds the right footing, settling instead for a titillating and somewhat mystifying relationship story that feels half-baked.
