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    Pick Five (Plus)

    Your weekly guide to Houston: Big Apple movies, DIY curating, Superfluous dance& Marty McFly

    Joel Luks
    Aug 18, 2011 | 2:55 pm
    • iMEE Artists, Britt Juleen, Lindsey McGill, Andrea Dawn Shelley and JessicaCollado in Spencer Gavin Hering's and Andrea Dawn Shelley's Superfluous.
      Photo by Simon Gentry
    • Blank City screens at MFAH and explores the almost bankrupt East Side Village inNew York from the late 1970s to mid-1980s.
    • Want to be an influential philanthropist? The Gift of Gift of Party allowsguests to vote on a future gift/acquisition to benefit the Museum of Fine Arts,Houston.
    • Remember Back to the Future? Miller Outdoor Theatre screens the completetrilogy.
      Photo courtesy of Universal Pictures
    • Leila Levinson, daughter of an army doctor and concentration camp liberator,discusses her book Gated Grief at the Holocaust Museum Houston.
    • You can finally see Ben Tate run for the Texans Saturday night.
    • CultureMap's experimental music savant improvises to Silent Film at DivergenceMusic and Arts at Spring Street Studios. For this session, he enlists the helpof local bassist/composer Thomas Helton.

    Is philanthropy in the air?

    One of my favorite annual fundraisers — Sing for Hope — kicked off its festivities last week at Dentiq Dentistry, transforming a swanky and upscale medical office into a haute-hot social gathering spot. Between the soulful sounds of Kristine Mills and the robust vocals of baritone Timothy Jones, the sophisticated affair pulled a wide audience looking to make the Bering Omega Community Services musical fundraiser a success.

    At the first late-night Thursday social at Americas River Oaks, art, fashion and culture leisurely juxtaposed. Cohesion Thursday Nights launched a series of after-hour get togethers aimed at showcasing local art, local music and a delightful exclusive late-night menu. It featured the works of Hanh Tran and Taft McWhorter, and live music by Arthur Yoria kept the ambiance chic and trendy.

    Interfaith Ministries for Greater Houston put forth its aniMeals on Wheels Pet Food Drive — because when seniors go hungry, so do their beloved companions. For two days, supporters stopped at the nonprofit's facilities on Montrose to lend a helping paw with pet food donations.

    Bayou Buddies gathered at Whole Foods Market Montrose. Land Rover's debutante, the Range Roger Evoque, was presented to car aficionados at its sneak peek event. Spacetaker helped artists by providing a workshop demystifying WordPress blogging. And two film festivals — the 11th Annual Slant: Bold Asian American Images Festival and Architecture Center Houston Film Festival — came and went like a prom dress.

    Where should you be this week?

    Houston Zoo Flock's "Fast and Ferocious" at Momentum Audi

    The only thing I love more than hanging around wild animals is mixing and mingling with people who also love furry creatures and partake in activities to support those caring for them. Flock is the zoo's troop of young professionals — the nonprofit's future leaders — who are getting a head start on how to be the best animal conservation advocates.

    Hosted by the Flock's steering committee, this social affair with a cause grants an opportunity for the wild and curious to learn more about how to get involved with the zoo while having libations, light bites and enjoying great company. Thursday at 6 p.m.

    Blank City and New York's No Wave Screening Series: Permanent Vacation at Museum of Fine Arts, Houston

    Inspired by Céline Danhier’s documentary Blank City in which she explores New York's zeitgast from the late 1970s to mid-1980s, the film department at the Museum of Fine Arts, Houston has curated a series of films that focus on the Big Apple during the same time period. Blank City screens at MFAH Friday and Saturday at 7 p.m. The movies journey through an almost broke New York when the Lower East Side was ruled by cheap rent, drugs and artsy personalities.

    While at MFAH, why not indulge in a double feature?

    Permanent Vacation is one of the Jim Jarmusch films that enjoyed much success around European film festivals, yet remained mainly ignored by American audiences until the release of the director's Stranger Than Paradise in 1984. Permanent Vacation follows a troubled and sleep-deprived hipster as he deciphers his own life while meeting a middle-aged jazz musician, a street artist, an Eskimo-obsessed popcorn girl and a strange Latin woman.

    Sounds bizarre and fabulous. Friday and Saturday at 9 p.m.

    Gift of Gift of 2011 Exhibition & Vote Party at Spacetaker Artist Resource Center

    Feeling influential and artsy? This exhibition and vote party allows guests an opportunity to give their two cents on a future acquisition/gift for the Museum of Fine Arts, Houston. You'll walk into an exhibition of 18 art pieces selected from 114 submissions from around the globe — this year from Russia, the United Kingdom and Canada.

    Your mission is to vote on which one should find a permanent home at the museum. The photograph with the most votes wins.

    The funds for the purchase come from pooled monies accrued from ticket sales, priced at $30 in advance or $40 cash at the door. Saturday at 7 p.m.

    Gated Grief with Leila Levinson at Holocaust Museum Houston

    In her book Gated Grief, Leila Levinson focuses on the unspoken trauma of World War II veterans — she is the daughter of army doctor and concentration camp liberator Reuben Levinson. She lives in Austin and is coming to Holocaust Museum Houston to discuss her book, her father's experiences and topics that plague veterans who served during the time of the Holocaust.

    Why is this important? History has a tendency to repeat itself — I know, a cliché, but a true one nonetheless — and as the years make the Holocaust more distant, it's important to learn from it and not let it become a detached textbook talking point. Sunday at 6:30 p.m.

    Music For Silent Films with Chris Becker and Thomas Helton at Divergence Music and Arts at Spring Street Studios

    CultureMap contributor/experimental music savant Chris Becker couples with local bassist Thomas Helton for an impromptu evening of music making inspired by a silent film. Becker has an enormous collection of sampled sounds and music and he'll improvise, layer and compose a soundtrack on the spot.

    No two performances are alike, as this duo responds to the images and audience reaction. Jazz bassist and composer Helton is no stranger to off-the-cuff performances, adding a richer, acoustic layer to Becker's electronica. Watching them in action is to experience creativity live at work. Sunday at 7 p.m.

    My colleagues picks:

    Photo editor and design junkie Barbara Kuntz's pick: Movies at Miller: Back to the Future Trilogy

    Barbara says: "For me, it's Back to the Future at Miller Outdoor Theatre with a three-day screening of the entire trilogy featuring two of my favorite actors, Michael J. Fox and Christopher Lloyd. What a great setting to watch these science-fiction comedy classics." Tuesday through Thursday.

    Arts contributor and Dancehunter Nancy Wozny's pick: infinite movement ever evolving's Superfluous at Barnevelder

    Nancy says: "iMee artistic directors Spencer Gavin Hering and Andrea Dawn Shelley may be married but they are about to give birth to their first collaborative work inspired by music of the 1950s called Superfluous as part of Houston Dance Festival this weekend at Barnevelder. The program also includes Grim Eye by Maurice Causey, a rising internationally acclaimed choreographer.

    "Expect some fantastic dancing with guest artists from several high profile companies including Houston Ballet." Thursday through Sunday.

    Managing editor Chris Baldwin's pick: New Orleans Saints vs. Houston Texans preseason game at Reliant Stadium

    ​Chris says: "I really wanted to recommend the Houston Astros' three-game set with the defending World Champion San Francisco Giants at Minute Maid Park as the No. 1 pick. But as usual, things didn't quite work out for the Astros. Neither Tim Lincecum or Matt Cain will pitch for the playoff-desperate Giants in Houston, taking away a lot of the luster from the series. If you're a huge baseball fan, Minute Maid is still the place to be. These games are near must-wins for the Giants.

    "Everyone else should be where everyone else will be —packing Reliant Stadium for the Texans' preseason game against the New Orleans Saints. It's still exhibition football, and exhibition football can be painful, but tailback Ben Tate plans to play, backup quarterback Matt Leinart needs to star and who knows what new defensive coordinator Wade Phillips will call after that blitz-happy preseason opener Monday night.

    "As usual, the Texans bring the best sports drama in town." Saturday at 7 p.m.

    unspecified
    news/entertainment

    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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