The LSU Faculty Club has undergone a minor facelift over the summer, and this semester premieres The Club at LSU Union Square, with a new menu to accompany its new name and atmosphere, sous chef Cody Grosshart is looking forward to a semester’s worth of work.
“They’ve definitely tried to make it a much more comfortable space,” Grosshart says of the restaurant’s minimalistic new feel, “They re-did the bar area for people waiting.”
Grosshart’s influences as a chef have been both various and numerous, and it shows in the menu that he helped compose for the new school year.
This review was originally posted on Swampflix.com on March 16, 2018. The rating was 3/5 Stars. Image courtesy of Swampflix Editor Brandon Ledet.
Hello, dear ones. Can you believe it’s been over a year since we last checked in with Patty, the apparent protagonist of the Thief in the Night series? We were barely a month into the Trump Administration the last time I had the strength to watch one of these endearingly dated films about the Rapture, and as more and more bad news rolled in, I couldn’t find it in me to investigate further into the science fiction fantasies of the same group of people who put him in office, in spite of what their actual scriptures say about his kind (if you read Luke 16:19–31 and imagine anyone other than Trump as the rich man in this parable, then get out of your church because it’s lukewarm as shit).
Lafayette-born screenwriter and filmmaker Zach Godshall has a fascination with outsiders, opportunists, and amorphous and undefined aspiration.
When asked about the character motivations of his in-progress Depression-era project, Godshall said that the Great Depression inspires interest because of the great number of “desperate people looking for something to latch on to, people looking to take advantage of situations.” Does he see a connection between modern citizens, struggling to get by in a time of economic downturn? Is the Depression-era choice intentional? “It’s just that situation in general [that interests me],” he says. “Wanting to—you know—believe in something. And then [there are] people that are savvy enough to seize the opportunity. Opportunists.”
Man, are we still making erotic thrillers? Is there even a place for them in this post-[insert your porn aggregator of choice] world anymore? I suppose we still are making them this decade, given that Adulterers was released in 2016, one year after today’s stinker, The Loft.
Based on a 2008 Belgian film of the same name and featuring most of the same creative crew (director Erik Van Looy and writer Bart De Pauw, who is solely credited on the original film and is one of two credited writers here), The Loft is about five men who use a single loft apartment to cheat on their wives. Vincent (Karl Urban) is an architect who retained the apartment in one of the buildings he designed for him and his buddies to have their sexcapades: possible closet case Luke (Wentworth Miller), whose wife requires constant attention due to her diabetes; Marty (Eric Stonestreet), who channels all of his pent up, frustrated heterosexual energy from having to play broad gay stereotype Cam on Modern Family for the past decade into a disgusting misogynist pig; Chris (James Marsden), a successful psychiatrist who is the most reluctant to participate in this adulterous venture; and Philip Williams (Matthias Schoenaerts), Chris’s half-brother, a cokehead whose new bride is the daughter of a wealthy magnate. One of these names is not (recognizable) like the others; Schoenaerts is apparently reprising his role of Filip Willems from the original film.
This weekend, Baton Rouge will host its fourth annual Irish Film Festival, featuring films both recent and classic that feature Irish mythology, the true stories of Irish immigrants to America in past eras, and reflect the modern Irish mentality. Sunday and Monday will feature single film screenings, while the festival’s first day, Saturday, will feature four full-length feature films that are paired with short films and other entertainment for a full day’s worth of cultural crossover.
Following a performance by the Na Cait Dubh Bagpipers at 11:45 AM, the doors of the Manship Theatre open at noon for the purchase of tickets, and the McTeggart Irish Dancers will follow the welcome speech and transition into the first set of films.
The RedLetterMedia boys launched a new series on their youtube channel last year called Re:View, in which they discuss films that hold a special significance for them. One of the episodes I had overlooked on its original upload was their discussion of True Stories, David Byrne’s 1986 film that he wrote, produced, and directed (unlike Adulterers, this turned out to be a good thing) as well as starred in. It’s a forgotten gem, even among Talking Heads and David Byrne fans, despite being the origin of one of their hits, “Wild Wild Life,” as well as being the first major role for John Goodman and also featuring Spalding Gray and Swoosie Kurtz. I was instantly taken with the idea and searched for the movie online in the hopes of finding a cheap copy of the out of print DVD, only to discover that the Alamo Drafthouse was going to be screening it only a couple of weeks later, as part of its Essential Texas Film series. I bought tickets faster than you can say “this is not my beautiful wife.”