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Reviews of AHS Hotel [Updated]


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Bad Monster Kid

http://www.theguardian.com/tv-and-radio/2015/oct/07/american-horror-story-fifth-season-hotel-review-lady-gaga

"In the fifth season of the horror series, the singer employs a detached archness that could either be bad acting or a masterclass in restrained genius"

 

"But it’s Gaga who’s the star and she manages to steal every scene she’s in."

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djBuffoon

http://www.theguardian.com/tv-and-radio/2015/oct/07/american-horror-story-fifth-season-hotel-review-lady-gaga

"The Countess has a sort of practiced boredom about her, as if she’s seen it all and there is little left that amuses her. The role is a study in disaffection, her dialogue dripping with wry asides and brittle sarcasm. Her technique, if you can call it that, is so spare that it might be considered stiff: an assortment of poses that let the outfits do the talking."

I think this reviewer hit the nail on the head of what Gaga is up to. The Countess is, for all we know, very very old, and I'm betting that the lackadaisical line delivery she's doing is completely on purpose.

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asana15

"...she may just grow up to be the thing her generation didn’t know it needed: An all-around entertainer."

..And the singer rises to the challenge in her own way. In her time onscreen as the notional owner of a mysterious haunted hotel, Lady Gaga speaks in a vaguely European, unplaceable accent; call it actress-ese. She makes textual all of her long-running subtextual references to d--gs and s-x by setting up lines of c-----e onscreen and engaging in a fatal ménage à quatre. Without spoiling the events of the episode, she’s evidently willing to take part in the carnage that the show demands of its participants—indeed, she runs the hotel in which the show’s deaths occur—and she’s so far less “morally ambiguous” than “morally despicable.” She is, evidently, the Big Bad of the season, and she is both unconcerned with career repercussions if she goes Bad and conditioned by years in the spotlight to go Big.

But what’s most surprising about the first episode ofAmerican Horror Story is how little it feels like the Lady Gaga Show. A star at her level of fame who wanted to work on TV could, perhaps, demand her own variety show on a broadcast network; the last big pop star who made herself quite so available on weekly TV was Cher, of Sonny and. But it’s even more standard for a popstar like Gaga would go back to work on the next album and put ideas of TV appearances entirely aside until the next Grammy ceremony or Super Bowl halftime show. When there’s finally vocal music on AHS, it’s a dark emo song perfectly suiting the visuals of Gaga committing murder. This isn’t ARTPOP promo, or hype for whatever is the next record; something longer-range is happening here.

Not merely has Gaga deigned to work on basic cable, but she’s offscreen for much of the first episode; both Kathy Bates and Wes Bentley in particular feel far more central to the proceedings. This is both a laudable acknowledgment of her acting experience relative to the more experienced cast—in her time onscreen so far, she’s been asked to be “imperious,” a tone she can master—and something that feels deeply weird. One of the most talked-about singers of the decade is now running for Best Supporting Actress?

But as the episode wears on, it’s apparent that sidelining herself even in her own season of American Horror Story is a clever move for Gaga. On American Horror Story, she’s sublimated herself to someone else’s vision, saving for another day whatever she may have in store in her pop career. (Promoting the series, Gaga has lately put the outré fashions back in the closet, and her onscreen garb is not much more ornate; her simple dress at the Emmys was safe for vegans, with absolutely no meat.)

This suits Gaga well at the present moment: When it comes to her particular set of skills on TV, a little goes a long way. Indeed, by allowing Kathy Bates to take charge and reappearing only for enigmatic, compelling moments of accented bossiness (seriously, is she pretending to be French? German?), Gaga is doing the same thing she’s been doing since the fate of her last pop album became clear, when she popped in for surprise moments of jazz mastery or Oscars glamour. For both her devoted fans and the uninitiated, she ends up doing something that the nonstop album-promotional cycle never allowed her to do: Leave us wanting more.

http://time.com/4063969/lady-gaga-american-horror-story-2/

TIME review is so insightful, I couldn't resist to post it.

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monsterdreams

Just reading these again :giveup:

Haters gonna need more than a flashlight for my shade
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flopheart

If you go to Entertainment weekly or Vulture there are bad reviews about the episode and about Gaga's acting

 

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Davidsonary

I think this reviewer hit the nail on the head of what Gaga is up to. The Countess is, for all we know, very very old, and I'm betting that the lackadaisical line delivery she's doing is completely on purpose.

I would be like really really impressed if that's the case.

Oh hello. What is this space down here? Where am I?
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Bad Monster Kid

http://www.vulture.com/2015/10/american-horror-story-hotel-review.html

 "Gaga is terrible here in the way that Madonna was terrible in a lot of her ’90s films, at once too poised and too blank. But she’s Gaga, a performer who’s as much an athlete and sculptural object as a singer-songwriter, so in this context, she works."

I really don't get these reviews that bash her but than say she fits well within the show. I guess it's a mixed review?

 

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If you go to Entertainment weekly or Vulture there are bad reviews about the episode and about Gaga's acting

 

really? What did they say?

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djBuffoon

The extreme lack of consensus on Gaga's performance (despite it being mostly positive) makes me so excited. No matter what, it sounds like she is 100% committed to the lunacy.

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