That concert is one of 17 new dates the Eagles will play during the first part of 2014 as part of their current History of the Eagles tour, including a stop at Houston's Toyota Center on February 21. Dallas is one of only two cities getting a return visit from the band; Washington, D.C. is the other.
It appears that the love between the Eagles and their Dallas-area fans knows no bounds. The Eagles were the first-ever event at the AAC back in 2001, and this upcoming concert in Dallas will be their 10th one at the venue, far outpacing any other artist. They are also the only artists to perform three shows of the same tour at the venue on two separate occasions, as they did the same thing in 2008.
And they may not stop there. The band was originally scheduled for just one concert in October but was forced to add another date when the first one sold out quickly. Given their popularity with locals and an open date on February 20, don't be surprised if they schedule a fourth concert soon.
Tickets for the February 19 date go on sale on Saturday, November 9, at 10 am via Ticketmaster or the American Airlines Center box office. American Express cardmembers have access to a pre-sale starting on Monday, November 4.
Denzel Washington in Highest 2 Lowest.
Photo courtesy of A24 and Apple TV+
For most of his career, moviegoers could count on a new Spike Lee film every 1-2 years. But somehow it’s been five years since his last joint, Da 5 Bloods in 2020, which arrived when his take on racial politics and injustices collided with real world events. Now he’s back for a fifth go-around with Denzel Washington, Highest 2 Lowest, a reimagining of the 1963 Akira Kurosawa film, High and Low.
Washington stars as music executive David King, who’s looking to save the record label he started from a corporate takeover. His leveraging of his assets to buy out a partner gets upended when Kyle (Elijah Wright), the son of his friend and chauffeur, Paul Christopher (Jeffrey Wright), is mistakenly kidnapped by someone who thought he was King’s son, Trey (Aubrey Joseph).
King is forced to wrestle with his conscience over whether to use ransom money for Kyle, money that was supposed to rescue Trey before the mistake is discovered. The pressure from the police, Paul, and his family is one thing, but the fact that he would also potentially be giving away the money that would save his company makes the decision all that much more difficult.
Lee, working from a script by first-time screenwriter Alan Fox, once again showcases New York City for all it’s worth. King and his family live in a lavish high-rise apartment with a balcony that faces Manhattan, allowing for views of the Brooklyn Bridge, the Financial District, and more. The story takes the action all over the city, with Lee making sure to include scenes set in the Bronx to feature boisterous Yankees fans.
Unfortunately, the sightseeing winds up being the best part of the movie. Lee and Fox deliver some clunky storytelling, with the flow from scene to scene rarely feeling natural. The drama of certain situations never reaches its potential because Lee seems to be focused on things like showing small moments from different angles instead of getting to the heart of the matter.
It’s also never clear what kind of story Lee is trying to tell. The most obvious topic would seem to be the current state of the music business and the place of Black artists within it, but the kidnapping plot mostly pushes that to the side. The push-and-pull of the ransom drama, as well as the perpetrator of the kidnapping, tries to be a commentary on the corrosive influence of wealth, but it fails to hit home.
And then we get to the acting. Washington and Wright are each Oscar nominees who usually garner respect just with their presence, but both give subpar performances that are indicative of the poor acting from many other cast members. Stilted line deliveries abound throughout the film, almost as if Lee was limited to just one take with every scene and just decided to leave them as is. The more bad lines pile up, the more baffling it becomes that they were allowed to show up in the final product.
Lee is responsible for some truly great films over the past 30-40 years, but Highest 2 Lowest will not be joining that list. It has flashes of the director’s trademark stylish moves, but the storytelling and acting blunt any deeper meaning that Lee might have been trying to impart.
