"They're like Lennon and McCartney." Righteous Kill opens Friday.
Meanwhile, Pacino in Panic in Needle Park tomorrow night at the Anthology Film Archives at 7.

Two thirds of a 15,000-square-foot East Village playground that was home to a popular flea market is under contract in a quiet, all-cash sale for $10.4 million to the Archdiocese of New York, court documents said.
The playground, divided into three ownership lots, is adjacent to the shuttered Mary Help of Christians Catholic Church on the east side of Avenue A between 11th and 12th streets. The Archdiocese owns the church located on a 13,000 square foot lot, city records show.
The Archdiocese did not respond to requests for comment, but real estate professionals speculated the church parcel and playground would be sold and developed into residential housing.
[Photos by Charlie Kerman]

It almost became a grocery store in the 1970s. In the 1980s, it was nearly jackhammered into a cavernous disco with a triple-tiered restaurant. Somehow it escaped becoming a multiplex. And through 78 years, the neglect of the Beacon Theater in Manhattan — aside from occasional spasms of partial renovation — has often been profound.
The Beacon, at 2124 Broadway, at West 74th Street, is familiar to generations of New Yorkers living on the West Side who grew up there when it was a movie house, performance space and, in recent decades, what some have called the Carnegie Hall of rock rooms.
The Beacon went dark last month for a six-month, $15-million restoration by Madison Square Garden Entertainment, a division of Cablevision Systems Corporation, which announced in 2006 that it was leasing the theater for 20 years. The interior face-lift is to be completed by Jan. 31, in time for a February opening.

Low ceilings. Columns in the living room. Drainage grates outside the windows.
What sounds like a Lower East Side tenement is actually a $53.5 million pair of Plaza penthouses bought by Russian hedge-fund manager Andrei Vavilov, who says the developer promised him the epitome of luxury and then handed over an "attic-like space."




In his 1962 poem “An Urban Convalescence,” James Merrill captured the feverish yet methodical sacking of the city and the way it toys with our sense of comfortable familiarity.
As usual in New York, everything is torn down
Before you have had time to care for it.
Head bowed, at the shrine of noise,
let me try to recall
What building stood here.
Was there a building at all?
Among Merrill’s disciples is one Jeremiah Moss, who maintains the engagingly gloomy blog Jeremiah’s Vanishing New York, which he terms “an ongoing obituary for my dying city.” His topic is the steady erosion of the city’s texture. He is the defender of all the undistinguished hunks of masonry that lend the streets their rhythm and give people a place to live and earn a living: bodegas, curio stores, a metalworking shop in Soho, diners, and dingy bars.