Originally published on Fri April 19, 2013 8:10 am
It was probably the best performance piece I've seen in more than a decade. Specific Ocean, a piece by the dance troupe/rock band People Get Ready, which I saw at the New York Live Arts theater in the fall, was a model for the ways musicians can break from the standard, sometimes boring, format of playing on a stage. Some of the songs from Specific Ocean ended up on the group's 2012 self-titled album. Now there's a video, a documentation of that amazing New York performance, featuring the song "Middle Name."
A great art teacher can made a huge difference in the development of a young artist and a bad teacher can be, well, really bad. Concert pianist Lang Lang had one especially bad teacher. He's just going to call her Professor Angry.
Originally published on Fri April 19, 2013 2:38 pm
Among the semi-literate journals submitted by his high-school students, jaded French literature teacher Germain (Fabrice Luchini) is jazzed to find a rough diamond from a new pupil, Claude (Ernst Umhauer).
In weekly installments, the ingratiating but enigmatic teenager, who looks as though he just stepped out of a Pasolini movie, chronicles his efforts to insinuate himself into the family of one his classmates, an amiable but awkward underachiever named Rapha (Bastien Ughetto).
Originally published on Thu April 18, 2013 4:54 pm
If it seems perplexing why an idea that has broad support nationally could fail to pass the U.S. Senate, here's an important reminder: The Senate is not a democratic institution.
It never has been, and it was never designed to be. Rather, it was structured to give small or sparsely populated states the ability to stop the majority's will. And on Wednesday, that's how it worked out, as the Senate failed to reach a 60-vote threshold to support new background checks on gun purchases.
Artist Jackie Sumell set out to build a dream home for bank robber Herman Wallace, whose additional conviction for killing a prison guard is the subject of a long-running dispute.
Credit First Run Features
A 3-D rendering of Wallace's dream house; Sumell's juxtaposition of the house and Wallace's 6-by-8 prison cell is a statement on the severity of solitary confinement in Louisiana's notorious state penitentiary.
The off-screen protagonist of Herman's House, Herman Wallace, already has a dwelling for his body: a 6-foot-by-8-foot cell at the Louisiana State Penitentiary, aka Angola. But the documentary's on-screen protagonist, Jackie Sumell, wants him also to have a place for his soul: a dream house for a man who desperately needs dreams.
The enigmatic Julia (Olga Kurylenko) surfaces from the mysterious past of Victoria's husband, Jack (Tom Cruise), a repairman tending drones on a largely abandoned Earth.
Credit Universal Pictures
The sterile, futuristic gloss of the post-apocalyptic living spaces in <em>Oblivion</em> are a perfect setting for Andrea Riseborough's icy Victoria — whose humanity, showing occasionally through the odd crack in her reserve, informs some of the film's strongest moments.
The score for Oblivion was composed by M83, a superb French electronic outfit that derives its name from one of the spectral pinwheels known as spiral galaxies. I point this out because it's the best element of the movie — a cascade of dreamy synthesizers that registers as appropriately futuristic (at least the future as suggested by '80s pop) while allowing an undercurrent of romantic yearning.
The best documentaries about filmmaking are the ones that show it at its worst.
Movie sets are fundamentally boring places, where there's mostly a lot of waiting around going on. But when disaster strikes with millions of dollars on the line, the tension and drama are suddenly amped up to levels that often equal those in the movie being filmed.
Derek (Alexander Skarsgard) and wife Cindy (Paula Patton) are sandbagged by online identity thieves who steal their credit information — even as they're still grappling with the death of their young son.
Credit LD Entertainment
In a loosely connected storyline, the relationship between an investigative journalist (Andrea Riseborough) and a young digital sex worker (Max Thieriot) grows increasingly complicated as the twisted plot of <em>Disconnect</em> unwinds.
The title of Disconnect may be read as describing any of several things: the gulf between online and real-world interactions; the chasm that opens between human beings when spoken communication fails; our default emotional position in the face of unthinkable tragedy.
Attempting to address all three interpretations within the confines of a single movie may be courting failure, but writer Andrew Stern and director Henry-Alex Rubin go one better, adding an unnecessary cybercrime angle that muffles the screenplay's more subtle psychological insights.