Americans can seem a little sports-crazy, thanks to multimillion-dollar salaries for stars and big games that are practically national holidays. But our passion for sports has its limits: football, baseball and basketball, yes. Cricket? Not so much. In contrast, perhaps no country has more passion for a sport — any sport — than India has for cricket.
The latest addition to a body of work that includes six novels, a short story collection, and editorship of several folk tale anthologies, I Hate to Leave This Beautiful Place is just the right sort of read for those who usually take in non-fiction with a grim reluctance, as if it were cod liver oil. I was drawn by its promise of a memoir structured around five "incidents of arresting strangeness" in the author's life. I was not disappointed.
Near the beginning of the Road Warrior there is a scene in which Mel Gibson's character eats dog food.
It is a perfect moment, a beautiful moment, a completely defining moment — a pause in the post-apocalyptic action where the writers gave us everything we needed to know about Gibson's Max Rockatansky in one, long, wordless scene. And it was a moment that — watching the movie at likely far too young an age on some long-gone Saturday night at the drive-in — messed me up for life.
Gillian Flynn is a very nice person who writes books about very unpleasant people. Her suspenseful, best-selling mystery novel Gone Girl is told from the perspective of Nick and Amy, a couple who are as unreliable as narrators as they are as spouses.
Since Flynn's name, Gillian, is just one letter short of "Gilligan," we've invited her to answer three questions about the classic TV series Gilligan's Island.
A child of the '60s and '70s, Guadalajara-born director Guillermo del Toro has been a fan of the Japanese kaiju film tradition since he was a kid. His latest movie, <em>Pacific Rim,</em> is his passion project and homage to the genre.
Credit Rafy / Warner Bros. Pictures
The Jaegers of del Toro's <em>Pacific Rim</em> are inspired by the <em>mecha</em> tradition in Japanese cinema.
From the audience-pleasing Hellboy to the critically acclaimed Pan's Labyrinth, Guillermo del Toro's movies are chock-full of mystical, often terrifying creatures. Now the Mexico-born director has made a big-budget entry in the genre that helped define his fascination with the monstrous: the Japanese kaiju films of the '60s.