Framed Like a Rembrandt, 'Everlasting Moments' Looks Great, But Misses the Big Picture
L.A. Weekly |
March 5, 2009
L.A. Weekly
With hard-hitting investigative stories, spirited criticism and provocative cultural coverage, L.A. Weekly has become the nation's most widely read alt-weekly — and an important voice in Los Angeles. The paper's writers have dominated the L.A. Press Club's Journalist of the...
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Will Actor and Country Has-been Jeff Bridges Finally Snag the Elusive Oscar?new
Jeff Bridges is a physical presence who leads with his body in a way that often obscures the intelligence he lends his characters — a gallery of American manhood in all its compromised, destroyed or hopeful ambiguity.
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This film adaptation of J.M. Coetzee's brilliant 1999 novel looks the chaos and hatred of postapartheid South Africa squarely in the face, probing the terrible fallout from white denial and pride without patronizing blacks by caricaturing them as noble victims.
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Michael Moore Sells the Same Old Shtick in 'Capitalism'new
I wish that more of the contradictions of late capitalism had made it into this scattershot, lazy slice of agitprop, which recycles Moore's usual slice-and-dice job on corporations, while bobbing a curtsey to the current crisis.
L.A. Weekly |
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Sony assumed North Korea would hate the movie. The question was: What would it do?
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Hopper's brief friendship with James Dean, his co-star and mentor on the sets of Rebel Without a Cause and Giant marked him for life; they shared a passion, which Dean was the first person in Hopper's world to fully articulate.
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Bruce Willis, Tracy Morgan and Movie Mockery in Kevin Smith's New Featurenew
The film's opening shot, set to the Beastie Boys' No Sleep 'Til Brooklyn, is a slow-motion, toe-to-head tilt-up of white cop-black cop buddies Jimmy (Bruce Willis) and Paul (Tracy Morgan) swaggering stone-faced toward the camera.
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