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"content": "\u003cp>\u003cem>Get Hard\u003c/em>, a new Will Ferrell-Kevin Hart buddy comedy about a white-collar investor about to enter prison, is funnier than the poster image of a white man in cornrows makes it appear. In an era where most comedies are either obsessed with genre self-awareness (think Phil Lord and Chris Miller) or still running on a male-id algorithm programmed in the ’90s (think Adam Sandler. . . or don’t), it’s refreshing to see one tuned into a present day that exists beyond the movies.\u003c/p>\n\u003cp>Ferrell plays James King, a pompous Bel Air one-percenter who practices capoeira on his mansion’s manicured front lawn and has sex with his young fiancée (Alison Brie) on top of floor plans for an even bigger mansion. On the eve of being made partner at his firm, and shortly after soloing over John Mayer during a house party performance, James is arrested for embezzlement and fraud and sentenced to ten years in San Quentin State Prison. Meanwhile, his car washer, Darnell (Hart), is fighting to get his family out of the troubled L.A. neighborhood of Crenshaw and into the middle class. A racially motivated misunderstanding leads to a business opportunity: hiding his squeaky-clean record, Darnell will train James in the way of prison culture so he can survive on the inside.\u003c/p>\n\u003cp>Give credit where credit is due: This is a great concept for a comedy in 2015. It allows the filmmakers to play hot-button bingo with race, class, and the prison-industrial complex in ways that feel dangerous without being crass. Take the funny bit where Darnell, trying to demonstrate his faux-toughness, refers to his wife in a derogatory manner and is immediately punished for it. The joke sides with his wife. And James’ assumption that Darnell went to prison raises questions, obviously, about the ideas he carries, which are hardly unique to his fictional self. Later, Darnell enlists James’s underpaid groundskeepers—clad in hand-me-downs like a “Too Big To Fail-Palooza” business retreat T-shirt—to assist the “hardening” process. The movie walks a fine line, but it never goes sour, because it keeps punching up.\u003c/p>\n\u003cp>\u003cem>Get Hard \u003c/em>is the feature directorial debut of Etan Cohen, whose name has appeared on many a comedy screenplay, from the meta-referential silliness of \u003cem>Tropic Thunder\u003c/em> to the cult dystopia \u003cem>Idiocracy\u003c/em>. His approach here is lo-fi, mostly confined to a couple of sets and simple static shots of Ferrell and Hart riffing. Cohen plays up their real-life height differentials, often returning to medium shots of the very short Hart successfully intimidating the very tall Ferrell (Hart often outshines his co-star with his hilarious physicality).\u003c/p>\n\u003cp>It could be mistaken for one of those cheap, grungy films aspiring comics shoot in their backyards, were it not for the script’s four credited writers and cushy story arc—the latter half, featuring rapper T.I. as a gang leader, is more plot-driven and less funny. Other comedy directors should take note not to surround charismatic stars with excess story fat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In what’s sure to be the movie’s most-discussed set piece, James trains himself to perform a sexual act he expects to encounter in prison and gets closer to the deed than the male hero of any other studio comedy in recent memory. Is this the latest iteration of that most dreaded style of humor, the gay-panic joke? Not really; the scene is about James’ specific desperation, his fear of uncharted waters, and, believe it or not, his can-do spirit.\u003c/p>\n\u003cp>After breaking out with stand-up specials, Hart has so far mostly played the ringer in ensemble films (\u003cem>About Last Night\u003c/em>,\u003cem> \u003c/em>the \u003cem>Think Like A Man\u003c/em> series). But his film career has been on a huge upswing, with last year’s buddy comedy \u003cem>Ride Along\u003c/em> a smash. He brings a fresh manic presence that helps enliven Ferrell, who’s been making variations on the same movie for his decade-plus of stardom. \u003cem>Get Hard \u003c/em>largely sheds the situational absurdity of Ferrell’s recent output like \u003cem>Anchorman 2\u003c/em> and \u003cem>Casa De Mi Padre\u003c/em>, which were more about outrageous concepts than the comic potential of their star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s still ultimately a disposable work, but at least while it’s going, it hits hard. \u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Two Men in Town\u003c/em> opens with a brutal bludgeoning as the sun rises over the desolate New Mexico desert. The man receiving the beating goes unidentified, but the man providing it with a hefty rock is William (Forest Whitaker). A couple of scenes later, we watch as he gets released from prison, on parole after serving an 18-year prison stint for murdering the deputy sheriff of his border town.\u003c/p>\n\u003cp>Stepping out into the free world, William seems like a reformed man. He’s a Muslim now, hoping to start a new life, as he explains repeatedly later, with a regular job, “a little house, a little lawnmower, wife, kids, neighbors.” The violence from the opening scene seems to belong to a different person, though the cautious manner in which William walks, talks, and holds his body suggests an anger that’s now bottled up, not evaporated.\u003c/p>\n\u003cp>The parole officer assigned to William, a recent arrival named Emily (Brenda Blethyn), is sympathetic to his apparent rehabilitation. Unfortunately, the town’s sheriff, Bill (Harvey Keitel), hasn’t left the job since William’s imprisonment, hasn’t forgiven William for the murder of his deputy and only wants to see him put back behind bars.\u003c/p>\n\u003cp>There’s much about \u003cem>Two Men in Town\u003c/em>'s hardened-criminal-goes-straight story, adapted from a 1973 film of the same name, that’s unsurprising. Once back in town, William quickly runs into his old partner-in-crime, Terence (Luis Guzmán), who refuses to accept William’s change of heart, thus putting William’s freedom and his future with his new girlfriend, Teresa (Dolores Heredia), at risk.\u003c/p>\n\u003cp>Each character receives a stock set of motivations—personal vendetta disguised as moral outrage for Bill, altruistic social justice for Emily. A half-hearted attempt to provide Bill some depth by showing his sympathy toward immigrants who are in the U.S. illegally never quite goes anywhere. In fact, while the movie hints at plenty of political themes, Bouchareb doesn’t actually seem too concerned with any of them. For instance, William’s conversion to Islam almost never becomes a point of conflict, as you might expect it to. Bouchareb mines it more for blunt symbolism—the hand-washing, the carefully-arranged clothing—than social studies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Any nuance the film finds, it finds in the landscape. After its opening burst of violence, the film settles into a languid pace. There are substantial stretches where the camera rests quietly on the isolated town and bleak surrounding desert, hemmed in by a mountainous backdrop. The film’s small New Mexico town gets cast as purgatorial—its residents somehow both confined and transient—and the feeling that dominates as William encounters repeated obstacles to his desired life isn’t heightened tension but resignation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bouchareb lays it on a bit thick here as well—a side story of an dying man who’s denied permission to spend his last year on parole with his family in Ohio makes the messaging difficult to ignore. Nevertheless, it’s this mood, this sense of constriction in open spaces, of characters stuck in their ways, stuck in their small towns, and stuck in their grudges, that most stayed with me afterward. Such questions about fate and destiny are, like so much else in the film, exactly what you would expect from \u003cem>Two Men in Town\u003c/em>'s story. But in this case, the movie’s melancholic, atmospheric tone, coupled with a muted performance from Whitaker, offers a new way into the material. \u003c/p>\n\n",
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"content": "\u003cp>There is a golden rule of movie plans that goes double for con and heist films: When the characters spell out their playbook ahead of time for the audience (“I’ll pose as a dot-com billionaire while you rewire the security cameras”), something will inevitably go wrong. But when the audience is kept in the dark, the plan will go off without a hitch.\u003c/p>\n\u003cp>The new con movie \u003cem>Focus \u003c/em>— not to be confused with Focus Features, although someone really should have noticed how similar the logos looked — works this rule overtime, layering blueprints on top of blueprints, spelling out one operation only to pivot into a different one at the last second. Writer-directors Glenn Ficarra and John Requa \u003cem>(Crazy, Stupid, Love.)\u003c/em> keep us only just abreast enough of the proceedings to sense that slippery games are afoot, thus building a fun if forgettable romp through a charismatic criminal underworld.\u003c/p>\n\u003cp>The always-charming Will Smith is back on solid ground with this starring role, his first since 2013’s already infamous father-son sci-fi bomb \u003cem>After Earth\u003c/em>. \u003cem>Focus\u003c/em> finds Smith in full \u003cem>Hitch\u003c/em> mode as small-time grifter Nicky, a man in his element with a swagger in his step. Nicky leads a team of thieves into crowded public spaces for tightly choreographed pickpocket operations, and not even those wallets chained to pants are safe. He’s as emotionally distant as he is great at his job, which is a natural side effect of the “when people get too close to you, snatch their watches” line of work. It falls to a fellow thief coming in from the cold named Jess (Margot Robbie, an Australian beauty 22 years Smith’s junior) to soften him up.\u003c/p>\n\u003cp>Robbie has a rising profile, fresh off her role as the tart high-life wife in \u003cem>The Wolf Of Wall Street\u003c/em>, and she’s quite likable here, even though she has little more to do than seem like she’s up to something. The early scenes where Nicky shows Jess the ropes are lithe, breezy fun in the vein of \u003cem>The Sting\u003c/em>: She swipes a mark’s credit card, an associate buys up a storm, then they return it to his wallet before he’s the wiser. Grifter terminology is in abundance, like the “Toledo Panic Button” (taking down a partner to avoid being caught in a lie). This being a genre film in the 2010s, the movie also attempts some meta-referential winkery. Nicky mocks the idea that the gang is preparing for a big score “where we all make so much money we retire and get boob jobs.” An editing sequence seems to mimic the famous love scene from \u003cem>Out of Sight,\u003c/em> until it doesn’t.\u003c/p>\n\u003cp>The trouble with movies about con artists is that because every character is duplicitous, we know they all have tricks up their sleeves and we’re constantly guessing the big reveal. The film fails if it’s not thinking too far ahead, if the unspoken plan isn’t elaborate enough. In \u003cem>Focus,\u003c/em> once the team pulls off a ludicrous stunt at a football stadium, suddenly we’re in \u003cem>Ocean’s\u003c/em> territory and the small-time rules no longer apply. The movie is trying to go big, and this is where it stumbles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without spoiling too much: A big time and location jump at the halfway mark would, at first, seem to signal a much larger game, a long con, especially when two characters cross paths somewhere too absurd to be a coincidence. But the meager payoff dashes those hopes, so the second half feels like Ficarra and Requa ran out of ideas and just hit restart. As Nicky said, there is no big score — or at least, not one that feels like a satisfying capper to the previous 100 minutes. And the fact that the con artist was telling the truth is the kind of plan it’s better to not see coming. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Focus%2C%27+A+Con+Movie+Without+Enough+Of+A+Con&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a golden rule of movie plans that goes double for con and heist films: When the characters spell out their playbook ahead of time for the audience (“I’ll pose as a dot-com billionaire while you rewire the security cameras”), something will inevitably go wrong. But when the audience is kept in the dark, the plan will go off without a hitch.\u003c/p>\n\u003cp>The new con movie \u003cem>Focus \u003c/em>— not to be confused with Focus Features, although someone really should have noticed how similar the logos looked — works this rule overtime, layering blueprints on top of blueprints, spelling out one operation only to pivot into a different one at the last second. Writer-directors Glenn Ficarra and John Requa \u003cem>(Crazy, Stupid, Love.)\u003c/em> keep us only just abreast enough of the proceedings to sense that slippery games are afoot, thus building a fun if forgettable romp through a charismatic criminal underworld.\u003c/p>\n\u003cp>The always-charming Will Smith is back on solid ground with this starring role, his first since 2013’s already infamous father-son sci-fi bomb \u003cem>After Earth\u003c/em>. \u003cem>Focus\u003c/em> finds Smith in full \u003cem>Hitch\u003c/em> mode as small-time grifter Nicky, a man in his element with a swagger in his step. Nicky leads a team of thieves into crowded public spaces for tightly choreographed pickpocket operations, and not even those wallets chained to pants are safe. He’s as emotionally distant as he is great at his job, which is a natural side effect of the “when people get too close to you, snatch their watches” line of work. It falls to a fellow thief coming in from the cold named Jess (Margot Robbie, an Australian beauty 22 years Smith’s junior) to soften him up.\u003c/p>\n\u003cp>Robbie has a rising profile, fresh off her role as the tart high-life wife in \u003cem>The Wolf Of Wall Street\u003c/em>, and she’s quite likable here, even though she has little more to do than seem like she’s up to something. The early scenes where Nicky shows Jess the ropes are lithe, breezy fun in the vein of \u003cem>The Sting\u003c/em>: She swipes a mark’s credit card, an associate buys up a storm, then they return it to his wallet before he’s the wiser. Grifter terminology is in abundance, like the “Toledo Panic Button” (taking down a partner to avoid being caught in a lie). This being a genre film in the 2010s, the movie also attempts some meta-referential winkery. Nicky mocks the idea that the gang is preparing for a big score “where we all make so much money we retire and get boob jobs.” An editing sequence seems to mimic the famous love scene from \u003cem>Out of Sight,\u003c/em> until it doesn’t.\u003c/p>\n\u003cp>The trouble with movies about con artists is that because every character is duplicitous, we know they all have tricks up their sleeves and we’re constantly guessing the big reveal. The film fails if it’s not thinking too far ahead, if the unspoken plan isn’t elaborate enough. In \u003cem>Focus,\u003c/em> once the team pulls off a ludicrous stunt at a football stadium, suddenly we’re in \u003cem>Ocean’s\u003c/em> territory and the small-time rules no longer apply. The movie is trying to go big, and this is where it stumbles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actor Leonard Nimoy, best known for his role as Mr. Spock, the logical half-Vulcan, half-human in the original \u003cem>Star Trek\u003c/em> series and several movies, has died at his home in Los Angeles, his granddaughter, Madeleine, told NPR. Nimoy was 83.\u003c/p>\n\u003cp>The cause was end-stage chronic obstructive pulmonary disease, she said.\u003c/p>\n\u003cp>NPR’s Neda Ulaby, who is reporting on the story, tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Leonard Nimoy started acting as a teenager at a settlement house theater in Boston where he grew up. His father was a barber, a Jewish refugee from Ukraine. Nimoy felt stifled by Spock at times during his career. He also appeared on Broadway, wrote poetry and plays and directed a few blockbuster movies, including \u003cem>Star Trek 4\u003c/em>. He eventually made peace with the character. Spock could have been just pointy ears and punch lines. Leonard Nimoy gave him gravitas.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nimoy reprised the role he is most famous for in the J.J. Abrams’ reboot of the franchise. He told NPR’s Guy Raz in 2009: “I know why they wanted me in this last film, which was to create a bridge between the original cast and the new. But that’s been done. So I would suspect that there’s no need for my presence again.”\u003c/p>\n\u003cp>Actor Zachary Quinto, who took over as Mr. Spock in the reboot and its sequel, told NPR in 2013 that Nimoy “was very supportive from the beginning, and we became incredibly good friends.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>For an extra bit of fun, here’s Nimoy singing his song, “Ballad of Bilbo Baggins,” from 1967.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AGF5ROpjRAU\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Leonard+Nimoy%2C+Mr.+Spock+On+%27Star+Trek%2C%27+Dies+At+83+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Leonard Nimoy, best known for his role as Mr. Spock, the logical half-Vulcan, half-human in the original \u003cem>Star Trek\u003c/em> series and several movies, has died at his home in Los Angeles, his granddaughter, Madeleine, told NPR. Nimoy was 83.\u003c/p>\n\u003cp>The cause was end-stage chronic obstructive pulmonary disease, she said.\u003c/p>\n\u003cp>NPR’s Neda Ulaby, who is reporting on the story, tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Leonard Nimoy started acting as a teenager at a settlement house theater in Boston where he grew up. His father was a barber, a Jewish refugee from Ukraine. Nimoy felt stifled by Spock at times during his career. He also appeared on Broadway, wrote poetry and plays and directed a few blockbuster movies, including \u003cem>Star Trek 4\u003c/em>. He eventually made peace with the character. Spock could have been just pointy ears and punch lines. Leonard Nimoy gave him gravitas.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nimoy reprised the role he is most famous for in the J.J. Abrams’ reboot of the franchise. He told NPR’s Guy Raz in 2009: “I know why they wanted me in this last film, which was to create a bridge between the original cast and the new. But that’s been done. So I would suspect that there’s no need for my presence again.”\u003c/p>\n\u003cp>Actor Zachary Quinto, who took over as Mr. Spock in the reboot and its sequel, told NPR in 2013 that Nimoy “was very supportive from the beginning, and we became incredibly good friends.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Oscars: What People are Saying the Day After",
"headTitle": "The Oscars: What People are Saying the Day After | KQED",
"content": "\u003cp>Along with learning who won an Oscar at last night’s Academy Awards, we learned a lot more: Who to call (your parents), and what women should be paid (the same as men). From civil rights to immigration and health issues such as Alzheimer’s and Lou Gehrig’s diseases, advocacy was a big part of last night’s show. Here’s a quick rundown of what people are saying Monday.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:45 p.m. ET: Low Ratings, And Stephen Hawking’s Reaction\u003c/strong>\u003c/p>\n\u003cp>Compared to last year’s show hosted by Ellen DeGeneres, not as many people watched this year. \u003ca href=\"http://deadline.com/2015/02/oscar-ratings-2015-academy-awards-show-abc-1201379351/\" target=\"_blank\" rel=\"noopener\">Deadline Hollywood \u003c/a>reports:\u003c/p>\n\u003cp>“Viewershipwise, the 87\u003csup>th\u003c/sup> Academy Awards were watched by 34.6 million between 8:30 and 11 PM in the early results. That’s down almost 14 percent from the 40.2 million who watched the show over the same time period last year.”\u003c/p>\n\u003cp>In another update, Stephen Hawking used \u003ca href=\"https://www.facebook.com/stephenhawking\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>to cheer a win by the actor who portrayed him: “Congratulations to Eddie Redmayne for winning an \u003ca href=\"https://www.facebook.com/hashtag/oscar?source=feed_text&story_id=787167211370378\" target=\"_blank\" rel=\"noopener\">#Oscar\u003c/a> for playing me in \u003ca href=\"https://www.facebook.com/TheoryofEverythingMovie\" target=\"_blank\" rel=\"noopener\">The Theory of Everything Movie\u003c/a>. Well done Eddie, I’m very proud of you. –SH.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cp>After winning a best supporting actress Oscar for \u003cem>Boyhood\u003c/em>, Patricia Arquette addressed every mother and every American: “We have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all — and equal rights for women in the United States of America.”\u003c/p>\n\u003cp>Loud cheers rose as Arquette spoke, with Meryl Streep repeatedly pointing at Arquette as she applauded her alongside Jennifer Lopez. As NPR’s Linda Holmes notes \u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/02/23/388291018/birdman-wins-big-on-a-soggy-night-at-the-oscars\" target=\"_blank\" rel=\"noopener\">in her recap post\u003c/a> for of the Monkey See blog, “This moment was The Jubilation That \u003ca href=\"http://31.media.tumblr.com/5b5d50376ec092f6d318aea3c85535dd/tumblr_nk7eysuwpJ1qiavcao1_400.gif\" target=\"_blank\" rel=\"noopener\">Launched A Thousand GIFs\u003c/a>.”\u003c/p>\n\u003cp>Race was also a topic at an Oscars in which all 20 of the nominees in the acting categories were white, and the Martin Luther King Jr. film \u003cem>Selma \u003c/em>wasn’t picked to vie for any of the high-profile awards besides best picture.\u003c/p>\n\u003cp>“There had been some talk about a protest outside the ceremony from civil rights groups,” NPR’s Mandalit del Barco reports. “Reportedly the director of \u003cem>Selma\u003c/em>, Ava DuVernay, convinced them to begin a dialogue with the Academy instead of protesting.”\u003c/p>\n\u003cp>After winning for best original song for \u003cem>Selma’s \u003c/em>“Glory\u003cem>,\u003c/em>” John Legend and Common outlined a struggle that’s still continuing. In a performance and acceptance speech, they reflected how fully politics were intertwined with this Oscars show, leading to \u003ca href=\"http://www.politico.com/story/2015/02/john-legend-common-oscars-115414.html\" target=\"_blank\" rel=\"noopener\">a story by Politico\u003c/a>.\u003c/p>\n\u003cp>“We know that right now the struggle for freedom and justice is real,” Legend said from the podium. “We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850.”\u003c/p>\n\u003cp>\u003cem>Birdman\u003c/em> best picture winner Alejandro Gonzalez Inarritu used his speech to discuss immigration and the current atmosphere in the U.S.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-oscars-birdman-main-20150223-story.html#page=1\" target=\"_blank\" rel=\"noopener\">Los Angeles Times\u003c/a>\u003c/em> reports, Inarritu told the audience, “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico.”\u003c/p>\n\u003cp>Discussing immigrants in the U.S. at the end of his speech, Inarritu said, “I pray that they can be treated with the same dignity and respect as the ones who came before and built this incredible immigrant nation.”\u003c/p>\n\u003cp>Another important theme of the night was suicide.\u003c/p>\n\u003cp>From \u003cem>New York\u003c/em> magazine’s \u003ca href=\"http://www.vulture.com/2015/02/oscars-2015-highs-lows.html\" target=\"_blank\" rel=\"noopener\">culture blog, Vulture\u003c/a>: “Earlier in the night,\u003cem> Crisis Hotline\u003c/em> director Ellen Goosenberg Kent and producer Dana Perry said ‘we should talk about suicide out loud’ in their Oscars speech. Graham Moore, winner of Best Adapted Screenplay for \u003cem>The Imitation Game\u003c/em>, answered their call, \u003ca href=\"http://www.vulture.com/2015/02/graham-moores-oscars-speech-will-make-you-cry.html\" target=\"_blank\" rel=\"noopener\">speaking candidly\u003c/a> of his own suicide attempt at age 16.”\u003c/p>\n\u003cp>Moore told young people in the audience “to stay different, stay weird.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.bbc.com/news/entertainment-arts-31585943\" target=\"_blank\" rel=\"noopener\">The BBC\u003c/a> notes that best actress nominee Reese Witherspoon backed the #AskHerMore campaign, urging the media to ask women about their lives and challenges, instead of focusing only on who made the dress they’re wearing.\u003c/p>\n\u003cp>Of that campaign, Linda tweeted: “On red carpet questions: Liking fashion is an okay thing! Dresses are creative work and not shameful! Just ask other stuff also.”\u003c/p>\n\u003cp>For a show that’s all about the movies, the broadcast brought several memorable musical performances, such as:\u003c/p>\n\u003cp>Tegan and Sara and The Lonely Island performing a raucous version of “Everything Is Awesome” from \u003cem>The LEGO Movie …\u003c/em>\u003c/p>\n\u003cp>Legend and Common performing the moving \u003cem>Glory \u003c/em>from\u003cem> Selma …\u003c/em>\u003c/p>\n\u003cp>Lady Gaga’s tribute to \u003cem>The Sound of Music …\u003c/em>\u003c/p>\n\u003cp>And Tim McGraw performing Glen Campbell’s “I’m Not Gonna Miss You,” a moment that sparked tears for many, including Julianne Moore, who later won best actress for her portrayal of a professor with Alzheimer’s. Here’s the original version, from Campbell:\u003c/p>\n\u003cp>And then there was the show’s length, which is often indirectly proportional to another element — viewer interest. By the end, even host Neil Patrick Harris’ buoyantly impish approach (including an appearance in his underwear, in a nod to best picture winner \u003cem>Birdman\u003c/em>) wasn’t much help to some, including Slate’s Dana Stevens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While praising Harris for his opening monologue and song, \u003ca href=\"http://variety.com/2015/tv/reviews/oscars-tv-review-2015-academy-awards-broadcast-1201439003/\">\u003cem>Variety\u003c/em> critic Brian Lowry\u003c/a> writes, “whether his performance warrants an encore is difficult to divorce from the general malaise of the evening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscars%3A+What+People+Are+Saying+The+Day+After&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "From civil rights to immigration and health issues such as Alzheimer's and Lou Gehrig's diseases, advocacy was a big part of last night's show. Here's what people are saying about it Monday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along with learning who won an Oscar at last night’s Academy Awards, we learned a lot more: Who to call (your parents), and what women should be paid (the same as men). From civil rights to immigration and health issues such as Alzheimer’s and Lou Gehrig’s diseases, advocacy was a big part of last night’s show. Here’s a quick rundown of what people are saying Monday.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:45 p.m. ET: Low Ratings, And Stephen Hawking’s Reaction\u003c/strong>\u003c/p>\n\u003cp>Compared to last year’s show hosted by Ellen DeGeneres, not as many people watched this year. \u003ca href=\"http://deadline.com/2015/02/oscar-ratings-2015-academy-awards-show-abc-1201379351/\" target=\"_blank\" rel=\"noopener\">Deadline Hollywood \u003c/a>reports:\u003c/p>\n\u003cp>“Viewershipwise, the 87\u003csup>th\u003c/sup> Academy Awards were watched by 34.6 million between 8:30 and 11 PM in the early results. That’s down almost 14 percent from the 40.2 million who watched the show over the same time period last year.”\u003c/p>\n\u003cp>In another update, Stephen Hawking used \u003ca href=\"https://www.facebook.com/stephenhawking\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>to cheer a win by the actor who portrayed him: “Congratulations to Eddie Redmayne for winning an \u003ca href=\"https://www.facebook.com/hashtag/oscar?source=feed_text&story_id=787167211370378\" target=\"_blank\" rel=\"noopener\">#Oscar\u003c/a> for playing me in \u003ca href=\"https://www.facebook.com/TheoryofEverythingMovie\" target=\"_blank\" rel=\"noopener\">The Theory of Everything Movie\u003c/a>. Well done Eddie, I’m very proud of you. –SH.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cp>After winning a best supporting actress Oscar for \u003cem>Boyhood\u003c/em>, Patricia Arquette addressed every mother and every American: “We have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all — and equal rights for women in the United States of America.”\u003c/p>\n\u003cp>Loud cheers rose as Arquette spoke, with Meryl Streep repeatedly pointing at Arquette as she applauded her alongside Jennifer Lopez. As NPR’s Linda Holmes notes \u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/02/23/388291018/birdman-wins-big-on-a-soggy-night-at-the-oscars\" target=\"_blank\" rel=\"noopener\">in her recap post\u003c/a> for of the Monkey See blog, “This moment was The Jubilation That \u003ca href=\"http://31.media.tumblr.com/5b5d50376ec092f6d318aea3c85535dd/tumblr_nk7eysuwpJ1qiavcao1_400.gif\" target=\"_blank\" rel=\"noopener\">Launched A Thousand GIFs\u003c/a>.”\u003c/p>\n\u003cp>Race was also a topic at an Oscars in which all 20 of the nominees in the acting categories were white, and the Martin Luther King Jr. film \u003cem>Selma \u003c/em>wasn’t picked to vie for any of the high-profile awards besides best picture.\u003c/p>\n\u003cp>“There had been some talk about a protest outside the ceremony from civil rights groups,” NPR’s Mandalit del Barco reports. “Reportedly the director of \u003cem>Selma\u003c/em>, Ava DuVernay, convinced them to begin a dialogue with the Academy instead of protesting.”\u003c/p>\n\u003cp>After winning for best original song for \u003cem>Selma’s \u003c/em>“Glory\u003cem>,\u003c/em>” John Legend and Common outlined a struggle that’s still continuing. In a performance and acceptance speech, they reflected how fully politics were intertwined with this Oscars show, leading to \u003ca href=\"http://www.politico.com/story/2015/02/john-legend-common-oscars-115414.html\" target=\"_blank\" rel=\"noopener\">a story by Politico\u003c/a>.\u003c/p>\n\u003cp>“We know that right now the struggle for freedom and justice is real,” Legend said from the podium. “We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850.”\u003c/p>\n\u003cp>\u003cem>Birdman\u003c/em> best picture winner Alejandro Gonzalez Inarritu used his speech to discuss immigration and the current atmosphere in the U.S.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-oscars-birdman-main-20150223-story.html#page=1\" target=\"_blank\" rel=\"noopener\">Los Angeles Times\u003c/a>\u003c/em> reports, Inarritu told the audience, “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico.”\u003c/p>\n\u003cp>Discussing immigrants in the U.S. at the end of his speech, Inarritu said, “I pray that they can be treated with the same dignity and respect as the ones who came before and built this incredible immigrant nation.”\u003c/p>\n\u003cp>Another important theme of the night was suicide.\u003c/p>\n\u003cp>From \u003cem>New York\u003c/em> magazine’s \u003ca href=\"http://www.vulture.com/2015/02/oscars-2015-highs-lows.html\" target=\"_blank\" rel=\"noopener\">culture blog, Vulture\u003c/a>: “Earlier in the night,\u003cem> Crisis Hotline\u003c/em> director Ellen Goosenberg Kent and producer Dana Perry said ‘we should talk about suicide out loud’ in their Oscars speech. Graham Moore, winner of Best Adapted Screenplay for \u003cem>The Imitation Game\u003c/em>, answered their call, \u003ca href=\"http://www.vulture.com/2015/02/graham-moores-oscars-speech-will-make-you-cry.html\" target=\"_blank\" rel=\"noopener\">speaking candidly\u003c/a> of his own suicide attempt at age 16.”\u003c/p>\n\u003cp>Moore told young people in the audience “to stay different, stay weird.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.bbc.com/news/entertainment-arts-31585943\" target=\"_blank\" rel=\"noopener\">The BBC\u003c/a> notes that best actress nominee Reese Witherspoon backed the #AskHerMore campaign, urging the media to ask women about their lives and challenges, instead of focusing only on who made the dress they’re wearing.\u003c/p>\n\u003cp>Of that campaign, Linda tweeted: “On red carpet questions: Liking fashion is an okay thing! Dresses are creative work and not shameful! Just ask other stuff also.”\u003c/p>\n\u003cp>For a show that’s all about the movies, the broadcast brought several memorable musical performances, such as:\u003c/p>\n\u003cp>Tegan and Sara and The Lonely Island performing a raucous version of “Everything Is Awesome” from \u003cem>The LEGO Movie …\u003c/em>\u003c/p>\n\u003cp>Legend and Common performing the moving \u003cem>Glory \u003c/em>from\u003cem> Selma …\u003c/em>\u003c/p>\n\u003cp>Lady Gaga’s tribute to \u003cem>The Sound of Music …\u003c/em>\u003c/p>\n\u003cp>And Tim McGraw performing Glen Campbell’s “I’m Not Gonna Miss You,” a moment that sparked tears for many, including Julianne Moore, who later won best actress for her portrayal of a professor with Alzheimer’s. Here’s the original version, from Campbell:\u003c/p>\n\u003cp>And then there was the show’s length, which is often indirectly proportional to another element — viewer interest. By the end, even host Neil Patrick Harris’ buoyantly impish approach (including an appearance in his underwear, in a nod to best picture winner \u003cem>Birdman\u003c/em>) wasn’t much help to some, including Slate’s Dana Stevens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While praising Harris for his opening monologue and song, \u003ca href=\"http://variety.com/2015/tv/reviews/oscars-tv-review-2015-academy-awards-broadcast-1201439003/\">\u003cem>Variety\u003c/em> critic Brian Lowry\u003c/a> writes, “whether his performance warrants an encore is difficult to divorce from the general malaise of the evening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscars%3A+What+People+Are+Saying+The+Day+After&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Comedy and Good Conversation of Harris Wittels",
"headTitle": "The Comedy and Good Conversation of Harris Wittels | KQED",
"content": "\u003cp>Harris Wittels died Thursday. He was a stand-up comic, a television writer/producer, a musician, a frequent and dependably hilarious guest on comedy podcasts, and an author who unleashed the concept of the #humblebrag upon the cultural landscape.\u003c/p>\n\u003cp>He was 30 years old.\u003c/p>\n\u003cp>When anyone dies, our sadness is tinged with something darker and more selfish; we resent the time we’ll never get to spend with that person, the days and months and years that will pile up without their presence.\u003c/p>\n\u003cp>When a comedian dies, particularly one so young, we feel that resentment more keenly, because laughter is a limited resource – one of a very few things with the power to make those days and months and years pass more easily.\u003c/p>\n\u003cp>You’ll see some writing today about Wittels’ coinage of the term \u003cem>humblebrag\u003c/em> – the tendency for people, celebrities especially, to express a distinctly performative brand of faux-humility on social media. It became a whole thing, the #humblebrag hashtag, one Wittels frequently expressed some misgivings about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Twitter, you can read some of his fellow comics weighing in on his stand-up and his music (with the band Don’t Stop or We’ll Die, formed with Paul Rust and Michael Cassady) while his fellow \u003cem>Parks and Recreation\u003c/em> writers laud his singular contributions to that show. (By the way: You know Harris, Pawnee’s Animal Control guy? That was him.)\u003c/p>\n\u003cp>But you and me, let’s talk podcasts.\u003c/p>\n\u003cp>Wittels may not have been a household name – in your household, anyway. In my household, and in the households of the nation’s comedy nerds, his name meant something. When you saw it listed as a guest on a given comedy podcast, as he was frequently on Scott Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> (nee \u003cem>Comedy Death Ray\u003c/em>), you dropped everything and started listening while the file was still downloading.\u003c/p>\n\u003cp>On \u003cem>Comedy Bang Bang\u003c/em>, Wittels was quick, self-deprecating, and hugely funny: he’d try out jokes he’d earlier typed into his phone in an impromptu segment called “Harris’ Phone Corner” (which almost immediately became “Harris’ Foam Corner” – never mind, long story) and revel in the affectionate mockery they’d inevitably receive from Aukerman and guests.\u003c/p>\n\u003cp>With Aukerman, he co-hosted the podcast \u003cem>Analyze Phish\u003c/em>, a show whose premise (Wittels a Phish super-fan, Aukerman a bemused Phish-skeptic; they talk) does little to hint at its dogged, exultant silliness, or the exasperated affection the two men share.\u003c/p>\n\u003cp>I’ve used the word “affection” twice in the last two paragraphs, because that’s the word that came through most clearly in every Wittels appearance: the guy was loved. You can \u003cem>hear\u003c/em> it.\u003c/p>\n\u003cp>Here’s a thing about podcasts – their loose, rangy, long-form format breeds a distinctive strain of intimacy. You’re listening to a conversation between two or more people, with all the digressions and hoary jokes their shared history engenders, and it feels familiar, comfortable, warm.\u003c/p>\n\u003cp>Last November, Wittels made a \u003ca href=\"http://www.nerdist.com/pepisode/you-made-it-weird-236-harris-wittels-returns/\" target=\"_blank\" rel=\"noopener\">second appearance\u003c/a> on \u003cem>You Made It Weird\u003c/em>, a podcast whose host, Pete Holmes, greets guests with a weaponized form of gregariousness that, if unchecked, can dominate conversations.\u003c/p>\n\u003cp>Listen to Wittels’ appearance. You get past the ghoulishness of it quickly: yes, Wittels talks at length about cycling through addiction and recovery, and tells some harrowingly funny and off-handedly profane stories about his first, fumbling encounters with heroin. But listen to how Wittels tells them – how clear-eyed, unsentimental, brutally honest, and hilarious he is.\u003c/p>\n\u003cp>He’s all of those things at once, each one bound up inextricably with the other. Listen to how Holmes – even Holmes! – gets quieter and quieter as Wittels talks.\u003c/p>\n\u003cp>It’s a conversation that clocks in at an hour and forty minutes. It would never fit into the programmatic confines of radio or television; it flows, it doubles back, it halts, it lurches forward. It’s a weird gift, is what it is.\u003c/p>\n\u003cp>Wittels is gone, and that’s sad. Infuriatingly so. There’s that familiar resentment – he was only 30 years old, which means we won’t get decades and decades of his comedy.\u003c/p>\n\u003cp>But he was improbably and gratifyingly prolific. His Twitter feed (\u003ca href=\"http://www.twitter.com/twittels\" target=\"_blank\" rel=\"noopener\">@twittels\u003c/a>) is still there, still hilarious, still so recognizably \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>There’s the \u003cem>Comedy Bang Bang\u003c/em> and \u003cem>Analyze Phish\u003c/em> archives, filled with Wittels’ voice and humor and jokes so determinedly bad they shade into performance art.\u003c/p>\n\u003cp>So while mourning his absence, maybe spend some time today, and in the days and months and years to come, enjoying his digital presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Do a search. Listen. Laugh. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Comedy+And+Good+Conversation+Of+Harris+Wittels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "NPR contributor Glen Weldon remembers writer, actor, producer, musician, and comedy podcast mainstay Harris Wittels, who died Thursday, just 30 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harris Wittels died Thursday. He was a stand-up comic, a television writer/producer, a musician, a frequent and dependably hilarious guest on comedy podcasts, and an author who unleashed the concept of the #humblebrag upon the cultural landscape.\u003c/p>\n\u003cp>He was 30 years old.\u003c/p>\n\u003cp>When anyone dies, our sadness is tinged with something darker and more selfish; we resent the time we’ll never get to spend with that person, the days and months and years that will pile up without their presence.\u003c/p>\n\u003cp>When a comedian dies, particularly one so young, we feel that resentment more keenly, because laughter is a limited resource – one of a very few things with the power to make those days and months and years pass more easily.\u003c/p>\n\u003cp>You’ll see some writing today about Wittels’ coinage of the term \u003cem>humblebrag\u003c/em> – the tendency for people, celebrities especially, to express a distinctly performative brand of faux-humility on social media. It became a whole thing, the #humblebrag hashtag, one Wittels frequently expressed some misgivings about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Twitter, you can read some of his fellow comics weighing in on his stand-up and his music (with the band Don’t Stop or We’ll Die, formed with Paul Rust and Michael Cassady) while his fellow \u003cem>Parks and Recreation\u003c/em> writers laud his singular contributions to that show. (By the way: You know Harris, Pawnee’s Animal Control guy? That was him.)\u003c/p>\n\u003cp>But you and me, let’s talk podcasts.\u003c/p>\n\u003cp>Wittels may not have been a household name – in your household, anyway. In my household, and in the households of the nation’s comedy nerds, his name meant something. When you saw it listed as a guest on a given comedy podcast, as he was frequently on Scott Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> (nee \u003cem>Comedy Death Ray\u003c/em>), you dropped everything and started listening while the file was still downloading.\u003c/p>\n\u003cp>On \u003cem>Comedy Bang Bang\u003c/em>, Wittels was quick, self-deprecating, and hugely funny: he’d try out jokes he’d earlier typed into his phone in an impromptu segment called “Harris’ Phone Corner” (which almost immediately became “Harris’ Foam Corner” – never mind, long story) and revel in the affectionate mockery they’d inevitably receive from Aukerman and guests.\u003c/p>\n\u003cp>With Aukerman, he co-hosted the podcast \u003cem>Analyze Phish\u003c/em>, a show whose premise (Wittels a Phish super-fan, Aukerman a bemused Phish-skeptic; they talk) does little to hint at its dogged, exultant silliness, or the exasperated affection the two men share.\u003c/p>\n\u003cp>I’ve used the word “affection” twice in the last two paragraphs, because that’s the word that came through most clearly in every Wittels appearance: the guy was loved. You can \u003cem>hear\u003c/em> it.\u003c/p>\n\u003cp>Here’s a thing about podcasts – their loose, rangy, long-form format breeds a distinctive strain of intimacy. You’re listening to a conversation between two or more people, with all the digressions and hoary jokes their shared history engenders, and it feels familiar, comfortable, warm.\u003c/p>\n\u003cp>Last November, Wittels made a \u003ca href=\"http://www.nerdist.com/pepisode/you-made-it-weird-236-harris-wittels-returns/\" target=\"_blank\" rel=\"noopener\">second appearance\u003c/a> on \u003cem>You Made It Weird\u003c/em>, a podcast whose host, Pete Holmes, greets guests with a weaponized form of gregariousness that, if unchecked, can dominate conversations.\u003c/p>\n\u003cp>Listen to Wittels’ appearance. You get past the ghoulishness of it quickly: yes, Wittels talks at length about cycling through addiction and recovery, and tells some harrowingly funny and off-handedly profane stories about his first, fumbling encounters with heroin. But listen to how Wittels tells them – how clear-eyed, unsentimental, brutally honest, and hilarious he is.\u003c/p>\n\u003cp>He’s all of those things at once, each one bound up inextricably with the other. Listen to how Holmes – even Holmes! – gets quieter and quieter as Wittels talks.\u003c/p>\n\u003cp>It’s a conversation that clocks in at an hour and forty minutes. It would never fit into the programmatic confines of radio or television; it flows, it doubles back, it halts, it lurches forward. It’s a weird gift, is what it is.\u003c/p>\n\u003cp>Wittels is gone, and that’s sad. Infuriatingly so. There’s that familiar resentment – he was only 30 years old, which means we won’t get decades and decades of his comedy.\u003c/p>\n\u003cp>But he was improbably and gratifyingly prolific. His Twitter feed (\u003ca href=\"http://www.twitter.com/twittels\" target=\"_blank\" rel=\"noopener\">@twittels\u003c/a>) is still there, still hilarious, still so recognizably \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>There’s the \u003cem>Comedy Bang Bang\u003c/em> and \u003cem>Analyze Phish\u003c/em> archives, filled with Wittels’ voice and humor and jokes so determinedly bad they shade into performance art.\u003c/p>\n\u003cp>So while mourning his absence, maybe spend some time today, and in the days and months and years to come, enjoying his digital presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Do a search. Listen. Laugh. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Comedy+And+Good+Conversation+Of+Harris+Wittels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As long as hearts still beat in America, there will be a place for the big, gooey Disney sports movie. Like its forefathers \u003cem>Remember The Titans, Miracle, \u003c/em>and countless others,\u003cem> McFarland, USA\u003c/em> is a based-on-truth myth in which a maverick coach leads a ragtag team of misfits to victory against posh, polished enemies, touching the essence of the American dream in the process. There is a grand tradition at work here, a lifeblood that runs through mid-century entertainment like \u003cem>Knute Rockne—All American \u003c/em>and Kevin Costner’s baseball movies alike. All \u003cem>McFarland, USA\u003c/em> has to do is notch another feel-good win, another whoop of camaraderie for countrymen at the edge of their physical limits. This it does, with an admirable economy.\u003c/p>\n\u003cp>McFarland is a depressed, majority Latino central California desert town. High school students are either at work in the farms or halfway to prison (which, in a particularly nihilistic urban planning decision, is located across the street from the school). It’s 1987, the year loose-cannon gym teacher Jim White moves his family to town\u003cem>—\u003c/em>they’re white in name as well as nature, and their youngest blonde daughter looks at all the taco stands and asks if they’ve landed in Mexico. White, played by Costner with a deep growl and an eerie remove from his surroundings, typically coaches football, but his past tempers have banished him to this Nowheresville, where the kids are terrible at the game. They are fast on their feet, though, which leads White to form the school’s first cross-country team, and the audience to breathe a sigh of relief at finally getting some variety of sport in the movies.\u003c/p>\n\u003cp>The seven runners are snarky but generally harmless, and one of the film’s pleasant surprises is how much it lets the kids just be themselves, without telegraphing (too many) problems for Coach White to solve. Three of them are brothers who rise at dawn to pick on their father’s farm, then head back out there after practice every day. White joins them one morning, leading to some easy cross-country-cultural understanding.\u003c/p>\n\u003cp>Carlos Pratts turns in a soulful performance as Thomas, a loner delinquent who resists White’s attentions even as he sprints home every day at record times (one of the film’s many great visual sequences). Even the actors who don’t get much to do have a great screen presence, and there’s real heart in the easy ways they mock their coach, calling him “Blanco” and exploiting his ignorance of Latinos and farmhand life.\u003c/p>\n\u003cp>The combination of these John Steinbeck-ready landscapes and long-distance running is irresistibly cinematic, and director Niki Caro, who also made the gorgeous \u003cem>Whale Rider\u003c/em>, takes every opportunity to show off her riches. She uses plenty of wide-angle lenses as the kids run across sweeping California vistas, through the farms where they spend their mornings, and down the town’s dusty main drag. Long stretches, particularly in the first half, pass at an unhurried pace. Later, as the script requires McFarland residents to twine themselves with White’s family (throwing a Quinceañera for his daughter, for instance) and the athletes to learn life lessons at his feet, things feel too perfunctory. The problem is, it’s all too easy to believe White when he says his team has been through more hardship than he will ever know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eventually (high school sports history spoiler alert) McFarland will win the first of many state championships by outpacing the field of country-club kids who underestimate them. The sport’s ranking system will allow the pudgy kid to have his moment of glory. White will even start cheering on his runners, Costner’s refusal to raise his voice through most of the film being the least convincing aspect of his rendering of a high school coach. Yes, there’s a formula. Yes, it’s corny. But running is about the journey, not the destination, and Disney sports movies don’t know how to quit until everyone has crossed the finish line. Bless them for it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Checking+Off+The+Boxes+Of+A+Disney+Sports+Movie+In+%27McFarland%2C+USA%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As long as hearts still beat in America, there will be a place for the big, gooey Disney sports movie. Like its forefathers \u003cem>Remember The Titans, Miracle, \u003c/em>and countless others,\u003cem> McFarland, USA\u003c/em> is a based-on-truth myth in which a maverick coach leads a ragtag team of misfits to victory against posh, polished enemies, touching the essence of the American dream in the process. There is a grand tradition at work here, a lifeblood that runs through mid-century entertainment like \u003cem>Knute Rockne—All American \u003c/em>and Kevin Costner’s baseball movies alike. All \u003cem>McFarland, USA\u003c/em> has to do is notch another feel-good win, another whoop of camaraderie for countrymen at the edge of their physical limits. This it does, with an admirable economy.\u003c/p>\n\u003cp>McFarland is a depressed, majority Latino central California desert town. High school students are either at work in the farms or halfway to prison (which, in a particularly nihilistic urban planning decision, is located across the street from the school). It’s 1987, the year loose-cannon gym teacher Jim White moves his family to town\u003cem>—\u003c/em>they’re white in name as well as nature, and their youngest blonde daughter looks at all the taco stands and asks if they’ve landed in Mexico. White, played by Costner with a deep growl and an eerie remove from his surroundings, typically coaches football, but his past tempers have banished him to this Nowheresville, where the kids are terrible at the game. They are fast on their feet, though, which leads White to form the school’s first cross-country team, and the audience to breathe a sigh of relief at finally getting some variety of sport in the movies.\u003c/p>\n\u003cp>The seven runners are snarky but generally harmless, and one of the film’s pleasant surprises is how much it lets the kids just be themselves, without telegraphing (too many) problems for Coach White to solve. Three of them are brothers who rise at dawn to pick on their father’s farm, then head back out there after practice every day. White joins them one morning, leading to some easy cross-country-cultural understanding.\u003c/p>\n\u003cp>Carlos Pratts turns in a soulful performance as Thomas, a loner delinquent who resists White’s attentions even as he sprints home every day at record times (one of the film’s many great visual sequences). Even the actors who don’t get much to do have a great screen presence, and there’s real heart in the easy ways they mock their coach, calling him “Blanco” and exploiting his ignorance of Latinos and farmhand life.\u003c/p>\n\u003cp>The combination of these John Steinbeck-ready landscapes and long-distance running is irresistibly cinematic, and director Niki Caro, who also made the gorgeous \u003cem>Whale Rider\u003c/em>, takes every opportunity to show off her riches. She uses plenty of wide-angle lenses as the kids run across sweeping California vistas, through the farms where they spend their mornings, and down the town’s dusty main drag. Long stretches, particularly in the first half, pass at an unhurried pace. Later, as the script requires McFarland residents to twine themselves with White’s family (throwing a Quinceañera for his daughter, for instance) and the athletes to learn life lessons at his feet, things feel too perfunctory. The problem is, it’s all too easy to believe White when he says his team has been through more hardship than he will ever know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eventually (high school sports history spoiler alert) McFarland will win the first of many state championships by outpacing the field of country-club kids who underestimate them. The sport’s ranking system will allow the pudgy kid to have his moment of glory. White will even start cheering on his runners, Costner’s refusal to raise his voice through most of the film being the least convincing aspect of his rendering of a high school coach. Yes, there’s a formula. Yes, it’s corny. But running is about the journey, not the destination, and Disney sports movies don’t know how to quit until everyone has crossed the finish line. Bless them for it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Checking+Off+The+Boxes+Of+A+Disney+Sports+Movie+In+%27McFarland%2C+USA%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In John Boorman’s first semi-autobiographical film, 1987’s \u003cem>Hope and Glory\u003c/em>, war came to the school-age protagonist’s London. In \u003cem>Queen and Country\u003c/em>, set roughly a decade later, the director’s alter ego goes to war — except that he doesn’t. As the Korean conflict rages, 19-year-old Bill Rohan (Callum Turner) is drafted, trained and sent into service as a typing instructor.\u003c/p>\n\u003cp>The movies take their titles from expressions of British exceptionalism, but do so ironically. Boorman, who wrote and directed both, is not concerned with duty, heroism and national dignity. The films charmingly — if in this case a bit less distinctively — salute mischief, insubordination and the disruptive power of love.\u003c/p>\n\u003cp>Since the Korean War didn’t hit Britain as directly as World War II, \u003cem>Queen and Country\u003c/em> lacks its predecessor’s drive. But it’s not haphazardly constructed. Playful capers often lead to severe repercussions, and characters and situations are mirrored in ways that multiply the story’s implications and deepen its empathy.\u003c/p>\n\u003cp>Bill is a teenage film buff who’s been enjoying a near-idyllic life on his family’s little island in the Thames, tantalizingly close to the soundstages of Shepperton Studios. He’s hardly the sort to regret not being sent to the front lines. He’s just a little bored by life on a military base, a less congenial island.\u003c/p>\n\u003cp>The jaded conscript is soon allied with a pair of troublemakers: Percy (Caleb Landry Jones), a fellow instructor, and Redmond (Pat Shortt), a champion skiver (British for “slacker”). Their enemies are persnickety Sergeants Major Bradley (David Thewlis) and Digby (Brian F. O’Byrne) and their superior, Major Cross (Richard E. Grant), who’s as exasperated as his name suggests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Digby is obsessed with a mess-hall clock said to be a gift from Queen Victoria. His fixation is an irresistible goad to Percy, who executes a cunning plan to steal the heirloom. But the prank’s success ends in that famed oxymoron, military justice.\u003c/p>\n\u003cp>That’s typical of \u003cem>Queen and Country\u003c/em>, which is far from a searing drama yet seldom takes the glib way out. At a concert, Bill falls instantly for a enigmatic, aristocratic blonde he nicknames Ophelia (Tamsin Egerton). The slightly older woman encourages his interest, to a degree, but their long-term happiness never seems likely.\u003c/p>\n\u003cp>One thing Bill and Ophelia share is an interest in movies, and she takes him to Kurosawa’s then-recent \u003cem>Rashomon\u003c/em>. When he marvels at the film’s multiple narratives, she makes a tart observation about something all the versions of the tale have in common. It’s a grownup woman’s retort to boyish wonder, but also evidence of their contrary outlooks.\u003c/p>\n\u003cp>Ophelia has not one but two mirror images. Sophie (Aimee-Ffion Edwards) is a young nurse who dates Percy, but is very solicitous of Bill. Dawn (Vanessa Kirby) is Bill’s freewheeling older sister, now AWOL from her marriage to the man she met as a teenager in \u003cem>Hope and Glory\u003c/em>.\u003c/p>\n\u003cp>Dawn and other family members from the earlier movie (mostly played by different performers) make brief reappearances, notably when the clan gathers for the coronation of Queen Elizabeth II. The sequence allows Bill’s relatives to reveal their essential natures, but is also a harbinger of a new age: QE II’s crowning is the maiden voyage of the family’s first TV set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Bill visits melancholic Ophelia and uptight Sgt. Major Bradley in separate hospitals. Under very different circumstances, both seem to be victims of British society. But it’s by showing Bradley’s condition that Boorman offers a small rebuke to his own high-spirited wartime memoirs: Some men did go into battle, and their lives were not the stuff of antic comedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queen+And+Country%27+Follows+A+Familiar+Protagonist+Through+A+New+War&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In John Boorman’s first semi-autobiographical film, 1987’s \u003cem>Hope and Glory\u003c/em>, war came to the school-age protagonist’s London. In \u003cem>Queen and Country\u003c/em>, set roughly a decade later, the director’s alter ego goes to war — except that he doesn’t. As the Korean conflict rages, 19-year-old Bill Rohan (Callum Turner) is drafted, trained and sent into service as a typing instructor.\u003c/p>\n\u003cp>The movies take their titles from expressions of British exceptionalism, but do so ironically. Boorman, who wrote and directed both, is not concerned with duty, heroism and national dignity. The films charmingly — if in this case a bit less distinctively — salute mischief, insubordination and the disruptive power of love.\u003c/p>\n\u003cp>Since the Korean War didn’t hit Britain as directly as World War II, \u003cem>Queen and Country\u003c/em> lacks its predecessor’s drive. But it’s not haphazardly constructed. Playful capers often lead to severe repercussions, and characters and situations are mirrored in ways that multiply the story’s implications and deepen its empathy.\u003c/p>\n\u003cp>Bill is a teenage film buff who’s been enjoying a near-idyllic life on his family’s little island in the Thames, tantalizingly close to the soundstages of Shepperton Studios. He’s hardly the sort to regret not being sent to the front lines. He’s just a little bored by life on a military base, a less congenial island.\u003c/p>\n\u003cp>The jaded conscript is soon allied with a pair of troublemakers: Percy (Caleb Landry Jones), a fellow instructor, and Redmond (Pat Shortt), a champion skiver (British for “slacker”). Their enemies are persnickety Sergeants Major Bradley (David Thewlis) and Digby (Brian F. O’Byrne) and their superior, Major Cross (Richard E. Grant), who’s as exasperated as his name suggests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Digby is obsessed with a mess-hall clock said to be a gift from Queen Victoria. His fixation is an irresistible goad to Percy, who executes a cunning plan to steal the heirloom. But the prank’s success ends in that famed oxymoron, military justice.\u003c/p>\n\u003cp>That’s typical of \u003cem>Queen and Country\u003c/em>, which is far from a searing drama yet seldom takes the glib way out. At a concert, Bill falls instantly for a enigmatic, aristocratic blonde he nicknames Ophelia (Tamsin Egerton). The slightly older woman encourages his interest, to a degree, but their long-term happiness never seems likely.\u003c/p>\n\u003cp>One thing Bill and Ophelia share is an interest in movies, and she takes him to Kurosawa’s then-recent \u003cem>Rashomon\u003c/em>. When he marvels at the film’s multiple narratives, she makes a tart observation about something all the versions of the tale have in common. It’s a grownup woman’s retort to boyish wonder, but also evidence of their contrary outlooks.\u003c/p>\n\u003cp>Ophelia has not one but two mirror images. Sophie (Aimee-Ffion Edwards) is a young nurse who dates Percy, but is very solicitous of Bill. Dawn (Vanessa Kirby) is Bill’s freewheeling older sister, now AWOL from her marriage to the man she met as a teenager in \u003cem>Hope and Glory\u003c/em>.\u003c/p>\n\u003cp>Dawn and other family members from the earlier movie (mostly played by different performers) make brief reappearances, notably when the clan gathers for the coronation of Queen Elizabeth II. The sequence allows Bill’s relatives to reveal their essential natures, but is also a harbinger of a new age: QE II’s crowning is the maiden voyage of the family’s first TV set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Bill visits melancholic Ophelia and uptight Sgt. Major Bradley in separate hospitals. Under very different circumstances, both seem to be victims of British society. But it’s by showing Bradley’s condition that Boorman offers a small rebuke to his own high-spirited wartime memoirs: Some men did go into battle, and their lives were not the stuff of antic comedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queen+And+Country%27+Follows+A+Familiar+Protagonist+Through+A+New+War&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Midway through the hip new spy comedy \u003cem>Kingsman: The Secret Service\u003c/em>, ultra-classy secret agent Harry Hart (Colin Firth) infiltrates a sermon at a hate-spewing rural America congregation clearly modeled on the Westboro Baptist Church. Their sign out front proclaims “America Is Doomed,” and their pastor leaps across centuries’ worth of bigotry in a single bound. As Harry tries to quip his way out, a supervillain’s mind-control plot springs into motion, and he is compelled to murder all the churchgoers for no reason, in a brightly photographed, slow-motion frenzy of martial arts, gadgeteering, and impalement set to the Southern rock anthem “Freebird.”\u003c/p>\n\u003cp>The sequence teeters from cheeky to brutal, its humor from winking to shocking, both building on and desecrating the careful mythology the film has established. When a well-dressed man shows off a grenade disguised as a cigarette lighter, he will eventually use it; we just don’t expect it to be used so inelegantly, or that the inelegance will itself become the joke. This anti-gag is at the heart of \u003cem>Kingsman\u003c/em>, which keeps finding new ways to surprise with well-trodden territory.\u003c/p>\n\u003cp>The stylish super spies are members of a privatized espionage group founded more than a century ago by tailors to the wealthy, and the idea that menswear is keeping the world’s peace is just the tip of this film’s cult-ready sensibility. The gadgets, including an umbrella that doubles as both a shield and a projectile launcher, are designed around the Kingsmen model of the ideal gentleman: an expressly polite and impeccably dressed do-gooder who never wears brogue shoes and will only lay waste to a group of hoodlums after he’s already asked them nicely to leave. Years after one of their members is killed in battle, his street tough son Eggsy (relative newcomer Taron Egerton) finds his way to their latest recruiting class under Harry’s tutelage. But first, Harry will have to help Eggsy find the gentleman within. It looks so easy when Colin Firth wears that suit.\u003c/p>\n\u003cp>There’s naturally a villain at large: Valentine, a tech mogul (aren’t all modern supervillains?) whose world domination plot involves mind control transmitted via cell phones and computer chips planted in the minds of the global elite, like the world’s worst Davos conference. He’s played by Samuel L. Jackson, America’s favorite shouter, with an odd lisp. Valentine wants to wipe out the human race, but he can’t stand the sight of blood, and the funniest part of Jackson’s performance is that he plays this trait unironically: he cowers from his own gun even as he shoots it. A sultry sidekick with razors for legs named Gazelle (Sofia Boutella) is the most Bond-ian character to have never appeared in a Bond film.\u003c/p>\n\u003cp>But the film’s true conflict is between Eggsy and the oppressive posh legacy of the organization he’s trying to enter. During the long training sequence, Eggsy dodges jeers from his Oxford-educated rivals, resenting the class system even as he tries to climb it. But he isn’t above whooping with joy over Spy 101 stunts like skydiving, during a plummet which director Matthew Vaughn shoots with dizzying speed. There are so many activities the film drops the ball on a few, like a seduce-the-target training exercise that ends before realizing any comic potential.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vaughn and his co-writer Jane Goldman are the umpteenth filmmakers to send up the spy genre, but they’re also cleverly subverting the cult of Bondian Brit sophistication. After years of watching Michael Caine play the benevolent elder, it’s refreshing to see him here as a stubborn crank obsessed with bloodlines and absurd tests of character. When he commands Eggsy to shoot an adorable dog, we do a double-take — what if we can’t trust everything Michael Caine says, after all? — and Vaughn’s frenzied close-ups keep the scene from going off the rails.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Vaughn also made \u003cem>Kick-Ass\u003c/em>, which, like \u003cem>Kingsman\u003c/em>, is an R-rated genre sendup based on a Mark Millar comic book. (Question for the class: How popular do sendups need to be before they become the establishment instead of merely mocking it?) This film maintains the same irreverence and ultraviolence, but blessedly without the sour tone of \u003cem>Kick-Ass\u003c/em>: The joke rarely goes too far. Even so, scores of innocents still die, as in most save-the-world movies these days. Surely if gentlemen have rules about brogue shoes, they have rules about this sort of thing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Properly+Violent+%27Kingsman%27+Takes+On+A+Supervillain+With+Style&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through the hip new spy comedy \u003cem>Kingsman: The Secret Service\u003c/em>, ultra-classy secret agent Harry Hart (Colin Firth) infiltrates a sermon at a hate-spewing rural America congregation clearly modeled on the Westboro Baptist Church. Their sign out front proclaims “America Is Doomed,” and their pastor leaps across centuries’ worth of bigotry in a single bound. As Harry tries to quip his way out, a supervillain’s mind-control plot springs into motion, and he is compelled to murder all the churchgoers for no reason, in a brightly photographed, slow-motion frenzy of martial arts, gadgeteering, and impalement set to the Southern rock anthem “Freebird.”\u003c/p>\n\u003cp>The sequence teeters from cheeky to brutal, its humor from winking to shocking, both building on and desecrating the careful mythology the film has established. When a well-dressed man shows off a grenade disguised as a cigarette lighter, he will eventually use it; we just don’t expect it to be used so inelegantly, or that the inelegance will itself become the joke. This anti-gag is at the heart of \u003cem>Kingsman\u003c/em>, which keeps finding new ways to surprise with well-trodden territory.\u003c/p>\n\u003cp>The stylish super spies are members of a privatized espionage group founded more than a century ago by tailors to the wealthy, and the idea that menswear is keeping the world’s peace is just the tip of this film’s cult-ready sensibility. The gadgets, including an umbrella that doubles as both a shield and a projectile launcher, are designed around the Kingsmen model of the ideal gentleman: an expressly polite and impeccably dressed do-gooder who never wears brogue shoes and will only lay waste to a group of hoodlums after he’s already asked them nicely to leave. Years after one of their members is killed in battle, his street tough son Eggsy (relative newcomer Taron Egerton) finds his way to their latest recruiting class under Harry’s tutelage. But first, Harry will have to help Eggsy find the gentleman within. It looks so easy when Colin Firth wears that suit.\u003c/p>\n\u003cp>There’s naturally a villain at large: Valentine, a tech mogul (aren’t all modern supervillains?) whose world domination plot involves mind control transmitted via cell phones and computer chips planted in the minds of the global elite, like the world’s worst Davos conference. He’s played by Samuel L. Jackson, America’s favorite shouter, with an odd lisp. Valentine wants to wipe out the human race, but he can’t stand the sight of blood, and the funniest part of Jackson’s performance is that he plays this trait unironically: he cowers from his own gun even as he shoots it. A sultry sidekick with razors for legs named Gazelle (Sofia Boutella) is the most Bond-ian character to have never appeared in a Bond film.\u003c/p>\n\u003cp>But the film’s true conflict is between Eggsy and the oppressive posh legacy of the organization he’s trying to enter. During the long training sequence, Eggsy dodges jeers from his Oxford-educated rivals, resenting the class system even as he tries to climb it. But he isn’t above whooping with joy over Spy 101 stunts like skydiving, during a plummet which director Matthew Vaughn shoots with dizzying speed. There are so many activities the film drops the ball on a few, like a seduce-the-target training exercise that ends before realizing any comic potential.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vaughn and his co-writer Jane Goldman are the umpteenth filmmakers to send up the spy genre, but they’re also cleverly subverting the cult of Bondian Brit sophistication. After years of watching Michael Caine play the benevolent elder, it’s refreshing to see him here as a stubborn crank obsessed with bloodlines and absurd tests of character. When he commands Eggsy to shoot an adorable dog, we do a double-take — what if we can’t trust everything Michael Caine says, after all? — and Vaughn’s frenzied close-ups keep the scene from going off the rails.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Vaughn also made \u003cem>Kick-Ass\u003c/em>, which, like \u003cem>Kingsman\u003c/em>, is an R-rated genre sendup based on a Mark Millar comic book. (Question for the class: How popular do sendups need to be before they become the establishment instead of merely mocking it?) This film maintains the same irreverence and ultraviolence, but blessedly without the sour tone of \u003cem>Kick-Ass\u003c/em>: The joke rarely goes too far. Even so, scores of innocents still die, as in most save-the-world movies these days. Surely if gentlemen have rules about brogue shoes, they have rules about this sort of thing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Properly+Violent+%27Kingsman%27+Takes+On+A+Supervillain+With+Style&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a brief prologue, Spike Lee’s \u003cem>Da Sweet Blood of Jesus\u003c/em> opens in the same Brooklyn church that was the centerpiece of his \u003cem>Red Hook Summer\u003c/em>. The moment seemingly connects \u003cem>Sweet Blood\u003c/em> not just to the 2012 film but also to movies further back in his career, since \u003cem>Red Hook \u003c/em>itself was billed as part of Lee’s “Chronicles of Brooklyn,” which include his early classics like \u003cem>She’s Gotta Have It\u003c/em> and \u003cem>Do the Right Thing\u003c/em>.\u003c/p>\n\u003cp>The scene is something of a red herring, though. For one thing, most of \u003cem>Sweet Blood \u003c/em>takes place on a large Martha’s Vineyard estate, not in Brooklyn. It’s also a remake of Bill Gunn’s 1973 moody horror film \u003cem>Ganja and Hess\u003c/em> (which just played as part of Film Society of Lincoln Center’s \u003ca href=\"http://www.npr.org/2015/02/05/383564277/losing-ground-steps-forward-at-lincoln-center\" target=\"_blank\" rel=\"noopener\">“Tell It Like It Is” series\u003c/a>) and tells the story of a wealthy archaeologist, Hess (Stephen Tyrone Williams), who turns into a vampire after being stabbed with an Ashanti dagger by his research assistant (Elvis Nolasco). Later, Hess falls in love with his assistant’s ex-wife, Ganja (Zaraah Abrahams), and turns her into a vampire as well.\u003c/p>\n\u003cp>The movie’s story, in other words, stands out quite starkly in Lee’s filmography. It does share \u003cem>Red Hook Summer\u003c/em>‘s somewhat erratic approach to narrative, but even in this respect, it pushes the envelope much further, a decision that actually makes \u003cem>Sweet Blood\u003c/em> a more provocative — and at times mesmerizing — movie than \u003cem>Red Hook\u003c/em>, though one that can still be baffling to watch.\u003c/p>\n\u003cp>There might seem like no better moment to release a remake of a 1970s vampire horror film, but \u003cem>Sweet Blood\u003c/em> will disappoint \u003cem>Twilight\u003c/em> fans in the same way that \u003cem>Ganja and Hess\u003c/em> let down anyone in 1973 who expected \u003cem>Blacula\u003c/em>. Hess’s desire here is treated as an addiction, as in Jim Jarmusch’s vampire film \u003cem>Only Lovers Left Alive\u003c/em>, but with none that movie’s elegance. For Hess and Ganja,\u003cem> \u003c/em>satisfying their desire for blood is a violent and ravenous affair, and the explicit way Lee films their feedings suggests he has carried over some lessons from his 2013 remake of \u003cem>Oldboy\u003c/em>.\u003c/p>\n\u003cp>More off-putting than the violence—and also more intriguing, frustrating, perplexing—is how Lee eschews any simple approach to narrative while telling what ultimately is a simple story of a man and woman who must reconcile their insatiable desire for blood with the immoral actions required to satisfy it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s pacing, deliberate and foreboding as the story leads up to Hess’s conversion, eventually gives way to a more irregular structure. Extended scenes—a party that Hess hosts for his well-to-do neighbors shortly after becoming a vampire, or his trip all the way to Brooklyn for the sole purpose of finding a body to feed on—often seem disconnected, with only minimal explanation or justification offered later.\u003c/p>\n\u003cp>And what can we make of the film’s prologue, a beautiful dance montage set in various locations across Brooklyn that blends hip-hop and ballet? It’s a gorgeous display, but Lee never returns to it, its connection to the rest of the film only tangentially explicable through broad themes about the body and flesh that he goes on to explore.\u003c/p>\n\u003cp>\u003cem>Sweet Blood\u003c/em> also uses its vampire story to reflect on violence, religion, race, and, in its repeated shots of Hess’ African art collection, the splendor and power of African civilizations. But Lee offers few easy answers about what he wants us to take away from it all.\u003c/p>\n\u003cp>It’s tempting to call the film muddled and be done with it, but there’s an inventiveness and beauty to Lee’s visuals here—whether in the rapturous prologue or the mysterious closing shot—and an experimentation in the execution that’s hard to ignore. \u003cem>Sweet Blood\u003c/em> is at once minimalist, paring down plot details to the bare necessities in many of its scenes, and, due to its sexuality and graphic violence, excessive. It’s a combination that makes watching it a singular experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lee funded \u003cem>Sweet Blood\u003c/em> through Kickstarter, and he has used the independence offered by that model to craft one of his most enigmatic works. It’s not entirely clear what to make of it, but then again, there’s an ambition in \u003cem>Sweet Blood\u003c/em> that won’t allow it to be discounted. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee+Turns+An+Intriguing+Eye+To+The+%27Sweet+Blood%27+Of+Vampires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a brief prologue, Spike Lee’s \u003cem>Da Sweet Blood of Jesus\u003c/em> opens in the same Brooklyn church that was the centerpiece of his \u003cem>Red Hook Summer\u003c/em>. The moment seemingly connects \u003cem>Sweet Blood\u003c/em> not just to the 2012 film but also to movies further back in his career, since \u003cem>Red Hook \u003c/em>itself was billed as part of Lee’s “Chronicles of Brooklyn,” which include his early classics like \u003cem>She’s Gotta Have It\u003c/em> and \u003cem>Do the Right Thing\u003c/em>.\u003c/p>\n\u003cp>The scene is something of a red herring, though. For one thing, most of \u003cem>Sweet Blood \u003c/em>takes place on a large Martha’s Vineyard estate, not in Brooklyn. It’s also a remake of Bill Gunn’s 1973 moody horror film \u003cem>Ganja and Hess\u003c/em> (which just played as part of Film Society of Lincoln Center’s \u003ca href=\"http://www.npr.org/2015/02/05/383564277/losing-ground-steps-forward-at-lincoln-center\" target=\"_blank\" rel=\"noopener\">“Tell It Like It Is” series\u003c/a>) and tells the story of a wealthy archaeologist, Hess (Stephen Tyrone Williams), who turns into a vampire after being stabbed with an Ashanti dagger by his research assistant (Elvis Nolasco). Later, Hess falls in love with his assistant’s ex-wife, Ganja (Zaraah Abrahams), and turns her into a vampire as well.\u003c/p>\n\u003cp>The movie’s story, in other words, stands out quite starkly in Lee’s filmography. It does share \u003cem>Red Hook Summer\u003c/em>‘s somewhat erratic approach to narrative, but even in this respect, it pushes the envelope much further, a decision that actually makes \u003cem>Sweet Blood\u003c/em> a more provocative — and at times mesmerizing — movie than \u003cem>Red Hook\u003c/em>, though one that can still be baffling to watch.\u003c/p>\n\u003cp>There might seem like no better moment to release a remake of a 1970s vampire horror film, but \u003cem>Sweet Blood\u003c/em> will disappoint \u003cem>Twilight\u003c/em> fans in the same way that \u003cem>Ganja and Hess\u003c/em> let down anyone in 1973 who expected \u003cem>Blacula\u003c/em>. Hess’s desire here is treated as an addiction, as in Jim Jarmusch’s vampire film \u003cem>Only Lovers Left Alive\u003c/em>, but with none that movie’s elegance. For Hess and Ganja,\u003cem> \u003c/em>satisfying their desire for blood is a violent and ravenous affair, and the explicit way Lee films their feedings suggests he has carried over some lessons from his 2013 remake of \u003cem>Oldboy\u003c/em>.\u003c/p>\n\u003cp>More off-putting than the violence—and also more intriguing, frustrating, perplexing—is how Lee eschews any simple approach to narrative while telling what ultimately is a simple story of a man and woman who must reconcile their insatiable desire for blood with the immoral actions required to satisfy it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s pacing, deliberate and foreboding as the story leads up to Hess’s conversion, eventually gives way to a more irregular structure. Extended scenes—a party that Hess hosts for his well-to-do neighbors shortly after becoming a vampire, or his trip all the way to Brooklyn for the sole purpose of finding a body to feed on—often seem disconnected, with only minimal explanation or justification offered later.\u003c/p>\n\u003cp>And what can we make of the film’s prologue, a beautiful dance montage set in various locations across Brooklyn that blends hip-hop and ballet? It’s a gorgeous display, but Lee never returns to it, its connection to the rest of the film only tangentially explicable through broad themes about the body and flesh that he goes on to explore.\u003c/p>\n\u003cp>\u003cem>Sweet Blood\u003c/em> also uses its vampire story to reflect on violence, religion, race, and, in its repeated shots of Hess’ African art collection, the splendor and power of African civilizations. But Lee offers few easy answers about what he wants us to take away from it all.\u003c/p>\n\u003cp>It’s tempting to call the film muddled and be done with it, but there’s an inventiveness and beauty to Lee’s visuals here—whether in the rapturous prologue or the mysterious closing shot—and an experimentation in the execution that’s hard to ignore. \u003cem>Sweet Blood\u003c/em> is at once minimalist, paring down plot details to the bare necessities in many of its scenes, and, due to its sexuality and graphic violence, excessive. It’s a combination that makes watching it a singular experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lee funded \u003cem>Sweet Blood\u003c/em> through Kickstarter, and he has used the independence offered by that model to craft one of his most enigmatic works. It’s not entirely clear what to make of it, but then again, there’s an ambition in \u003cem>Sweet Blood\u003c/em> that won’t allow it to be discounted. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee+Turns+An+Intriguing+Eye+To+The+%27Sweet+Blood%27+Of+Vampires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Early on in Celine Sciamma’s striking \u003cem>Girlhood\u003c/em>, a deft twist confounds what you might expect from a teen movie set in a mostly black, poverty-stricken suburb of Paris. Shut out of conventional paths to realize her ambition to be “like others, normal” and fed up with the tyranny of a bullying older brother at home, 16-year-old Marieme (Karidja Toure) takes up with a gang of tough-talking girls whose charismatic leader, Lady (Assa Sylla), fights other girls and wields a knife.\u003c/p>\n\u003cp>Pretty soon Marieme — or Vic, as she begins calling herself as she forges a less pliant street identity — is carrying a knife too. Only, don’t go expecting a kindly social worker to step in, save Marieme from toxic peer influence and set her on a path to mainstream success. In a \u003cem>banlieue\u003c/em> where the career prospects for girls skew to drugs and prostitution, there will be other predictable threats to her safety and well-being. But they won’t come from these lively, belligerent, stylish young women, who serve more as a bulwark for Marieme than a bad lot waiting to drag her down.\u003c/p>\n\u003cp>There’s plenty of plot to go around in \u003cem>Girlhood\u003c/em>, but Sciamma is more interested in creating a celebratory habitat for these girls that will break definitively from the somber, social-realist filmmaking that usually frames tales from the ghetto. Sciamma is white; the girls are all black, nonprofessional actors recruited from the neighborhoods where their characters live. She places Marieme and her friends front and center in a highly stylized, glamorized cityscape lit in brilliant blues. She retools the stark projects architecture into a beautiful stage on which the girls can fight, sing and dance their hearts out in improvised pop rituals.\u003c/p>\n\u003cp>The result, complete with musical sequences, is as polished and handsome as an MTV video. The girls, without exception, are all gorgeous in singular and arresting ways. There’s no lack of warmth in scenes of tenderness and love between Marieme and the younger sisters she cares for, and the handsome, decent beau with whom she can’t explore her sexuality because he is her brother’s friend and therefore — for reasons the movie is weirdly coy about — off-limits.\u003c/p>\n\u003cp>The energy and brassy confidence of Marieme’s posse is intoxicating. Yet sometimes it feels as though their world has been over-aestheticized, their stories hijacked to serve Sciamma’s ongoing interest in the theme she explored in two earlier coming-of-age movies, \u003cem>Tomboy\u003c/em> and\u003cem> Water Lilies\u003c/em>. She’s interested in the fluid nature of gender identity and dawning sexuality, and why not? She’s the author. But given the positioning of the girl gang as Marieme’s port in a storm, there’s something jarring about her abrupt transition from sweet-faced good girl to the dual identities she adopts when, without narrative logic, she quits home, boyfriend and gang to survive on the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s as if the director threw a switch: Gussied up in a blond wig and red minidress by night to deliver drugs to the white bourgeoisie, Marieme morphs by day into Vic, a loping, grim-faced androgyne who won’t let anyone dictate where she calls home, or tell her story. Yet there’s no sense of how she got from A to B, or why becoming Vic doesn’t bring her the freedom and power to shape her destiny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in 1986, Spike Lee broke all sorts of new ground with his exuberant \u003cem>She’s Gotta Have It\u003c/em>, about a bohemian black woman and her three lovers. \u003cem>She’s Gotta Have It\u003c/em> was a pioneering work, but after that, no one could say a baton was passed. Off the top of my head I can think only of Dee Rees’ terrific 2011 indie \u003cem>Pariah\u003c/em>. Set in the black-feminist subculture, \u003cem>Pariah\u003c/em> — like Lee’s movie — had a wonderfully organic, flowing insider vibe to it. Given the scarcity of movies that speak to the experience of young black women today, Sciamma deserves all credit for filling that vacuum. By its end, though, \u003cem>Girlhood\u003c/em>, by comparison, feels like the work of a sympathetic outsider who can’t resist working her own agenda. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Parisian+Finds+Her+Place+In+A+Rarely+Seen+Part+Of+%27Girlhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early on in Celine Sciamma’s striking \u003cem>Girlhood\u003c/em>, a deft twist confounds what you might expect from a teen movie set in a mostly black, poverty-stricken suburb of Paris. Shut out of conventional paths to realize her ambition to be “like others, normal” and fed up with the tyranny of a bullying older brother at home, 16-year-old Marieme (Karidja Toure) takes up with a gang of tough-talking girls whose charismatic leader, Lady (Assa Sylla), fights other girls and wields a knife.\u003c/p>\n\u003cp>Pretty soon Marieme — or Vic, as she begins calling herself as she forges a less pliant street identity — is carrying a knife too. Only, don’t go expecting a kindly social worker to step in, save Marieme from toxic peer influence and set her on a path to mainstream success. In a \u003cem>banlieue\u003c/em> where the career prospects for girls skew to drugs and prostitution, there will be other predictable threats to her safety and well-being. But they won’t come from these lively, belligerent, stylish young women, who serve more as a bulwark for Marieme than a bad lot waiting to drag her down.\u003c/p>\n\u003cp>There’s plenty of plot to go around in \u003cem>Girlhood\u003c/em>, but Sciamma is more interested in creating a celebratory habitat for these girls that will break definitively from the somber, social-realist filmmaking that usually frames tales from the ghetto. Sciamma is white; the girls are all black, nonprofessional actors recruited from the neighborhoods where their characters live. She places Marieme and her friends front and center in a highly stylized, glamorized cityscape lit in brilliant blues. She retools the stark projects architecture into a beautiful stage on which the girls can fight, sing and dance their hearts out in improvised pop rituals.\u003c/p>\n\u003cp>The result, complete with musical sequences, is as polished and handsome as an MTV video. The girls, without exception, are all gorgeous in singular and arresting ways. There’s no lack of warmth in scenes of tenderness and love between Marieme and the younger sisters she cares for, and the handsome, decent beau with whom she can’t explore her sexuality because he is her brother’s friend and therefore — for reasons the movie is weirdly coy about — off-limits.\u003c/p>\n\u003cp>The energy and brassy confidence of Marieme’s posse is intoxicating. Yet sometimes it feels as though their world has been over-aestheticized, their stories hijacked to serve Sciamma’s ongoing interest in the theme she explored in two earlier coming-of-age movies, \u003cem>Tomboy\u003c/em> and\u003cem> Water Lilies\u003c/em>. She’s interested in the fluid nature of gender identity and dawning sexuality, and why not? She’s the author. But given the positioning of the girl gang as Marieme’s port in a storm, there’s something jarring about her abrupt transition from sweet-faced good girl to the dual identities she adopts when, without narrative logic, she quits home, boyfriend and gang to survive on the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if the director threw a switch: Gussied up in a blond wig and red minidress by night to deliver drugs to the white bourgeoisie, Marieme morphs by day into Vic, a loping, grim-faced androgyne who won’t let anyone dictate where she calls home, or tell her story. Yet there’s no sense of how she got from A to B, or why becoming Vic doesn’t bring her the freedom and power to shape her destiny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in 1986, Spike Lee broke all sorts of new ground with his exuberant \u003cem>She’s Gotta Have It\u003c/em>, about a bohemian black woman and her three lovers. \u003cem>She’s Gotta Have It\u003c/em> was a pioneering work, but after that, no one could say a baton was passed. Off the top of my head I can think only of Dee Rees’ terrific 2011 indie \u003cem>Pariah\u003c/em>. Set in the black-feminist subculture, \u003cem>Pariah\u003c/em> — like Lee’s movie — had a wonderfully organic, flowing insider vibe to it. Given the scarcity of movies that speak to the experience of young black women today, Sciamma deserves all credit for filling that vacuum. By its end, though, \u003cem>Girlhood\u003c/em>, by comparison, feels like the work of a sympathetic outsider who can’t resist working her own agenda. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Parisian+Finds+Her+Place+In+A+Rarely+Seen+Part+Of+%27Girlhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the years following the invasion of Iraq, it became a truism that Americans simply didn’t want to hear about the war — especially at the movies. While there were scads of films about Iraq, including Kathryn Bigelow’s Oscar-winning \u003cem>The Hurt Locker\u003c/em>, none was able to attract a big audience. Until \u003cem>American Sniper\u003c/em>.\u003c/p>\n\u003cp>Based on the best-selling memoir of the same title, Clint Eastwood’s film about Navy SEAL Chris Kyle has not only pulverized box office records but it has become a cultural phenomenon, especially in places that often get written off as the heartland. Its unexpected success has become the latest reminder that our prevailing image of American culture — the one in which Lena Dunham is an inescapable juggernaut — is largely based on media folks’ idea of what’s cool rather than the whole country’s taste.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nFar from being a triumphalist war movie, American Sniper comes tinged with a quiet and sad sense of waste.\u003cbr>\n\u003c/aside>\n\u003cp>Of course, given today’s polarized politics, the film has spawned the usual knee-jerk squabbling. Put crudely, its detractors argue that \u003cem>American Sniper\u003c/em> is a right-wing movie that ducks essential questions — like whether the Iraq war was a righteous one — and glorifies a remorseless sniper who killed somewhere between 160 and 250 people. Its defenders on the right accuse such critics of hating America and our troops. The left frets that \u003cem>American Sniper\u003c/em> is so popular because it lets viewers stay in denial about Iraq — it doesn’t say that the invasion was wrong, wrong, wrong. The right thinks it’s so popular because it celebrates good old-fashioned patriotism.\u003c/p>\n\u003cp>Both of these explanations are far too simple for a low-key movie that’s striking in its lack of stridency. As one who opposed the Iraq War, I think \u003cem>American Sniper\u003c/em> is good. Skillfully made, if sometimes a tad generic, it’s anchored by a terrific performance from Bradley Cooper, an articulate, thoughtful actor who completely immerses himself in Chris Kyle, a laconic man who doesn’t spend much time questioning things. One reason I like the movie is that it takes me inside a vision of life so very different to my own.\u003c/p>\n\u003cp>\u003cem>American Sniper\u003c/em> gives us the world as it’s lived and understood by Chris Kyle, who’s not especially interested in foreign policy or the daily lives of Iraqis. He’s a Texan raised to ideals of service and drawn to activities like bronco-riding and hunting. For him, the Navy SEALs are a perfect fit, especially after Sept. 11, and when he reaches Iraq, he finds his true metier. Being a sniper is stressful — you’re trying to protect your comrades while not murdering civilians — but Kyle is so good he becomes a legend. Back home, though, between tours of duty, his wife, played by Sienna Miller, feels her husband slipping away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If \u003cem>American Sniper\u003c/em> was merely the story of Kyle killing bad guys, which is basically how \u003cem>he\u003c/em> saw his job, it would feel emotionally flat and meaningless. But Eastwood — who has spent decades exploring violence in its many permutations — charges things with complexity and ambivalence. Even as he respects Kyle’s self-possessed valor — he’s not a danger junkie like Jeremy Renner in \u003cem>The Hurt Locker\u003c/em> — Eastwood knows that you can’t do what Kyle does and get away untouched. We see the cost of service on Kyle’s family and, in the very changes in Cooper’s body language, the cost on an honorable man’s humanity. While Kyle displays no doubts about the Iraqi mission — some of his fellow soldiers do — the war changes and darkens his soul.\u003c/p>\n\u003cp>Far from being a triumphalist war movie, \u003cem>American Sniper\u003c/em> comes tinged with a quiet and sad sense of waste. It finds its culmination in Kyle’s murder, handled with great tact, at the hands of a disturbed veteran he’s trying to help out. This is a far cry from John Wayne’s sergeant being heroically shot down by a Japanese sniper in \u003cem>Sands of Iwo Jima\u003c/em> — a battle his troops go on to win. Nobody thinks the U.S. won in Iraq the way it won World War II. The world wasn’t saved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recognizing this, without ever explicitly saying it \u003cem>American Sniper\u003c/em> captures the essentially tragic truth of the war for millions of Americans who admire the bravery, sacrifice and patriotism of our men and women in uniform. It speaks emotionally to audiences who sense that we lost something in Iraq, yet still want to honor the heroism of those who risked their lives for the cause, whether or not it was ultimately a great one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Full+Of+Complexity+And+Ambivalence%2C+%27American+Sniper%27+Shows+The+Cost+Of+War+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Full of Complexity and Ambivalence, 'American Sniper' Shows the Cost of War | KQED",
"description": "The film about a Navy SEAL whose service in Iraq made him a mythic figure has become a cultural lightning rod. But the squabbles are too simple for a low-key movie striking in its lack of stridency.",
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"headline": "Full of Complexity and Ambivalence, 'American Sniper' Shows the Cost of War",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the years following the invasion of Iraq, it became a truism that Americans simply didn’t want to hear about the war — especially at the movies. While there were scads of films about Iraq, including Kathryn Bigelow’s Oscar-winning \u003cem>The Hurt Locker\u003c/em>, none was able to attract a big audience. Until \u003cem>American Sniper\u003c/em>.\u003c/p>\n\u003cp>Based on the best-selling memoir of the same title, Clint Eastwood’s film about Navy SEAL Chris Kyle has not only pulverized box office records but it has become a cultural phenomenon, especially in places that often get written off as the heartland. Its unexpected success has become the latest reminder that our prevailing image of American culture — the one in which Lena Dunham is an inescapable juggernaut — is largely based on media folks’ idea of what’s cool rather than the whole country’s taste.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nFar from being a triumphalist war movie, American Sniper comes tinged with a quiet and sad sense of waste.\u003cbr>\n\u003c/aside>\n\u003cp>Of course, given today’s polarized politics, the film has spawned the usual knee-jerk squabbling. Put crudely, its detractors argue that \u003cem>American Sniper\u003c/em> is a right-wing movie that ducks essential questions — like whether the Iraq war was a righteous one — and glorifies a remorseless sniper who killed somewhere between 160 and 250 people. Its defenders on the right accuse such critics of hating America and our troops. The left frets that \u003cem>American Sniper\u003c/em> is so popular because it lets viewers stay in denial about Iraq — it doesn’t say that the invasion was wrong, wrong, wrong. The right thinks it’s so popular because it celebrates good old-fashioned patriotism.\u003c/p>\n\u003cp>Both of these explanations are far too simple for a low-key movie that’s striking in its lack of stridency. As one who opposed the Iraq War, I think \u003cem>American Sniper\u003c/em> is good. Skillfully made, if sometimes a tad generic, it’s anchored by a terrific performance from Bradley Cooper, an articulate, thoughtful actor who completely immerses himself in Chris Kyle, a laconic man who doesn’t spend much time questioning things. One reason I like the movie is that it takes me inside a vision of life so very different to my own.\u003c/p>\n\u003cp>\u003cem>American Sniper\u003c/em> gives us the world as it’s lived and understood by Chris Kyle, who’s not especially interested in foreign policy or the daily lives of Iraqis. He’s a Texan raised to ideals of service and drawn to activities like bronco-riding and hunting. For him, the Navy SEALs are a perfect fit, especially after Sept. 11, and when he reaches Iraq, he finds his true metier. Being a sniper is stressful — you’re trying to protect your comrades while not murdering civilians — but Kyle is so good he becomes a legend. Back home, though, between tours of duty, his wife, played by Sienna Miller, feels her husband slipping away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If \u003cem>American Sniper\u003c/em> was merely the story of Kyle killing bad guys, which is basically how \u003cem>he\u003c/em> saw his job, it would feel emotionally flat and meaningless. But Eastwood — who has spent decades exploring violence in its many permutations — charges things with complexity and ambivalence. Even as he respects Kyle’s self-possessed valor — he’s not a danger junkie like Jeremy Renner in \u003cem>The Hurt Locker\u003c/em> — Eastwood knows that you can’t do what Kyle does and get away untouched. We see the cost of service on Kyle’s family and, in the very changes in Cooper’s body language, the cost on an honorable man’s humanity. While Kyle displays no doubts about the Iraqi mission — some of his fellow soldiers do — the war changes and darkens his soul.\u003c/p>\n\u003cp>Far from being a triumphalist war movie, \u003cem>American Sniper\u003c/em> comes tinged with a quiet and sad sense of waste. It finds its culmination in Kyle’s murder, handled with great tact, at the hands of a disturbed veteran he’s trying to help out. This is a far cry from John Wayne’s sergeant being heroically shot down by a Japanese sniper in \u003cem>Sands of Iwo Jima\u003c/em> — a battle his troops go on to win. Nobody thinks the U.S. won in Iraq the way it won World War II. The world wasn’t saved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recognizing this, without ever explicitly saying it \u003cem>American Sniper\u003c/em> captures the essentially tragic truth of the war for millions of Americans who admire the bravery, sacrifice and patriotism of our men and women in uniform. It speaks emotionally to audiences who sense that we lost something in Iraq, yet still want to honor the heroism of those who risked their lives for the cause, whether or not it was ultimately a great one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Full+Of+Complexity+And+Ambivalence%2C+%27American+Sniper%27+Shows+The+Cost+Of+War+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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