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"content": "\u003cp>A small budget doesn’t mean a film can’t have big-name stars or high production values. Witness the rural Southern drama \u003cem>Joe\u003c/em>, which brings Nicolas Cage back to indie films, and Jim Jarmusch’s \u003cem>Only Lovers Left Alive, \u003c/em>which turns the city of Detroit into an otherworldly landscape. Their low-budget aesthetic also allows these films to turn Hollywood conventions inside out.\u003c/p>\n\u003cp>The title character in \u003cem>Joe\u003c/em> poisons trees for a living. It’s a lumber company scam: They’re allowed to cut down dying trees but not thriving ones, so Joe and his crew wield axes fitted with nozzles that turn living forests into dead zones.\u003c/p>\n\u003cp>This would, in most movies, make Joe a bad guy. But while he’s played by Nicolas Cage as a hard-drinking ex-con with a short fuse, in his aggression-plagued stretch of rural Texas, he counts as a model citizen: good to local hookers, to his attack dog, to his workers and to a new kid in town, Gary.\u003c/p>\n\u003cp>Gary (a terrific Tye Sheridan) comes to Joe asking for work for him and his dad. Joe’s persuaded, and the kid turns out to be as hard a worker as he claims. His dad, though, is a drunk who beats his son and steals from him, and has all the moral compass of a copperhead. Joe, who’s only managed to stay out of prison by tamping down his anger, starts to care what happens to the boy, and a grim, Southern Gothic fatalism takes over.\u003c/p>\n\u003cp>Director David Gordon Green, whose stoner-comedy \u003cem>Pineapple Express\u003c/em> clicked in a big way with mainstream audiences, has made \u003cem>Joe\u003c/em> in a manner calculated to re-establish his indie cred. He even recruited a homeless guy he found in a bus station, Gary Poulter, to play the abusive dad. Shortly after filming wrapped up, Poulter died during a night of heavy drinking, never knowing his scenes with Cage and Sheridan would become the beating heart of a film about a rescue. For Nicolas Cage, whose dumb, rant-for-hire projects have lately been making audiences forget how good he can be, \u003cem>Joe\u003c/em> is more than a rescue — it’s a rebirth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By comparison, I suppose \u003cem>Only Lovers Left Alive\u003c/em> qualifies as an undeath — a vampire flick as only Jim Jarmusch would ever conceive it, languidly poetic, world-weary and crammed with hipster in-jokes.\u003c/p>\n\u003cp>It centers on Adam, a young-looking but ancient musician who lives in a crumbling Detroit mansion. He’s surrounded by stacks of 45s and vintage guitars brought to him by fanboy Anton Yelchin, his only regular visitor, who wonders why Adam doesn’t crave attention.\u003c/p>\n\u003cp>Played by Tom Hiddleston (whom fans of \u003cem>The Avengers\u003c/em> know as Loki), Adam yearns for his Eve, who lives halfway around the globe in Tangier and is played by a delicate, downright translucent Tilda Swinton. Eve, sensing that her hubby is sulking more than usual, plans a visit (night flights only). And in a room lined with portraits of long-gone buddies — from Buster Keaton to Lord Byron — they lament the mess we humans have increasingly been making of the world: contaminated blood, contaminated water …\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s really on their mind, and pretty clearly on Jarmusch’s in this gorgeously shot mood piece of a movie, is the way recent generations have contaminated art and literature, music and philosophy. Why so down on the “now”? Well, picture a boomer trying to explain The Beatles to a millennial, then imagine that the gulf between them isn’t decades, but centuries. How could Jarmusch’s Adam and Eve not be swooningly, rapturously in love? They’re the only ones who get each other’s references anymore — the \u003cem>Only Lovers Left Alive\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Big+Names%2C+High+Production+Values+...+And+These+Are+Indie+Flicks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Telling a story about forgiveness in the presence of love is easy. Telling a story about forgiveness in the absence of love is hard.\u003c/p>\n\u003cp>Forgiveness in the presence of love is done all the time — it’s every story about relationships broken by mistakes, repaired by apologies and righted by the making of amends. It’s every story that ends, “I’m so sorry, baby.” The crack is plastered and sanded; it’s a restoration.\u003c/p>\n\u003cp>Forgiveness in the absence of love, on the other hand, tends in fiction to turn into the Cobra Kai congratulating Daniel Larusso at the end of \u003cem>The Karate Kid\u003c/em> and Daniel deciding there are no hard feelings about all the beatings he took. When the doing of a wrong is significant enough that a story puts weight on it, it’s almost impossible for forgiveness of it not to seem saccharine and unmotivated, there only to speak to the inevitability of happy endings and the virtue of the person who, without bile, simply forgives.\u003c/p>\n\u003cp>http://youtu.be/ksrkKXoEJbM\u003c/p>\n\u003cp>Directed by Jonathan Teplitsky from a screenplay by Frank Cottrell Boyce and Andy Paterson, \u003cem>The Railway Man \u003c/em>is a story about the possibility and impossibility of forgiveness in the absence of love. It’s based on the autobiography of Eric Lomax, played here by Colin Firth, who was a prisoner of war from 1942 to 1946 after the British Army surrendered in Singapore. Along with many other POWs, Lomax was forced to work on the building of the Burma Railway, and according to his book, following the discovery of some contraband among his possessions, he was brutally beaten, waterboarded, confined in horrible conditions and nearly starved to death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film tells the story of his time as a prisoner, his much later marriage to his second wife Patti (Nicole Kidman), and his efforts to cope with what he most likely didn’t call post-traumatic stress disorder. It also tells the story of the reappearance in his life of a man named Nagase Takashi, who had been an interpreter for his captors and had told him, among other things, “You will be killed shortly.” He had thought bitterly of Nagase for many years, and when he learned Nagase was alive and had been working for reconciliation since the war, he barely knew how to react.\u003c/p>\n\u003cp>The structure of the film is calculated to push against its naturally romantic and redemptive arc. It opens with Eric and Patti’s meeting and chronicles their courtship in a sort of scrapbook of bits of film that are sometimes out of chronological order. It feels very much the way memory does, flitting not from one thing to the thing that happened next, but from one thing to the thing of which it reminds you.\u003c/p>\n\u003cp>When the flashbacks to the war begin, they’re choppy and don’t always begin and end where they structurally “should.” Back in the present, there’s a rattled, uncomfortable, not-right quality in the early scenes of the Lomax marriage, in which Eric is often seen lying down but shot from awkward angles, or even upside-down. And his memories of his imprisonment sometimes visually echo his seemingly happy marriage, as in a stunning shot of the young Lomax with his head resting perfectly still on a table as he recites a poem to himself. Despite its, for lack of a better word, British-ness, \u003cem>The Railway Man \u003c/em>is more striking than pretty, more pebbly than elegant.\u003c/p>\n\u003cp>That young Lomax appears in the form of Jeremy Irvine, who was the lead in \u003cem>War Horse\u003c/em> and makes a pretty convincing Firth-alike, particularly in his uncertain mouth and chin. He makes young Eric a persuasively terrified but honorable young officer, in a way that convincingly gives Firth’s restrained work most of its resonance. It’s believable that this is the same man, but many, many sleepless nights later.\u003c/p>\n\u003cp>Anyone who knows the story or has read the book will know that the third climactic act, in which Lomax ultimately decides what to do about his hatred of Nagase, is an invention. It takes a slower, more deliberative, more iterative story and condenses it into a single encounter.\u003c/p>\n\u003cp>But despite the fact that it’s not true, it feels honest. It’s certainly not a documentary version of the story, but it is, as it says it is, “based on a true story.” It’s based on Lomax’s later years in the same way a painting might be based on a lived experience; it’s not the thing itself but an attempt to represent the thing.\u003c/p>\n\u003cp>\u003cem>The Railway Man \u003c/em>is doomed to sag a bit under its baggage of war and suffering and healing. It is the story it is; it is a story about a main character to whom it’s impossible to be unsympathetic no matter what he does, because what he’s endured is so thoroughly documented. It’s a story about trying to be a good person, and it features a man who is a good person, and whose wife is a good person. Its goodness, and its thematic interest in goodness, is a challenge to present meaningfully without Lomax coming off as self-congratulatory.\u003c/p>\n\u003cp>But the film keeps a sharp edge on his lingering anger, never suggesting either that he’s so good as to stop being angry or that his wife can fix his PTSD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in the end, forgiveness in the absence of love is a more interesting and curious idea than forgiveness in the presence of love. Why \u003cem>would\u003c/em> you even contemplate showing any mercy to someone who had been merciless to you when that mercilessness was your only real bond? It’s a more philosophical question than why you would show kindness to a friend or spouse or parent who hurt you. It’s more pure: There’s no relationship \u003cem>other \u003c/em>than pain. What’s the motivation for grace? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=After+The+Horror+Of+War%2C+What+About+Forgiveness%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Telling a story about forgiveness in the presence of love is easy. Telling a story about forgiveness in the absence of love is hard.\u003c/p>\n\u003cp>Forgiveness in the presence of love is done all the time — it’s every story about relationships broken by mistakes, repaired by apologies and righted by the making of amends. It’s every story that ends, “I’m so sorry, baby.” The crack is plastered and sanded; it’s a restoration.\u003c/p>\n\u003cp>Forgiveness in the absence of love, on the other hand, tends in fiction to turn into the Cobra Kai congratulating Daniel Larusso at the end of \u003cem>The Karate Kid\u003c/em> and Daniel deciding there are no hard feelings about all the beatings he took. When the doing of a wrong is significant enough that a story puts weight on it, it’s almost impossible for forgiveness of it not to seem saccharine and unmotivated, there only to speak to the inevitability of happy endings and the virtue of the person who, without bile, simply forgives.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ksrkKXoEJbM'\n title='//www.youtube.com/embed/ksrkKXoEJbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Directed by Jonathan Teplitsky from a screenplay by Frank Cottrell Boyce and Andy Paterson, \u003cem>The Railway Man \u003c/em>is a story about the possibility and impossibility of forgiveness in the absence of love. It’s based on the autobiography of Eric Lomax, played here by Colin Firth, who was a prisoner of war from 1942 to 1946 after the British Army surrendered in Singapore. Along with many other POWs, Lomax was forced to work on the building of the Burma Railway, and according to his book, following the discovery of some contraband among his possessions, he was brutally beaten, waterboarded, confined in horrible conditions and nearly starved to death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film tells the story of his time as a prisoner, his much later marriage to his second wife Patti (Nicole Kidman), and his efforts to cope with what he most likely didn’t call post-traumatic stress disorder. It also tells the story of the reappearance in his life of a man named Nagase Takashi, who had been an interpreter for his captors and had told him, among other things, “You will be killed shortly.” He had thought bitterly of Nagase for many years, and when he learned Nagase was alive and had been working for reconciliation since the war, he barely knew how to react.\u003c/p>\n\u003cp>The structure of the film is calculated to push against its naturally romantic and redemptive arc. It opens with Eric and Patti’s meeting and chronicles their courtship in a sort of scrapbook of bits of film that are sometimes out of chronological order. It feels very much the way memory does, flitting not from one thing to the thing that happened next, but from one thing to the thing of which it reminds you.\u003c/p>\n\u003cp>When the flashbacks to the war begin, they’re choppy and don’t always begin and end where they structurally “should.” Back in the present, there’s a rattled, uncomfortable, not-right quality in the early scenes of the Lomax marriage, in which Eric is often seen lying down but shot from awkward angles, or even upside-down. And his memories of his imprisonment sometimes visually echo his seemingly happy marriage, as in a stunning shot of the young Lomax with his head resting perfectly still on a table as he recites a poem to himself. Despite its, for lack of a better word, British-ness, \u003cem>The Railway Man \u003c/em>is more striking than pretty, more pebbly than elegant.\u003c/p>\n\u003cp>That young Lomax appears in the form of Jeremy Irvine, who was the lead in \u003cem>War Horse\u003c/em> and makes a pretty convincing Firth-alike, particularly in his uncertain mouth and chin. He makes young Eric a persuasively terrified but honorable young officer, in a way that convincingly gives Firth’s restrained work most of its resonance. It’s believable that this is the same man, but many, many sleepless nights later.\u003c/p>\n\u003cp>Anyone who knows the story or has read the book will know that the third climactic act, in which Lomax ultimately decides what to do about his hatred of Nagase, is an invention. It takes a slower, more deliberative, more iterative story and condenses it into a single encounter.\u003c/p>\n\u003cp>But despite the fact that it’s not true, it feels honest. It’s certainly not a documentary version of the story, but it is, as it says it is, “based on a true story.” It’s based on Lomax’s later years in the same way a painting might be based on a lived experience; it’s not the thing itself but an attempt to represent the thing.\u003c/p>\n\u003cp>\u003cem>The Railway Man \u003c/em>is doomed to sag a bit under its baggage of war and suffering and healing. It is the story it is; it is a story about a main character to whom it’s impossible to be unsympathetic no matter what he does, because what he’s endured is so thoroughly documented. It’s a story about trying to be a good person, and it features a man who is a good person, and whose wife is a good person. Its goodness, and its thematic interest in goodness, is a challenge to present meaningfully without Lomax coming off as self-congratulatory.\u003c/p>\n\u003cp>But the film keeps a sharp edge on his lingering anger, never suggesting either that he’s so good as to stop being angry or that his wife can fix his PTSD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in the end, forgiveness in the absence of love is a more interesting and curious idea than forgiveness in the presence of love. Why \u003cem>would\u003c/em> you even contemplate showing any mercy to someone who had been merciless to you when that mercilessness was your only real bond? It’s a more philosophical question than why you would show kindness to a friend or spouse or parent who hurt you. It’s more pure: There’s no relationship \u003cem>other \u003c/em>than pain. What’s the motivation for grace? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=After+The+Horror+Of+War%2C+What+About+Forgiveness%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nobel Prize-winning Colombian novelist Gabriel Garcia Marquez, author of \u003cem>One Hundred Years of Solitude\u003c/em>, has died in Mexico City. He was 87.\u003c/p>\n\u003cp>The Associated Press says “Garcia Marquez’s magical realist novels and short stories exposed tens of millions of readers to Latin America’s passion, superstition, violence and inequality.”\u003c/p>\n\u003cblockquote>\n\u003cp>“Widely considered the most popular Spanish-language writer since Miguel de Cervantes in the 17th century, Garcia Marquez achieved literary celebrity that spawned comparisons to Mark Twain and Charles Dickens.”\u003c/p>\n\u003cp>“His flamboyant and melancholy works outsold everything published in Spanish except the Bible. The epic 1967 novel “One Hundred Years of Solitude sold more than 50 million copies in more than 25 languages.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.latimes.com/books/jacketcopy/la-et-jc-gabriel-garcia-marquez-nobel-prize-winning-author-dies-20140405,0,3445782.story#ixzz2zB6GPLmt\">The Los Angeles Times says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“A cause of death was not immediately annnounced, but Garcia Marquez had been in failing health for some time. He was released from the hospital just over a week ago.\u003c/p>\n\u003cp>“Garcia Marquez’s death represents the passing of one of the world’s greatest living authors, and the loss of a powerful public intellectual whose opinions on Cuba, military dictatorship and Latin American cultural autonomy made front-page news.\u003c/p>\n\u003cp>“The news was met with an outpouring of grief and reverence for the writer known to his admirers simply as ‘Gabo,’ and who was often compared to Hispanic literature’s other titan, ‘Don Quixote’ author Miguel de Cervantes. More than any other author, Garcia Marquez fueled the post-World War II popularizing of Latin America literature known as the ‘Boom.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Mandalit Del Barco has a more detailed portrait of the author and his life \u003ca href=\"http://preview.npr.org/templates/story/story.php?live=1&storyId=156561881\">here.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Nobel+Prize-Winning+Author+Gabriel+Garcia+Marquez+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobel Prize-winning Colombian novelist Gabriel Garcia Marquez, author of \u003cem>One Hundred Years of Solitude\u003c/em>, has died in Mexico City. He was 87.\u003c/p>\n\u003cp>The Associated Press says “Garcia Marquez’s magical realist novels and short stories exposed tens of millions of readers to Latin America’s passion, superstition, violence and inequality.”\u003c/p>\n\u003cblockquote>\n\u003cp>“Widely considered the most popular Spanish-language writer since Miguel de Cervantes in the 17th century, Garcia Marquez achieved literary celebrity that spawned comparisons to Mark Twain and Charles Dickens.”\u003c/p>\n\u003cp>“His flamboyant and melancholy works outsold everything published in Spanish except the Bible. The epic 1967 novel “One Hundred Years of Solitude sold more than 50 million copies in more than 25 languages.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.latimes.com/books/jacketcopy/la-et-jc-gabriel-garcia-marquez-nobel-prize-winning-author-dies-20140405,0,3445782.story#ixzz2zB6GPLmt\">The Los Angeles Times says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“A cause of death was not immediately annnounced, but Garcia Marquez had been in failing health for some time. He was released from the hospital just over a week ago.\u003c/p>\n\u003cp>“Garcia Marquez’s death represents the passing of one of the world’s greatest living authors, and the loss of a powerful public intellectual whose opinions on Cuba, military dictatorship and Latin American cultural autonomy made front-page news.\u003c/p>\n\u003cp>“The news was met with an outpouring of grief and reverence for the writer known to his admirers simply as ‘Gabo,’ and who was often compared to Hispanic literature’s other titan, ‘Don Quixote’ author Miguel de Cervantes. More than any other author, Garcia Marquez fueled the post-World War II popularizing of Latin America literature known as the ‘Boom.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Mandalit Del Barco has a more detailed portrait of the author and his life \u003ca href=\"http://preview.npr.org/templates/story/story.php?live=1&storyId=156561881\">here.\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Nobel+Prize-Winning+Author+Gabriel+Garcia+Marquez+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The new film \u003cem>Cesar Chavez \u003c/em>brings to life the famed civil rights leader, who organized farm laborers and fought to secure a living wage and better working conditions in the fields. He founded the United Farm Workers union in California in 1962, and his work inspired millions of people in the U.S. and internationally. Actor Michael Peña, who plays Chavez, spoke with \u003cem>Tell Me More\u003c/em> host Michel Martin about how he prepared for the role and what it meant to him and his family.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On not knowing\u003c/strong>\u003cstrong> much about Cesar Chavez before the film \u003c/strong>\u003c/p>\n\u003cp>Growing up with two parents that are farm workers — not farmers — the only thing that I knew about him were the streets that were named after him, the schools that were named after him, and a little bit of the story that he worked with farm workers. 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I don’t know about you, but for me, if I got to present any kind of award, I’m shaking in my pants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/zeo-q-8MOQ4\u003c/p>\n\u003cp>\u003cstrong>On getting\u003c/strong>\u003cstrong> the part \u003c/strong>\u003c/p>\n\u003cp>Oddly enough, I was asked at Comic Con the year before anybody even talked about this movie. They said, “You know if you had a dream role, what would it be?” And it was just a snap answer. I just said, “You know it’d be great to play Cesar Chavez. But I don’t know much of his story.” Nine months later, I got an email saying that [director] Diego Luna wants to meet about Cesar Chavez. And my first question was, “Is it the pugilist or is it the civil rights activist?” And they said, “It’s the civil rights activist.” And I said, “Wow that’s fantastic.” So then I met him. I had to audition three times for it.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>gaining weight, shaving teeth and picking grapes to prepare for the role\u003c/strong>\u003c/p>\n\u003cp>I was in really good shape after I finished this movie, \u003cem>End of Watch. \u003c/em>And when I had the meeting with Diego Luna, he says, “You need to gain like 30 pounds man, please.” And I was like, “Uh uh uh of muscle?” — knowing that’s not what he’s gonna say. And he’s like, “No, just of like regular person.” And I was like “Aw man!” You know, I did gain the weight, and thank God that I did because you know, this was a man who wasn’t prone to violence, and if I looked like a Hollywood actor guy that was like in really good shape, then it doesn’t look real and it’s not real.\u003c/p>\n\u003cp>And then I actually shaved like a little gap in between my teeth. The way he said “S”s, a lot of the air passed through it. It really informed the way that he spoke.\u003c/p>\n\u003cp>And that was the other thing that I learned. I learned a little bit of organizing. I went to some of the meetings. I actually picked a lot of grapes, you know, just to have a memory of what it’s like and what you’re actually fighting for, and to see the people that I’m working with.\u003c/p>\n\u003cp>\u003cstrong>On f\u003c/strong>\u003cstrong>inding a personal connection \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My brother and my father both got laid off around the same that I was starting to do this movie \u003cem>Chavez. \u003c/em>And at the same time, it was when all the bailouts were happening. And so it was very similar to these guys that were big business taking advantage of the little guys. And I just wasn’t okay with that. And then I heard about these guys giving themselves huge bonuses when in actuality, they were not good at their job. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new film \u003cem>Cesar Chavez \u003c/em>brings to life the famed civil rights leader, who organized farm laborers and fought to secure a living wage and better working conditions in the fields. He founded the United Farm Workers union in California in 1962, and his work inspired millions of people in the U.S. and internationally. Actor Michael Peña, who plays Chavez, spoke with \u003cem>Tell Me More\u003c/em> host Michel Martin about how he prepared for the role and what it meant to him and his family.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On not knowing\u003c/strong>\u003cstrong> much about Cesar Chavez before the film \u003c/strong>\u003c/p>\n\u003cp>Growing up with two parents that are farm workers — not farmers — the only thing that I knew about him were the streets that were named after him, the schools that were named after him, and a little bit of the story that he worked with farm workers. Me, I’m a Mexican-American, and I don’t know about one of the biggest heroes that we have. That gave me, you know, added motivation to tell this guy’s story.\u003c/p>\n\u003cp>\u003cstrong>On l\u003c/strong>\u003cstrong>earning more about Cesar Chavez \u003c/strong>\u003c/p>\n\u003cp>It didn’t surprise me that he was a vegetarian. He actually loved all these vegetables that he was fighting for — fighting for the workers that, you know, picked them. But also, he was a devout Christian. He read a lot about Gandhi. But the thing that really, I guess, surprised me was: here was a guy who was just a strategist, and he was asked to lead the movement because all his ideas were very practical and very good, you know, at the meetings. I don’t know about you, but for me, if I got to present any kind of award, I’m shaking in my pants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zeo-q-8MOQ4'\n title='//www.youtube.com/embed/zeo-q-8MOQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On getting\u003c/strong>\u003cstrong> the part \u003c/strong>\u003c/p>\n\u003cp>Oddly enough, I was asked at Comic Con the year before anybody even talked about this movie. They said, “You know if you had a dream role, what would it be?” And it was just a snap answer. I just said, “You know it’d be great to play Cesar Chavez. But I don’t know much of his story.” Nine months later, I got an email saying that [director] Diego Luna wants to meet about Cesar Chavez. And my first question was, “Is it the pugilist or is it the civil rights activist?” And they said, “It’s the civil rights activist.” And I said, “Wow that’s fantastic.” So then I met him. I had to audition three times for it.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>gaining weight, shaving teeth and picking grapes to prepare for the role\u003c/strong>\u003c/p>\n\u003cp>I was in really good shape after I finished this movie, \u003cem>End of Watch. \u003c/em>And when I had the meeting with Diego Luna, he says, “You need to gain like 30 pounds man, please.” And I was like, “Uh uh uh of muscle?” — knowing that’s not what he’s gonna say. And he’s like, “No, just of like regular person.” And I was like “Aw man!” You know, I did gain the weight, and thank God that I did because you know, this was a man who wasn’t prone to violence, and if I looked like a Hollywood actor guy that was like in really good shape, then it doesn’t look real and it’s not real.\u003c/p>\n\u003cp>And then I actually shaved like a little gap in between my teeth. The way he said “S”s, a lot of the air passed through it. It really informed the way that he spoke.\u003c/p>\n\u003cp>And that was the other thing that I learned. I learned a little bit of organizing. I went to some of the meetings. I actually picked a lot of grapes, you know, just to have a memory of what it’s like and what you’re actually fighting for, and to see the people that I’m working with.\u003c/p>\n\u003cp>\u003cstrong>On f\u003c/strong>\u003cstrong>inding a personal connection \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My brother and my father both got laid off around the same that I was starting to do this movie \u003cem>Chavez. \u003c/em>And at the same time, it was when all the bailouts were happening. And so it was very similar to these guys that were big business taking advantage of the little guys. And I just wasn’t okay with that. And then I heard about these guys giving themselves huge bonuses when in actuality, they were not good at their job. Their statistics were down tremendously enough so that they woudl be bankrupt. And then when they get a bailout, which means that us taxpayers were actually paying for it, they decided to give themselves bonuses. That kind of filled me with resentment towards these people because it affected me directly, which is exactly what I think that’s how Chavez felt to these people bullying people who didn’t have a voice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=For+Actor+Michael+Pe%C3%B1a%2C+A+Transformative+Role+As+Cesar+Chavez&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>“Dune\u003c/em> will be the coming of God.”\u003c/p>\n\u003cp>Hyperbole, thy name is Alejandro Jodorowsky. Early on in Frank Pavich’s documentary about Jodorowsky’s failed attempt to bring Frank Herbert’s science-fiction epic to the screen back in the 1970s, he not only compares his vision to that of the arrival of a deity, but also claims that it would have given sober viewers the exact feeling of being on LSD.\u003c/p>\n\u003cp>The Chilean-born director speaks of recruiting not technicians and artists, but fellow spiritual warriors. At one point, he describes a shot from the planned film that he intended would outdo Orson Welles’ legendary opening tracking shot in \u003cem>Touch of Evil—\u003c/em>only in service of showing the entirety of the cosmos.\u003c/p>\n\u003cp>Basically, dream big or just don’t dream at all.\u003c/p>\n\u003cp>Pavich’s documentary tempers that kind of imaginative chaos by telling a fairly straightforward story of how, in 1975, one of the biggest figures in cult cinema got his hands on one of the biggest novels in science fiction and set out to make a movie with the modest ambition of changing how we see movies forever. That straightforward presentation makes the documentary highly accessible—but also sometimes feels at odds with the manic, hallucinatory energy of its subject.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/4WWu1kclNDA\u003c/p>\n\u003cp>The film begins by neatly summarizing Jodorowsky’s career through the ’60s and early ’70s, with particular focus on 1970’s \u003cem>El Topo\u003c/em> (cited as patient zero in the ’70s midnight movie trend) and 1973’s mind-bending \u003cem>The Holy Mountain\u003c/em>. The latter caught the attention of French producer Michel Seydoux, who essentially offered Jodorowsky carte blanche for his next project, and the director chose to adapt a book, \u003cem>Dune\u003c/em>, that was widely regarded as unfilmable.\u003c/p>\n\u003cp>Once the two of them get together, Pavich progresses methodically through Jodorowsky’s pre-production process, including the recruitment of those “spiritual warriors”: special-effects technician Dan O’Bannon, designers Jean Giraud (known by the pseudonym Mœbius) and H.R. Giger, Pink Floyd, and actors including Orson Welles, Mick Jagger, and in one of the movie’s most hilarious stories, Salvador Dali. The latter is recruited mainly by tricking him into thinking he’ll be receiving the highest salary ever paid an actor. Essentially, Jodorowsky was going after outsized creative personas just as mad as he was.\u003c/p>\n\u003cp>The parts of the movie focusing on the design are some of the strongest, as Pavich gets full access to the staggering number of sketches and storyboards that were assembled—which Seydoux and Jodorowsky bound in massive coffee-table tomes to distribute to studios in the (eventually dashed) hopes they’d back the actual production. Pavich animates many of these, giving us the closest thing to an actual look at what Jodorowsky’s version of \u003cem>Dune\u003c/em> might have looked like.\u003c/p>\n\u003cp>This is not a documentary about a failed movie in the same way that \u003cem>Lost in La Mancha\u003c/em> told the story of Terry Gilliam’s scuttled Don Quixote adaptation. That film included massive amounts of on-set footage before that production was shut down, and nothing like that is available here. As a result, Pavich must mostly rely on a talking-head format augmented by those animations. Lucky for him, his primary talking head is Jodorowsky himself, as lively and frenzied as a hyperactive 12-year-old despite now being well into his 80s.\u003c/p>\n\u003cp>Many of his recruits, interviewed here, tell of being won over by the director’s passion and talent as a storyteller in relating his vision for \u003cem>Dune\u003c/em>. The sum total of their adulation depicts the \u003cem>Dune\u003c/em> pre-production as a kind of cult, with Jodorowsky as the prophet warrior king mesmerizing anyone who heard the sound of his voice.\u003c/p>\n\u003cp>Listening to him now, it’s hard not to fall into his thrall, even given the self-mythologizing, the obvious ego and a couple of profoundly unfortunate metaphors he employs—one comparing the creative process to rape, another the studio system to slavery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those with any interest in cult cinema or just the bizarre behind-the-scenes stories of any film production, \u003cem>Jodorowsky’s Dune\u003c/em> is a fascinating document of one of the most legendary films ever not made. If its ambitions never quite match those of its subject, that can be excused; no one else’s vision could ever hope to equal the fevered, monumental dreams of Jodorowsky.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jodorowsky%27s+Dune%27%3A+The+Greatest+Film+That+Never+Was&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“Dune\u003c/em> will be the coming of God.”\u003c/p>\n\u003cp>Hyperbole, thy name is Alejandro Jodorowsky. Early on in Frank Pavich’s documentary about Jodorowsky’s failed attempt to bring Frank Herbert’s science-fiction epic to the screen back in the 1970s, he not only compares his vision to that of the arrival of a deity, but also claims that it would have given sober viewers the exact feeling of being on LSD.\u003c/p>\n\u003cp>The Chilean-born director speaks of recruiting not technicians and artists, but fellow spiritual warriors. At one point, he describes a shot from the planned film that he intended would outdo Orson Welles’ legendary opening tracking shot in \u003cem>Touch of Evil—\u003c/em>only in service of showing the entirety of the cosmos.\u003c/p>\n\u003cp>Basically, dream big or just don’t dream at all.\u003c/p>\n\u003cp>Pavich’s documentary tempers that kind of imaginative chaos by telling a fairly straightforward story of how, in 1975, one of the biggest figures in cult cinema got his hands on one of the biggest novels in science fiction and set out to make a movie with the modest ambition of changing how we see movies forever. That straightforward presentation makes the documentary highly accessible—but also sometimes feels at odds with the manic, hallucinatory energy of its subject.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4WWu1kclNDA'\n title='//www.youtube.com/embed/4WWu1kclNDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film begins by neatly summarizing Jodorowsky’s career through the ’60s and early ’70s, with particular focus on 1970’s \u003cem>El Topo\u003c/em> (cited as patient zero in the ’70s midnight movie trend) and 1973’s mind-bending \u003cem>The Holy Mountain\u003c/em>. The latter caught the attention of French producer Michel Seydoux, who essentially offered Jodorowsky carte blanche for his next project, and the director chose to adapt a book, \u003cem>Dune\u003c/em>, that was widely regarded as unfilmable.\u003c/p>\n\u003cp>Once the two of them get together, Pavich progresses methodically through Jodorowsky’s pre-production process, including the recruitment of those “spiritual warriors”: special-effects technician Dan O’Bannon, designers Jean Giraud (known by the pseudonym Mœbius) and H.R. Giger, Pink Floyd, and actors including Orson Welles, Mick Jagger, and in one of the movie’s most hilarious stories, Salvador Dali. The latter is recruited mainly by tricking him into thinking he’ll be receiving the highest salary ever paid an actor. Essentially, Jodorowsky was going after outsized creative personas just as mad as he was.\u003c/p>\n\u003cp>The parts of the movie focusing on the design are some of the strongest, as Pavich gets full access to the staggering number of sketches and storyboards that were assembled—which Seydoux and Jodorowsky bound in massive coffee-table tomes to distribute to studios in the (eventually dashed) hopes they’d back the actual production. Pavich animates many of these, giving us the closest thing to an actual look at what Jodorowsky’s version of \u003cem>Dune\u003c/em> might have looked like.\u003c/p>\n\u003cp>This is not a documentary about a failed movie in the same way that \u003cem>Lost in La Mancha\u003c/em> told the story of Terry Gilliam’s scuttled Don Quixote adaptation. That film included massive amounts of on-set footage before that production was shut down, and nothing like that is available here. As a result, Pavich must mostly rely on a talking-head format augmented by those animations. Lucky for him, his primary talking head is Jodorowsky himself, as lively and frenzied as a hyperactive 12-year-old despite now being well into his 80s.\u003c/p>\n\u003cp>Many of his recruits, interviewed here, tell of being won over by the director’s passion and talent as a storyteller in relating his vision for \u003cem>Dune\u003c/em>. The sum total of their adulation depicts the \u003cem>Dune\u003c/em> pre-production as a kind of cult, with Jodorowsky as the prophet warrior king mesmerizing anyone who heard the sound of his voice.\u003c/p>\n\u003cp>Listening to him now, it’s hard not to fall into his thrall, even given the self-mythologizing, the obvious ego and a couple of profoundly unfortunate metaphors he employs—one comparing the creative process to rape, another the studio system to slavery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those with any interest in cult cinema or just the bizarre behind-the-scenes stories of any film production, \u003cem>Jodorowsky’s Dune\u003c/em> is a fascinating document of one of the most legendary films ever not made. If its ambitions never quite match those of its subject, that can be excused; no one else’s vision could ever hope to equal the fevered, monumental dreams of Jodorowsky.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jodorowsky%27s+Dune%27%3A+The+Greatest+Film+That+Never+Was&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the star of \u003cem>Arrested Development\u003c/em>, Jason Bateman became best known for being the most mature member of the emotionally stunted Bluth family; the roles that followed were largely of the same tone, casting the actor as the affable, mild-mannered, often put-upon nice guy.\u003c/p>\n\u003cp>Always playing the straight man amid casts of clowns must have created some built-up performance envy, because in his directorial debut he trades in Mr. Nice Guy for Mr. Guy Trilby, finally getting to play an apparent case of severely arrested development himself.\u003c/p>\n\u003cp>Trilby is a foul-mouthed 40-year-old who bears the unhealed emotional scars of a childhood trauma, and his grand plan to make things right involves exploiting a loophole in the rules of a national spelling bee that will allow him to compete against kids.\u003c/p>\n\u003cp>http://youtu.be/yXoZCAVTzEQ\u003c/p>\n\u003cp>Of course, word difficulty at that level of competition is enough to stump most people, so age isn’t necessarily much of an advantage for Trilby. But what does give this middle-school dropout a leg up is an eidetic memory and a talent for sociopathic manipulation matched only by the ability to deliver the most profane and hurtful insult imaginable in any situation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, spelling bees make for great drama, combining the adorability factor of brilliant but awkward kids with the stakes of high-tension competition. Bateman and screenwriter Andrew Dodge are well aware of the heartwarming appeal of movies like \u003cem>Spellbound\u003c/em> and \u003cem>Akeelah and the Bee\u003c/em>, and intentionally subvert it by tossing in Trilby as icy-veined, acid-tongued contrast. The result is a mostly well-matched balance of innocence against irreverence.\u003c/p>\n\u003cp>That central contrast is mostly played out through Trilby’s uneasy friendship with Chaitanya (Rohan Chand), the big-eyed moppet staying down the hall from the storage closet the bee’s director has arranged for Trilby to bunk in. From their first encounter on the airplane to Los Angeles, it’s clear the excitable kid is destined to soften Guy’s rocky heart — mostly by being seemingly impervious to the older contestant’s constant stream of insults. Of course, as a 10-year-old spelling prodigy, Chaitanya has some experience with deflecting abuse from cruel kids, so he remains unfazed by things like Trilby’s insistence on referring to him as “Slumdog.”\u003c/p>\n\u003cp>The real reason behind Trilby’s entering the bee remains hidden through much of the movie, though it’s a piece of information that Jenny (Kathryn Hahn), a reporter whose publication is sponsoring him, is constantly trying to draw out for a feature story on his unlikely run at orthographic greatness.\u003c/p>\n\u003cp>Unfortunately, their interactions lack the sweet-and-sour dynamic that makes the Guy-Chaitanya pairing work so well, and the central joke about their repeated and ill-advised sexual encounters are probably the weakest thing about the film.\u003c/p>\n\u003cp>Despite that, and despite a blandly two-dimensional villain that wastes the talents of Allison Janney as the tournament director, what Bateman has gleaned in his years in front of the camera is the importance of jaw-dropper laughs delivered at regular intervals, wrapped up in a pithy, tightly edited package. Rejecting Apatowian bloat in favor of a trim running time of only 88 minutes, \u003cem>Bad Words\u003c/em> announces its high concept immediately and then goes about the business of telling its story without wasting a moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bateman’s directorial approach is not unlike Trilby’s manner at the contestants’ microphone, where our antihero immediately and confidently launches into his words and delivers the letters in an efficient, unbroken stream before taking his seat. In an era of overlong comedies, that’s a not insignificant play; it seems that even when Bateman is playing a horrible human onscreen, he still can’t help being a nice guy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=With+A+Spelling-Bee+Subversion%2C+Jason+Bateman+Breaks+Bad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the star of \u003cem>Arrested Development\u003c/em>, Jason Bateman became best known for being the most mature member of the emotionally stunted Bluth family; the roles that followed were largely of the same tone, casting the actor as the affable, mild-mannered, often put-upon nice guy.\u003c/p>\n\u003cp>Always playing the straight man amid casts of clowns must have created some built-up performance envy, because in his directorial debut he trades in Mr. Nice Guy for Mr. Guy Trilby, finally getting to play an apparent case of severely arrested development himself.\u003c/p>\n\u003cp>Trilby is a foul-mouthed 40-year-old who bears the unhealed emotional scars of a childhood trauma, and his grand plan to make things right involves exploiting a loophole in the rules of a national spelling bee that will allow him to compete against kids.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yXoZCAVTzEQ'\n title='//www.youtube.com/embed/yXoZCAVTzEQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of course, word difficulty at that level of competition is enough to stump most people, so age isn’t necessarily much of an advantage for Trilby. But what does give this middle-school dropout a leg up is an eidetic memory and a talent for sociopathic manipulation matched only by the ability to deliver the most profane and hurtful insult imaginable in any situation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, spelling bees make for great drama, combining the adorability factor of brilliant but awkward kids with the stakes of high-tension competition. Bateman and screenwriter Andrew Dodge are well aware of the heartwarming appeal of movies like \u003cem>Spellbound\u003c/em> and \u003cem>Akeelah and the Bee\u003c/em>, and intentionally subvert it by tossing in Trilby as icy-veined, acid-tongued contrast. The result is a mostly well-matched balance of innocence against irreverence.\u003c/p>\n\u003cp>That central contrast is mostly played out through Trilby’s uneasy friendship with Chaitanya (Rohan Chand), the big-eyed moppet staying down the hall from the storage closet the bee’s director has arranged for Trilby to bunk in. From their first encounter on the airplane to Los Angeles, it’s clear the excitable kid is destined to soften Guy’s rocky heart — mostly by being seemingly impervious to the older contestant’s constant stream of insults. Of course, as a 10-year-old spelling prodigy, Chaitanya has some experience with deflecting abuse from cruel kids, so he remains unfazed by things like Trilby’s insistence on referring to him as “Slumdog.”\u003c/p>\n\u003cp>The real reason behind Trilby’s entering the bee remains hidden through much of the movie, though it’s a piece of information that Jenny (Kathryn Hahn), a reporter whose publication is sponsoring him, is constantly trying to draw out for a feature story on his unlikely run at orthographic greatness.\u003c/p>\n\u003cp>Unfortunately, their interactions lack the sweet-and-sour dynamic that makes the Guy-Chaitanya pairing work so well, and the central joke about their repeated and ill-advised sexual encounters are probably the weakest thing about the film.\u003c/p>\n\u003cp>Despite that, and despite a blandly two-dimensional villain that wastes the talents of Allison Janney as the tournament director, what Bateman has gleaned in his years in front of the camera is the importance of jaw-dropper laughs delivered at regular intervals, wrapped up in a pithy, tightly edited package. Rejecting Apatowian bloat in favor of a trim running time of only 88 minutes, \u003cem>Bad Words\u003c/em> announces its high concept immediately and then goes about the business of telling its story without wasting a moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bateman’s directorial approach is not unlike Trilby’s manner at the contestants’ microphone, where our antihero immediately and confidently launches into his words and delivers the letters in an efficient, unbroken stream before taking his seat. In an era of overlong comedies, that’s a not insignificant play; it seems that even when Bateman is playing a horrible human onscreen, he still can’t help being a nice guy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=With+A+Spelling-Bee+Subversion%2C+Jason+Bateman+Breaks+Bad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The latest teen-girl fiction series to become a movie franchise, \u003cem>Divergent \u003c/em>delivers adolescent viewers some bad news and some good news. The bad is that the dystopian future will be just like high school, with kids divided into rigid cliques. The good is that adulthood will be just like high school, so teens face no major surprises.\u003c/p>\n\u003cp>In the first of three movies adapted from Veronica Roth’s trilogy, Beatrice (Shailene Woodley) lives in a trashed, walled-in Chicago where everyone belongs to one of five castes: Abnegation, Amity, Candor, Dauntless or Erudite. Each has a function that, when meshed together, should yield a smoothly functioning society.\u003c/p>\n\u003cp>Beatrice grew up in Abnegation, where rejection of self-interest means it’s the group that runs the government. But she’s about to turn 16, and so will take a test that determines which faction she’ll join for the rest of her life. The exam is future-Chicago’s SAT, in which the essay question has been replaced by a drug-induced hallucination that reveals a person’s true nature.\u003c/p>\n\u003cp>http://youtu.be/sutgWjz10sM\u003c/p>\n\u003cp>Beatrice’s test is administered by Tori (Maggie Q), a high-tech proctor who doubles as a tattoo artist. (It’s sort of like how barbers used to also be surgeons.) An alarmed Tori warns the girl that she has attributes of several clans, making her “Divergent.” This is as bad, apparently, as being a cheerleader and also belonging to the computer club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Divergents are a threat to the system, and particularly hated by the Erudite, whose societal role seems to be scheming against everyone else. The group is led by icy Jeanine (Kate Winslet, in essentially the same mean-girl-of-tomorrow role as Jodie Foster in \u003cem>Elysium\u003c/em>).\u003c/p>\n\u003cp>Cloaking her nonconformist identity, Beatrice joins the Navy SEAL-like Dauntless, and crops her name to Tris. She keeps her long hair, though, which would seem a disadvantage during basic training in which big boys fight hand-to-hand with girls — even tiny ones like Tris’ new pal Christina (Zoe Kravitz). One of the girls’ antagonists is played by smirky Miles Teller, Woodley’s costar in \u003cem>The Spectacular Now\u003c/em>.\u003c/p>\n\u003cp>Tris struggles not to be cut from Dauntless, her lack of physical strength offset by certain qualities she’s not supposed to have. Soon, the conflict shifts from training facilities to the streets, where Tris defends her former clan and her parents (Ashley Judd and Tony Goldwyn).\u003c/p>\n\u003cp>Director Neil Burger, whose last divergent character was the smart-drugged protagonist of \u003cem>Limitless\u003c/em>, allocates more than enough of this overlong movie to details of life and society in future-Chicagoland. But he fails to make any aspect of the premise persuasive.\u003c/p>\n\u003cp>And the story’s absurdities are, well, limitless. The community can’t fix its wrecked buildings and infrastructure, yet has developed all sorts of futuristic weapons and mind-control devices. These technological marvels are funded by a city-state whose only industry is growing food for its own citizens, and apparently authorized by a government run by an Amish-like sect that prizes harmony and humility.\u003c/p>\n\u003cp>The wackiest thing is that this fable of adolescence barely considers sex. Male and female Dauntless recruits share a dorm and a partition-less bathroom, yet only Tris and her hunky instructor/protector, Four (Theo James), express the desires that monopolize most teenage imaginations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Divergent \u003c/em>deftly integrates live-action and CGI, and pictures a suitably drab post-disaster future. The landscape is less grim, however, than the score, which crushes every big moment under a power ballad. In this dismal future, even the Erudite need schlocky musical cues to know how they’re supposed to feel. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=It%27s+Faction+Against+Faction+In+A+Grim+Future+Chicago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "With \u003cem>Divergent\u003c/em>, Hollywood turns to another hit young-adult trilogy for inspiration. Shailene Woodley stars as a 16-year-old searching for her place in a divided dystopian society.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest teen-girl fiction series to become a movie franchise, \u003cem>Divergent \u003c/em>delivers adolescent viewers some bad news and some good news. The bad is that the dystopian future will be just like high school, with kids divided into rigid cliques. The good is that adulthood will be just like high school, so teens face no major surprises.\u003c/p>\n\u003cp>In the first of three movies adapted from Veronica Roth’s trilogy, Beatrice (Shailene Woodley) lives in a trashed, walled-in Chicago where everyone belongs to one of five castes: Abnegation, Amity, Candor, Dauntless or Erudite. Each has a function that, when meshed together, should yield a smoothly functioning society.\u003c/p>\n\u003cp>Beatrice grew up in Abnegation, where rejection of self-interest means it’s the group that runs the government. But she’s about to turn 16, and so will take a test that determines which faction she’ll join for the rest of her life. The exam is future-Chicago’s SAT, in which the essay question has been replaced by a drug-induced hallucination that reveals a person’s true nature.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sutgWjz10sM'\n title='//www.youtube.com/embed/sutgWjz10sM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beatrice’s test is administered by Tori (Maggie Q), a high-tech proctor who doubles as a tattoo artist. (It’s sort of like how barbers used to also be surgeons.) An alarmed Tori warns the girl that she has attributes of several clans, making her “Divergent.” This is as bad, apparently, as being a cheerleader and also belonging to the computer club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Divergents are a threat to the system, and particularly hated by the Erudite, whose societal role seems to be scheming against everyone else. The group is led by icy Jeanine (Kate Winslet, in essentially the same mean-girl-of-tomorrow role as Jodie Foster in \u003cem>Elysium\u003c/em>).\u003c/p>\n\u003cp>Cloaking her nonconformist identity, Beatrice joins the Navy SEAL-like Dauntless, and crops her name to Tris. She keeps her long hair, though, which would seem a disadvantage during basic training in which big boys fight hand-to-hand with girls — even tiny ones like Tris’ new pal Christina (Zoe Kravitz). One of the girls’ antagonists is played by smirky Miles Teller, Woodley’s costar in \u003cem>The Spectacular Now\u003c/em>.\u003c/p>\n\u003cp>Tris struggles not to be cut from Dauntless, her lack of physical strength offset by certain qualities she’s not supposed to have. Soon, the conflict shifts from training facilities to the streets, where Tris defends her former clan and her parents (Ashley Judd and Tony Goldwyn).\u003c/p>\n\u003cp>Director Neil Burger, whose last divergent character was the smart-drugged protagonist of \u003cem>Limitless\u003c/em>, allocates more than enough of this overlong movie to details of life and society in future-Chicagoland. But he fails to make any aspect of the premise persuasive.\u003c/p>\n\u003cp>And the story’s absurdities are, well, limitless. The community can’t fix its wrecked buildings and infrastructure, yet has developed all sorts of futuristic weapons and mind-control devices. These technological marvels are funded by a city-state whose only industry is growing food for its own citizens, and apparently authorized by a government run by an Amish-like sect that prizes harmony and humility.\u003c/p>\n\u003cp>The wackiest thing is that this fable of adolescence barely considers sex. Male and female Dauntless recruits share a dorm and a partition-less bathroom, yet only Tris and her hunky instructor/protector, Four (Theo James), express the desires that monopolize most teenage imaginations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Divergent \u003c/em>deftly integrates live-action and CGI, and pictures a suitably drab post-disaster future. The landscape is less grim, however, than the score, which crushes every big moment under a power ballad. In this dismal future, even the Erudite need schlocky musical cues to know how they’re supposed to feel. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=It%27s+Faction+Against+Faction+In+A+Grim+Future+Chicago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>All you really need to know about \u003cem>Particle Fever \u003c/em>is that it includes footage of physicists rapping. About physics. Wearing giant Einstein masks.\u003c/p>\n\u003cp>It’s that blend of earnestness and abandon that informs Mark Levinson’s utterly absorbing documentary, a chronicle of the launch of the \u003ca href=\"http://www.npr.org/tags/135761885/large-hadron-collider\">Large Hadron Collider\u003c/a> and the search for the fabled Higgs boson, a subatomic particle long theorized but never located. The film takes a skinny 99 minutes to cover a five-year span and a territory as huge as the universe — bigger, actually, once you learn that some theorists think ours might be just one of many. It’s jaw-droppingly cool stuff, explained with admirable clarity by an affable physicist tour-guide, David E. Kaplan, and wedded to the tale of a massive technological undertaking like nothing in history. (“The biggest machine ever built by human beings,” as one scientist puts it.) And it’s flat-out thrilling.\u003c/p>\n\u003cp>The Higgs boson, if you don’t remember the headlines, is the one some people (not physicists) call “the God particle,” and it’s the key to a sprawling construct called the Standard Model, which particle physics uses to explain … well, everything. Everything we know about how the universe works. Find the Higgs, confirm the Standard Model.\u003c/p>\n\u003cp>http://youtu.be/HgA7oG2cTOc\u003c/p>\n\u003cp>Well, sort of. Much — including the notion that there might be multiple universes, with many different flavors of physics — depends on the \u003cem>mass\u003c/em> of the Higgs. That’s why thousands of people teamed up to find it, spending two decades building this massive supercollider to smash beams of protons together, essentially recreating the Big Bang so they can measure the Higgs. Talk about a quest with some stakes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levinson’s storytelling frames that quest so aptly that it’s just minutes before you’re rooting for the film’s handful of protagonists: Kaplan, one of the theorists who frame the ideas about how the universe is structured; the wonderfully enthusiastic Monica Dunford, a postdoctoral student who’s among the experimentalists trying to prove or disprove those theories; the magnificent Fabiola Gianotti, a classical pianist turned physicist who’s in charge of the huge experiment Dunford is working on; the intense Nima Arkani-Hamed, Kaplan’s friend and rival theorist; elegant Martin Aleksa, an Austrian experimentalist and father of two.\u003c/p>\n\u003cp>They’re ridiculously geeked out when Google celebrates their work with a doodle on the day their phenomenal machine goes online. They party like the world’s nerdiest rock stars that night. (It’s where that hysterical rap act comes in.) Then, perhaps inevitably, there’s a setback — what’s got to be the most heartbreaking helium leak in cinematic history. Everything’s suddenly at a standstill, and no one knows when it’ll start up again.\u003c/p>\n\u003cp>Playing out amid stunning landscapes near Geneva, Switzerland, with side trips to visit the theorists at Johns Hopkins and Stanford and such, \u003cem>Particle Fever\u003c/em> is an unexpectedly dramatic look into an area of inquiry so esoteric that most of us will never quite get our heads around it. But Robert Miller’s playful music punctuates the narrative and helps underscore the stakes; witty graphics and animations help elucidate complicated theories.\u003c/p>\n\u003cp>And no, that setback won’t be the end of the story. \u003cem>Particle Fever\u003c/em> sticks with its endearing heroes until the Large Hadron Collider is patched up and humming along again, and thousands gather from all over to watch as the data begins to flood in. And we’re there with them, inside the room, on the cusp of a monumentally significant scientific breakthrough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The climax of the film is a pair of PowerPoint presentations — PowerPoint presentations! — in which these people we’ve come to root for interpret that data for an auditorium full of luminaries including Peter Higgs, the physicist who first posited the existence of the particle named for him. He inspires the crowd to cheers, which is wonderful. The presentations inspire lumps in the throat — which is an out-and-out triumph, for the physicists onscreen and the filmmakers who put them there. \u003cem>\u003cstrong>(Recommended.)\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Particle+Fever%27%3A+Thrills%2C+Chills+And+High+Subatomic+Drama&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "What's possibly the nerdiest documentary ever made turns out to be one of the most inspiring, too. It's the inside story of the quest for a tiny, elusive particle of matter. \u003cem>\u003cstrong>(Recommended.)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All you really need to know about \u003cem>Particle Fever \u003c/em>is that it includes footage of physicists rapping. About physics. Wearing giant Einstein masks.\u003c/p>\n\u003cp>It’s that blend of earnestness and abandon that informs Mark Levinson’s utterly absorbing documentary, a chronicle of the launch of the \u003ca href=\"http://www.npr.org/tags/135761885/large-hadron-collider\">Large Hadron Collider\u003c/a> and the search for the fabled Higgs boson, a subatomic particle long theorized but never located. The film takes a skinny 99 minutes to cover a five-year span and a territory as huge as the universe — bigger, actually, once you learn that some theorists think ours might be just one of many. It’s jaw-droppingly cool stuff, explained with admirable clarity by an affable physicist tour-guide, David E. Kaplan, and wedded to the tale of a massive technological undertaking like nothing in history. (“The biggest machine ever built by human beings,” as one scientist puts it.) And it’s flat-out thrilling.\u003c/p>\n\u003cp>The Higgs boson, if you don’t remember the headlines, is the one some people (not physicists) call “the God particle,” and it’s the key to a sprawling construct called the Standard Model, which particle physics uses to explain … well, everything. Everything we know about how the universe works. Find the Higgs, confirm the Standard Model.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HgA7oG2cTOc'\n title='//www.youtube.com/embed/HgA7oG2cTOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, sort of. Much — including the notion that there might be multiple universes, with many different flavors of physics — depends on the \u003cem>mass\u003c/em> of the Higgs. That’s why thousands of people teamed up to find it, spending two decades building this massive supercollider to smash beams of protons together, essentially recreating the Big Bang so they can measure the Higgs. Talk about a quest with some stakes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Levinson’s storytelling frames that quest so aptly that it’s just minutes before you’re rooting for the film’s handful of protagonists: Kaplan, one of the theorists who frame the ideas about how the universe is structured; the wonderfully enthusiastic Monica Dunford, a postdoctoral student who’s among the experimentalists trying to prove or disprove those theories; the magnificent Fabiola Gianotti, a classical pianist turned physicist who’s in charge of the huge experiment Dunford is working on; the intense Nima Arkani-Hamed, Kaplan’s friend and rival theorist; elegant Martin Aleksa, an Austrian experimentalist and father of two.\u003c/p>\n\u003cp>They’re ridiculously geeked out when Google celebrates their work with a doodle on the day their phenomenal machine goes online. They party like the world’s nerdiest rock stars that night. (It’s where that hysterical rap act comes in.) Then, perhaps inevitably, there’s a setback — what’s got to be the most heartbreaking helium leak in cinematic history. Everything’s suddenly at a standstill, and no one knows when it’ll start up again.\u003c/p>\n\u003cp>Playing out amid stunning landscapes near Geneva, Switzerland, with side trips to visit the theorists at Johns Hopkins and Stanford and such, \u003cem>Particle Fever\u003c/em> is an unexpectedly dramatic look into an area of inquiry so esoteric that most of us will never quite get our heads around it. But Robert Miller’s playful music punctuates the narrative and helps underscore the stakes; witty graphics and animations help elucidate complicated theories.\u003c/p>\n\u003cp>And no, that setback won’t be the end of the story. \u003cem>Particle Fever\u003c/em> sticks with its endearing heroes until the Large Hadron Collider is patched up and humming along again, and thousands gather from all over to watch as the data begins to flood in. And we’re there with them, inside the room, on the cusp of a monumentally significant scientific breakthrough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The climax of the film is a pair of PowerPoint presentations — PowerPoint presentations! — in which these people we’ve come to root for interpret that data for an auditorium full of luminaries including Peter Higgs, the physicist who first posited the existence of the particle named for him. He inspires the crowd to cheers, which is wonderful. The presentations inspire lumps in the throat — which is an out-and-out triumph, for the physicists onscreen and the filmmakers who put them there. \u003cem>\u003cstrong>(Recommended.)\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Particle+Fever%27%3A+Thrills%2C+Chills+And+High+Subatomic+Drama&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wes Anderson has his share of groupies and his somewhat smaller share of skeptics who find him a tad precious. As someone who leans toward the precious view, but is open to his grace notes, I found \u003cem>The Grand Budapest Hotel\u003c/em> mostly delightful.\u003c/p>\n\u003cp>It’s a madcap comedy, but with hints of tragedy lurking outside the usual Anderson dollhouse frames. The central character is Gustave H., played by Ralph Fiennes. He’s the concierge of a kitschy, opulent, high-class European hotel between World Wars I and II.\u003c/p>\n\u003cp>But it takes a while to \u003cem>get\u003c/em> to Gustave. We journey to the past via layers of narration. First a girl pays tribute to a statue of a dead author, then Anderson cuts to the author, played by Tom Wilkinson, who tells the story of his middle-aged self — that’s Jude Law — on a trip to the faded hotel in the 1960s. And then Law’s character takes over the narration and tells us how he met the hotel owner, Mr. Zero Moustafa — played by F. Murray Abraham — and how Moustafa told him of his time in the ’30s as a lobby boy and assistant to Gustave H.\u003c/p>\n\u003cp>Why a story within a story within a story within a story? Anderson’s inspiration comes from Stefan Zweig, a writer who fled Vienna before Hitler’s ascent and then labored to evoke the world he left behind for fear it would pass from memory. Anderson’s Chinese-boxes storytelling takes the onus off him to be “realistic.” In memory, everything is stylized, gloriously fake and yet brimming with real longing.\u003c/p>\n\u003cp>Composition and color isn’t incidental — it’s the whole deal. The mountainside Grand Budapest is a miniature — a dollhouse — reached by model train. Inside, it expands. It’s immense. The choreography of staff and guests is busy and militaristic in its precision. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Anderson can make you dream of a design for living on a higher, more beautiful plane.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Young Mustafa, played by Tony Revolori, meets Gustave in the course of mid-morning rounds and is, at first, an unpleasant surprise: The teen has been hired without Gustave’s knowledge by an underling.\u003c/p>\n\u003cp>Anderson’s visuals are so witty they transcend camp, but his dialogue isn’t quite at that level. That’s why it’s good he has Ralph Fiennes, a stage pro who moves with aplomb and speaks his lines so trippingly they sound like they’re funnier than they are.\u003c/p>\n\u003cp>The boy (Zero), alas, is another of Anderson’s deadpan mouth breathers, obeying Gustave’s orders on cue. He could have more personality. Sundry guest stars lend their wattage to \u003cem>The Grand Budapest Hotel\u003c/em>: Tilda Swinton, Bill Murray, Jeff Goldblum, Owen Wilson, Adrien Brody, Jason Schwartzman, Harvey Keitel. Anderson is a pied piper who picks up actors as he goes along — and it would be nice if they had, you know, roles. But the pop-up cameos \u003cem>are\u003c/em> a source of pleasure; they give the film a family vibe.\u003c/p>\n\u003cp>Oh yes, there’s a plot. Gustave is given to bedding his elderly guests, and one — Tilda Swinton, withered by makeup — has a premonition of her death. When news comes she has, indeed, died, Gustave grabs Zero and boards a train for her mansion. Soon he’s blamed for her murder and hunted by police led by Edward Norton and a grim-faced assassin played by Willem Dafoe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last half of \u003cem>The Grand Budapest Hotel\u003c/em> has a chase through the Alps that’s staged and shot like a pipe dream of flight — it’s thrilling. And Anderson’s campy dialogue doesn’t hurt too much. Somehow it makes Europe’s encroaching fascism seem even creepier. The final scenes are handled with delicacy but deliver an emotional wallop. It’s a movie that makes you sad to re-enter the real world, in which people are less exuberant, proportions less harmonious and colors far less vivid. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grand+Budapest+Hotel%27%3A+Kitsch%2C+Cameos+And+A+Gloriously+Stylized+Europe&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cp>Nick and Meg have gotten into a bit of a rut in \u003cem>Le Week-End\u003c/em>, and to get out of it they’re “celebrating” — if that’s the word — their 30th anniversary by heading back to a city they last saw on their honeymoon. Nick has even booked a room in the same hotel — which is not, alas, quite the way Meg remembers it. “Beige,” she sniffs.\u003c/p>\n\u003cp>Recriminations follow, of course, but these two are kind of in sync even when they’re fighting. And once Meg has found what she considers more acceptable lodgings, her mood brightens to the point that, to Nick’s surprise, she’s even willing to consider sex.\u003c/p>\n\u003cp>The next thing you hear is panting, but it’s from climbing the stairs to Sacre Coeur. This is not 30 years ago, and Nick and Meg, alternately snarling and affectionate as played by Jim Broadbent and Lindsay Duncan, can be excused for being winded. Life has dealt them a lot of tough hills to climb.\u003c/p>\n\u003cp>http://youtu.be/vB6508I35Mo\u003c/p>\n\u003cp>And there’s a new one, as Meg discovers when Nick doesn’t seem to be enjoying a bistro lunch that they have both just agreed is spectacular: He’s being forced out of his job as a college professor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nick will have another surprise for a college friend (Jeff Goldblum) who invites them to a party, only to watch as their frustrations go from passive-aggressive to toxic at the dinner table. The way they bicker and fret, Nick and Meg could almost be that couple in Richard Linklater’s \u003cem>Before Sunrise, Before Sunset, Before Midnight\u003c/em> movies, only British and older.\u003c/p>\n\u003cp>But director Roger Michell (\u003cem>Notting Hill\u003c/em>) has something else in mind, something he hints broadly at by having his stars re-create a “cafe dance” scene from the ’60s crime flick \u003cem>Band of Outsiders\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Turns out what the middle-aged souls in \u003cem>Le Week-End\u003c/em> are channeling is the youthful rebellion that once fueled the French New Wave. As they execute the tricky dance steps, you realize they still think of themselves as teenagers — skipping out on restaurant checks, trashing their hotel room, mimicking old movie scenes. And since it’s Broadbent, Duncan and Goldblum doing the skipping, trashing and mimicking, their second adolescence is great fun to watch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Middle-Aged+Souls+Channel+Teen+Rebellion%2C+Just+For+A+%27Week-End%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick and Meg have gotten into a bit of a rut in \u003cem>Le Week-End\u003c/em>, and to get out of it they’re “celebrating” — if that’s the word — their 30th anniversary by heading back to a city they last saw on their honeymoon. Nick has even booked a room in the same hotel — which is not, alas, quite the way Meg remembers it. “Beige,” she sniffs.\u003c/p>\n\u003cp>Recriminations follow, of course, but these two are kind of in sync even when they’re fighting. And once Meg has found what she considers more acceptable lodgings, her mood brightens to the point that, to Nick’s surprise, she’s even willing to consider sex.\u003c/p>\n\u003cp>The next thing you hear is panting, but it’s from climbing the stairs to Sacre Coeur. This is not 30 years ago, and Nick and Meg, alternately snarling and affectionate as played by Jim Broadbent and Lindsay Duncan, can be excused for being winded. Life has dealt them a lot of tough hills to climb.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vB6508I35Mo'\n title='//www.youtube.com/embed/vB6508I35Mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And there’s a new one, as Meg discovers when Nick doesn’t seem to be enjoying a bistro lunch that they have both just agreed is spectacular: He’s being forced out of his job as a college professor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nick will have another surprise for a college friend (Jeff Goldblum) who invites them to a party, only to watch as their frustrations go from passive-aggressive to toxic at the dinner table. The way they bicker and fret, Nick and Meg could almost be that couple in Richard Linklater’s \u003cem>Before Sunrise, Before Sunset, Before Midnight\u003c/em> movies, only British and older.\u003c/p>\n\u003cp>But director Roger Michell (\u003cem>Notting Hill\u003c/em>) has something else in mind, something he hints broadly at by having his stars re-create a “cafe dance” scene from the ’60s crime flick \u003cem>Band of Outsiders\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Turns out what the middle-aged souls in \u003cem>Le Week-End\u003c/em> are channeling is the youthful rebellion that once fueled the French New Wave. As they execute the tricky dance steps, you realize they still think of themselves as teenagers — skipping out on restaurant checks, trashing their hotel room, mimicking old movie scenes. And since it’s Broadbent, Duncan and Goldblum doing the skipping, trashing and mimicking, their second adolescence is great fun to watch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Middle-Aged+Souls+Channel+Teen+Rebellion%2C+Just+For+A+%27Week-End%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Wes Anderson's New Hotel Proves Pretty Grand Indeed",
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"content": "\u003cp>Chances are you’ve already made up your mind about Wes Anderson. Either you’re willing to go with the meticulous symmetry of his dollhouse compositions, the precious tchotchke-filled design sensibility and the stilted formality of his dialogue, or you check out of his storybook worlds in the first five minutes. On the evidence of his eighth feature, \u003cem>The Grand Budapest Hotel\u003c/em>, it’s clear no one is more aware of his idiosyncracies than Anderson himself — and he’s not apologizing.\u003c/p>\n\u003cp>\u003cem>Grand Budapest\u003c/em> is a culmination of the tinkly music-box aesthetic of Anderson’s work to date, turned up to 11. If you’ve already tuned out, all the two dimensional tracking shots, whip-pans, color coordination and stop-motion animation is going to come crashing down on you like a truckload of playfully plinking harpsichords. But if you meet Anderson on his terms, you’ll reach the end and just want more.\u003c/p>\n\u003cp>The film’s structure is a justification of the distant remove from anything resembling reality, with Anderson nesting the primary narrative within a series of framing stories. The primary tale is a zany caper set in the fictional Eastern European republic of Zubrowka, involving murder, stolen art, a prison break and a mountainside toboggan chase. At the center is Gustave H. (Ralph Fiennes), concierge of the mountaintop resort of the title, and his lobby boy Zero Moustafa (Tony Revolori).\u003c/p>\n\u003cp>That plot unfolds in 1932, but it’s a story that, in the film, is related as an oral history in the ’60s, written as a book some years later, explained by the author in 1985, and finally, at the outermost level of this series of Russian nesting dolls, read in the present day by a young woman in a cemetery. If the film seems removed from reality, it’s no wonder: It’s being filtered through decades, multiple perspectives, artistic license and a heavy shroud of nostalgia.\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=1Fg5iWmQjwk]\u003c/p>\n\u003cp>But then nostalgia has always weighed heavily on Anderson’s work, and in Gustave, he’s created a character even more attached to the past than he is. As the modern world creeps into Old Europe, the stately, exacting concierge constantly laments the lack of dignity and decorum of the advancing 20th century. This is a fact that, on the surface, seems at odds with his habit of sleeping with many of the hotel’s elderly female guests, but for Gustave, this is both part of his enduring attachment to the past as well as a function of his hospitality. “I sleep with all my friends,” he says matter-of-factly at one point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His ongoing relationship with one of those friends, Madame D (a delightfully eccentric Tilda Swinton), becomes problematic when she turns up dead and her will leaves him a priceless painting. Her heirs — a bickering bunch headed up by her son Dmitri (Adrien Brody) and thug-for-hire Jopling (Willem Dafoe) — are none too pleased, and frame Gustave for the crime.\u003c/p>\n\u003cp>Anderson is well aware that there’s great humor to be found in the mismatch between Gustave’s Old World gentility and his promiscuity — not to mention his frequent bursts of profanity. Fiennes, a new addition to Anderson’s usual stable of actors, proves perfectly suited to the director’s arid comic timing, and the result is, in terms of volume and effectiveness of jokes, far and away Anderson’s funniest film. He expertly mines the film’s contrasting inclinations, making violent and often shockingly bloody jokes. Like much of early-’30s Europe, Zubrowka is on the brink of a fascist takeover, and \u003cem>Grand Budapest\u003c/em> has some of the best Nazi-inspired humor since Mel Brooks’ “Springtime for Hitler.”\u003c/p>\n\u003cp>There’s so much going on here, a constant stream of jokes, plot contrivances, film references, and images overladen with gorgeous detail, that it might all collapse in on itself if not for the relationship between Gustave and his young protégé Zero. For those playing at home, this checks another box off on the Wes Anderson bingo card — his recurring theme of the bond between surrogate fathers and sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More important, it gives the movie a beating heart beneath layer upon layer of careful and distancing artifice. There’s much to admire on the surface of \u003cem>The Grand Budapest Hotel\u003c/em>, but as with all of Anderson’s best work, what lasts are the emotional notes it hits, almost invisibly. As Monsieur Gustave would surely agree, the mark of an expert lobby boy is to provide what the hotel’s guests need without their ever knowing he was there. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Anderson%27s+New+Hotel+Proves+Pretty+Grand+Indeed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Wes Anderson's eighth film, set primarily in a 1930s hotel, is just as stylish, precise, and nostalgic as his past films — and far funnier. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you’ve already made up your mind about Wes Anderson. Either you’re willing to go with the meticulous symmetry of his dollhouse compositions, the precious tchotchke-filled design sensibility and the stilted formality of his dialogue, or you check out of his storybook worlds in the first five minutes. On the evidence of his eighth feature, \u003cem>The Grand Budapest Hotel\u003c/em>, it’s clear no one is more aware of his idiosyncracies than Anderson himself — and he’s not apologizing.\u003c/p>\n\u003cp>\u003cem>Grand Budapest\u003c/em> is a culmination of the tinkly music-box aesthetic of Anderson’s work to date, turned up to 11. If you’ve already tuned out, all the two dimensional tracking shots, whip-pans, color coordination and stop-motion animation is going to come crashing down on you like a truckload of playfully plinking harpsichords. But if you meet Anderson on his terms, you’ll reach the end and just want more.\u003c/p>\n\u003cp>The film’s structure is a justification of the distant remove from anything resembling reality, with Anderson nesting the primary narrative within a series of framing stories. The primary tale is a zany caper set in the fictional Eastern European republic of Zubrowka, involving murder, stolen art, a prison break and a mountainside toboggan chase. At the center is Gustave H. (Ralph Fiennes), concierge of the mountaintop resort of the title, and his lobby boy Zero Moustafa (Tony Revolori).\u003c/p>\n\u003cp>That plot unfolds in 1932, but it’s a story that, in the film, is related as an oral history in the ’60s, written as a book some years later, explained by the author in 1985, and finally, at the outermost level of this series of Russian nesting dolls, read in the present day by a young woman in a cemetery. If the film seems removed from reality, it’s no wonder: It’s being filtered through decades, multiple perspectives, artistic license and a heavy shroud of nostalgia.\u003c/p>\n\u003cp style=\"text-align: center\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Fg5iWmQjwk'\n title='//www.youtube.com/embed/1Fg5iWmQjwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But then nostalgia has always weighed heavily on Anderson’s work, and in Gustave, he’s created a character even more attached to the past than he is. As the modern world creeps into Old Europe, the stately, exacting concierge constantly laments the lack of dignity and decorum of the advancing 20th century. This is a fact that, on the surface, seems at odds with his habit of sleeping with many of the hotel’s elderly female guests, but for Gustave, this is both part of his enduring attachment to the past as well as a function of his hospitality. “I sleep with all my friends,” he says matter-of-factly at one point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His ongoing relationship with one of those friends, Madame D (a delightfully eccentric Tilda Swinton), becomes problematic when she turns up dead and her will leaves him a priceless painting. Her heirs — a bickering bunch headed up by her son Dmitri (Adrien Brody) and thug-for-hire Jopling (Willem Dafoe) — are none too pleased, and frame Gustave for the crime.\u003c/p>\n\u003cp>Anderson is well aware that there’s great humor to be found in the mismatch between Gustave’s Old World gentility and his promiscuity — not to mention his frequent bursts of profanity. Fiennes, a new addition to Anderson’s usual stable of actors, proves perfectly suited to the director’s arid comic timing, and the result is, in terms of volume and effectiveness of jokes, far and away Anderson’s funniest film. He expertly mines the film’s contrasting inclinations, making violent and often shockingly bloody jokes. Like much of early-’30s Europe, Zubrowka is on the brink of a fascist takeover, and \u003cem>Grand Budapest\u003c/em> has some of the best Nazi-inspired humor since Mel Brooks’ “Springtime for Hitler.”\u003c/p>\n\u003cp>There’s so much going on here, a constant stream of jokes, plot contrivances, film references, and images overladen with gorgeous detail, that it might all collapse in on itself if not for the relationship between Gustave and his young protégé Zero. For those playing at home, this checks another box off on the Wes Anderson bingo card — his recurring theme of the bond between surrogate fathers and sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More important, it gives the movie a beating heart beneath layer upon layer of careful and distancing artifice. There’s much to admire on the surface of \u003cem>The Grand Budapest Hotel\u003c/em>, but as with all of Anderson’s best work, what lasts are the emotional notes it hits, almost invisibly. As Monsieur Gustave would surely agree, the mark of an expert lobby boy is to provide what the hotel’s guests need without their ever knowing he was there. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Anderson%27s+New+Hotel+Proves+Pretty+Grand+Indeed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Non-Stop': Liam Neeson, Armed And Dangerous Again",
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"content": "\u003cp>“Have you ever fired two guns whilst jumping through the air?” So asks one character in Edgar Wright’s excellent 2007 comedic tribute to buddy-cop movies, \u003cem>Hot Fuzz\u003c/em>, in a moment meant to highlight the simultaneous ridiculousness and awesomeness of that particular action-movie trope.\u003c/p>\n\u003cp>In \u003cem>Non-Stop\u003c/em>, Liam Neeson doesn’t fire two guns, nor does he jump through the air. He does, however, \u003cem>grab\u003c/em> a gun in midair while in a zero-G nose-dive on a transatlantic flight, and fire said gun whilst floating through the cabin. In slow motion. It’s Liam Neeson at his Neesoniest, and yet another entry in his expanding late-career bloom into gruff and commanding action hero.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Non-Stop\u003c/em> bears a surface similarity to the glossy European-style high trash of 2008’s \u003cem>Taken\u003c/em>, but Neeson’s Bill Marks in this film is a far cry from the ex-CIA operative — “with a very particular set of skills” — he played in that film. Marks is a Federal Air Marshal, and his particular skills largely involve numbing himself with a very Irish coffee on the way to his next flight and managing to have a smoke undetected in the airplane lavatory. The flight attendants on his regular New York-London route know his habits well enough that they bring him bottled water when he futilely orders a gin and tonic.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=jiHDJ19A3dk\u003c/p>\n\u003cp>We see the flight as he sees it: hazily, as an endless parade of potential evildoers, even though chances are that in the course of his air-marshal career — which he’s landed in after a personal tragedy gets him kicked off the police force — it’s unlikely he’ll ever share a cabin with an actual terrorist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except, of course, on this day: The secure network Marks uses to communicate with the TSA is breached and he begins receiving texts from a passenger on his flight, who claims someone on the plane will be killed every 20 minutes unless $150 million is transferred into a specified bank account. So begins a lengthy game of cat-and-mouse, as Marks tries to solve an increasing number of murders on this transatlantic express.\u003c/p>\n\u003cp>The film’s early look through Marks’ eyes at his fellow fliers winds up being extremely important; \u003cem>Non-Stop\u003c/em> is less a nonstop actioner and more a high-flying whodunit. As such, it’s important for director Jaume Collet-Serra and writers John W. Richardson and Christopher Roach to keep viewers guessing until the big reveal.\u003c/p>\n\u003cp>They may go a little overboard: Of the plane’s 150 passengers, a remarkably high percentage spend time as potential suspects, making this jet into a flying tin can of red herring. The confusion over the identity of the killer, who mysteriously manages to text Marks constantly, as well as killing multiple people mid-flight without being detected, also serves to leave the marshal barely in control of the passengers. For a variety of reasons, they think it’s Marks himself who’s causing the chaos and perhaps even hijacking the flight.\u003c/p>\n\u003cp>\u003cem>Non-Stop\u003c/em> isn’t a great film; it may not even be very good, and it’s undeniably convoluted and silly. Yet I enjoyed nearly every moment. Sure, it’s probably 15 minutes overlong, thanks to that excess of misdirection. Add to that the ham-handed politics of the real intentions of the hijacker once the big reveal finally comes — the culmination of an undercurrent of blunt political commentary about air security and prejudicial assumptions about terrorism that runs through the entire film.\u003c/p>\n\u003cp>But if it works, it’s because Neeson and Collet-Serra, as well as Julianne Moore as Neeson’s business-class seatmate Jen, are all fully aware of how ludicrous this exercise is. Witness the wry joke Collet-Serra uses to obscure onscreen expletives in text messages that would have otherwise given the film an R-rating, or the way Moore’s breezy nonchalance provides a counterbalance to Neeson’s studied intensity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And especially take note of that mid-air gravity-free gun-grab, which is a winking celebration of everything that’s completely absurd about this sort of film. Neeson does indeed have a very particular set of skills — in elevating the generic action thriller into guilt-free popcorn pleasure.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Non-Stop%27%3A+Liam+Neeson%2C+Armed+And+Dangerous+Again&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Have you ever fired two guns whilst jumping through the air?” So asks one character in Edgar Wright’s excellent 2007 comedic tribute to buddy-cop movies, \u003cem>Hot Fuzz\u003c/em>, in a moment meant to highlight the simultaneous ridiculousness and awesomeness of that particular action-movie trope.\u003c/p>\n\u003cp>In \u003cem>Non-Stop\u003c/em>, Liam Neeson doesn’t fire two guns, nor does he jump through the air. He does, however, \u003cem>grab\u003c/em> a gun in midair while in a zero-G nose-dive on a transatlantic flight, and fire said gun whilst floating through the cabin. In slow motion. It’s Liam Neeson at his Neesoniest, and yet another entry in his expanding late-career bloom into gruff and commanding action hero.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Non-Stop\u003c/em> bears a surface similarity to the glossy European-style high trash of 2008’s \u003cem>Taken\u003c/em>, but Neeson’s Bill Marks in this film is a far cry from the ex-CIA operative — “with a very particular set of skills” — he played in that film. Marks is a Federal Air Marshal, and his particular skills largely involve numbing himself with a very Irish coffee on the way to his next flight and managing to have a smoke undetected in the airplane lavatory. The flight attendants on his regular New York-London route know his habits well enough that they bring him bottled water when he futilely orders a gin and tonic.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jiHDJ19A3dk'\n title='//www.youtube.com/embed/jiHDJ19A3dk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see the flight as he sees it: hazily, as an endless parade of potential evildoers, even though chances are that in the course of his air-marshal career — which he’s landed in after a personal tragedy gets him kicked off the police force — it’s unlikely he’ll ever share a cabin with an actual terrorist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except, of course, on this day: The secure network Marks uses to communicate with the TSA is breached and he begins receiving texts from a passenger on his flight, who claims someone on the plane will be killed every 20 minutes unless $150 million is transferred into a specified bank account. So begins a lengthy game of cat-and-mouse, as Marks tries to solve an increasing number of murders on this transatlantic express.\u003c/p>\n\u003cp>The film’s early look through Marks’ eyes at his fellow fliers winds up being extremely important; \u003cem>Non-Stop\u003c/em> is less a nonstop actioner and more a high-flying whodunit. As such, it’s important for director Jaume Collet-Serra and writers John W. Richardson and Christopher Roach to keep viewers guessing until the big reveal.\u003c/p>\n\u003cp>They may go a little overboard: Of the plane’s 150 passengers, a remarkably high percentage spend time as potential suspects, making this jet into a flying tin can of red herring. The confusion over the identity of the killer, who mysteriously manages to text Marks constantly, as well as killing multiple people mid-flight without being detected, also serves to leave the marshal barely in control of the passengers. For a variety of reasons, they think it’s Marks himself who’s causing the chaos and perhaps even hijacking the flight.\u003c/p>\n\u003cp>\u003cem>Non-Stop\u003c/em> isn’t a great film; it may not even be very good, and it’s undeniably convoluted and silly. Yet I enjoyed nearly every moment. Sure, it’s probably 15 minutes overlong, thanks to that excess of misdirection. Add to that the ham-handed politics of the real intentions of the hijacker once the big reveal finally comes — the culmination of an undercurrent of blunt political commentary about air security and prejudicial assumptions about terrorism that runs through the entire film.\u003c/p>\n\u003cp>But if it works, it’s because Neeson and Collet-Serra, as well as Julianne Moore as Neeson’s business-class seatmate Jen, are all fully aware of how ludicrous this exercise is. Witness the wry joke Collet-Serra uses to obscure onscreen expletives in text messages that would have otherwise given the film an R-rating, or the way Moore’s breezy nonchalance provides a counterbalance to Neeson’s studied intensity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And especially take note of that mid-air gravity-free gun-grab, which is a winking celebration of everything that’s completely absurd about this sort of film. Neeson does indeed have a very particular set of skills — in elevating the generic action thriller into guilt-free popcorn pleasure.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Non-Stop%27%3A+Liam+Neeson%2C+Armed+And+Dangerous+Again&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"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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"radiolab": {
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},
"rightnowish": {
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"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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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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