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"content": "\u003cp>There’s a great movie to be found in \u003cem>The Amazing Spider-Man 2\u003c/em>, but it’s not about superheroes, supervillains or impending urban calamities. It’s a deeply felt and hugely winning romantic tragi-comedy about a pair of recent high school grads who are perfect for each other in every way, but just can’t ever seem to get their timing right.\u003c/p>\n\u003cp>As Peter Parker and Gwen Stacy, Andrew Garfield and Emma Stone don’t just have chemistry on screen. They’ve got a rare Hepburn-and-Tracy-esque naturalism that flits from awkwardness to ease to unquestioned devotion in the space of a few shared glances. They don’t just have spark, they have a buzzing, crackling electricity with power enough to light the New York City skyline.\u003c/p>\n\u003cp>It’s a pity, then — both for Peter and Gwen, and for the movie — that they keep getting interrupted by Electro (Jamie Foxx), a buzzing, crackling, energy-sucking villain with enough power to \u003cem>darken\u003c/em> the New York City skyline. Not to mention Harry Osborn/Green Goblin (Dane DeHaan), who also shows up to cross these lovers’ stars some more, and Rhino (an utterly wasted Paul Giamatti), who appears as an afterthought. Because what superhero movie doesn’t benefit from an extra villain or three? (Answer: most of them.)\u003c/p>\n\u003cp>That Garfield and Stone are the best parts of the movie should come as no surprise: They were the anchor that saved director Marc Webb’s 2012 Spidey franchise reset from complete irrelevance as well. But while they’re perhaps even more of a pleasure to watch on screen this time around, the rest of the film gets bogged down in too many villains, too many origin stories and too many minutes of running time.\u003c/p>\n\u003cp>It’s those origins that are particularly maddening, since one of the pleasures of getting past the first installment of any superhero franchise is being able to dispense with the now-familiar expository notes of the hero’s creation. But \u003cem>The Amazing Spider-Man 2\u003c/em> spends inordinate amounts of time setting up its villains (and even backtracks into the past to reveal even more details of Spider-Man’s origin), only to dispatch them speedily in an overstuffed third act, as if Webb suddenly realized he’d set up too much story to resolve even in 2 1/2 hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, the movie never seems to care much about the conflict between Peter and his foes. Ostensibly, the big set piece is the fight with Electro, a former electrical engineer, stereotypically nerdy and meek, who is trying to turn off the lights to the city and finally get people to pay attention to him. (All of which could have been avoided if only his co-workers had just bought the poor guy a birthday cake — he’s basically \u003cem>Office Space\u003c/em>‘s Milton, except he’s looking to take down more than just his office building.)\u003c/p>\n\u003cp>But Electro is a one-dimensional big bad, and is really only here to help facilitate Harry’s transition to the Green Goblin. And the Goblin’s brief appearance is really only there to set up the climax of the Peter and Gwen story — and to set up the next film. Rhino is even more of a throwaway, a device to help Spidey get his groove back after Webb tries to replicate much of the plot of Sam Raimi’s 2004 \u003cem>Spider-Man 2\u003c/em> in the space of a short montage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something admirable in what seems to be Webb’s intent here, to make a costumed crusader flick that’s more about the people than the spectacle. The small moments, the physical comedy, Spidey’s constant wisecracking — these things are all charming, but they’re counterbalanced by stock summer blockbuster elements that Webb never seems interested in. What we get is a glimpse of how good Andrew Garfield and Emma Stone might be in a snappy, witty, old-fashioned romantic comedy — if only all those pesky scientifically engineered mutants would stop intruding. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Such+A+Lovely+Couple%2C+If+Only+The+Supervillains+Would+Leave+Them+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>British actor Bob Hoskins died last night of pneumonia at 71. He’ll certainly be remembered for starring with cartoon characters in \u003cem>Who Framed Roger Rabbit\u003c/em> — but that was just one of many films in which he played tough guys with soft hearts.\u003c/p>\n\u003cp>Short, stocky, dyslexic, balding, and with a cockney accent thick enough to spread on toast, Hoskins was hardly conventional leading man material. But he sure got to play opposite some gorgeous co-stars — Kathleen Turner’s Jessica Rabbit, of course, but also Cher in \u003cem>Mermaids \u003c/em>and Michelle Pfeiffer in \u003cem>Sweet Liberty;\u003c/em> and in \u003cem>Mona Lisa\u003c/em>, Cecily Tyson’s daughter Cathy played the call girl he chauffeured for, fell in love with and wanted to protect.\u003c/p>\n\u003cp>Hoskins played a mostly passive character in \u003cem>Mona Lisa\u003c/em> — not his usual thing, which may be why the role got him his only Oscar nomination. His usual thing was more blustery — from real-life figures like J. Edgar Hoover, Winston Churchill, Benito Mussolini and Nikita Khrushchev to gangsters and detectives, like the one who had to hold his own opposite an animated rabbit.\u003c/p>\n\u003cp>Hoskins was hired for \u003cem>Who Framed Roger Rabbit\u003c/em> because the filmmakers knew that he’d keep the story grounded, something the actor told interviewers he did in a decidedly ungrounded way — basically learning to “hallucinate” his costars.\u003c/p>\n\u003cp>Hoskins got his first acting gig, at 26, by accident: He went with a friend to an audition. just to keep him company, got a script shoved into his hand by someone who said “you’re next,” and decided to give it a shot. He ended up getting the lead, with his friend as his understudy. At which point he also started getting terrible advice, as he told WHYY’s \u003cem>Fresh Air\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started,” Hoskins said, “they said, you know, you’ve got to take elocution lessons, deportment classes, you gotta learn to fence. Wait a minute, hang on: I’m going to learn to talk like I don’t, be like I’m not, walk like I don’t — where am I in the middle of this? And so I didn’t take any lessons at all.”\u003c/p>\n\u003cp>Which didn’t keep him from getting parts, at first onstage, and then on TV, including his big break as a frustrated sheet-music salesman in \u003cem>Pennies from Heaven\u003c/em> — a frustrated but imaginative salesman, whose frustrations keep erupting into song\u003c/p>\n\u003cp>Hoskins’ big-screen career didn’t take off until casting directors decided he was a sort of British Edward G. Robinson — as the gangster in \u003cem>The Long Good Friday,\u003c/em> for instance, who made the mistake of ticking off the American Mafia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After that, he alternated between big Hollywood movies and — more and more — smaller independent films. He announced his retirement two years ago, and also his diagnosis with Parkinson’s. But by then, the performance career that began as a fluke had seen Bob Hoskins growl and bluster his way through more than 100 roles onscreen — indelibly, pretty much every time. \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=Bob+Hoskins%3A+A+Specialist+In+Tough+Guys+With+Soft+Hearts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started,” Hoskins said, “they said, you know, you’ve got to take elocution lessons, deportment classes, you gotta learn to fence. Wait a minute, hang on: I’m going to learn to talk like I don’t, be like I’m not, walk like I don’t — where am I in the middle of this? And so I didn’t take any lessons at all.”\u003c/p>\n\u003cp>Which didn’t keep him from getting parts, at first onstage, and then on TV, including his big break as a frustrated sheet-music salesman in \u003cem>Pennies from Heaven\u003c/em> — a frustrated but imaginative salesman, whose frustrations keep erupting into song\u003c/p>\n\u003cp>Hoskins’ big-screen career didn’t take off until casting directors decided he was a sort of British Edward G. Robinson — as the gangster in \u003cem>The Long Good Friday,\u003c/em> for instance, who made the mistake of ticking off the American Mafia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After that, he alternated between big Hollywood movies and — more and more — smaller independent films. He announced his retirement two years ago, and also his diagnosis with Parkinson’s. But by then, the performance career that began as a fluke had seen Bob Hoskins growl and bluster his way through more than 100 roles onscreen — indelibly, pretty much every time. \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=Bob+Hoskins%3A+A+Specialist+In+Tough+Guys+With+Soft+Hearts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It is never not awkward to talk about a film after one of the stars has died. That’s perhaps never any more true than it is in the case of \u003cem>Brick Mansions\u003c/em>, one of the last films of Paul Walker. Walker died in November of last year after a career that included a lot of movies like this one: silly, hyper action thrillers that often included, as this one does, moments in which everybody in the theater chortled at their insane, cartoonish brutality.\u003c/p>\n\u003cp>There is no way to make there be anything elegiac about \u003cem>Brick Mansions\u003c/em>, or out of the experience of seeing it. To try to make it a celebration of life or to find in it any lessons whatsoever would be absurd and, in its way, disrespectful to the 50 percent serious (plus or minus one percent) way in which it’s made.\u003c/p>\n\u003cp>\u003cem>Brick Mansions\u003c/em> is a remake of the 2004 French film \u003cem>Banlieue 13\u003c/em>, which you can find for rent in the United States as \u003cem>District B13\u003c/em> — a film for which the dialogue is so relatively insignificant that they serve it up dubbed rather than subtitled. \u003cem>District B13\u003c/em> came from screenwriters Luc Besson and Bibi Naceri, who also wrote \u003cem>Brick Mansions\u003c/em>. What’s more, the original and this remake share a star: French actor and stunt coordinator David Belle, one of the originators of Parkour, a discipline that sends guys running through the streets, flipping and climbing walls for the benefit of, very often, YouTube.\u003c/p>\n\u003cp>In this version, Belle plays Lino, the honest man who happens to be the only person left who really cares about Brick Mansions, a Detroit housing project that’s been walled off by the police and left to rot. The place is run by Tremaine (RZA), who you know is the ringleader because at the police station, it says “RING LEADER” next to his picture. Lino takes some of Tremaine’s drugs and destroys them, Tremaine kidnaps Lino’s girlfriend, and Lino teams up with cop Damien — played by Paul Walker — who also wants to bring down Tremaine and save the girl.\u003c/p>\n\u003cp>Fighting ensues. Running ensues. Jumping ensues. There’s a bomb with a prominent readout. Back flips ensue. Bonking each other with props ensues. And at the end, there’s an intriguing little twist that’s intended to inject a little social commentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But mostly, it’s a fighting movie. If you’ve always wondered why more guys don’t beat each other with steering wheels, this is your movie! If you’ve always wondered how you could gruesomely kill someone from inside a cell, this is your movie! If you’ve always wondered how two smaller guys might defeat a huge guy, this is your movie!\u003c/p>\n\u003cp>There’s a sort of good-natured goofiness to \u003cem>Brick Mansions\u003c/em>, and particularly to how ill-equipped Walker really is to keep pace with Belle (who, himself, may be ill-equipped to keep pace with himself from ten years ago). There are a couple of nice references to the fact that Lino’s way of navigating Fake Detroit is pretty intimidating, even to a cop who earlier pulls off a rousingly entertaining unauthorized entry into a speeding car.\u003c/p>\n\u003cp>Parkour is \u003cem>really fun\u003c/em> to watch; that’s why YouTube likes it. The guys who do it are crazily, anti-gravitationally athletic, and it doesn’t need a lot of kinetic editing to look kinetic. It is kinetic already, and in the original \u003cem>District B13\u003c/em>, while there’s still more editing than it probably needs, the camera does sometimes pause long enough to watch Belle do his thing, which is why the people are there.\u003c/p>\n\u003cp>Of course, that was 2004. We are now in 2014, and chaos cinema — as a fine \u003ca href=\"http://blogs.indiewire.com/pressplay/video_essay_matthias_stork_calls_out_the_chaos_cinema\" target=\"_blank\" rel=\"noopener\">video essay\u003c/a> by Matthias Stork called it — is dominant. Post-Bourne, post-Michael-Bay, and, yes, post-six \u003cem>Fast-And-Furious\u003c/em> movies, action sequences are typically shot with such a manic camera that you can barely keep track of what’s happening. When all you’re missing out on is cars flipping and regular actors having a fight, it’s one thing. But when you’re missing out on David Belle doing Parkour, it’s \u003cem>hugely\u003c/em> frustrating, because — again — it’s the best reason to see the movie.\u003c/p>\n\u003cp>Furthermore, \u003cem>Brick Mansions\u003c/em> suffers from another weird tic of action directors and cinematographers, which is that weird, jumpy, sticky effect that I have long recognized but only recently came to know by the apt name “staccato shutter.” It’s the camera effect Steven Spielberg and cinematographer Janusz Kaminski used to get a sort of ultra-real look at the beginning of \u003cem>Saving Private Ryan\u003c/em>, and it’s also often associated with \u003cem>Gladiator\u003c/em>. It creates stuttery-looking action scenes, and \u003cem>Brick Mansions \u003c/em>uses it a \u003cem>lot\u003c/em>. Not only that, but they use a more extreme version of it than I can remember seeing in the past, so that you’re getting a very disorienting shutter effect \u003cem>combined with \u003c/em>the crazy-fast editing that’s disorienting already. (You can see it in \u003ca href=\"https://www.youtube.com/watch?v=gBevHl9Hvgs\" target=\"_blank\" rel=\"noopener\">this clip\u003c/a>. Spoiler alert: there’s punching.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And all of this has the effect of dampening the impact of what Belle is bringing to this movie that’s legitimately different from what you get in most action movies. It’s too bad, though the movie still has some enjoyably over the top sequences and some funny moments between Walker and Belle. It feels like it was fun to make. It feels like, despite being a remake, it was made with some zazz and with, at the least, some desire that it be a hoot to watch. And it is a hoot to watch, even if, to be honest, there’s little reason for it to exist. \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=A+Punching+Movie+That+Packs+A+Punch+For+People+Who+Like+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is never not awkward to talk about a film after one of the stars has died. That’s perhaps never any more true than it is in the case of \u003cem>Brick Mansions\u003c/em>, one of the last films of Paul Walker. Walker died in November of last year after a career that included a lot of movies like this one: silly, hyper action thrillers that often included, as this one does, moments in which everybody in the theater chortled at their insane, cartoonish brutality.\u003c/p>\n\u003cp>There is no way to make there be anything elegiac about \u003cem>Brick Mansions\u003c/em>, or out of the experience of seeing it. To try to make it a celebration of life or to find in it any lessons whatsoever would be absurd and, in its way, disrespectful to the 50 percent serious (plus or minus one percent) way in which it’s made.\u003c/p>\n\u003cp>\u003cem>Brick Mansions\u003c/em> is a remake of the 2004 French film \u003cem>Banlieue 13\u003c/em>, which you can find for rent in the United States as \u003cem>District B13\u003c/em> — a film for which the dialogue is so relatively insignificant that they serve it up dubbed rather than subtitled. \u003cem>District B13\u003c/em> came from screenwriters Luc Besson and Bibi Naceri, who also wrote \u003cem>Brick Mansions\u003c/em>. What’s more, the original and this remake share a star: French actor and stunt coordinator David Belle, one of the originators of Parkour, a discipline that sends guys running through the streets, flipping and climbing walls for the benefit of, very often, YouTube.\u003c/p>\n\u003cp>In this version, Belle plays Lino, the honest man who happens to be the only person left who really cares about Brick Mansions, a Detroit housing project that’s been walled off by the police and left to rot. The place is run by Tremaine (RZA), who you know is the ringleader because at the police station, it says “RING LEADER” next to his picture. Lino takes some of Tremaine’s drugs and destroys them, Tremaine kidnaps Lino’s girlfriend, and Lino teams up with cop Damien — played by Paul Walker — who also wants to bring down Tremaine and save the girl.\u003c/p>\n\u003cp>Fighting ensues. Running ensues. Jumping ensues. There’s a bomb with a prominent readout. Back flips ensue. Bonking each other with props ensues. And at the end, there’s an intriguing little twist that’s intended to inject a little social commentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But mostly, it’s a fighting movie. If you’ve always wondered why more guys don’t beat each other with steering wheels, this is your movie! If you’ve always wondered how you could gruesomely kill someone from inside a cell, this is your movie! If you’ve always wondered how two smaller guys might defeat a huge guy, this is your movie!\u003c/p>\n\u003cp>There’s a sort of good-natured goofiness to \u003cem>Brick Mansions\u003c/em>, and particularly to how ill-equipped Walker really is to keep pace with Belle (who, himself, may be ill-equipped to keep pace with himself from ten years ago). There are a couple of nice references to the fact that Lino’s way of navigating Fake Detroit is pretty intimidating, even to a cop who earlier pulls off a rousingly entertaining unauthorized entry into a speeding car.\u003c/p>\n\u003cp>Parkour is \u003cem>really fun\u003c/em> to watch; that’s why YouTube likes it. The guys who do it are crazily, anti-gravitationally athletic, and it doesn’t need a lot of kinetic editing to look kinetic. It is kinetic already, and in the original \u003cem>District B13\u003c/em>, while there’s still more editing than it probably needs, the camera does sometimes pause long enough to watch Belle do his thing, which is why the people are there.\u003c/p>\n\u003cp>Of course, that was 2004. We are now in 2014, and chaos cinema — as a fine \u003ca href=\"http://blogs.indiewire.com/pressplay/video_essay_matthias_stork_calls_out_the_chaos_cinema\" target=\"_blank\" rel=\"noopener\">video essay\u003c/a> by Matthias Stork called it — is dominant. Post-Bourne, post-Michael-Bay, and, yes, post-six \u003cem>Fast-And-Furious\u003c/em> movies, action sequences are typically shot with such a manic camera that you can barely keep track of what’s happening. When all you’re missing out on is cars flipping and regular actors having a fight, it’s one thing. But when you’re missing out on David Belle doing Parkour, it’s \u003cem>hugely\u003c/em> frustrating, because — again — it’s the best reason to see the movie.\u003c/p>\n\u003cp>Furthermore, \u003cem>Brick Mansions\u003c/em> suffers from another weird tic of action directors and cinematographers, which is that weird, jumpy, sticky effect that I have long recognized but only recently came to know by the apt name “staccato shutter.” It’s the camera effect Steven Spielberg and cinematographer Janusz Kaminski used to get a sort of ultra-real look at the beginning of \u003cem>Saving Private Ryan\u003c/em>, and it’s also often associated with \u003cem>Gladiator\u003c/em>. It creates stuttery-looking action scenes, and \u003cem>Brick Mansions \u003c/em>uses it a \u003cem>lot\u003c/em>. Not only that, but they use a more extreme version of it than I can remember seeing in the past, so that you’re getting a very disorienting shutter effect \u003cem>combined with \u003c/em>the crazy-fast editing that’s disorienting already. (You can see it in \u003ca href=\"https://www.youtube.com/watch?v=gBevHl9Hvgs\" target=\"_blank\" rel=\"noopener\">this clip\u003c/a>. Spoiler alert: there’s punching.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And all of this has the effect of dampening the impact of what Belle is bringing to this movie that’s legitimately different from what you get in most action movies. It’s too bad, though the movie still has some enjoyably over the top sequences and some funny moments between Walker and Belle. It feels like it was fun to make. It feels like, despite being a remake, it was made with some zazz and with, at the least, some desire that it be a hoot to watch. And it is a hoot to watch, even if, to be honest, there’s little reason for it to exist. \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=A+Punching+Movie+That+Packs+A+Punch+For+People+Who+Like+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a moment in \u003cem>The Other Woman \u003c/em>in which Leslie Mann and Cameron Diaz, playing a wife and her husband’s former mistress — now friends — fall into a hedge together. When they’re spotted, there’s a little bit of physical business that’s legitimately funny. If you can ignore the fact that the moments of this kind scattered through the film are decorating such a conceptually odious, stupid-to-the-bone enterprise, some of them may make you laugh.\u003c/p>\n\u003cp>But it may also occur to you just how bad — how \u003cem>bad\u003c/em> — it is that this is what we have to offer Mann and Diaz, who show themselves in these moments to be really able comic actresses: a story in which they play idiots with no interests of any kind except bickering over an utterly charmless man and then satisfying themselves that giving him explosive diarrhea and prominent nipples constitutes satisfying revenge for his having apparently robbed both of them of whatever souls and outside interests they once possessed.\u003c/p>\n\u003cp>It is the most grotesque pantomime of girl power, these beautiful women clinking glasses and ultimately trading what must be the weakest and least earned high-five in cinema history after executing a plot made possible by one of their daddies and done with considerably more panache in the painfully generic but at least mildly agreeable 1987 Michael J. Fox film \u003cem>The Secret of My Success\u003c/em>.\u003c/p>\n\u003cp>When we first meet them, both Kate (Mann) and Carly (Diaz) believe they are happy women, because they are both under the spell, such as it is, of Mark (Nikolaj Coster-Waldau), a man with all the inscrutable charisma of a tennis ball with a face drawn on it. Kate babbles at him and pees in front of him and doesn’t know she should groom her intimate areas, because that’s how wives are, right? Carly has wine with him at sundown and has lots of impetuous sex with him and talks to her secretary (Nicki Minaj) about him, because that’s how lady lawyer mistresses are, right?\u003c/p>\n\u003cp>(As a side note, while the need to advertise the themes of competitive pettiness is understandable, it seems like a dreadful missed opportunity that they didn’t call this \u003cem>Right, Fellas?: The Movie\u003c/em>. Someone in marketing was not keeping his [probably his] eye on the ball.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The women discover each other, at which point the cold one (the one who works in an office) is mercilessly stalked by the baffled, out-of-touch, nerdy, sexless one (the wife), until they become friends and eventually discover the young, large-breasted, dumb one — the other mistress, Amber, played by supermodel Kate Upton. At first, the two women over 40 naturally respond to the beautiful woman in her 20s by attempting to physically attack her out of jealousy (right, fellas?), but particularly once they learn that Amber is so stupid she doesn’t know which end of a pair of binoculars to look through, all three team up because they hate Mark, and what better animating principle is there for female friendship than being humiliated by the same man and having nothing better to do than feel miserable about it?\u003c/p>\n\u003cp>Now granted, all three of these women will ultimately need rescue from men in order to move on to the next phases of their lives — and again, they wouldn’t know what to do to Mark without advice they receive from Carly’s father (Don Johnson), which he delivers over a meal in a restaurant where Asian women give massages while you eat and feed you by hand. But don’t let that harsh your “sisters are doing it for themselves” mellow, ladies. HERE’S TO FRIENDSHIP!\u003c/p>\n\u003cp>It is a film that features a vomiting scene, a farting scene, a huge dog taking an extravagant, full-view dump on an apartment floor, the aforementioned diarrhea and nipple segments, a joke — the approach of which is visible from space — when a man is sexually humiliated by a transgender woman, and plenty of appreciative ogling of Kate Upton’s caboose.\u003c/p>\n\u003cp>It does not, however, manage to pass the Bechdel test, the laughably low bar that asks these questions: (1) Does a film have two women in it? (2) Do they talk to each other? (3) About something other than a man?\u003c/p>\n\u003cp>Yyyyyyyup. That’s right. \u003cem>The Other Woman \u003c/em>is 109 minutes long, and at no time do any of these women — including Carly and her secretary, who \u003cem>only know each other from work —\u003c/em> pause for a discussion, even for a moment, of anything other than a series of dudes: Mark, Kate’s brother, Carly’s father, the secretary’s husband, Carly’s other boyfriends. It is truly, no fooling, all they talk about for 109 minutes.\u003c/p>\n\u003cp>As has often been observed, there is nothing about the Bechdel test that is magical: plenty of good movies don’t pass it, and heaven knows plenty of terrible movies do. But the fact that a large studio like Twentieth Century Fox — not to mention an actual nonjoke director like Nick Cassavetes — can make an ode to female empowerment that at no time involves any women relating to each other about anything other than men?\u003c/p>\n\u003cp>It’s deliciously, almost poetically, perhaps polemically depressing. \u003cem>The Other Woman \u003c/em>is no charming film about lady buddies, the way they’d like it to be, but it is a gift-wrapped boon to critics who have been looking for an opportunity to explain the miserable circumstances in which genuinely talented comic actresses — even powerful ones, even proven ones, even ones doing the absolute best they possibly can — still very often find themselves.\u003c/p>\n\u003cp>There are isolated funny moments: That’s just the truth. Mann is a gloriously, unabashedly weird presence in the best way, always, and Diaz continues to be an often funny mix of glamorous and goofy, just like she’s been since she was a young actress-model herself. The audience I was with laughed at this movie sometimes. They looked at it — twice — and said, literally, “This [excrement] is funny.” And were it wrapped around a story that was 50 percent, 20 percent, even 10 percent less corrosive and gross, maybe that would be easier to endorse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know what you’re thinking: “Enough beating around the bush. Just tell us whether you liked it!” Consider this, which I will say in terms this movie would understand: If you were on an airplane, \u003cem>The Other Woman \u003c/em>might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag. This is what we’ve got, girls. This is what’s on offer. Use your judgment. \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=%27The+Other+Woman%27%3A+When+Terrible+Movies+Happen+To+Funny+Actresses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in \u003cem>The Other Woman \u003c/em>in which Leslie Mann and Cameron Diaz, playing a wife and her husband’s former mistress — now friends — fall into a hedge together. When they’re spotted, there’s a little bit of physical business that’s legitimately funny. If you can ignore the fact that the moments of this kind scattered through the film are decorating such a conceptually odious, stupid-to-the-bone enterprise, some of them may make you laugh.\u003c/p>\n\u003cp>But it may also occur to you just how bad — how \u003cem>bad\u003c/em> — it is that this is what we have to offer Mann and Diaz, who show themselves in these moments to be really able comic actresses: a story in which they play idiots with no interests of any kind except bickering over an utterly charmless man and then satisfying themselves that giving him explosive diarrhea and prominent nipples constitutes satisfying revenge for his having apparently robbed both of them of whatever souls and outside interests they once possessed.\u003c/p>\n\u003cp>It is the most grotesque pantomime of girl power, these beautiful women clinking glasses and ultimately trading what must be the weakest and least earned high-five in cinema history after executing a plot made possible by one of their daddies and done with considerably more panache in the painfully generic but at least mildly agreeable 1987 Michael J. Fox film \u003cem>The Secret of My Success\u003c/em>.\u003c/p>\n\u003cp>When we first meet them, both Kate (Mann) and Carly (Diaz) believe they are happy women, because they are both under the spell, such as it is, of Mark (Nikolaj Coster-Waldau), a man with all the inscrutable charisma of a tennis ball with a face drawn on it. Kate babbles at him and pees in front of him and doesn’t know she should groom her intimate areas, because that’s how wives are, right? Carly has wine with him at sundown and has lots of impetuous sex with him and talks to her secretary (Nicki Minaj) about him, because that’s how lady lawyer mistresses are, right?\u003c/p>\n\u003cp>(As a side note, while the need to advertise the themes of competitive pettiness is understandable, it seems like a dreadful missed opportunity that they didn’t call this \u003cem>Right, Fellas?: The Movie\u003c/em>. Someone in marketing was not keeping his [probably his] eye on the ball.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The women discover each other, at which point the cold one (the one who works in an office) is mercilessly stalked by the baffled, out-of-touch, nerdy, sexless one (the wife), until they become friends and eventually discover the young, large-breasted, dumb one — the other mistress, Amber, played by supermodel Kate Upton. At first, the two women over 40 naturally respond to the beautiful woman in her 20s by attempting to physically attack her out of jealousy (right, fellas?), but particularly once they learn that Amber is so stupid she doesn’t know which end of a pair of binoculars to look through, all three team up because they hate Mark, and what better animating principle is there for female friendship than being humiliated by the same man and having nothing better to do than feel miserable about it?\u003c/p>\n\u003cp>Now granted, all three of these women will ultimately need rescue from men in order to move on to the next phases of their lives — and again, they wouldn’t know what to do to Mark without advice they receive from Carly’s father (Don Johnson), which he delivers over a meal in a restaurant where Asian women give massages while you eat and feed you by hand. But don’t let that harsh your “sisters are doing it for themselves” mellow, ladies. HERE’S TO FRIENDSHIP!\u003c/p>\n\u003cp>It is a film that features a vomiting scene, a farting scene, a huge dog taking an extravagant, full-view dump on an apartment floor, the aforementioned diarrhea and nipple segments, a joke — the approach of which is visible from space — when a man is sexually humiliated by a transgender woman, and plenty of appreciative ogling of Kate Upton’s caboose.\u003c/p>\n\u003cp>It does not, however, manage to pass the Bechdel test, the laughably low bar that asks these questions: (1) Does a film have two women in it? (2) Do they talk to each other? (3) About something other than a man?\u003c/p>\n\u003cp>Yyyyyyyup. That’s right. \u003cem>The Other Woman \u003c/em>is 109 minutes long, and at no time do any of these women — including Carly and her secretary, who \u003cem>only know each other from work —\u003c/em> pause for a discussion, even for a moment, of anything other than a series of dudes: Mark, Kate’s brother, Carly’s father, the secretary’s husband, Carly’s other boyfriends. It is truly, no fooling, all they talk about for 109 minutes.\u003c/p>\n\u003cp>As has often been observed, there is nothing about the Bechdel test that is magical: plenty of good movies don’t pass it, and heaven knows plenty of terrible movies do. But the fact that a large studio like Twentieth Century Fox — not to mention an actual nonjoke director like Nick Cassavetes — can make an ode to female empowerment that at no time involves any women relating to each other about anything other than men?\u003c/p>\n\u003cp>It’s deliciously, almost poetically, perhaps polemically depressing. \u003cem>The Other Woman \u003c/em>is no charming film about lady buddies, the way they’d like it to be, but it is a gift-wrapped boon to critics who have been looking for an opportunity to explain the miserable circumstances in which genuinely talented comic actresses — even powerful ones, even proven ones, even ones doing the absolute best they possibly can — still very often find themselves.\u003c/p>\n\u003cp>There are isolated funny moments: That’s just the truth. Mann is a gloriously, unabashedly weird presence in the best way, always, and Diaz continues to be an often funny mix of glamorous and goofy, just like she’s been since she was a young actress-model herself. The audience I was with laughed at this movie sometimes. They looked at it — twice — and said, literally, “This [excrement] is funny.” And were it wrapped around a story that was 50 percent, 20 percent, even 10 percent less corrosive and gross, maybe that would be easier to endorse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know what you’re thinking: “Enough beating around the bush. Just tell us whether you liked it!” Consider this, which I will say in terms this movie would understand: If you were on an airplane, \u003cem>The Other Woman \u003c/em>might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag. This is what we’ve got, girls. This is what’s on offer. Use your judgment. \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=%27The+Other+Woman%27%3A+When+Terrible+Movies+Happen+To+Funny+Actresses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Transcendence\u003c/em> seems like the perfect film for Wally Pfister to kick off his career as a director. Pfister emerged as one of the best cinematographers in the business through his collaborations with Christopher Nolan (which also won him an Oscar, for Inception), and one of the hallmarks of that collaboration has been their dogged commitment to shooting on film rather than digitally, even as the industry has rapidly abandoned the 20th century technology. With \u003cem>Transcendence\u003c/em>, a science-fiction tale about an artificial digital intelligence putting our old-fashioned analog intelligence at risk of eradication, Pfister gets to play out that philosophical battle at a level with life-or-death stakes.\u003c/p>\n\u003cp>He establishes Will Caster (Johnny Depp) as a man with feet on both sides of that divide: He’s the world’s leading researcher in artificial intelligence technology, a man whose life is devoted to creating consciousness out of circuit boards, but his sanctuary at home is a lush green garden where he listens to old LPs on a record player.\u003c/p>\n\u003cp>http://youtu.be/VCTen3-B8GU\u003c/p>\n\u003cp>Caster fits neatly into sci-fi archetype as a scientist interested in the noble pursuit of pure knowledge — it’s how that knowledge is used by others that winds up becoming a problem. As he says at one speaking engagement, it’s his wife Evelyn (Rebecca Hall) who wants to change the world; he just wants to understand it.\u003c/p>\n\u003cp>Not everyone views his intentions as so honorable, and when an organization known as RIFT (Revolutionary Independence from Technology), takes out most of his colleagues in a coordinated attack and leaves him with one month to live, it’s Evelyn who suggests using his AI technology to allow the contents of his mind to live on after his body has died. Is the technology ready to house the fullness of a human mind? Their friend and technological ethicist Max (Paul Bettany) raises some cautionary objections, but Evelyn insists. What could really go wrong with such good intentions?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plenty, as it turns out. As Caster’s consciousness and processing power grows, so does its malevolent danger, and the story begins to draw on a variety of deadly sci-fi influences, from \u003cem>2001: A Space Odyssey\u003c/em> (Depp particularly seems to be consciously channeling HAL’s creepy placidity once he is reborn into ones and zeros) to \u003cem>Invasion of the Body Snatchers\u003c/em>. But as it turns out, the more relevant (and gentler) touchstone is more recent: Not unlike last year’s \u003cem>Her\u003c/em>, what the film really hinges on is the tricky notion of love between flesh and blood humans and sentient machines.\u003c/p>\n\u003cp>All of this feels not unlike Christopher Nolan’s own films: grand, gorgeous works filled with stunning imagery that are as full of Big Ideas as they are Big Entertainment. Regular Nolan cast members like Cillian Murphy and Morgan Freeman (as an FBI agent and another tech researcher, respectively) bolster that notion. But what’s harder to borrow is the director’s gift for telling those big stories so effortlessly, and it’s here where Pfister and \u003cem>Transcendence\u003c/em> stumble hard.\u003c/p>\n\u003cp>\u003cem>Transcendence\u003c/em> has hints of a richly complex story, but too often feels content just dumping the pieces of its puzzle out on the table without doing much assembly – or even making sure all the pieces are even there. Eliding certain details and allowing the imagination of the viewer to fill in blanks is essential to any fiction, science especially, but too often Pfister’s choices gloss over things like essential character development or even basic cues for the passage of time – the massive underground compound that eventually houses Will’s mind feels as though it blinks into existence in a matter of days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without real engagement with the characters, no matter how pretty the movie is (and it’s very, very pretty), it can’t help but feel hollow, and more than a little dull. So while the subject matter might be well matched to Pfister’s particular interests, it’s hard to get around the fact that no matter how much time he’s spent behind a camera, this is still his first time as director. Nolan started small, on films like \u003cem>Following\u003c/em> and \u003cem>Memento\u003c/em>, before trying his hand at anything remotely this ambitious. Pfister’s years spent developing a visual style may be visible right up there on the screen, but so too are the years he hasn’t yet spent controlling all aspects of the storytelling process. Evelyn isn’t the only one here who tries reaching too high, too fast. \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=The+Ambitious+Drive+To+Do+Too+Much+Too+Fast%2C+On+Screen+And+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Transcendence\u003c/em> seems like the perfect film for Wally Pfister to kick off his career as a director. Pfister emerged as one of the best cinematographers in the business through his collaborations with Christopher Nolan (which also won him an Oscar, for Inception), and one of the hallmarks of that collaboration has been their dogged commitment to shooting on film rather than digitally, even as the industry has rapidly abandoned the 20th century technology. With \u003cem>Transcendence\u003c/em>, a science-fiction tale about an artificial digital intelligence putting our old-fashioned analog intelligence at risk of eradication, Pfister gets to play out that philosophical battle at a level with life-or-death stakes.\u003c/p>\n\u003cp>He establishes Will Caster (Johnny Depp) as a man with feet on both sides of that divide: He’s the world’s leading researcher in artificial intelligence technology, a man whose life is devoted to creating consciousness out of circuit boards, but his sanctuary at home is a lush green garden where he listens to old LPs on a record player.\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/VCTen3-B8GU'\n title='//www.youtube.com/embed/VCTen3-B8GU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Caster fits neatly into sci-fi archetype as a scientist interested in the noble pursuit of pure knowledge — it’s how that knowledge is used by others that winds up becoming a problem. As he says at one speaking engagement, it’s his wife Evelyn (Rebecca Hall) who wants to change the world; he just wants to understand it.\u003c/p>\n\u003cp>Not everyone views his intentions as so honorable, and when an organization known as RIFT (Revolutionary Independence from Technology), takes out most of his colleagues in a coordinated attack and leaves him with one month to live, it’s Evelyn who suggests using his AI technology to allow the contents of his mind to live on after his body has died. Is the technology ready to house the fullness of a human mind? Their friend and technological ethicist Max (Paul Bettany) raises some cautionary objections, but Evelyn insists. What could really go wrong with such good intentions?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plenty, as it turns out. As Caster’s consciousness and processing power grows, so does its malevolent danger, and the story begins to draw on a variety of deadly sci-fi influences, from \u003cem>2001: A Space Odyssey\u003c/em> (Depp particularly seems to be consciously channeling HAL’s creepy placidity once he is reborn into ones and zeros) to \u003cem>Invasion of the Body Snatchers\u003c/em>. But as it turns out, the more relevant (and gentler) touchstone is more recent: Not unlike last year’s \u003cem>Her\u003c/em>, what the film really hinges on is the tricky notion of love between flesh and blood humans and sentient machines.\u003c/p>\n\u003cp>All of this feels not unlike Christopher Nolan’s own films: grand, gorgeous works filled with stunning imagery that are as full of Big Ideas as they are Big Entertainment. Regular Nolan cast members like Cillian Murphy and Morgan Freeman (as an FBI agent and another tech researcher, respectively) bolster that notion. But what’s harder to borrow is the director’s gift for telling those big stories so effortlessly, and it’s here where Pfister and \u003cem>Transcendence\u003c/em> stumble hard.\u003c/p>\n\u003cp>\u003cem>Transcendence\u003c/em> has hints of a richly complex story, but too often feels content just dumping the pieces of its puzzle out on the table without doing much assembly – or even making sure all the pieces are even there. Eliding certain details and allowing the imagination of the viewer to fill in blanks is essential to any fiction, science especially, but too often Pfister’s choices gloss over things like essential character development or even basic cues for the passage of time – the massive underground compound that eventually houses Will’s mind feels as though it blinks into existence in a matter of days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without real engagement with the characters, no matter how pretty the movie is (and it’s very, very pretty), it can’t help but feel hollow, and more than a little dull. So while the subject matter might be well matched to Pfister’s particular interests, it’s hard to get around the fact that no matter how much time he’s spent behind a camera, this is still his first time as director. Nolan started small, on films like \u003cem>Following\u003c/em> and \u003cem>Memento\u003c/em>, before trying his hand at anything remotely this ambitious. Pfister’s years spent developing a visual style may be visible right up there on the screen, but so too are the years he hasn’t yet spent controlling all aspects of the storytelling process. Evelyn isn’t the only one here who tries reaching too high, too fast. \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=The+Ambitious+Drive+To+Do+Too+Much+Too+Fast%2C+On+Screen+And+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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": "\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. 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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. 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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>\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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"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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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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