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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>\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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"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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"title": "'Grand Budapest Hotel': Kitsch, Cameos And A Gloriously Stylized Europe",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"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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"content": "\u003cp>If you’re only going to see one film about the Battle of Stalingrad — and there are many — \u003cem>Stalingrad \u003c/em>would be the wrong choice. Russian director Fedor Bondarchuk’s treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.\u003c/p>\n\u003cp>This is first film about Stalingrad, for example, to open with voiceover in Japanese. The completely unnecessary framing story is set in the Tohoku region just after it was pummeled by the 2011 earthquake and tsunami. Among the international rescue workers is a Russian who speaks German. Seeking to calm five German students trapped in a collapsed building, he tells them a reassuring tale. It’s about Russians behind enemy lines, trapped in a nearly collapsed building during what some reckon was the bloodiest military campaign in human history.\u003c/p>\n\u003cp>Cheered up yet, kids?\u003c/p>\n\u003cp>Cut to 1942, when Russians are sneaking across the Volga to strike German positions. To stop them, German Col. Peter Kahn (Thomas Kretschmann) manages to blow up a fuel dump, setting many of the attackers afire. In a deliriously impossible scene, blazing Russian soldiers continue their offensive, killing Germans as their own bodies char.\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=_Da3EgZUA0Y&w=640&h=360]\u003c/p>\n\u003cp>This brutal sequence is as sweeping as anything in \u003cem>Enemy at the Gates\u003c/em>, the 2001 English-language Stalingrad epic. But then the movie shifts to a more intimate (and affordable) scale. A few survivors of the onslaught take shelter in a bombed-out apartment house. For most of the rest of story, they hold their position against the much larger German contingent outside. Eventually, only five Russian fighters remain, each waiting for a chance to demonstrate his noble spirit of self-sacrifice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just one tenant has survived the fighting: Katya (Maria Smolnikova), who’s almost 19. To the Russian soldiers, she’s everything they’re fighting for — country, sisters, mothers, wives. Radio operator Sergey (Sergey Bondarchuk Jr.) is particularly taken with the girl. When not battling the Germans hand-to-hand in kung fu-style brawls, the men plan Katya’s birthday party.\u003c/p>\n\u003cp>To balance this sentimental tale, there’s a harsher one about another woman: Masha (Yana Studilina), who’s reluctantly under Kahn’s protection. Compared to his abominable commanding officer, the Colonel is almost a nice guy; he bristles at his fellow Germans’ brutality toward civilians, but intervenes to help only Masha, a blonde beauty who reminds him of his late wife. The fate of one of these women will ultimately be revealed on the movie’s concluding trip to Japan, which is just as disorienting as the first one.\u003c/p>\n\u003cp>This is the first Russian production to be presented in IMAX 3-D, technology that doesn’t add much to the film but does distinguish it from the 1989 Russian \u003cem>Stalingrad \u003c/em>(which starred Fedor Bondarchuk) and the 1993 German \u003cem>Stalingrad \u003c/em>(which starred Thomas Kretschmann).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spectacle, literally amplified by Angelo Badalamenti’s strident score, helped make Bondarchuk’s movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn’t grow up on the heroic national legend of Stalingrad — and lately haven’t shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of \u003cem>Stalingrad\u003c/em>‘s curious developments and bewildering gestures, the strangest thing about the movie may be that it’s even being released in the U.S.\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=In+%27Stalingrad%2C%27+Where+The+Fog+Of+War+Is+Plenty+Thick&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re only going to see one film about the Battle of Stalingrad — and there are many — \u003cem>Stalingrad \u003c/em>would be the wrong choice. Russian director Fedor Bondarchuk’s treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.\u003c/p>\n\u003cp>This is first film about Stalingrad, for example, to open with voiceover in Japanese. The completely unnecessary framing story is set in the Tohoku region just after it was pummeled by the 2011 earthquake and tsunami. Among the international rescue workers is a Russian who speaks German. Seeking to calm five German students trapped in a collapsed building, he tells them a reassuring tale. It’s about Russians behind enemy lines, trapped in a nearly collapsed building during what some reckon was the bloodiest military campaign in human history.\u003c/p>\n\u003cp>Cheered up yet, kids?\u003c/p>\n\u003cp>Cut to 1942, when Russians are sneaking across the Volga to strike German positions. To stop them, German Col. Peter Kahn (Thomas Kretschmann) manages to blow up a fuel dump, setting many of the attackers afire. In a deliriously impossible scene, blazing Russian soldiers continue their offensive, killing Germans as their own bodies char.\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/_Da3EgZUA0Y'\n title='//www.youtube.com/embed/_Da3EgZUA0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This brutal sequence is as sweeping as anything in \u003cem>Enemy at the Gates\u003c/em>, the 2001 English-language Stalingrad epic. But then the movie shifts to a more intimate (and affordable) scale. A few survivors of the onslaught take shelter in a bombed-out apartment house. For most of the rest of story, they hold their position against the much larger German contingent outside. Eventually, only five Russian fighters remain, each waiting for a chance to demonstrate his noble spirit of self-sacrifice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just one tenant has survived the fighting: Katya (Maria Smolnikova), who’s almost 19. To the Russian soldiers, she’s everything they’re fighting for — country, sisters, mothers, wives. Radio operator Sergey (Sergey Bondarchuk Jr.) is particularly taken with the girl. When not battling the Germans hand-to-hand in kung fu-style brawls, the men plan Katya’s birthday party.\u003c/p>\n\u003cp>To balance this sentimental tale, there’s a harsher one about another woman: Masha (Yana Studilina), who’s reluctantly under Kahn’s protection. Compared to his abominable commanding officer, the Colonel is almost a nice guy; he bristles at his fellow Germans’ brutality toward civilians, but intervenes to help only Masha, a blonde beauty who reminds him of his late wife. The fate of one of these women will ultimately be revealed on the movie’s concluding trip to Japan, which is just as disorienting as the first one.\u003c/p>\n\u003cp>This is the first Russian production to be presented in IMAX 3-D, technology that doesn’t add much to the film but does distinguish it from the 1989 Russian \u003cem>Stalingrad \u003c/em>(which starred Fedor Bondarchuk) and the 1993 German \u003cem>Stalingrad \u003c/em>(which starred Thomas Kretschmann).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spectacle, literally amplified by Angelo Badalamenti’s strident score, helped make Bondarchuk’s movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn’t grow up on the heroic national legend of Stalingrad — and lately haven’t shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of \u003cem>Stalingrad\u003c/em>‘s curious developments and bewildering gestures, the strangest thing about the movie may be that it’s even being released in the U.S.\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=In+%27Stalingrad%2C%27+Where+The+Fog+Of+War+Is+Plenty+Thick&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel’s secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.\u003c/p>\n\u003cp>First to arrive — this weekend, in limited release — is the Palestinian Oscar nominee for foreign-language film, \u003cem>Omar,\u003c/em> made by celebrated director Hany Abu-Assad, whose 2005 drama \u003cem>Paradise Now\u003c/em> also dealt with Arab-Israeli tensions. Two weeks from now, first-time writer-director Yuval Adler will unveil his thriller \u003cem>Bethlehem,\u003c/em> which has taken home prizes from a number of European festivals.\u003c/p>\n\u003cp>Both films start with gunfire — Palestinian teenagers using a rural street sign for target practice in \u003cem>Bethlehem,\u003c/em> Israeli soldiers using the title character for target practice in \u003cem>Omar\u003c/em>. Actually, I’m being overly glib: Omar, who’s Palestinian and a baker by trade, is scaling the Israeli-built wall that bisects his community when he’s shot at. He’s a genuine target, not target practice.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=OPcvn4Mtglc\u003c/p>\n\u003cp>But the place — a literally biblical landscape pierced by gunfire — feels identical in the two films. So do their basic outlines. In each, a militant Palestinian youngster will be coerced into ratting out his friends to an Israeli secret service agent. In each, the young man’s relationships with his community, and with his agent, will become fraught and complicated. In each, the price of betrayal will be measured in blood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the titles \u003cem>Omar\u003c/em> and \u003cem>Bethlehem\u003c/em> suggest, the films come at their stories differently. The Palestinian \u003cem>Omar\u003c/em> feels intimate, centering on its young baker (Adam Bakri) and his romance with a friend’s sister (Leem Lubany); it was she, Nadia, he was trying to visit on the other side of the wall. Only after establishing those characters, and how Shin Bet agent Rami (Waleed Zuaiter) comes between them, does the director expand the film’s focus to embrace their divided community.\u003c/p>\n\u003cp>The Israeli film takes the opposite course, concentrating initially on its titular town’s unraveling social fabric — its Palestinian community is run by officious politicos and overrun by Kalashnikov-toting thugs — and then delving into what that unraveling means for one troubled teen. Sanfur (Shadi Mar’i) has an older brother who’s a notorious terrorist, along with a Shin Bet handler (Tsahi Halevi) who has adopted an almost parental attitude toward him.\u003c/p>\n\u003cp>While the films are equally earnest, they are not equally accomplished. \u003cem>Bethlehem\u003c/em> qualifies as a promising debut for its first-time actors and director, but it’s slack at first, and the thriller tricks it uses to ratchet up the tension later — musical underscoring, careening vehicles, threatening crowds — keep it from sneaking past your defenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> gets past those barriers mostly by being an effective nail-biter of a personal story, but also by creating a persuasive real-world milieu. It’s the sort of film that feels so authentic that even knowing it’s a fiction, the morning after seeing it, I found myself scanning headlines to see if there were any new developments. \u003cem>Omar\u003c/em> had me doing that — and had me, tragically, finding plenty of parallels in the real world from which it arises.\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=One+Conflict%2C+One+Wall%2C+Two+Sides+Of+The+Arab-Israeli+World&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Bob Mondello reviews \u003cem>Omar\u003c/em> and\u003cem> Bethlehem,\u003c/em> two intriguingly similar films about the complicated relationships between Israeli secret service agents and their Palestinian informants.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel’s secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.\u003c/p>\n\u003cp>First to arrive — this weekend, in limited release — is the Palestinian Oscar nominee for foreign-language film, \u003cem>Omar,\u003c/em> made by celebrated director Hany Abu-Assad, whose 2005 drama \u003cem>Paradise Now\u003c/em> also dealt with Arab-Israeli tensions. Two weeks from now, first-time writer-director Yuval Adler will unveil his thriller \u003cem>Bethlehem,\u003c/em> which has taken home prizes from a number of European festivals.\u003c/p>\n\u003cp>Both films start with gunfire — Palestinian teenagers using a rural street sign for target practice in \u003cem>Bethlehem,\u003c/em> Israeli soldiers using the title character for target practice in \u003cem>Omar\u003c/em>. Actually, I’m being overly glib: Omar, who’s Palestinian and a baker by trade, is scaling the Israeli-built wall that bisects his community when he’s shot at. He’s a genuine target, not target practice.\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/OPcvn4Mtglc'\n title='//www.youtube.com/embed/OPcvn4Mtglc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the place — a literally biblical landscape pierced by gunfire — feels identical in the two films. So do their basic outlines. In each, a militant Palestinian youngster will be coerced into ratting out his friends to an Israeli secret service agent. In each, the young man’s relationships with his community, and with his agent, will become fraught and complicated. In each, the price of betrayal will be measured in blood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the titles \u003cem>Omar\u003c/em> and \u003cem>Bethlehem\u003c/em> suggest, the films come at their stories differently. The Palestinian \u003cem>Omar\u003c/em> feels intimate, centering on its young baker (Adam Bakri) and his romance with a friend’s sister (Leem Lubany); it was she, Nadia, he was trying to visit on the other side of the wall. Only after establishing those characters, and how Shin Bet agent Rami (Waleed Zuaiter) comes between them, does the director expand the film’s focus to embrace their divided community.\u003c/p>\n\u003cp>The Israeli film takes the opposite course, concentrating initially on its titular town’s unraveling social fabric — its Palestinian community is run by officious politicos and overrun by Kalashnikov-toting thugs — and then delving into what that unraveling means for one troubled teen. Sanfur (Shadi Mar’i) has an older brother who’s a notorious terrorist, along with a Shin Bet handler (Tsahi Halevi) who has adopted an almost parental attitude toward him.\u003c/p>\n\u003cp>While the films are equally earnest, they are not equally accomplished. \u003cem>Bethlehem\u003c/em> qualifies as a promising debut for its first-time actors and director, but it’s slack at first, and the thriller tricks it uses to ratchet up the tension later — musical underscoring, careening vehicles, threatening crowds — keep it from sneaking past your defenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> gets past those barriers mostly by being an effective nail-biter of a personal story, but also by creating a persuasive real-world milieu. It’s the sort of film that feels so authentic that even knowing it’s a fiction, the morning after seeing it, I found myself scanning headlines to see if there were any new developments. \u003cem>Omar\u003c/em> had me doing that — and had me, tragically, finding plenty of parallels in the real world from which it arises.\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=One+Conflict%2C+One+Wall%2C+Two+Sides+Of+The+Arab-Israeli+World&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more “immersive” experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: \u003cem>Gravity\u003c/em>, \u003cem>Hugo\u003c/em>, \u003cem>Life of Pi\u003c/em>. Most 3-D exists to bilk customers out of a few extra bucks.\u003c/p>\n\u003cp>But as it was conceived back in the mid-20th century, 3-D was all about kitschy spectacle, about giving an audience a cheap thrill by making them duck involuntarily in their seats. In that context, Anderson’s repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of \u003cem>Pompeii\u003c/em> — is firmly in the lovably trashy spirit of the ’50s drive-in.\u003c/p>\n\u003cp>Pity that beyond those pyroclastic missiles, Anderson seems to want us to see his film and its hackneyed romance — basically \u003cem>Titanic\u003c/em> with swords and sandals — as a serious-minded historical epic. If there were a hint of a sense of play or humor in the filmmaking, beyond a briefly amusing moment of comeuppance for a foppish slaveowner, \u003ci>Pompeii\u003c/i> might be a fun February diversion instead of a dull, eye-rolling slog.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=t6TRwfxDICM\u003c/p>\n\u003cp>Maybe it’s not all Anderson’s fault. The fact is that our expectations for this sort of thing have changed in recent years, thanks not least to \u003cem>Game of Thrones\u003c/em>. While HBO’s popular series is technically a fantasy, and not set in our world, it doesn’t look so different in many respects from Europe in the first century A.D. The show sets a high bar for depictions of romance and political machinations in an ancient world, as well as for pure visual grandeur. It’s a bar so far above the reach of the video-gamey digital backdrops of \u003cem>Pompeii\u003c/em> that it might as well be on top of Vesuvius.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Any hopes of dodging \u003cem>Game of Thrones\u003c/em> comparisons are dashed by the casting of Kit Harington — \u003cem>Thrones\u003c/em>‘ Jon Snow — as Milo, a prodigiously skilled Celtic gladiator with a long-simmering vendetta against Rome. While \u003cem>Game of Thrones\u003c/em> mostly effectively employs Harington’s knack for brow-furrowed brooding, \u003cem>Pompeii\u003c/em> looks to use his full range: that brooding \u003cem>and\u003c/em> his well-chiseled torso. (“Didn’t you see his muscles?” asks one character excitedly, early in the film. Yes. Yes, we did.)\u003c/p>\n\u003cp>As the fates and the screenwriters would have it, Milo arrives in Pompeii at the same time that Cassia (Emily Browning), the daughter of the local governor, is returning from a year in the imperial capital. After a standard rom-com meet cute, in which they find starry-eyed love over the corpse of a dead horse on the highway, she goes to her opulent villa to be petulant with her parents while he heads to the dungeons below the Pompeiian coliseum, where he’ll forge an unlikely friendship with a fellow gladiator (Adewale Akinnuoye-Agbaje).\u003c/p>\n\u003cp>Also arriving at the same time – fortuitous coincidence! — is the Roman Senator Corvis (Kiefer Sutherland), who 17 years earlier slaughtered Milo’s entire village and left our hero for dead. It’s a good thing this is history, as it would otherwise be pretty tough to believe that the cards would be set up with such unlikely perfection for Milo to find love, friendship, and vengeance all in one crazy Vulcanalia-festival weekend.\u003c/p>\n\u003cp>If I sound flippant, it’s only because \u003cem>Pompeii\u003c/em> invites so many unintended laughs, from the puppy-eyed romance of Milo and Cassia (which makes \u003cem>Twilight\u003c/em> look like \u003cem>Casablanca\u003c/em>) to the ridiculously implausible final chase, which is essentially \u003cem>Fast & Furious\u003c/em> on horseback. The lengths they go to in order to salvage a PG-13 rating — multiple slit throats result in almost no blood at all — make the whole thing seem like a pantomimed rehearsal. Meanwhile, the movie’s final image, which I won’t spoil here, caused an eruption of laughter at my screening that was louder than any response to most straight comedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only person in the entire cast who seems remotely aware of the ridiculousness of the whole thing is Sutherland, who chews scenery like a starving man handed a turkey leg. He certainly had more laughs making it than anyone will watching it; if only he’d let the rest of the cast and crew in on the joke.\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=%27Pompeii%27%3A+In+Ancient+Rome%2C+A+Hot+3-D+Mess&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more “immersive” experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: \u003cem>Gravity\u003c/em>, \u003cem>Hugo\u003c/em>, \u003cem>Life of Pi\u003c/em>. Most 3-D exists to bilk customers out of a few extra bucks.\u003c/p>\n\u003cp>But as it was conceived back in the mid-20th century, 3-D was all about kitschy spectacle, about giving an audience a cheap thrill by making them duck involuntarily in their seats. In that context, Anderson’s repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of \u003cem>Pompeii\u003c/em> — is firmly in the lovably trashy spirit of the ’50s drive-in.\u003c/p>\n\u003cp>Pity that beyond those pyroclastic missiles, Anderson seems to want us to see his film and its hackneyed romance — basically \u003cem>Titanic\u003c/em> with swords and sandals — as a serious-minded historical epic. If there were a hint of a sense of play or humor in the filmmaking, beyond a briefly amusing moment of comeuppance for a foppish slaveowner, \u003ci>Pompeii\u003c/i> might be a fun February diversion instead of a dull, eye-rolling slog.\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/t6TRwfxDICM'\n title='//www.youtube.com/embed/t6TRwfxDICM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe it’s not all Anderson’s fault. The fact is that our expectations for this sort of thing have changed in recent years, thanks not least to \u003cem>Game of Thrones\u003c/em>. While HBO’s popular series is technically a fantasy, and not set in our world, it doesn’t look so different in many respects from Europe in the first century A.D. The show sets a high bar for depictions of romance and political machinations in an ancient world, as well as for pure visual grandeur. It’s a bar so far above the reach of the video-gamey digital backdrops of \u003cem>Pompeii\u003c/em> that it might as well be on top of Vesuvius.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Any hopes of dodging \u003cem>Game of Thrones\u003c/em> comparisons are dashed by the casting of Kit Harington — \u003cem>Thrones\u003c/em>‘ Jon Snow — as Milo, a prodigiously skilled Celtic gladiator with a long-simmering vendetta against Rome. While \u003cem>Game of Thrones\u003c/em> mostly effectively employs Harington’s knack for brow-furrowed brooding, \u003cem>Pompeii\u003c/em> looks to use his full range: that brooding \u003cem>and\u003c/em> his well-chiseled torso. (“Didn’t you see his muscles?” asks one character excitedly, early in the film. Yes. Yes, we did.)\u003c/p>\n\u003cp>As the fates and the screenwriters would have it, Milo arrives in Pompeii at the same time that Cassia (Emily Browning), the daughter of the local governor, is returning from a year in the imperial capital. After a standard rom-com meet cute, in which they find starry-eyed love over the corpse of a dead horse on the highway, she goes to her opulent villa to be petulant with her parents while he heads to the dungeons below the Pompeiian coliseum, where he’ll forge an unlikely friendship with a fellow gladiator (Adewale Akinnuoye-Agbaje).\u003c/p>\n\u003cp>Also arriving at the same time – fortuitous coincidence! — is the Roman Senator Corvis (Kiefer Sutherland), who 17 years earlier slaughtered Milo’s entire village and left our hero for dead. It’s a good thing this is history, as it would otherwise be pretty tough to believe that the cards would be set up with such unlikely perfection for Milo to find love, friendship, and vengeance all in one crazy Vulcanalia-festival weekend.\u003c/p>\n\u003cp>If I sound flippant, it’s only because \u003cem>Pompeii\u003c/em> invites so many unintended laughs, from the puppy-eyed romance of Milo and Cassia (which makes \u003cem>Twilight\u003c/em> look like \u003cem>Casablanca\u003c/em>) to the ridiculously implausible final chase, which is essentially \u003cem>Fast & Furious\u003c/em> on horseback. The lengths they go to in order to salvage a PG-13 rating — multiple slit throats result in almost no blood at all — make the whole thing seem like a pantomimed rehearsal. Meanwhile, the movie’s final image, which I won’t spoil here, caused an eruption of laughter at my screening that was louder than any response to most straight comedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only person in the entire cast who seems remotely aware of the ridiculousness of the whole thing is Sutherland, who chews scenery like a starving man handed a turkey leg. He certainly had more laughs making it than anyone will watching it; if only he’d let the rest of the cast and crew in on the joke.\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=%27Pompeii%27%3A+In+Ancient+Rome%2C+A+Hot+3-D+Mess&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gotta feel a little sorry for director José Padilha, tasked with taking over an action-classic remake that had been stuck in development for years — and that fans of the much-admired original eyed with considerable skepticism.\u003c/p>\n\u003cp>But let’s also be honest for a moment about the movie Padilha is revisiting: Paul Verhoeven’s 1987 \u003cem>RoboCop\u003c/em>, a B movie punching far above its weight, with some cheekily subversive Establishment-tweaking and brilliantly executed subtext buried under some truly clunky performances and stock ’80s action. In short: There was plenty of room for improvement. And in taking advantage of that, Padilha’s new take on the material isn’t the disaster some might have predicted.\u003c/p>\n\u003cp>It doesn’t hurt that Padilha and screenwriter Joshua Zetumer have even more fertile political material to work with in 2014. Verhoeven’s film had no shortage of targets — among them rampant crime, corruption, the vapidity of media and entertainment, and corporate greed. The update manages to work with all of those while also taking high-caliber shots at drone warfare, flag-waving cable-news talking heads and the vulnerability of legislators to money and marketing.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=FnRJ0r0eivk\u003c/p>\n\u003cp>The basic story is the same: Detroit cop Alex Murphy (Joel Kinnaman), recently all but killed in the line of duty, is rebuilt as a cyborg crime fighter by a huge corporation looking to mine the city’s out-of-control crime troubles for profit. As before, nearly everyone involved is crooked in one way or another, and it’s up to our metallic hero to find the humanity still tangled up amid the circuitry that’s so thoroughly clouding his brain functions, so he can clean up more than just the city’s streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around that core, the biggest improvement is in the performances — no surprise, with names like Michael Keaton and Gary Oldman at the top of the cast list. Keaton plays conniving OmniCorp head honcho Raymond Sellars, Oldman the morally compromised biomechanics visionary Dr. Dennett Norton; it’s the battle of wills between these two men that really drives this new \u003cem>RoboCop,\u003c/em> with Murphy as a kind of hulking rag doll being pulled in both directions by the competing needs of commerce and science.\u003c/p>\n\u003cp>Keaton brings a smug but personable arrogance to his role — just the kind of charismatic sliminess it requires — while Oldman is the movie’s wobbly moral center, a good man corrupted by circumstance and weakness. Norton is a doctor who wants funding to further research and develop mechanical prosthetics, but Sellars cares only about using the scientist’s successes to influence legislation that would let him supply fully automated crime-control drones to the government. The CEO’s primary ally is Mattox (Jackie Earl Haley), a robot tactician who finds RoboCop a laughable project — like his boss, he favors pure robotics over the cyborg approach.\u003c/p>\n\u003cp>All those political threads are on point, but the film is strongest when it’s wrestling with notions of what it really means to be human — this after Murphy has been reduced to literally nothing more than a head, heart and lungs encased in a metal shell. (The big reveal of his true physical state is an eye-opening effect.) If the undercurrent of the story has echoes of Frankenstein, Mattox sees Murphy as nothing more than a hollow Tin Man, and underlines his derision with a nicely deployed rendition of “If I Only Had a Heart” during a key training sequence.\u003c/p>\n\u003cp>Even with those excellent performances, augmented by a fantastically entertaining Samuel L. Jackson as a wild-eyed right-wing TV political host, there’s still something about Padilha’s \u003cem>RoboCop\u003c/em> that feels cold and distant. Part of the charm of the original was its raggedness, its embrace of a B-movie aesthetic in the service of smart, dark satire. Padilha’s take is almost all business, as grimly efficient at getting its points across as Murphy himself is during the period when his handlers have suppressed his emotions entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun? \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=%27RoboCop%27+Remake%2C+As+Mechanical+As+Its+Cyborg+Hero&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around that core, the biggest improvement is in the performances — no surprise, with names like Michael Keaton and Gary Oldman at the top of the cast list. Keaton plays conniving OmniCorp head honcho Raymond Sellars, Oldman the morally compromised biomechanics visionary Dr. Dennett Norton; it’s the battle of wills between these two men that really drives this new \u003cem>RoboCop,\u003c/em> with Murphy as a kind of hulking rag doll being pulled in both directions by the competing needs of commerce and science.\u003c/p>\n\u003cp>Keaton brings a smug but personable arrogance to his role — just the kind of charismatic sliminess it requires — while Oldman is the movie’s wobbly moral center, a good man corrupted by circumstance and weakness. Norton is a doctor who wants funding to further research and develop mechanical prosthetics, but Sellars cares only about using the scientist’s successes to influence legislation that would let him supply fully automated crime-control drones to the government. The CEO’s primary ally is Mattox (Jackie Earl Haley), a robot tactician who finds RoboCop a laughable project — like his boss, he favors pure robotics over the cyborg approach.\u003c/p>\n\u003cp>All those political threads are on point, but the film is strongest when it’s wrestling with notions of what it really means to be human — this after Murphy has been reduced to literally nothing more than a head, heart and lungs encased in a metal shell. (The big reveal of his true physical state is an eye-opening effect.) If the undercurrent of the story has echoes of Frankenstein, Mattox sees Murphy as nothing more than a hollow Tin Man, and underlines his derision with a nicely deployed rendition of “If I Only Had a Heart” during a key training sequence.\u003c/p>\n\u003cp>Even with those excellent performances, augmented by a fantastically entertaining Samuel L. Jackson as a wild-eyed right-wing TV political host, there’s still something about Padilha’s \u003cem>RoboCop\u003c/em> that feels cold and distant. Part of the charm of the original was its raggedness, its embrace of a B-movie aesthetic in the service of smart, dark satire. Padilha’s take is almost all business, as grimly efficient at getting its points across as Murphy himself is during the period when his handlers have suppressed his emotions entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun? \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=%27RoboCop%27+Remake%2C+As+Mechanical+As+Its+Cyborg+Hero&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Spend Valentine's Day with Band Of Horses",
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"content": "\u003cp>Yesterday (Tuesday, February 11), Band Of Horses released a new, stripped-down record, \u003ci>Acoustic at the Ryman\u003c/i>, and embarked on a nationwide tour. Recorded over two nights in April 2013 at Nashville’s famed \u003ca href=\"http://ryman.com/history/\">Ryman Auditorium\u003c/a>, the album is an expansion of the band’s \u003ca href=\"http://consequenceofsound.net/2013/10/record-store-day-announces-black-friday-2013-releases/\">Record Store Day Black Friday\u003c/a> 7-inch release.\u003c/p>\n\u003cp>The acoustic tour rolls through San Francisco on Valentine’s Day, offering what is sure to be a heart-warming experience for couples and singles alike. With the Palace of Fine Arts as its venue, romanticism of various varieties will surely abound.\u003c/p>\n\u003cp>Today’s celebrated rock and roll seems to lie on two extremes — one housing theatrical, lush, ultra-produced, often electronic mega-music; the other offering stripped to the bone, loud and proud, PBR-drenched garage rock. Somewhere in the middle lies Band Of Horses, playing what I like to call “normal” rock.\u003c/p>\n\u003cp>\u003ci>Acoustic at the Ryman\u003c/i> highlights this normalcy. A lyrical portion of “Marry Song,” the record’s opening track, asks:\u003c/p>\n\u003cp>\u003ci>How is your sister?\u003cbr>What of your brother?\u003cbr>Extend hellos to\u003cbr>Your father and mother.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new album’s stripped down arrangements place a more refined focus on the band’s lyrics and harmonies, revealing the songs as intimate conversations shared among inseparable friends. The extremely realistic \u003ca href=\"http://mytekdigital.com/dsd/index.htm\">Mytek Digital recording technology\u003c/a> utilized in the album’s production intensifies this intimacy. The end result is a record that comes across more like a high-fidelity home movie of a family reunion than a typical live album.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fDKT-Onjub8\u003c/p>\n\u003cp>This is a special release that will almost certainly be propped up by special performances on its supporting tour. If the Bay Area Valentine’s Day show comes anywhere close to what was offered up to the \u003ca href=\"http://consequenceofsound.net/2014/01/listen-band-of-horses-acoustic-version-of-detlef-schrempf/\">bear-hugging fans\u003c/a> of Nashville last year, then we are certainly in for a treat. Expectations are high — if one is to judge by the price of tickets selling on secondary markets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Band Of Horses performs on Friday, February 14 at the Palace of Fine Arts in San Francisco. The show is sold out; however, tickets are still available via \u003ca href=\"http://www.stubhub.com/band-of-horses-tickets/band-of-horses-san-francisco-palace-of-fine-arts-14-2-2014-4423008/\">StubHub\u003c/a>. For \u003ca href=\"http://www.palaceoffinearts.org/Welcome.html\">more information\u003c/a> visit palaceoffinearts.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday (Tuesday, February 11), Band Of Horses released a new, stripped-down record, \u003ci>Acoustic at the Ryman\u003c/i>, and embarked on a nationwide tour. Recorded over two nights in April 2013 at Nashville’s famed \u003ca href=\"http://ryman.com/history/\">Ryman Auditorium\u003c/a>, the album is an expansion of the band’s \u003ca href=\"http://consequenceofsound.net/2013/10/record-store-day-announces-black-friday-2013-releases/\">Record Store Day Black Friday\u003c/a> 7-inch release.\u003c/p>\n\u003cp>The acoustic tour rolls through San Francisco on Valentine’s Day, offering what is sure to be a heart-warming experience for couples and singles alike. With the Palace of Fine Arts as its venue, romanticism of various varieties will surely abound.\u003c/p>\n\u003cp>Today’s celebrated rock and roll seems to lie on two extremes — one housing theatrical, lush, ultra-produced, often electronic mega-music; the other offering stripped to the bone, loud and proud, PBR-drenched garage rock. Somewhere in the middle lies Band Of Horses, playing what I like to call “normal” rock.\u003c/p>\n\u003cp>\u003ci>Acoustic at the Ryman\u003c/i> highlights this normalcy. A lyrical portion of “Marry Song,” the record’s opening track, asks:\u003c/p>\n\u003cp>\u003ci>How is your sister?\u003cbr>What of your brother?\u003cbr>Extend hellos to\u003cbr>Your father and mother.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new album’s stripped down arrangements place a more refined focus on the band’s lyrics and harmonies, revealing the songs as intimate conversations shared among inseparable friends. The extremely realistic \u003ca href=\"http://mytekdigital.com/dsd/index.htm\">Mytek Digital recording technology\u003c/a> utilized in the album’s production intensifies this intimacy. The end result is a record that comes across more like a high-fidelity home movie of a family reunion than a typical live album.\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/fDKT-Onjub8'\n title='//www.youtube.com/embed/fDKT-Onjub8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a special release that will almost certainly be propped up by special performances on its supporting tour. If the Bay Area Valentine’s Day show comes anywhere close to what was offered up to the \u003ca href=\"http://consequenceofsound.net/2014/01/listen-band-of-horses-acoustic-version-of-detlef-schrempf/\">bear-hugging fans\u003c/a> of Nashville last year, then we are certainly in for a treat. Expectations are high — if one is to judge by the price of tickets selling on secondary markets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Band Of Horses performs on Friday, February 14 at the Palace of Fine Arts in San Francisco. The show is sold out; however, tickets are still available via \u003ca href=\"http://www.stubhub.com/band-of-horses-tickets/band-of-horses-san-francisco-palace-of-fine-arts-14-2-2014-4423008/\">StubHub\u003c/a>. For \u003ca href=\"http://www.palaceoffinearts.org/Welcome.html\">more information\u003c/a> visit palaceoffinearts.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"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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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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