In an early voiceover, Reeves explains that Side by Side is about “the science, art and impact of digital cinema,” and that perfectly sums up what transpires in this wonderfully enlightening and entertaining film.
There are laughs to be had, but this feels more like a sketch than a fully-fledged work.
Understanding that dancers’ careers had a limited time span and usually ended at the age of 30, Fernando and Alicia taught us how to teach, even as we learned. And so, by the age of 19 I had begun teaching.
From the opening credits, framed in a colorful autumn canopy, to the final shot, a restored photograph of the Bondurant brothers, the movie is visually engaging, the lighting and cinematography spot-on. Cave and fellow Bad Seeds member Warren Ellis recorded a brilliant soundtrack featuring The Bootleggers, which includes Ralph Stanley and Emmylou Harris.
When the courtly Ameche saw that the script required him to curse, he held up the scene for a few minutes to first apologize to everyone on the set for what he was about to say.
As befits a former poet, Hughes’s writing is economical yet stylish, atmospheric without being fussy. And as with almost any vintage detective novel, there are many pleasures to be had in the details of an earlier America.
True Blood has tightened up considerably since the meandering adventures of Season 4, despite the fact that its protagonist is now a background character. Remember how the show used to be about vampires? That is happily the case once more.
Europe had yet to recover from the First World War and the Allied peoples were at a grave psychological disadvantage in comparison with the civilian population of Nazi Germany. Through nearly a decade of political indoctrination, news censorship and threats of imprisonment or worse, the German people were schooled for war. To Orwell, the only things that could shake the British out of their complacency were the drone of the engines of German aircraft over London and the detonation of the bombs they dropped.
Photos courtesy of Melissa Moseley/HBO
Last night’s episode of The Newsroom was the season finale, a bittersweet close to a freshman season marked by serious highs and serious lows. We learn from Sloan Sabbith near the …
Mike’s murder isn’t just scary because it’s pointless, it’s upsetting because it’s not in Walt’s own best interest – it was a purely impulsive act, precipitated by nothing but momentary humiliation and rage.
Which was more important to you in Billy Elliot—the dancing or the plot?
The short shelf lives of even the best individuals. The apathy towards one’s surroundings. The vibe that the world is on the verge of collapse but being desensitized towards it all. These are all valuable and well-presented elements of the movie.
In bad horror movies, even women who are supposed to be educated and independent wear very little clothing and turn into complete headcases the moment their men vacate the premises.
On another note entirely, the eighth and final episode offers the enduring pleasures of Hughes’s prickly encounter with Jeff Koons: “A kitten in a giant sock. Tell me about it.”
Two of the standouts, Michelle Ramoni’s June and Nancy and Camilla Ammirati’s In the Ebb take place in very different times and places, but they share a common theme. Both stories include searching, imaginative female protagonists who struggle to discover themselves as they question the stability of their marriages.