Our gumshoe comes face to face with his older self and then runs for the roof pursued by the Weeping Angels. There he finds… well, let’s just say I felt like somebody should have called the Ghostbusters.
Sanctions are appropriate because there is a potential worry that the culture of Penn State football may be toxic in some sense. In other words, that the way the game is regarded, coached and played at a particular institution may have indirectly contributed to the years which elapsed before the abuse was stopped.
With Looper, Johnson takes on science-fiction, but in his own signature approach that comes at the genre from an obtuse angle. He doesn’t waste time explaining the time travel technology (Who cares? It works.) or the inherent paradoxes that are unavoidable. (At one point, Abe says, “This time travel crap just fries your brain like an egg.” Johnson is telling audiences not to worry about the details, just enjoy the ride.)
To look at one of the treasures on display in this wonderful exhibit, the Kennicott Bible, is to view an example of the shared heritage of Jews, Christians and Muslims. This is the key note of Crossing Borders. The Kennicott Bible and the other stunning, hand-written works on display show the “cross-pollination” of art and ideas among the cultured elites of Judaism, Christianity and Islam during the Middle Ages. More to the point, it is a testament to the shared devotion of these three faiths to the same God.
Greene’s story is told in the excellent 2011 biopic, Kill the Irishman, which covers his rise from lugging boxes as a stevedore to running a corrupt union to working as a mob enforcer to standing up to the new Mafia boss—Scalish’s replacement—looking to grab a percentage of Greene’s operation. There’s a lot packed into two hours.
All in all, the show is most remarkable for its performances, especially the lead. McClure nimbly captures both Chaplin’s physicality and the contradictory aspects of his personality. He is as cantankerous as he is vulnerable, uncompromising in his pursuit of his own vision even as he aches for approval.
Please forgive the crassness because there is no more eloquent way to say it: Dredd 3D is just badass. In an era of cinema when every comic book adaptation or Hollywood blockbuster is practically indistinguishable from one another, Dredd sets itself apart from the deluge of mediocrity by gambling on the unique vision of director Pete Travis and screenwriter Alex Garland. Thankfully, that gamble pays off.