A recap/review of The Office- The Target (Season 9, Episode 8)
It seems that while The Walking Dead suffered in the wake of Frank Darabont’s unceremonious departure (hence the slog of last season), writers, composers, and actors have seriously stepped up their game for season three. Last night’s episode was one of the best acted, most nerve-wracking, suspenseful episodes of the […]
The Guggenheim Museum in New York City is the perfect venue for hosting great chronological exhibitions of art. Ascend the spiraling ramps and you are able to understand the course of an artistic era in its totality or the development of a national school of art, as was the case in the spectacular 2005 presentation of Russian art from its Byzantine-inspired roots to the post-Soviet present. But seldom have a museum and a special exhibition been so perfectly matched as Guggenheim New York and its present show, Picasso Black and White.
The hard truth, impossible to dodge, is that this is not Tolstoy’s world. It is more like Hugo Cabret’s world, and from time to time it even flirts perilously with becoming Baz Luhrmann’s world. Tom Stoppard’s script, though consistently bright and entertaining, abridges the story painfully to fit the stylish construct.
Much of the time, a movie just can’t offer the sort of character depth and development a book does. It’s totally implausible that a man recently released from a psychiatric hospital would find himself with the weight of his family’s livelihood on his shoulders as he performs in a dance competition with a recently widowed, slightly nymphomaniac young woman.
In Rise of the Guardians, we discover that not only are Santa Claus, the Tooth Fairy and the Easter Bunny real, they also comprise an ancient league chosen to protect mankind’s children. The Guardians, as they are called, are made up of some of the most beloved characters from our childhood who, as we grow older, become less and less real.