Word: dark
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...current remakes are dark and violent. Ninja Hattori-kun (Hattori the Ninja)?based on a 1960s comic and 1980s cartoon of the same name?comes out in August and stars Shingo Katori, of the popular boy band SMAP, as an overearnest ninja who moves from a feudal village to modern Tokyo, where he serves a nine-year-old master. Hattori speaks in outdated formalities, struggles to maintain the ninja code of self-concealment in the crowded city, and ends up in all sorts of trouble. The other big-ticket remake now in the works is Tetsujin 28-go (Iron...
...four decades; in the Demilitarized Zone between the two countries. Begun in the late 1950s to encourage defections, the sloganeering ends as the two nations edge closer to detente. "Peace, reconciliation and cooperation" was the final message from the South, flashed on a giant notice board before it went dark...
...cell research, promote abstinence education over condom distribution and deny funds to international family-planning groups. But many of these were disputes that any Republican President could have had with his Democratic opponents. It was only after Sept. 11, when Bush found himself leading a shaken country through a dark valley, that the old left-right debates gave way to something altogether different. Now the debate was less about personal faith changing lives. It was about America's destiny and Bush's view of God's plan...
...body had ridden the dark caisson up to the U.S. Capitol Rotunda in Washington, and the riderless horse, with Reagan's boots turned backward in the stirrups, had walked behind it. Tens of thousands of people queued up there to give their salutes and mumbled little tributes to this man they thought of as a neighbor. The Washington National Cathedral was filled with the world's power fraternity, including President George W. Bush and all the living former Presidents--Bill Clinton, George H.W. Bush, Jimmy Carter, Jerry Ford--and some who had tried but failed--Al Gore, Bob Dole, Walter...
...Sleep When I'm Dead's plot is as simple as that of a western (or, Hodges says, a samurai epic). The actors are more elements in a dark, elegantly realized landscape than fully incarnate characters. Among the things Hodges and Preston have stripped out of their film are all the usual explanations. What drove Will away from his successful criminal past? What does Charlotte Rampling's enigmatic restaurateur see in him? Instead, what we have to entertain us is style. As with Croupier, Hodges is not in any hurry to get to the point of his scenes, which...