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...Rwanda in 1994. Tutsi rebels under the command of the current Rwandan President Paul Kagame drove more than one million Hutus into Congo, mostly congregating there in the town of Goma. Among these fugitives were members of the ousted Rwandan army and the interahamwe death squads who had earlier carried out genocide against some 800,000 Tutsis and moderate Hutus. Since then fighting between Hutus and Tutsis in Congo has persisted on and off. The latest uptick pits the forces of Tutsi rebel leader, Laurent Nkunda, against local civilians, United Nations peacekeepers tasked with protecting them, and the Congolese army...
...changed not only the style of campaigning but also the substance,” Hillygus said. “Candidates are willing to take positions on more divisive issues than ever before.” Hillygus’ book, “The Persuadable Voter,” published earlier this year, examines how candidates try to attract voters who agree with one candidate on some issues, and the other candidate on others. Given last night’s results, Obama’s use of technology in his advertising campaign seems to have proven more effective...
...Intolerable Cruelty”—“Soul Men” is a lowbrow comedy about two 1970s backup singers who reunite to perform at a memorial concert for their former group leader. The film opens with a hilarious montage of the group’s earlier years when they were known as “Marcus Hooks and the Real Deal.” When Hooks (John Legend) decides to go solo, the two back-up singers—Floyd Henderson (Mac) and Louis Hinds (Samuel L. Jackson)—pursue a career...
...overlook the sheer depth and ambition of the creative vision for which it strives. More to the point, “Synecdoche, New York” has a place in the genealogy of Kaufman’s work only insofar as it takes the personal context of those earlier films and erases them.The story itself is as complex as Kaufman fans have come to expect. Caden Cotard (Hoffman) immerses himself in his work to escape his failed marriage. His sudden, debilitating loneliness amplifies and resonates with his obsession with the various frailties of the human form—injury, lesions...
...That Don’t Make Me a Bad Guy,” bears all the signs of an artist aging out of what made him great. Gone for the most part are the brash, irreverent lyrics, bold build-ups, and devil-may-care hooks that characterized earlier hits like “Want to Talk About Me,” “Beer For My Horses,” and “How Do You Like Me Now.” Missing is the sense of reckless misadventure that had even a purportedly over-the-hill Keith...