Word: film
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...that's a familiar test, or trap, in a Lee film. He loves to twist a picture out of shape, daring the audience to keep up with the abrupt shift of moods, the wagging finger of the director. And if you start arguing with Miracle at St. Anna, that's O.K. with him. Spike Lee has always loved a good fight...
...Lower East Side, a grimy area that Sollett polishes into a wonderland where parking spaces are always available and the street people are genial poets. He has also enlisted stalwarts from Saturday Night Live (Seth Meyers, Andy Samberg) and the Harold & Kumar movies (John Cho). But this film doesn't need the validation of older comics; it's got winning stars in their early 20s who are true both to this moment and to old star quality. In the 1930s, Hollywood had The Thin Man, with the married couple Nick and Nora Charles as the epitome of Manhattan swank. Though...
...success,” Russem says. For those who didn’t or couldn’t register for the course this semester, there will still be plenty of opportunities for students to get involved. Open Press Thursdays will still be buzzing, and Russem is organizing type-related film screenings open to the entire Harvard community. The schedule, which begins October 1 with the airing of the documentary “Helvetica,” will be posted on the Bow & Arrow Press’s website. Future courses may also be in the (hand-crafted?) cards...
...redeem her inadequacies.Fans of David Fincher’s adaptation of the author’s first novel, 1999’s “Fight Club” must take note: “Choke” lacks the cinematic intensity, bombastic performances, and thematic density of that film. With its half-baked plotlines and tepid, almost inconsequential digressions into subplots, “Choke” raises the question of whether the novel even merited movie treatment. The film’s unusual twist does little more than further muddle the message of what was already a quiet...
...that underground music has long occupied.The basement room that comprises Twisted Village is dusty and poorly lit, but an anxious potential crackles through the atmosphere; it’s the same potential that can resonate in the remote stacks of a rare book room or in a long-ignored film archive. This is the potential of new information, of a new breed of art. Much of the catalog in Twisted Village is composed of records, CDs, even cassettes that the casual music listener will never, ever hear—music that waits, coiled spring-like, to be explored. Casual observers...