Word: floorful
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...Grace Brewer she is brittle, crazed with grief and absolutely unable to cope, unlike her math professor husband Allen (Pierce Brosnan), who would like her to at least allow the maid to pick their son's dirty socks up off the floor. (Writer/director Shana Feste has made the Brewers rich, and you can almost hear her pitch to the studio, filled with longing for the profound: "See, they had everything, but now, without Bennett, nothing.") All the Sarandon grief moves are there: the defiant head lift, the wide, wet eyes, the clenched fists, the accusations hurled at Allen...
...leaves, I am finally left alone with an iPad. Finally I get some finger time. I peep under the slip holder, and there it is. When I switch it on, a little sigh escapes me as the screen lights up. Ten minutes later I am rolling on the floor, snarling and biting, trying to wrestle it from the hands of an Apple press representative. (See the best travel gadgets...
...third floor of the Sackler galleries, Harvard Art Museum curator and History professor Ivan Gaskell has installed a Native American archer’s bow on loan from the Peabody Museum. Many courses taught by History of Art and Architecture faculty also incorporate objects from the Peabody’s collections and hold their sections in the Peabody galleries. This Thursday, April 1, the Harvard Art Museum Undergraduate Connection, which traditionally holds events at the Harvard Art Museum, will host a Night at the Peabody Museum, with student-led tours that treat the objects on display as artworks worthy...
...finally to a much mellower, delicate folk-pop in 2007’s “Seventh Tree.” “Head First” is a reawakening, taking Goldfrapp’s energy level to a completely new height and giving them a dance-floor appeal that was absent from “Seventh Tree.” While the new album presents an array of lively, stylized dance hits whose catchy choruses, steady beats, and glittery synths offer instant gratification, the album as a whole is a surprisingly uninventive step backward for a duo that...
...creatively macabre scenery, designed by Susan Zeeman Rogers. The main set piece, a luminous red backlit curtain with thick black vertical lines and a series of numbers scrawled graffiti-like across it, gives the feeling of being trapped in a prison cell of tortured mathematics. The stage floor is expansively checkered black and white, spreading like a maniacal chessboard, as if to imply that the men and women who traverse it are merely pawns at the hands of some greater power...