Word: grimm
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Dates: during 2000-2009
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Despite his tardiness, Greengrass won over producers with his analysis of the Bourne character and his comfort with fast-paced, naturalistic filmmaking, honed from his documentary work. Producers fixed him up on a date with Damon, who was by this point in Prague filming The Brothers Grimm for Terry Gilliam. At London's Heathrow Airport, with £15 in his pocket, Greengrass realized, "I'd better get some money, 'cause I'm taking out one of the world's great movie stars." His cash card was overdrawn. "So I spent the whole meeting with him thinking, Please don't order...
...have the cultural experience to understand. Shrek is the same. Do kids still need wonder and magic? Of course they do. Do they need classic stories turned into happily-ever-after tripe that doesn't even resemble the original? Absolutely not. Poniewozik only alluded to the fact that the Grimm brothers' fairy tales were originally quite grim and scary. So where can we find healthful magic for kids? Outside in nature and in books that don't insult the intelligence of children or their parents. Vonnie Shallenberger, Mahomet, Illinois...
...fact, the strongest moments in Shrek the Third come when it steps back from the frantic pop-culture name dropping of Shrek 2 and you realize that its Grimm parodies have become fleshed-out characters in their own right. In August, Paramount releases Stardust, an adaptation of a Neil Gaiman novel about a nerdy 19th century lad who ventures from England to a magical land to retrieve a fallen star. The live-action movie covers many of the same themes as the ubiquitous cartoon parodies--be yourself, don't trust appearances, women can be heroic too. But it creates...
Shrek didn't remake fairy tales single-handed; it captured, and monetized, a long-simmering cultural trend. TV's Fractured Fairy Tales parodied Grimm classics, as have movies like The Princess Bride and Ever After and the books on which Shrek and Wicked were based. And highbrow postmodern and feminist writers, such as Donald Barthelme and Angela Carter, Robert Coover and Margaret Atwood, used the raw material of fairy stories to subvert traditions of storytelling that were as ingrained in us as breathing or to critique social messages that their readers had been fed along with their strained peas...
...jokes weren’t all intentional, the play was amusing for its familiarity—and the more tired elements of the plot were clichéd only because they’ve been emulated and repeated so many times since the days of the Brothers Grimm. “Rapunzel†successfully resurrected the straight-faced performance of a classic fairy tale: oversimplified and well worn, but good-natured and engaging...