Word: houres
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Sunday, March 20. Boston Chamber Music Society presents Ravel, Robert Fuchs, Schumann Piano Quintet. 7:30 p.m. Sanders Theater. $17-46; student rush $5 hour before concert. Tickets available through Harvard Box Office...
...generation that came of age during the War often referred to a “zero” hour or year at its end, as Roberto Rossellini did in the title of his 1947 film, Germany Year Zero. At the simplest level, these nulls name a fact visible all over Germany—in Dresden, Frankfurt, Berlin, and the other cities leveled by Allied bombing, where the absence of pre-1945 buildings best testifies to what happened...
...film continues in this vein for its first hour or so, jumping from scare to scare with a remarkable dexterity that never gets tired, due mainly to a refreshing filmic playfulness. It employs jump-cutting in bizarre places; a couple scenes are sped up for an enhanced psychological effect; and Nakata crafts images with foregrounded objects or bodies that seem disjointed in the frame—a subtle effect appropriate to the film’s tone...
...itself to a halt when Rachel leaves to track down Samara’s natural mother (a laughable cameo by Sissy Spacek), seeking advice on ways to deal with sons possessed by bizarre Japanese video-demons. While the plot tries hard to get back on track, the last half-hour is only notable for Watts’s ultra-sassy heroine moment (“I’m not your fuckin’ mommy!”) and Nakata’s nice handling of some scenes that in less capable hands could have ended up drenched in Hollywood...
Bring up the topic of augmented security in a post-Sept. 11 world, and most will complain about longer airport security waiting times. But reconsider bemoaning a five-hour wait in a terminal—Mahmoud Kaabour is a young Lebanese director who has waited five years in Canada to be allowed a visa to come into the United States...