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...Songs: Ohia, is a paradigm of this musical tradition. The album will leave listeners confounded as to how songs that veer so close to self-parody (such as “Peoria Lunch Box Blues”) can be so utterly enjoyable. With its Southern-inflected vocals from Jason Molina, haunting background harmonies (which recall Patti Smith) from Jennie Benford and slow, steady arrangements of guitar and piano, this is no typical rock album. But it might have been your father’s in the mid-70?...

Author: NO WRITER ATTRIBUTED | Title: New Music | 3/14/2003 | See Source »

Spengler shares the award with Mario J. Molina, who shared the 1995 Nobel Prize in Chemistry for his work on the effects of chlorophorocarbons on the earth’s stratosphere...

Author: By Ebonie D. Hazle, CRIMSON STAFF WRITER | Title: Two Faculty Receive Heinz Awards | 2/12/2003 | See Source »

...From Heaven. The Hours’ Ed Harris is a likely nominee, while Road to Perdition’s Paul Newman and Chicago’s John C. Reilly are less so. Nevertheless, I expect both of them to make the cut, leaving Frida’s Alfred Molina, Catch Me If You Can’s Christopher Walken and Narc’s Ray Liotta, among others, out in the cold...

Author: By Benjamin J. Soskin, CRIMSON STAFF WRITER | Title: Oscar Preview | 2/7/2003 | See Source »

...result of a crippling accident. But pain, though knowable, is also indescribable. Alas, Frida is one of those chipper biopics in which the heroine (Salma Hayek) cheerfully endures her suffering while incidentally creating her art and carrying on her endlessly tormented love affair with the muralist Diego Rivera (Alfred Molina). The result is a trivializing movie, especially disappointing because it was directed by Broadway's lionized Julie Taymor (The Lion King). Her first theatrical film, Titus, was distinguished by a bold and visionary sweep. In Frida that inventiveness has diminished to a kind of strained cuteness. Everything that makes...

Author: /time Magazine | Title: Artist, Con Artist, Art House | 11/4/2002 | See Source »

Both are capable actors, particularly Molina, but their performances harbor an undercurrent of misdirection, as if in every take Taymor almost got it. Whenever the two of them aren’t arguing over Rivera’s adulterous behavior, their relationship seems forced at best, and at times almost cheesy. Taymor can’t seem to decide at times whether she’s making a story of a torturous and long-lasting love affair (and one that’s not very interesting to watch in this particular adaptation), or a serious analysis of the motivations...

Author: By Clint J. Froehlich, CRIMSON STAFF WRITER | Title: Frida | 10/24/2002 | See Source »

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