Word: mysticisms
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Like the Boston-shot films Mystic River and The Departed, Gone Baby Gone harbors many ambivalent secrets. People do awful things out of weakness and from a selfishness they persuade themselves is protective love. Affleck lays it all out with clarity and grit, though the actor in him can't help giving every star a big verbal aria. That guy--actor Affleck--probably also wishes he could star in a movie as smart and twisty and morally complex as this...
...neat picture of him as movie-star chump by directing and co-writing a crackling little detective film about child abduction, Gone Baby Gone. In poker, this is known as going all in. First, the movie is an adaptation of a novel by Dennis Lehane, who also wrote Mystic River, which Clint Eastwood put on film to much critical acclaim. Comparisons are inevitable. Second, the movie features imperiled children, spectacularly vulgar language and the urban poor of Boston, none of which scream must-see. Third, he cast his younger brother Casey as the lead, a private detective hired to find...
...church anticipates spiritually fallow periods. Indeed, the Spanish mystic St. John of the Cross in the 16th century coined the term the "dark night" of the soul to describe a characteristic stage in the growth of some spiritual masters. Teresa's may be the most extensive such case on record. (The "dark night" of the 18th century mystic St. Paul of the Cross lasted 45 years; he ultimately recovered.) Yet Kolodiejchuk sees it in St. John's context, as darkness within faith. Teresa found ways, starting in the early 1960s, to live with it and abandoned neither her belief...
...unhappy with it as Nick, who is obviously smitten with her. Nick writes an anonymous letter to Melanie asking for advice on how to win a woman, and he receives predictably terrible advice. It’s when he takes that advice, befriending a mystic named Steve (Andrew M. Choi ’10), dressing as a ninja, and serenading Melanie in Italian, that “Ask Me Anything” really took...
...William Weaver, doesn't quite say so, but one gets the impression that by the end of Irving's odyssey, he may actually think he has had access to Hughes. What the hell - he's learned to emulate Hughes' handwriting and his voice. Maybe he really is, in some mystic way, channeling the legendary nut job. Susskind is less fortunate; he's always sweatily in touch with reality and with the potentially unpleasant consequences of what they're doing...