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Based on James McBride's novel and screenplay, the movie begins in 1983 with Hector Negron (Alonso), a New York City postal worker, standing behind his caged-in window at the post office. When a man approaches and asks for a stamp, Negron shoots him dead with a German Luger. Later, in Negron's apartment, police discover the head of a priceless statue. The rest of the film, a flashback to Italy in 1944, explains how Negron got the statue and why he executed the stranger...
...feel his bowels start to move. Religion is shit, Amis is saying, and yet he is doing it in the most insensitive way—exploiting an event that should be treated with the utmost respect and seriousness. For the depth of his understanding of the problems facing the post-9/11 world, Amis has very little to offer by way of solution. “Opposition to religion already occupies the high ground, intellectually and morally,” he says. “People of independent mind should now start to claim the spiritual high ground...
...blind but selfish love between arrests.Brad William Henke plays Victor’s best friend Denny, a chronic self-gratifier. Henke is a relative unknown but he offers an earnest and emotionally present performance that seems to exist almost in spite of the film’s oppressive post-ironic atmosphere. On the other hand, Macdonald—who emerges early on as Victor’s “honest” love interest—is effectively wooden and dream-girl-by-the-numbers, though not without the afforded Palanhiuk twist that may or may not redeem...
...league. Last season, he went 17-13-4 in his 34 games and landed a 2.19 goals-against average as well as a .923 save percentage. Richter also recorded three shutouts, two of which came on consecutive nights, making him the first Harvard goalie in over 25 years to post back-to-back shutout victories. Over the course of the season, he notched 884 saves, including a career-high 42 saves in a 6-1 victory against then-No. 16 St. Lawrence on Nov. 3. Plus, in a 6-1 victory against Yale on Feb. 22, in which he blocked...
...behind glass, they’ve been taken out of their natural habitat, removed from the context of the streetlamps and mailboxes where they meant what they said, into a new habitat and context, where they mean something else. On these walls, they symbolize an intrinsic bond between the post-bohemian artistic anarchy of graffiti culture and the mercurial lunatic fringe that underground music has long occupied.The basement room that comprises Twisted Village is dusty and poorly lit, but an anxious potential crackles through the atmosphere; it’s the same potential that can resonate in the remote stacks...