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...movie has a couple of brief enliveners. Dafoe triumphs over some awful dialogue by giving the role his nutsy-greatsy weirdness. And there's a really cool scene where Edward's home is invaded by a vampire that is severely blood-deprived - its face a skeleton, its skin parched, but majestic when it spreads its scaly bat wings and digs its long talons into the ceiling. Let the Robert Pattinson-style vampire warm teen girls' dreams; this one is a creature for your very best nightmares...
...pieces are subtler. Hamra Abbas' Ride 2, a fiberglass sculpture of the legendary Buraq, the Prophet Muhammad's winged steed with a human head, is local in its imagery. But the glinting cherry-red form also recalls a highly waxed Ford Mustang. Like it, Pakistan and its revving art scene are poised to drive into the future with one foot in tradition, the other in modernity. May they cruise, not stall...
Merkel has spent decades being underestimated. There are still plenty of observers of the German political scene who regard her myriad achievements as flukes. "Merkel has never given a speech that stayed in the memory," wrote her most recent biographer. She can indeed seem reserved and self-effacing at times, but there should be little doubt that she has confidence and ambition aplenty. "You could certainly say that I've never underestimated myself," she says with a smile that in another context could only be described as kittenish. "There's nothing wrong with being ambitious." (See the Top 10 news...
Like most of Mamet's plays, Race is a relatively slight affair: three scenes, four characters, one unnecessary intermission. It opens with two principals of a law firm, one white (James Spader) and one black (David Alan Grier), quizzing a prospective client (Richard Thomas) who has been charged with raping a young black woman. In Scene 1 the lawyers badger him mercilessly, scoffing at his claims of innocence, dismissing his naive hopes that the legal system might exonerate him. By Scene 2, however, the white lawyer has done a nifty 180 (and managed to negate virtually all of his Scene...
...relic of another era. The advent of Barack Obama may not have invalidated Mamet's cynical view of race relations, but it has made it seem shockingly glib and opportunistic. "This isn't about sex. It's about race," goes the exchange that brings down the curtain in one scene. "What's the difference?" Make sense of that line, and you just might be able to make sense of where the most important American playwright of his generation has gone wrong. Good luck...