Word: schoolbooks
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Father Figures Three other Hogwarts boys - one in the present, two from the past - have virtually the same burden: they've been chosen to play crucial roles in the great conflict. One shadowy figure is a student whose old, annotated schoolbook, marked "Property of the Half-Blood Prince," helps Harry ace his potions course and perform some vital magic. The other, seen in flashbacks, is the brilliant, troubling Tom Riddle, Voldemort to be, whom Dumbledore (Michael Gambon) recruits from an orphanage to Hogwarts. As played at 11 by Hero Fiennes Tiffin (a nephew of Ralph Fiennes, the series' Voldemort...
...explodes across her face, as if someone has switched on a spotlight. She's smart, too, likes social studies best, and especially learning about different cultures in far-off lands. Crouched on a mat in a refugee camp on Sri Lanka's east coast, flicking the pages of a schoolbook, pencil by her side, she looks like a normal kid. And then you spot it: Jeevatharsini has no left arm. Through the hole in her dress where her upper arm should join her shoulder, a stump is just visible, the skin slightly puckered where the surgeon has stretched it back...
...nothing has added urgency to Koizumi's efforts as China's "peaceful rise" to economic and political power. After months of escalation, tensions climaxed two weeks ago when protests in China over Japanese schoolbook revisions that glossed over some of Japan's worst World War II atrocities metastasized into widespread anti-Japanese riots. Newspaper editorials and politicians in Japan began talking ominously about "the lowest point in Sino-Japanese relations in 30 years" and the rising likelihood of an "Asian cold...
There he is, in the background of paintings, schoolbook illustrations, celebratory films. He's hauling a boat, cradling a rifle, looking on. He is often bare-chested. No one is speaking to him. Frankly, his presence is a little embarrassing. He is York, William Clark's body servant--slavery's version of a valet...
When Robin Williams enters hell, the movie's visual style lags. Like Ward's heaven, hell is a collection of schoolbook cliches, but without the visual flourish that marked the earlier passages. The hell that Woody Allen presented satirically in Deconstructing Harry is far more frightening than the absurdity in What Dreams May Come. Perhaps no director could reconcile presentations of heaven and hell successfully--David Lynch could certainly do the latter--and in this situation, Ward fails at both tasks...