Word: vamp
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...acuities of this smart, sweet, bordering-on-adorable romantic comedy is its awareness that by senior year, teens have been stuck for so long in their designated roles - nerd, vamp, rebel hottie - that they feel like indentured servants to them. The most agreeable myth of the movie, directed by Peter Sollett and scripted by Lorene Scafaria, from a novel by Rachel Cohn and David Levithan, is that spending a night in New York City can crack the shell of stereotype to reveal your utterly cool inner life to someone who turns out to be your soul mate. For Nick, that...
Amid this setup we meet Sookie Stackhouse (Anna Paquin), a small-town Louisiana bar waitress with her own supernatural issues. She can read people's minds, making daily life a minefield of too much information. When the bar gets its first vamp visitor, 173-year-old Bill Compton (Stephen Moyer), she takes a shine to him, not just for his smoky looks or his undead-Confederate-soldier courtliness: to her relief, she can't read his thoughts. Their romance unnerves her friends and coworkers, though, particularly when women start turning up dead with twin puncture wounds...
...moviegoing demographics, from six to 16. Wreathed in lavish CGI effects, The Golden Compass traces the quest of the 12-year-old Lyra (Dakota Blue Richards) to find a missing friend and, eventually, to save her world. On the way to her destiny she's imprisoned by a glamorous vamp (Nicole Kidman), befriended by a talking polar bear (the talking is done by Ian McKellen) and accompanied by her own Jiminy Cricket - a cute, shape-shifting creature who speaks in the cheerfully urgent voice of Freddy Highmore (Charlie in Charlie and the Chocolate Factory...
Enter Countess Popova (Eve H. Bryggman ’10), a velvet-clad Russian vamp who rents a room beneath the Marcassols. Unable to restrain himself, Gustave quickly becomes more than just the Countess’ landlord. But he is convinced that he can only run away with her if he can secure a suitable second husband for Claudine...
...Haynes does know how to end his film: with a minute-or-two view of the real Dylan at a concert, playing an extended vamp of "Mr. Tambourine Man" on the harmonica, focused on freeing the soul of his song through his craft. It's a reminder that, whatever social movements the Beatles and Bob Dylan were drafted to represent, whatever iconic status they've been freighted with for the past 40 years, all they really made was music. And that was enough...