There’s plenty superfluous commentary in Detachment, most of it delivered via the protagonist’s narrated monologues. We get a classroom lecture on the virtues of reading and the perils of an image-obsessed culture (which makes the image-obsessed Tony Kaye something of a hypocrite); we get cobweb-ridden life lessons such as “the world is a confusing place” and “everyone has chaos.” And in case we can’t tell that the entire
21 Jump Street isn’t just another forgettable adaptation of a television program, the disappearance of which noone laments. Mais non! The only interesting thing about this one is how it inadvertently ended up on the red carpet to greet the arrival of Hollywood’s unexpected leading men. Channing Tatum looks the part. The Hollywood heartthrob of a million female fantasies, he has anchored a string of overperforming rom-coms (Step Up, Dear
In the early 2000s, Genesis P-Orridge embarked on the latest major phase of an art career which is as erratic as they come. P-Orridge and his lover Lady Jaye undertook a “pandrogyny” project, in which they would eschew the bodies they were born with by going through a series of plastic surgeries with the goal of resembling each other as closely as possible. In effect, the aim was to meld their beings into each other’s, in spirit and body. This is the
Read a novel that changes your life, inspire the greatest Hollywood filmmakers. That’s what happened to French director and novelist Pierre Schoendorffer, who died yesterday at his home in France. In 1942 he read Joseph Kessel’s Fortune Carrée and set out on a new course. In an interview he said, “I wanted to become a sailor, travel the world and verify that the earth was round.” Beyond the wonders of discovery lied the need for expressing what he saw: filmmaking came naturally. He would enlist in the Indochina War so that he could make movies. As army video recordist
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