One thing is certain: the image of America and postmodernism are inextricably bound up with each other. Nay, I will go a step further and say — get ready — that they are “coeval.” (Coeval is a rare term used by a certain philosopher and his acolytes.) How so? Postmodernism in . . . . Continue Reading »
And another thing: Who could believe that you could make a movie that is not just watchable but deeply engaging with basically two people, one of whom says nothing? What kind of artistic chutzpah does it take to try to wring drama out of a 2-hour monologue? What kind of genius does it take to . . . . Continue Reading »
Ingmar Bergman’s 1966 Persona is brilliant cinematic philosophy. Elisabet, an actress, becomes confused during a performance and falls silent. Her psychiatrist gives this diagnosis: She got tired of playing roles, putting on masks, and knew that every word she spoke involved some sort of . . . . Continue Reading »
A.O. Scott on the latest Woody Allen film: [ . . . ] Mr. Allen’s imagination has returned to Manhattan after that invigorating European sojourn afflicted by an extreme case of jet lag. In spite of a few up-to-date references — to Barack Obama, red states and gay people, for instance . . . . Continue Reading »
In the Emmy-winning 1997 version of Rebecca , there’s a scene in which the new, young Mrs. de Winter is harassed by one of the film’s less savory characters for claiming to enjoy being alone at the vast Manderlay estate while her husband is away on business. From our present-day . . . . Continue Reading »
I am super delighted to see Reihan joining me in the use of ‘econopocalypse’ lingo, but super distressed to see that he is choosing to do so because he increasingly believes we are really destined for an economic apocalypse. Fortunately, the apocalypse has already happened. You . . . . Continue Reading »
A few days ago I saw the new Clint Eastwood movie Gran Torino which is ably reviewed by our own Peter Suderman here . Lots of critics have charged the movie, and Eastwood’s directorial efforts generally, with a kind of bleak nihilism that finds hope only in the heroic but feckless struggle . . . . Continue Reading »
Virtually the first English words you hear in the recent film Transsiberian come from a pastor leading a mission trip to minister to children in China. “Ours is not a gray world,” he says. “Under the bright light of truth,” he says, “it’s a world of clear . . . . Continue Reading »
1. Pinch hitting at Schwenkler’s, William R. Brafford solicits my comment on the friendly R.R. Reno’s latest: I hope it’s clear that I see the problem of stability and dynamism as one of balance, of figuring out where to set limits. And here Reno asserts that it is most important . . . . Continue Reading »
Two fatherless boys - Will, a pious member of the Plymouth Brethren, and Lee, the school’s bully and bad boy - find stability and hope when they become blood brothers and make an amateur Rambo spin-off. It’s a promising premise, but Son of Rambow doesn’t carry it off. The problem . . . . Continue Reading »
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