Parade of Mitzvah tanks rolling up 6th Avenue.
Bio: J. Gabriel Boylan is culture editor at Capital. He was previously an assistant editor at Harper's Magazine.
"I kind of knew I did not want to tell the happy, cheery, romantic, Hey look at this big crazy Irish family, come have a laugh with us kind of Christmas movie," Burns said. "I wanted to go with something a little more honest, a little more grounded in the real world to reflect a little more of what most folks and families go through in the holidays."
Postedsdfon December 7th, 2012 1:07pm
"He's the master timekeeper, and original rock & roll junkie, superstar, lunatic," Jay Bulger said of Ginger Baker, the subject of his debut documentary, Beware of Mr. Baker, showing this week at Film Forum. "He was living at the end of the world, he was a little bored, he wanted to tell his story, and I happened to be the person who showed up and convinced him to tell it. And it wasn't that easy. He's a really, really, really difficult person to work with, and I'm not special in any means, I just happen to be kind of preconditioned to this type of person. It was like sitting there with my grandfather; his grumpiness, his cantankerousness, I related to it and I'm really attracted to it."
Postedsdfon November 29th, 2012 4:06pm
But two of the least-known films in the series, The Looking Glass War and The Deadly Affair, are perhaps the most enjoyable and surprising of the bunch. Largely forgotten, they are both, in their own ways, wonderfully evocative of the Cold War era, and while stylistically and narratively they couldn't be more different, they share some of le Carré's most essential enduring themes. And of course, nearly everyone gets screwed over.
Postedsdfon September 27th, 2012 3:13pm
His work is unarguably brave and commendable, but how does it fit into contemporary Chinese life, society, and activism? It's hard to tell, even in Ai Weiwei: Never Sorry, a new documentary on the Chinese artist and activist, out today.
Postedsdfon July 27th, 2012 3:29pm
Of course it's not just the old, familiar "information overload" complaint that actually echoed through the ages long before the digital era. For those of us who don’t give in to the paranoia that zettabytes of cat videos and baby pictures are unstoppably degrading the sanctity of The Image, it’s extraordinary to be confronted, as one is at the Guggenheim Museum’s current Rineke Dijkstra mid-career retrospective, with rather ordinary-looking images of rather ordinary-looking people, and to be intensely moved.
Postedsdfon July 11th, 2012 2:37pm
"I wondered, What's the ultimate brand. And I thought, NASA represents our destiny in the stars and ... the mutation of man growing wings using his super-powerful mind," Sachs said. It's this celebration of the human mind that is the through-line connecting all the pieces in Space Program: Mars, from the modified Winnebago (Mobile Quarantine Facility) to the exercise unit (Space Camp) to the bike-repair shop to Mission Control Center—a huge array that includes a boombox, an iPad, turntables, bottles of vodka, and monitors that can show dozens of locations around the Armory, from miniature sets of splashdown to the intimate moments the astronauts share inside the Lunar Module—most of the things constructed from plywood, fiberglass, and Con-Edison's familiar white-and-orange wood pedestrian barriers.
Postedsdfon June 15th, 2012 1:11pm
Wes Anderson's latest film, Moonrise Kingdom, out today, epitomizes how, for him, attention to detail goes way deeper than forming a pretty picture
Postedsdfon May 25th, 2012 5:50pm
"Craft has completely shifted to the world of ideas," he said. "You take some cardboard boxes and throw them in a corner, and a rolled-up, greasy sleeping bag, and some squished beer cans… and all of a sudden you're making a commentary of homelessness." He spoke of a world of artists "trying to manufacture excitement."
Postedsdfon May 18th, 2012 4:48pm
Richter explains the images hung on his studio wall for inspiration. One is of a classical sculpture, headless and armless. He speaks of the brutality inherent in these ravages of time, and then examines a photo of the death camps, an image he notes as appearing remarkably serene until one examines it more closely. Such are the power of captured images, and images that recall a history that seems inherently personal for Richter. Yet in another scene, looking at family photos, he notes their inability to communicate a true past, to be whole documents, to fully mean something.
Postedsdfon March 19th, 2012 11:06am
“Sometimes I intersect with the marketplace better than other times,” Stace offered by way of an explanation for the vicissitudes of his success over the past two and a half decades that he’s been making music and, more recently, writing novels. “Before I made this album I hoped it was good and went in with the heart wide open. When I finished the album I thought, It’s probably the best record I could possibly make right now.”
Postedsdfon October 28th, 2011 2:24pm