In Berlin's Jewish Museum, a new exhibit called "The Whole Truth" asks visitors uncomfortable and even absurd questions about Jews. One of the curators, Michal Friedlander, says it is intentionally provocative.
"The point is to get people talking about how they perceive Jews, particularly in Germany today," she says.
But some German Jews accuse the museum of going too far.
In recent years, high-profile cable TV dramas like AMC's Mad Men have helped to shift audiences and programming across all types of TV networks. (Pictured, from left: John Slattery, Jon Hamm and Vincent Kartheiser)
Credit Darren Michaels / TBS
The programming convergence between cable and broadcast networks may have already begun, with shows like Cougar Town jumping ship from ABC to TBS. (Pictured: Josh Hopkins and Courteney Cox)
Mad Men comes back for its sixth season Sunday at an opportune moment for basic cable. Last weekend, 25 million viewers combined watched The Bible and The Walking Dead on basic cable channels. That's more than triple the audience for The Good Wife on CBS that same night.
Franck (Vincent Cassel), Simon (James McAvoy) and Elizabeth (Rosario Dawson) are uneasy allies trying to discover exactly what went wrong during a botched art heist in Danny Boyle's trippy thriller Trance.
Credit Fox Searchlight Pictures
Dawson's Elizabeth is a hypotherapist trying to help the amnesiac Simon remember what happened to the Goya he was helping to steal.
In 1981, avant-garde theater director Andre Gregory collaborated with his friend Wallace Shawn and French filmmaker Louis Malle on an oddball project they called My Dinner with Andre.
Now enshrined as a classic — and one of the most-lampooned films in the history of American cinema — the movie is a talky two-hander in which Gregory (or someone very like him) gassed away about his globe-trotting adventures in spiritual enlightenment, while Shawn (or someone very like him) listened in disbelief, then grew entranced.
In theory, it's romantic to watch young couples struggling. We're used to seeing 'em in movies from the '30s, '40s and onward: He makes only enough money to put beans, not steak, on the table. She stretches the meager dollars he brings home by whipping up cheerful curtains patched together from fabric scraps. They may be poor, but they have love on their side, and if they work together, a comfortable and happy life — including the babies that will eventually come — will be theirs.
Let's just get this out of the way up front: Fede Alvarez's remake of Sam Raimi's horror classic The Evil Dead can't hold a candle, shotgun or revving chainsaw to the original.
Raimi's 1981 debut is a masterpiece of punk filmmaking, a bunch of young enthusiasts who barely knew what they were doing, going out into the woods and stumbling blindly into the creation of a ragged landmark — largely because they didn't know, didn't care or didn't have the money to do it the way it was supposed to be done.
If you want to tell a story, the professional tale-spinners say, make something happen.
That's true, but a happening can be defined as elastically as the teller needs it to be. Sometimes it's a shift in a character's inner landscape — a change in her responses to the common hurts and losses that she's lugged around from childhood — that moves us more than a third-act gunshot ever could.
Crisp in execution and classic in ambiance, The Company You Keep is star Robert Redford's most persuasive directorial work since 1994's Quiz Show. It's a pleasure to watch, even if the payoff is rather less substantial than the backstory.