New movies — especially sequels — hit theaters so quickly these days, it can be hard to tell what's worth checking out. So we thought it would be fitting to call upon the Boston-based, Pulitzer Prize-winning film critic Wesley Morris for some clarity.
Morris chats with host Ophira Eisenberg about whether it was hometown bias that led him to predict that Argo would take home the Oscar for Best Picture, and exemplifies how difficult it can be for a lifelong film scholar to narrow down an answer to the question, "What is your favorite movie?"
[I really hope it goes without saying that this piece about the film adaptation of a decades-old novel gives away the plot of a decades-old novel. But: Be aware.]
The sheer zazz that Baz Luhrmann introduces into The Great Gatsby is so imposing in quantity that it's surprising that it can get out of the way enough not to be the biggest problem in the movie. Luhrmann, after all, loves his swooping cameras and party scenes, and Gatsby gives him the best excuse for excess that there is: a story about excess.
This is the second installment of NPR's Cook Your Cupboard, a food series about improvising with what you have on hand. Got a food that has you stumped? Submit a photo and we'll ask chefs about our favorites!
Laurel Ruma, an NPR listener from Medford, Mass., didn't realize quite how much she had gathered up from her travels until renovating her kitchen last summer. She unearthed things like harissa, chickpea flour and black chia seeds.
Scrub away the gore and the nastier bits of provocation, and Ben Wheatley's Sightseers belongs squarely in the tradition of British classics like Kind Hearts and Coronets and The Ruling Class — satires that transformed simmering class resentment into brittle, nasty dark comedy.
<strong>A 'Great Gatsby'?</strong> Leonardo DiCaprio suits up to play the mysterious, magnetic title character in Baz Luhrmann's exuberantly turbulent film adaptation of the F. Scott Fitzgerald novel.
Credit Warner Bros. Pictures
Under the watchful gaze of intrigued Midwesterner Nick Carraway (Tobey Maguire, left) and seething old-money scion Tom Buchanan (Joel Edgerton), Gatsby pays court to Tom's fascinated wife, Daisy (Carey Mulligan). Your local English major can tell you how that works out.
If anyone could pull off a multiplex-friendly adaptation of F. Scott Fitzgerald's The Great Gatsby — a filmtreatment that might be capable of stepping out of the long shadow cast by the book — it's Baz Luhrmann, right? The Australian director who dragged Shakespeare's star-crossed lovers into the music-video-shaken, bullet-ridden '90s with Romeo + Juliet and compressed a century's worth of pop music and melodrama into the glorious Moulin Rouge?
Journalists make choices all the time that influence our understanding of the news — the choice of what stories to cover, which people to interview, which words to use. And major news organizations have been reconsidering how best to describe a group of people whose very presence in this country breaks immigration law.
What's left to know about Venus and Serena Williams? Probably not much that the tennis titans would be willing to share, given how heavily exposed they've been already, and how eager the press has been to wedge the sisters into ready-made narratives about race, celebrity and the daughters of a Svengali.
In 1961, Mel Brooks and Carl Reiner came up with some basic theories of caveman linguistics in their 2,000-Year-Old Man skit. Most of them had to do with rocks, as in, "What are you doing with that rock there?"
Now, a professor in England has questioned the validity of the famous caveman's rock-centric theories. And Mark Pagel of the University of Reading is reaching even further back, to the time of the 15,000-year-old man.