How often does the family car really kill one of its regular passengers? It's a recurring trope in literary fiction — the parent's moment of inattention that changes a household's fate forever — but in Elizabeth's Strout's novel The Burgess Boys, her follow-up to the Pulitzer Prize–winning Olive Kitteridge, that accident is flipped on its head. Here, it's the father who's been killed, at the hand of a child lured by the tempting gearshift, and the lives of the children that are changed forever.
After 40 long days of Lenten abstention, Easter is a time for indulgence. And for those of us who don't observe Lent — well, who can resist all those chocolate bunnies? It's a time for sweets, with or without an excuse.
But if you're looking for Easter indulgences that are a little more refined than Peeps and jelly beans, take a cue from renowned chef Thomas Keller, whose Bouchon restaurants are as famous for their baked goods as they are for their bistro fare.
Of all the great filmmakers, Stanley Kubrick may be the one most associated with control — there's nary an inflection, gesture, camera movement or prop out of place in his movies, and significance invested in every detail.
Tales of his perfectionism have become the stuff of legend: projects developed over years or even decades, open-ended shoots where actors were bullied into 100 takes if necessary, special lenses crafted just to achieve a certain lighting effect in Barry Lyndon, obsessive micromanagement of every aspect of a production.
Human beings are imperfect — which is one reason we have the movies.
The Australian comedy Mental, written and directed by P.J. Hogan — the man behind the 1994 hit Muriel's Wedding — is filled with troubled people who, like most of us, strive not for perfection but at least for some understanding.
There are moments, as Derek Cianfrance's Blue Valentine informed us, when the barely controlled rage that is masculinity can be tempered by feelings for woman and child. But eventually the male Id will erupt, and everything will go to hell.
That happens more than once in Cianfrance's new The Place Beyond the Pines, a would-be epic that shifts from character to character and story to story to show how fury passes from fathers to sons. But too much of this seething drama is devoted not to characterization but to posturing.
What's the difference between an action figure and an action star? Very little in G.I. Joe: Retaliation, which features no performances of note, even from such combat-tested thespians as Bruce Willis, Jonathan Pryce and Dwayne Johnson.
The sequel to 2009's G.I. Joe: The Rise of Cobra, the latest Joe is a near-surrealistic mashup of serious themes and juvenile humor, realistic locations and cheesy CGI. Adapted to 3-D after it was shot, the movie is also one of the most aggressive examples ever of the chucking-stuff-at-the-viewer aesthetic.
Easter brings with it many predictable foods: chocolate bunnies, jelly beans, ham, and hard-boiled eggs. But some Italians use the season to feature a surprisingly sweet vegetable dish on their tables.
It's called torta co'bischeri agli spinaci. Francine Segan calls it "Tuscany's sweet spinach pie." Segan is a food historian and author of Dolci: Italy's Sweets. She shared a recipe for the pie for All Things Considered's Found Recipe series.
In 2004, Jim McGreevey was the governor of New Jersey and a rising political star. That was until he admitted his homosexuality, and an improper relationship with a male staff member. What happened next is the subject of the new HBO documentary, Fall To Grace. Host Michel Martin speaks with McGreevy and filmmaker Alexandra Pelosi.
Originally published on Thu March 28, 2013 10:56 am
Last night on American Idol was Motown Night, when we all learned that Motown songs (like "I Heard It Through The Grapevine") should all be sung as seriously as possible, wearing a scowl, with all the fun sucked out. (And that was a performance that was pretty good.) It's in keeping with this season, in which melodramatic ballads have dominated even more than usual.