Michael Feinstein, the singer and pianist known as the "ambassador of the Great American Songbook," has a serious pedigree to back up that title: a real-life connection to one of America's greatest songwriting teams. It's the subject of Feinstein's new memoir, The Gershwins and Me: A Personal History in Twelve Songs. (A CD of Feinstein singing those songs also comes with the book.)
Ben Affleck's Argo is two-two-TWO movies in one, and while neither is especially original, by merging them Affleck pulls off a coup. First, he gives you espionage with the You Are There zing of a documentary. Then he serves up broad showbiz satire. For his final feat, he blends the two into a pulse-pounding nail-biter of a climax. And this all really happened. Most of it. Except for that climax.
WDIY Classics is an enticing exploration of music from the Baroque to the contemporary with interviews, concert listings, themed shows and more. This week, host Waldemar Vinovskis interviews award-winning performer, Eugene Albulescu.
This interview was originally broadcast on Oct. 11, 2011. The Viral Storm will be published in paperback on Oct. 16.
The New Yorker once called virologist Nathan Wolfe "the world's most prominent virus hunter." Wolfe, the director of the Global Viral Forecasting Initiative, spends his days tracking emerging infectious diseases before they turn into deadly pandemics.
If you do the math, the number of true psychopaths in Seven Psychopaths may not quite add up. Perhaps writer-director Martin McDonagh didn't want to go overboard with the murderous crazies. As it is, he's peopled his whimsically brutal comic thriller with — to name just three — an Amish throat-slasher, a dynamite-packing Buddhist and a serial killer who's fond of white bunny rabbits. That's probably enough.
Simon and the Oaks, a handsomely upholstered Swedish drama about two troubled families trying to survive World War II, is based on a runaway best-selling novel by Marianne Fredriksson. The film was made with money from several Scandinavian countries once occupied by the Nazis, as well as from Germany itself. It won a truckload of Swedish Oscars, and in the accolades heaped upon the movie, the word "epic" is thrown around with abandon.
Originally published on Thu October 25, 2012 10:52 am
Some might characterize what filmmaker Ross McElwee does as navel-gazing. But in the hands of this veteran documentarian, that which might be self-indulgent egomania from a lesser artist is often the stuff of quiet revelation.
Beneath a bright blue, near-cloudless sky, a lone aluminum trailer sits amid the sagebrush, the flat amber earth and the forbidding heat of Death Valley. Oddly enough, the trailer's single inhabitant doesn't seem the hermit type: Frank (Charlie Hunnam) is young, well-dressed and extremely handsome, the kind of blond-haired and blue-eyed good-looking that usually comes with easy confidence and a modeling contract.