People keep messing with Jane Austen's work. I'm annoyed by it.
I am a fervent Jane Austen fan. I love her eloquent prose, her portrayal of social conventions during Victorian England, and her penchant for subtle criticism. And I think people need to leave her work well-enough alone!
As you may or may not know, her work is in the public domain and is no longer covered by copyright. So, people can do what they will with it. And ohhhh have they.
When it was announced that Academy Award-winning queen of quirk Diablo Codywould follow up Juno with the teen-horror film Jennifer’s Body, the news garnered tentative excitement within the horror fan community. The teen-horror genre has been in a slump since the last Scream entry nine years ago. The deft Scream series toyed with genre conventions in a self-referential manner, while still providing a great number of scares. Saw and Hostel then started a wave of lamentable torture porn.
Gaspar Noe nixes substance for style, in his follow up to Irreversible.
Lars Von Trier. Park Chan-wook. Michael Haneke. Provocative auteurs like these are masters whose works are defined by their distinctive approach to divisive subject matter. France’s Gaspar Noe looked to be one of the tribe with his first feature, Irreversible. Told in a real-time backwards narrative, the film is infamous for an unflinching nine-minute rape sequence featured in the film’s first half. Yet as the film unraveled itself, it presented a dilemma.
Review: Shoe designer Christian Louboutin's directorial debut, "Psychologic," doesn't fit as well as his heels.
There are two schools of thought on how to dress when you wake up in a bad mood.
The first tells you to bury your feelings in folds of sweatshirt material and slip into practical, comfort shoes. The second advises you wear that dry-clean-only number you normally save for cocktail parties, because when you look good, you feel good.
Christian Louboutin, the French luxury shoe designer known for his red soles, clearly belongs to the latter.
Michael Moore's takes on the financial crisis in "Capitalism: A Love Story."
Michael Moore stands outside of the AIG building in his trademark baseball cap and thick-rimmed glasses with a megaphone in hand. “I’m here to make a citizen’s arrest,” he declares before storming into a lavishly adorned lobby, only to be accosted by security and forced to leave.
Review: 'Huacho' depicts rural Latin America in an honest and emotional way.
There’s a scene in Huacho, the feature-length debut from Chilean director Alejandro Almendras, when the camera closes in on the face of an elderly woman selling blocks of homemade cheese by the side of the road. The shot is held for an unconventionally long time, with no movement or dialogue to break up the seconds ticking by. But in those moments, the audience is able to read the hard-earned wrinkles on the woman’s face, and we can begin to absorb the profundity of a life where a...
The documentary by Davis Guggenheim ("An Inconvenient Truth") is an ode to the electric guitar, starring Jack White, Jimmy Page and U2's The Edge.
If you're looking for something rockin' to do this weekend, a mosey over to Manlius might fit the bill. The Manlius Art Cinema will begin screening Davis Guggenheim's documentary "It Might Get Loud" tonight, with showings running until October 1.