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Director and screenwriter Richard Linklater appears to have great difficulty shedding his "Dazed and Confused" mindset with "Waking Life," an entrancing animated voyage that's destined to be a requirement in any stoner's video collection.
While "Life's" trippy visuals (the film was animated over live-action footage) may provide sufficient fodder to hook in the toking crowd, Linklater's engrossing script, which explores the fine line between the dream and real world, is sure to captivate the clear-headed as well.
Since his 1991 cult-fave, "Slacker," a string of isolated vignettes which explores a day in the lives of hapless Gen-Xers in Austin, Texas, Linklater has been able to create a style all his own.
His impressive ability to formulate a variety of highly unique and memorable characters through witty and often thought provoking dialogue was acknowledged by many with the release of his critically and commercially successful hit, "Dazed and Confused," one of those rare teen comedies that doesn't make you proclaim, "not another teen movie."
Linklater's depiction in "Dazed" of a final school day in the late '70s accurately captures the eagerness and awkwardness of rising freshmen and the high-anxiety of students facing their final year of high school with charming realism.
With "Waking Life," Linklater proves that his writing ability has matured over the past decade.
The North Mississippi Allstars burst onto the music scene with their 2000 debut album, "Shake Hands With Shorty." A collection of blues cover material from such notables like R.L.
Last month I bought some last-minute tickets to a Cake concert in Denver, a two-hour drive from my current residence in Winter Park, Colo.
Spaulding was packed Saturday night for one of the few chamber music events featured at the Hopkins Center this year, a return visit from the Guarneri String Quartet.
Lies, love, death and deception. Weddings, divorces, affairs and funerals. These intriguing themes, along with director and screenwriter Wes Anderson and co-writer Owen Wilson's dark, deadpan humor await anxious viewers of "The Royal Tenenbaums," the latest film from the pair.
There are several routes a director and/or screenwriter might take to ensure his or her film's public and economic success.
Jane Comfort is not your standard choreographer and director. Her work typifies the eclectic style of dance and performance that has recently taken the arts community by storm.
Comfort's unique style utilizes motion, light and song, with her story told through the eyes of the spoken word and dance.
Through a special series of performances and discussions at the Hopkins Center this winter, Jane Comfort and Company has brought a little touch of the real world and dance into the snow-covered streets of quintessential Hanover, NH.
Jane Comfort and Company's latest production, "Asphalt," has won much acclaim from the critics and theatergoers of New York.
A close and detailed look into the hardships faced by the people of the inner city, "Asphalt" ties together a wide array of musical and theatrical genres.
Originally intended to portray the concurrence of dance, motion and word, Comfort's production grows into an all-encompassing theatrical piece, combining elements of dance, lighting, thematic structure and music.
Initially commissioned through the Doris Duke Awards for New Works, and the Andrew W.
The movie opens with the depressing flicker of a neon sign outside of the Kansas City, Kan., location of the fictional nationwide restaurant chain, Bilgewater's (think Big Boy meets Applebys), where Hedwig and his band, The Angry Inch, are beginning their American tour.
Once inside things instantly explode, and the sugary voice and screen presence of John Cameron Mitchell in drag as his transsexual main character, Hedwig, captivate a stunned audience of diners.
"Are you ready, Kansas City!
On Nov. 18, 2001, MTV's "Unplugged" series aired yet another gem which ranks among classic performances by Nirvana, Eric Clapton and Bob Dylan.
But this performance came from a most unlikely artist and musical genre, Jay-Z, the king of hip-hop.
Rare are the films that display such uninhibited emotional power as does Todd Field's new thriller, "In The Bedroom."
The intense view of the emotional and psychological scars left on parents grieving the loss of their only child pulls no punches and leaves the viewer captivated at every turn of the plot.
"In The Bedroom" stars Sissy Spacek and Tom Wilkinson as Ruth and Matt Fowler, whose only son Frank, played by Nick Stahl, is home for the summer before venturing off to architecture school.
Frank, in between his summer trade as a lobster fisherman, is romantically involved with an older woman, portrayed by Marisa Tomei.
What do you get when you combine Brad Pitt, George Clooney, Julia Roberts, Matt Damon and a host of celebrities in Las Vegas (not to mention over $150 million )? The answer: director Steven Soderbergh's hit remake of "Ocean's Eleven."
When criminal Danny Ocean (George Clooney) gets out from prison, he can't help but begin to plan his next major robbery.
One word can be used to describe Jimmy Bosch's performance in Spaulding Auditorium on this past Saturday night: magic.
Backed by a seven-piece band, the Hoboken, N.J.
On the night of Leopold's expected engagement to an American heiress he is mysteriously transported from his 19th century home into the new millennium.
A film comes along once every five years or so when an actor uncannily conveys the dark uncertainties and idiosyncrasies of a mentally unstable character to the point that the audience becomes convinced they are observing his subtle, distinguishing characteristics in real life.
In a life of simple pleasures, Sam Dawson's sole sources of enjoyment are dinners at IHOP and listening to Beatles covers with his friends.
After 10 seasons of MTV's popular reality show, "The Real World," audiences have accustomed themselves to the outrageous consequences of throwing seven contrasting personalities into a posh, elegantly decorated den of fire.
You don't need to get dressed up. As a matter of fact, be ready for the kind of jam session that nobody would expect from a Juilliard-based quartet.
Not many people can look at a rotted tree trunk and sense its potential for artistic expression. Not everyone is Mel Kendrick.
In the Hood Museum of Art's new exhibition, "Mel Kendrick: Core Samples," Kendrick, a contemporary sculptor, presents nine of his sculptures, created over the past two years.
There is something about murder mysteries and rain. There is also something about pretentious old England and dreary weather, drizzling her gaudy, grim Brits in aging pearls polished to shades of brown and gray.
Director Robert Altman embraces such vintage imagery in the opening scenes and throughout his newest film, "Gosford Park," a subtly humorous menagerie of curious characters lost in a maze of endless subplots directly and indirectly linked to an unsolved murder that takes place within the chaos.
Set during the 1930s in an English country mansion, the movie opens as friends of Sir William McCordle (Michael Gambon) and Lady Sylvia McCordle (Kristin Scott Thomas) arrive for a weekend shooting party.
It wasn't the regular crowd at the Flux Quartet's performance in Spaulding Auditorium Friday night.
With lines like "I'll give you a blitz and maybe we could get a meal or something," "Kiss and Tell," Imago Media's latest production for DTV, is an entertaining spotlight on taboo themes at the heart of Dartmouth's dating scene.
The hilarious opening scene of the series premiere, which features Jay Kaplan '02 and Elenor Sigler '01 seducing one another in the Berry stacks, successfully introduces the quandary that arises throughout the episode: Is it possible to find love at Dartmouth?
The show also explores how far a student has to go to find that love.
In the style of the hit HBO series "Sex in the City," "Kiss and Tell" revolves around the lives of four single '03 women, who in their quest to find love at Dartmouth, must deal with the non-sensical realities of dating at the Big Green.
The first episode, titled "Great Sexpectations and Good Vibrations," looks specifically at whether or not it is possible for upperclass women to date underclass men.
The characters of this Dartmouth production successfully parallel those found in "Sex in the City." Maya, who is wonderfully played by Wendy Liu '02, is more or less the Carrie Bradshaw of "Kiss and Tell." Sitting at her computer, Maya drives the story line with insightful comments and personal experiences that delve into the dilemmas at hand.
Alex, played by Rachel Globus '02, is the Miranda-like character.