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The theme of this year's summer and fall movie seasons probably won't be originality -- with "Star Wars'" second episode and Ben Affleck's debut as Jack Ryan already in theaters and new chapters in the "Austin Powers," "Harry Potter" and "Lord of the Rings" series on the horizon, 2002's release schedule is packed with sequels.
The latest in this stream of big budget retreads, "Men in Black II," doesn't exactly overcome all the usual criticisms thrown at such films.
I'm sitting in a pub back home in the United Kingdom. When my friends hear that I'm studying on exchange at Dartmouth for the summer, they begin to get very excited.
"Isn't that an Ivy League university?" asks one.
"Yeah, doesn't Natalie Portman go to an Ivy League?" chips in another.
"And Katie Holmes.
Friends of Matthew Demaine '04, who unexpectedly died of cardiac arrest in his sleep last year, say that he was a talented artist who took his work very seriously, as is readily apparent from viewing a sample of his work currently on display at the Hopkins Center.
The Matthew Demaine Memorial Exhibition honors the life and artistic work of Demaine, a lacrosse player from Northfield, Mass.
Featured are pieces from Basic Drawing and Basic Sculpture, two classes that Demaine took with Professor Marilyn Ranker.
Three years ago Sam Mendes presented us with "American Beauty," a film that went on to win Oscars for Best Picture, Best Actor, Best Original Screenplay, Best Cinematography and Best Director.
At 154 minutes and French to boot, "Celine and Julie Go Boating" ('Cline et Julie vont en bateau,' 1974) is a bit much for any reviewer to expect a reader to run out and see, which is probably too bad.
With this in mind, and just to be thorough about my intentions, here is the spoiler: Julie (Dominique Labourier), and Celine (Juliet Berto), and a young girl they steal from a house which is haunted with ghosts who must repeat the same day of murderess drama over and over, do go boating.
Well two out of three ain't bad. The British media hype machine was dead on when they proclaimed The Strokes as the next big thing.
What do you get when you stick Harrison Ford and Liam Neeson in a cursed submarine that is about to kill its crew?
John Boorman's 1981 cult-classic still holds up after all these years as a solid action flick
"Los Fakires" delighted Dartmouth this past Saturday with a performance filled with enchanting Cuban rhythms and unique tropical charm.
The group's leader and saxophonist Jos Bringues greeted the crowd, more than 400 strong, at the BEMA in Spanish and thanked the members for coming out to see a bunch of "ugly, old men."
Their first song was refreshingly upbeat, and the mix of percussion, saxophone, guitar and rich vocals saturated the atmosphere with summery tunes.
Lead singer Martn Chvez, a.k.a.
I hate to rain on someone's parade by saying "enough is enough," but "Austin Powers in Goldmember," a prime example of a fun idea run horribly amok, necessitates it.
It should have worked -- we all love Austin, and we all love Dr. Evil, Mini-Me and the rest of the crew.
After his critical and box-office breakthrough with 1999's "The Sixth Sense", writer/director/producer M.
Students from dance workshops show off newly learned steps during culminating performance
I'm honestly confused as to how such a ridiculous movie as "Eight Legged Freaks" can end up being boring.
Springsteen's latest release responds emotionally to the events of Sept. 11
Performers use humor, movement to enliven Shakespeare's play
New spy flick has spectacular stunts but weak storyline
As a member of Rockapella, the popular a capella group best known for its work on the television game show "Where in the World is Carmen Sandiego?," Sean Altman came across as a witty, intelligent musician who likes to have fun when he performs.
As a singer/songwriter accompanying himself on guitar Sunday night in Lone Pine Tavern, Sean Altman didn't come across much differently.
The New York-based Altman mocked a Lone Pine diner whose back was turned, asking her to visualize him "using those special glasses that let you see out the back of your head."
He poked fun at his success with Rockapella by saying, "I was a certifiable mid-level celebrity."
Altman's fun-loving attitude extended to his music as well.
I am not a big fan of films that set out to change the world in some grandiose, dramatic fashion -- they usually do not and merely end up leaving a disappointing aftertaste.
Rather, I prefer films that choose a smaller, more palatable message and impeccably deliver it.
"Trick," "Election" and now "Full Frontal," the latest from our beloved Steven Soderbergh, all come to mind.
Though one might be tempted to write "Frontal" off as too disjointed (in almost all ways), one finds that, with a little patience and a willingness to look deeper, the film provides a nice package of interesting form, fine acting and many provocative messages.
Soderbergh toys with the movie-within-a-movie idea to tell the story of a day in the life of eight Los Angeles residents.
It is hard to identify a dominant plot because the film jumps from narrative to narrative, moving back and forth between reality and glamorous Hollywood illusion, giving us a fun glimpse of a humble actress with diva-like dietary demands (Julia Roberts) before detailing an executive laying off a bland but endearing writer (David Hyde Pierce " goodbye, Niles Crane, hello, multi-layered and complex lovable loser.)
Each character of this eccentric and convincing cast deals with his or her fair share of pleasant surprises, unexpected letdowns, and totally mundane normalcy.
Thus, the film first apprises the viewer of who these people are and then explains why they do what they do (and what we are supposed to make of it).
Each cast member (Blair Underwood, Mary McCormack, David Duchovny, and others) really holds his own against the others, but while there are no weak performances there certainly are those that stand out.
Catherine Keener, still fresh after "Being John Malkovich" and playing a Human Resources VP with something to prove to the world, probably makes the most impact of everyone onscreen.
Between her uproarious "interviews" of company employees to her devastated, drunken visage when overhearing her husband's honest assessment of their marriage, one has the funniest, saddest, and most powerful performance.
Nicky Katt, a blood-drinking actor playing Hitler in a play called "The Sound and the Fuhrer," provides many uproarious scenes.
And Ms. Roberts, the movie star who "doesn't know how much money she has," provides some truly touching, sentimental moments; her character's reaction when haphazardly meeting a potential love interest is precious while challenging the public perception of such icons.
"Full Frontal" is Mr. Soderbergh's first entirely digitally shot film, and it was made in just eighteen days on a rather meager budget.
The differences in the film's texture (incredibly clear and smooth for some scenes, hazy and almost unfocused for others) are themselves used to provoke contemplation on fantasy and reality (and where the average person would rather be).
As usual, the film is very fresh and always engaging " I cannot think of a major superfluous or harmful element or useless scene.
A pair of the most substantial musical festivals of the year kickoff in only two days, but unfortunately you're going to have to travel to England if you want to catch them.
The Leeds and Reading Festivals consistently provide three days of big name talent, and this weekend's offerings are certainly no exceptions.
It seems that in the immediate wake of important events and/or great tragedy, the American public looks first to the media, then to the government and then lastly to the commentary of Americans in the context of popular culture.