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(05/03/06 9:00am)
Outspoken conservative commentator Laura Ingraham '85 will host a daily radio show on Newsradio 1070 WINA called "The Laura Ingraham Show," which will air in Charlottesville, Va. from 2 to 4 p.m. Ingraham worked as a speech-writer for the Reagan administration, served as a law clerk to Supreme Court Justice Clarence Thomas and was a criminal defense attorney for Skadden, Arps, Slate, Meagher and Flom. She has been a personality in nationally syndicated media since 2001, occasionally working as a columnist and television commentator. As an undergraduate at Dartmouth, Ingraham was editor in chief of the right-wing newspaper The Dartmouth Review, often drawing controversy for her sharp criticisms of the gay, lesbian, transgender and bisexual communities on campus. Her latest book, "Shut Up and Sing: How the Elites from Hollywood, Politics, and the UN Are Subverting America" is a best-seller.
(02/28/06 11:00am)
This means that the majority of the American public would rather pay to see Martin Lawrence in a female fat suit or Kate Beckinsale as a scantily-clad vampire assassin than sit through any of the five most critically acclaimed films of the year. Therefore, I humbly put forth the question: If we live in a movie-going culture that favors mediocrity over art, why not recognize the former alongside the latter?
(02/13/06 11:00am)
Mediocrity, I'm afraid, would be a generous compliment for "Firewall." It is the story of Jack Stanfield (Harrison Ford), a security specialist at Landrock Pacific Bank, who lives in an inordinately nice lake house designed by his wife Beth (Virginia Madsen), an architect. I mention that his wife is an architect because that's pretty much all she is; I suspect that, rather than waste time creating a three-dimensional female character in an action thriller, the screenplay chose instead to give her about fifteen lines of dialogue and an interesting-sounding career. Although, then again, the fact that Beth is an architect allows her to have once designed a secret escape tunnel in the family's basement just in case she or her two children were ever taken hostage by bank robbers. But let's not get ahead of ourselves.
(02/03/06 11:00am)
The Hanover Police department acknowledged their use of the Green Book as a tool for tracking down suspected lawbreakers in the undergraduate student body.
(01/30/06 11:00am)
This is the first line of dialogue in Woody Allen's "Match Point," but it echoes throughout the film all the way until the credits roll. If anyone in this movie sees deeply into life it is Allen himself, whose latest work is one of the year's most perceptive meditations on human nature. It is a film of sinister implications made all the more chilling by the fact that its director is one of the great comedians of the cinema; when the characters talk of life as tragic and meaningless, I was doubly shaken by the suspicion that Allen himself did not necessarily disagree.
(01/09/06 11:00am)
The show opens on a subdued parlor scene, with all the actors standing detached from one another, drifting drearily around the stage like fish in a bowl. Their small mundane actions -- turning on a record, sipping a glass of wine -- take on the tremendous weight of some unexplained tragedy. So powerful is this sense of unspoken woe that it is not until about seven or eight minutes into the show that the first phrase of dialogue is spoken, and several more minutes until the second. With painstaking slowness, it is gradually made apparent that the characters are gathered at a wake for a recently deceased friend. At one point, a character approaches the dead man's widow and mumbles "everybody is empathizing," although, from the looks of it, they are all so isolated in their own prisons of grief that they might as well not be aware of each other's presence.
(11/22/05 11:00am)
"Soul-wrenching" isn't a word I like to throw around casually, but there is no adjective better suited to describe the two hours I spent in the Bentley Theatre on Sunday watching the theater department's production of Neil LaBute's "The Distance From Here." I walked into the theatre knowing nothing about the play, prepared for anything from melodrama to sidesplitting comedy. What I got was a raw, unblinking glimpse at humanity so profoundly tragic that I sat stunned in my seat even as the lights went up. LaBute's plays are known for their searing, jagged voice -- in this production, his material is gifted with a cast brave enough to embrace that voice and make it their own.
(11/14/05 11:00am)
Every once in a while, amidst the barrage of noisy, soulless Hollywood constructions that elbow their way into theatres every Friday, there emerges a film so perceptive and insightful that it magnetizes you to the screen for its entire running time. Films like this don't come along often, and when they do, they are too frequently ignored in favor of the next big Rob Schneider comedy. But it would be a tragedy and a crime if the movie-going public were to pass over George Clooney's quiet masterpiece "Good Night, and Good Luck."
(11/07/05 11:00am)
As I walked into "Jamie Kennedy: Unapologetic and Uncensored" on Thursday night, I ran down a mental list of what I knew about this enigmatic yet oddly ubiquitous comedian. Who was this guy whose appearance I had enthusiastically, if perhaps a bit ignorantly, volunteered to review? An almost-famous stand-up comic hovering on the edge of mainstream success? A wannabe-Jim Carrey trying to reinvent a floundering film career by getting behind a mic? That lovably un-hip rapper from "Malibu's Most Wanted"? As it turns out, Jamie Kennedy is all these things and more. But on Thursday, as he stood before a packed Spaulding theater, joking, cursing and having sex with imaginary people, he became something else: a hit with the Dartmouth community. Eventually.
(10/11/05 9:00am)
The term "chick flick" gets tossed around a lot these days. In an era of machismo-laden action spectaculars, almost any film where the lipstick upstages the laser guns is instinctively filed in moviegoers' minds alongside movies like "Legally Blonde," "Miss Congeniality 2" and Hugh Grant's entire filmography. Given the misogynistic undertones of this rigid system of classification, I tried hard to walk into "In Her Shoes" thinking of it not as the chick flick it had been marketed as, but simply as a movie. And "In Her Shoes" is a movie, but a terrible one.