Take, if you will, a picture — or how
about several motion pictures stretching back all the way to 1990,
almost 25 years of pictures — from Frenchman Luc Besson. Take a close
look at those pictures and a theme emerges, a variation on a theme.
One day soon, the narrative throughout
the media will coalesce around our first impressions of Elizabeth Olsen.
We will attempt to write about her, as if in hushed whispers, full of
awe. “Do you remember seeing her in Martha Marcy May Marlene?” we
will ask our readers, prodding them to recall that this was the moment
when we started the buzz about her.
When the Mayerson JCC Jewish &
Israeli Film Festival kicks off Saturday at the Hebrew Union
College-Jewish Institute of Religion with a screening of The Yellow Ticket,
the event will signal an immersive merging of old and new...
Whip-smart dark comedy has been a
signature thus far in the career of writer-director Jason Reitman, who
kicked things off by skewering the marketing/promotional efforts of the
tobacco industry (and American society as a whole) in Thank You for Smoking.
Imagine, if you will, living in a
hellhole, deep, dank and dark. You’re a teen forced to turn tricks by
your mother to pay your own way, while also knowing that your earnings
are feeding her drug habit.
Games teach us life lessons, and so do
movies. But movies can strip away all of the metaphor and hidden
machinations, showing us the broad strokes of what happened, meaning we
get the highlights and the outcome — the shorthand version of the