Iranian Foreign Minister Mohammad Javad Zarif (second from left) shakes hands with U.S. Secretary of State John Kerry next to Chinese Foreign Minister Wang Yi (far left) and French Foreign Minister Laurent Fabius (far right) after a statement on early November 24, 2013 in Geneva.
Sometime after 3 a.m. on Sunday, international negotiators emerged from a conference room in a Geneva hotel, bearing with them weary smiles and a historic agreement. U.S. Secretary of State John Kerry, Iran Foreign Minister Mohammad Javad Zarif and representatives from five other world powers had come together on a deal to freeze the Iranian nuclear program temporarily.
Spike Lee's movies typically carry the label "A Spike Lee Joint," but Oldboy doesn't. He calls it "a Spike Lee Film," which my guess is Lee's way of saying he's a gun for hire — and that after a line of box office failures and difficulty getting financing for personal projects, he can make a fast, violent action thriller.
And as it happens, he can — a more-than-decent one. But this is also the first time I've come out of a Spike Lee film, bad or good, and not known why it had to be made. It's brutal, effective and utterly without urgency.
Originally published on Fri November 29, 2013 2:17 pm
It worried me when my daughter didn't like Star Wars. Even though I told her there was a princess in it, she was wholly unimpressed and, from the start, a little bit creeped out by Darth Vader and all the stormtroopers. Granted, she was only 6 when I first tried to bring her into the fold of my obsession, but that was twice as old as I'd been when I'd first fallen hard for the original trilogy. It was ... disconcerting.
Originally published on Fri November 29, 2013 6:10 pm
Some movies try to underscore their authenticity by flashing dates, names and locations on the screen. Mandela: Long Walk to Freedom offers some dates and locations, but not much in the way of names. The result is a history of national transformation in which only two people really seem to matter.
Originally published on Thu November 28, 2013 5:29 pm
To many baffled outsiders over 40, Bikini Kill frontwoman Kathleen Hanna was a weirdo riot grrrl bopping up and down onstage in her bra and panties, bellowing atonal revenge lyrics at anyone who'd keep her and her fellow women down.
To her ardent young following of 1990s Third Wave feminists, though, Hanna was an alt Messiah, hacking out a space for women in the punk-rock mosh pit and sounding an enraged alarm on behalf of victims of sexual assault.