How often does the family car really kill one of its regular passengers? It's a recurring trope in literary fiction — the parent's moment of inattention that changes a household's fate forever — but in Elizabeth's Strout's novel The Burgess Boys, her follow-up to the Pulitzer Prize–winning Olive Kitteridge, that accident is flipped on its head. Here, it's the father who's been killed, at the hand of a child lured by the tempting gearshift, and the lives of the children that are changed forever.
After 40 long days of Lenten abstention, Easter is a time for indulgence. And for those of us who don't observe Lent — well, who can resist all those chocolate bunnies? It's a time for sweets, with or without an excuse.
But if you're looking for Easter indulgences that are a little more refined than Peeps and jelly beans, take a cue from renowned chef Thomas Keller, whose Bouchon restaurants are as famous for their baked goods as they are for their bistro fare.
Human beings are imperfect — which is one reason we have the movies.
The Australian comedy Mental, written and directed by P.J. Hogan — the man behind the 1994 hit Muriel's Wedding — is filled with troubled people who, like most of us, strive not for perfection but at least for some understanding.
There are moments, as Derek Cianfrance's Blue Valentine informed us, when the barely controlled rage that is masculinity can be tempered by feelings for woman and child. But eventually the male Id will erupt, and everything will go to hell.
That happens more than once in Cianfrance's new The Place Beyond the Pines, a would-be epic that shifts from character to character and story to story to show how fury passes from fathers to sons. But too much of this seething drama is devoted not to characterization but to posturing.
What's the difference between an action figure and an action star? Very little in G.I. Joe: Retaliation, which features no performances of note, even from such combat-tested thespians as Bruce Willis, Jonathan Pryce and Dwayne Johnson.
The sequel to 2009's G.I. Joe: The Rise of Cobra, the latest Joe is a near-surrealistic mashup of serious themes and juvenile humor, realistic locations and cheesy CGI. Adapted to 3-D after it was shot, the movie is also one of the most aggressive examples ever of the chucking-stuff-at-the-viewer aesthetic.