Hot-weather Hollywood blockbusters have now cooled off, so the cineplex will be a quieter place for the next few months. But there can be intensity even in intimate films, as evidenced by the relationship drama Keep the Lights On.
Film adaptations of TV shows long off the air have proven hit-or-miss at the box office. But in recent years, the practice of continuing the story of a popular, recently concluded TV series in a feature film has made for easier business — even when the results are mixed creatively. There's a lot to get wrong in translating a successful series, and therefore a lot to consider: How much of an introduction will a wide audience need to a show's world and characters?
Originally published on Thu September 6, 2012 4:50 pm
Fred Schepisi knows how to make the kinds of movies almost no one makes anymore. The tragedy is that they don't make audiences like they used to — and Schepisi's latest, The Eye of the Storm, will feel to many viewers like a movie lost in time and space.
That's no reflection on its craftsmanship, which is superb, or on its performances, which are sterling. But this multigenerational character study, based on a novel by Patrick White, requires a little patience: Its rhythms are slack in places, and its pace is definitely leisurely.
The centerpiece of For Ellen is the long-postponed meeting between a rock-band singer, Joby Taylor, and the 6-year-old daughter whose name is in the title. But writer-director So Yong Kim's wintry character study is primarily a solo act, punctuated by the occasional duet.
The three protagonists of Bachelorette do some pretty terrible things: They talk trash behind a fourth friend's back, kvetching bitterly about having to be bridesmaids at her wedding. They publicly leak her old high school nickname, which happens to be "Pigface."
And just hours before the wedding, as the bride-to-be is getting her beauty sleep, two of them try to cram into her wedding gown as a gag — she's a plus-sized cupcake of a woman — and rip it seemingly beyond repair.
Originally published on Thu August 22, 2013 2:40 pm
From January 1992 to September 2001, Branford Marsalis set the JazzSet pace, hosting 39 new shows a year (now we do 26) from the Carnegie Hall Jazz Band; festivals in Iowa City, Telluride, Pasadena, Mount Hood, Montreal and Brevard, N.C.; the new music festival in Groningen, the Netherlands, and the Havana Jazz Festival in Cuba; clubs from Yoshi's in California to Sculler's and the Regattabar in Boston. WGBH producer Steve Schwartz sent us lots of Boston sets during that first decade, all of them much appreciated.
From NPR News, this is ALL THINGS CONSIDERED. I'm Robert Siegel.
And this is President Obama's big night in Charlotte. After two days of impassioned speeches by others, making the case for his re-election, Mr. Obama takes the stage later tonight. And this hour we begin in Charlotte with NPR national political correspondent Mara Liasson. Hi, Mara.
This is ALL THINGS CONSIDERED from NPR News. I'm Robert Siegel.
Four years ago, then-Senator Barack Obama took the stage in Denver to accept his party's presidential nomination. He spoke of overcoming partisanship and economic turmoil. Well, tonight, President Obama will do it again with four years of experience under his belt. Since taking office, he has struggled to overcome a crushing recession, a weak recovery and a deeply divided electorate.
NPR's Scott Horsley has this story on the path the president has traveled.
Originally published on Wed September 12, 2012 6:14 pm
These days, Tryon Street here in Charlotte has felt a bit like a carnival. It has some to do with the many temporary structures that have popped up every few blocks and certainly some to do with the street vendors hawking T-shirts and hats and pins and mugs.
Lincoln Center represents New York culture with a capital C. The Brooklyn Academy of Music, or BAM, across the river, has long presented scrappy alternative programming. But both recognize that to survive and thrive, they need to develop new works and new audiences.
Now, those two big artistic institutions have decided to go small. The Lincoln Center Theater and the Brooklyn Academy of Music have invested millions of dollars to fund new theater spaces for new work.