The cinema has always done hostility better than history. Perhaps that is a characteristic it shares with most of us. So, 33 years ago, the spaceship Nostromo was a beaten-up heap ready to be retired, but the engine of its story and the stealthy uncovering of its ultimate confrontation of raw hostility and Sigourney Weaver in her underwear might have been handled by a trio of Einstein, Heisenberg, and Ben Hecht (the latter a pro screenwriter, the first two theorists on larger matters of story).
There are advertisements and reviews out there that tell you to expect comedy in Young Adult. You deserve a sterner warning. Yes, the picture is written by Diablo Cody* (of Juno and TV's “United States of Tara”) and it is directed by Jason Reitman (of Juno and Up in the Air). But, if you recall, Up in the Air had George Clooney as a cool, amiable flake whose job it is to tell people they are fired, and who is set back (to zero?) when Vera Farmiga’s colder character tells him that their love affair of convenience and intricate travel schedules is going nowhere.
Goddess of the Market: Ayn Rand and the American Right By Jennifer Burns (Oxford University Press, 459 pp., $27.95) Ayn Rand and the World She Made By Anne C. Heller (Doubleday, 559 pp., $35) I. The current era of Democratic governance has provoked a florid response on the right, ranging from the prosaic (routine denunciations of big spending and debt) to the overheated (fears of socialism) to the lunatic (the belief that Democrats plan to put the elderly to death).
Editor's Note: This article has been corrected. If the last few years have taught us anything about the Oscars, it's that the Academy loves a glamorous actress in an unglamorous role. There was Hillary Swank's reverse drag act in 1999, Julia Robert's white-trash beauty queen in 2000, Halle Berry's inmate's widow in 2001, and Nicole Kidman's Pinocchio act in 2002.
So many elements in film-making have become so dependably fine—cinematography, editing, production design—that by now only the exceptions are surprising. Screenwriting is a great deal more variable: the good work of the designers and others is often wasted on trash. Acting, however, is less variable, because most film scripts don't demand much more than verisimilitude from the cast, and many film actors, especially those with salable personalities, are skilled in what might be called behaving—without much distinction between what is on camera and what is off.