Unemployment Has Crept Over Ten Percent, and I Think That’s a Good Thing. What? by Noam Scheiber Did Rembrandt Reveal a Murder in One of His Paintings? An Intriguing Whodunnit Film. PLUS: 'The Maid.' by Stanley Kauffman The UN Report on Gaza Is Biased, Shoddy, and Unrealistic. But Israel Must Deal Honestly With Its Own Failures. by Moshe Halbertal Don’t Blame Obama for the Bad Economic News. Blame Congress. by Jonathan Chait From the TNR Archives: The Strange Genius of Oprah Winfrey, by Lee Siegel Is David Brooks Punking Me? He’s Got to Be Punking Me.
Rembrandt’s J’Accuse Film Forum The Maid Elephant Eye Films Peter Greenaway, the British director who was educated as a painter, first came to wide attention in 1982 with The Draughtsman’s Contract, a silky comedy about seventeenth-century aristocrats. Greenaway then promptly set out not to build on this success, undertaking one eccentric film project after another. It was almost as if he were determined not to grow cumulatively, as most of the best directors have done. Of the Greenaway works that I have seen, only two of them--quite unlike each other--stand out in memory.
Last night, around dinnertime, The New York Times postedon its website a 3,000-word investigation detailing Senator John McCain’s connections to a telecommunications lobbyist named Vicki Iseman.
Violence is scary. Violence is sexy. Violence is wrong. Violence is righteous. Violence is a problem. Violence is the solution. Befitting its title, David Cronenberg's film A History of Violence comprises all these definitions and more. Just released on video, the film opens with a pulpy paean to small-town murderousness, as two drifters check out of a dusty, rural motel. The air of lazy depravity is palpable; bad acts are hinted at--"I had a little trouble with the maid," one man tells the other--before they are revealed.
Anyone seeking evidence of the death of romantic comedy will find it in abundance in Love Actually, which arrives in video stores this week. Written and directed by Richard Curtis (best known for penning Bridget Jones's Diary, Notting Hill, and Four Weddings and a Funeral), Love Actually announces its ambitions early: Too bold to offer us a thin, unconvincing romance, it instead offers us half a dozen.