There’s a moment in Me and You and Everyone We Know, Miranda July’s hilarious and discomfiting first film, in which the director of a contemporary art museum and her assistant are fawning over a new show. “It really is amazing. It just looks so real,” the director kvells over what she believes is a sculpture of a discarded hamburger wrapper. “Oh, that wrapper is real,” says the artist, a young man with blond Fabio-style hair.
How hot is Natalie Portman? So hot that she does not even have a word for ugly: In a statement released Monday evening in Los Angeles, Ms. Portman said: “I am deeply shocked and disgusted by the video of John Galliano’s comments that surfaced today. In light of this video, and as an individual who is proud to be Jewish, I will not be associated with Mr. Galliano in any way.
Black Swan was a spectacular idea. This is not a movie about ballet—it is a ballet: Tchaikovsky’s evening-length Swan Lake transposed into a modern psychosexual thriller, an edgy cinematic re-make of a dance classic. The film’s director, Darren Aronofsky, spent years circling the cloistered world of ballet trying to find a way in: he watched dancers work and perform and talked to them about their art; he marveled at ballet’s uncanny mix of melodrama, camp, eroticism, and high art, and above all at its grueling physical demands.
In her review of Brothers, Slate's Dana Stevens discloses Here I come up against what I'm fully willing to admit may be a personal limitation: I can't stand Natalie Portman. I've never believed her in a single role. She evokes no emotional response in me beyond, "Oh, there's Natalie Portman." She doesn't overact or underact; she just stands around with whatever the appropriate expression for the scene seems to be on her sweet, pretty, childlike face.