A River in Egypt
April 02, 2007
Bradford Plumer: Global-warming denialism in retreat.
December 12, 2005
Damon Runyon called fighter James J. Braddock the greatest human interest tale in boxing history. His once-promising career cut short by losses and injuries, Braddock and his family fell into poverty during the Great Depression. Though he took any available job working on the docks, he couldn't make ends meet. His children near starvation, he applied for federal relief and begged former colleagues for help. On a fluke, in 1934 he was offered a one-time fight against a contender, a fight he was given no chance to win.
August 15, 2005
Last fall, a Bush-bashing ad in The New York Times included among its signatories the name of Norman Pattiz, the celebrated creator of Radio Sawa, a radio network fashioned to win hearts and minds in the Muslim world. This year, some say as a result of the ad, Pattiz has found himself battling for his seat on the Broadcasting Board of Governors (BBG), an independent government commission that oversees the Voice of America (VOA), Radio Free Europe/ Radio Free Liberty, and Radio Sawa and its sister TV network, Alhurra.
Pass the Fault
July 04, 2005
Ticket lines for movies are rare in Israel, and rarer still for features that have already been showing for five weeks, and unprecedented for a German production centered on the character of Adolf Hitler.
April 11, 2005
About midway through Hotel Rwanda there's a powerful, if somewhat heavy-handed, scene in which a good-hearted U.N. colonel (Nick Nolte) makes clear to hotel manager Paul Rusesabagina (Don Cheadle) why the West won't intervene to stop the ongoing Rwandan genocide. "We think you're dirt, Paul," he explains sadly. "You're black. You're not even a nigger. You're an African." One assumes that no one from the Academy of Motion Picture Arts and Sciences was ever quite so blunt with Hotel Rwanda director/producer/cowriter Terry George.
Stanley Kauffmann On Films: Different Weights
March 21, 2005
SOME YEARS AGO I SPENT A weekend in Las Vegas and enjoyed it. The bounteous vulgarity in every possible way, from displays to entertainments to phalanxes of slot machines, seemed to me exactly what it ought to be. Anything more chaste and sensible would have been out of order, a disappointment. I watch the Oscars every year, and I have more or less the same reaction: that everything is in character.
A Tale of Two Movies
November 30, 2004
Quentin Tarantino may have found his future vocation. His once shining career as a director clouded over a tad when Jackie Brown revealed his insistence on casting B-movie stars of the 1970s and his unwillingness to edit his work to a manageable length. The Kill Bill movies confirmed both directorial tendencies while also raising questions about whether Tarantino still knows how to write a screenplay. But now, with Hero, the door may have opened onto a new career path: impresario. "Quentin Tarantino Presents," the box cover of the Chinese kung fu epic announces in large type above the title.
November 02, 2004
It's not often a television show can make you reconsider the talents of a longtime celebrity. "Arrested Development," the nearly cancelled FOX sitcom whose first season is now out on video, has made me reconsider the talents of two: Ron Howard (whom I'd written off as a purveyor of tame commercial pabulum) and Liza Minnelli (probably best if I not detail my objections). Their mere involvement with "Arrested Development"--Howard as executive producer and folksy narrator, Minelli as a self-parodic supporting character--suggests I may have given neither adequate credit.
June 28, 2004
The Wisdom of Crowds: Why the Many Are Smarter Than the Few and How Collective Wisdom Shapes Business, Economies, Societies, and Nations By James Surowiecki (Doubleday, 296 pp., $24.95) In the summer of 2003, analysts at the Department of Defense had an unusual idea. To predict important events in the world, including terrorist attacks, they would create a kind of market in which ordinary people could actually place bets.
March 17, 2003
To describe Roman Polanski's film The Pianist in less than superlatives might get one branded obtuse or hard-hearted. "A powerfully meticulous epic," extolled Richard Corliss in Time. "A remarkable story, handled with an expert lack of sentimentality," the New Statesman's Philip Kerr agreed.