Tim Burton’s Downfall, Selling Swimming Pools in the Suburbs, and a Google Earth Journey: Today’s TNR Reader
October 10, 2012
Editor’s Note: We’ll be running the article recommendations of our friends at TNR Reader each afternoon on The Plank, just in time to print out or save for your commute home.
David Thomson on Films: How Johnny Depp and Tim Burton Became Shadows of Their Former Selves
May 15, 2012
The only reason to see Dark Shadows is to discover how dire and pointless—how flat-out dreadful—a movie can be even when it has Tim Burton, Johnny Depp, Michelle Pfeiffer, and Helena Bonham Carter attached to its flimsy pretext. This is one more vampiric concoction, the total budget for which (apparently $105 million) might have sustained 100 worthwhile, independent projects by new directors.
May 31, 2010
Marina Abramovic: The Artist is Present Museum of Modern Art Skin Fruit New Museum William Kentridge: Five Themes Museum of Modern Art The social history of art in our time will not be easy to write. A daunting range of factors must be taken into account. There is now a large, heterogeneous public aware that art is big business, and it is eager to follow developments in the auction houses, the commercial galleries, and art fairs such as the Armory Show in New York and Art Basel Miami Beach.
Because We Can, Cannes
May 20, 2010
Europe is burning. The unpronounceable Eyjafjallajökull volcano won’t stay put; Southern European countries are competing with each other to announce the most draconian austerity measures imaginable; a liquidity flood of Biblical proportions has failed to restore market confidence; and, if that weren’t enough, Simon Cowell is getting cold feet about marriage. These are dark days. So what better time for me to flee stern Con-Lib London and seek relief at the Cannes Film Festival? Surely better Penelope Cruz than Premier Cameron. Penelope was too busy to hang out.
A Long Time Coming
July 26, 2005
A Very Long Engagement is all that its title promises. At two and a quarter hours, it is the longest film yet by French director Jean-Pierre Jeunet; happily, it is also the most engaging, a stylish and satisfying epic of love and war, hope and memory. After an early career of directing shorts and commercials, in 1991 Jeunet and partner Marc Caro broke into feature films with the post-apocalyptic black comedy Delicatessen. This was followed by City of Lost Children, another meticulously designed dystopian nightmare.