The 73-year-old Japanese animation titan Hayao Miyazaki says The Wind Rises is his final film, and if that's true — and I hope it's not but fear it is, since he's not the type to make rash declarations — he's going out on a high.
The Retouchables is a column examining the recycling of pop-cultural properties. Future installments will discuss remakes in development, or that should be, or that were made but should not have been, or for which I have written several script treatments. Did you not get them? Call me.
Our inaugural dispatch deconstructs a long-in-development remake that has finally come to semi-sweet fruition.
Let's turn to Faith Matters now. That's the part of the program where we talk about matters of religion, faith and spirituality. It's Black History Month so that got us thinking about the importance of faith to African-Americans throughout history and to this day. But a recent piece in the Huffington Post's religion section also got us thinking about how that faith practice is much more diverse than many people might realize.
It always feels good to see a poet rescued from oblivion. Michael Benedikt (1935-2007), a prominent figure in the poetry scene of the 1960s and 70s, was not exactly an important poet, but he was — and in his work, he remains — a deeply enjoyable one.
Omar (Adam Bakri) is a Palestinian baker and secret informant who braves the wall that splits his community to visit his lover, Nadia (Leem Lubany) in the Oscar-nominated film <em>Omar. </em>
Credit Adopt Films
Yuval Adler's <em>Bethlehem </em>tells the story of Sanfur (Shadi Mar'i, left), the younger brother of a wanted Palestinian militant — and secret informant to Razi (Tsahi Halevy), the Israeli agent who wants that brother dead.
American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel's secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.
You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more "immersive" experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: Gravity, Hugo, Life of Pi. Most 3-D exists to bilk customers out of a few extra bucks.
Therese (Elizabeth Olsen) and Laurent (Oscar Issac) have a scandalous affair — and some real chemistry. But the unevenness of <em>In Secret, </em>adapted from Emile Zola's novel Therese Raquin, moves their plotline away from center.
Emile Zola was one of the founders of naturalism, and his first major work, 1867's Therese Raquin, is full of precise physical description. The novel's plot is utter melodrama, though, and that's the aspect emphasized by In Secret, the latest in a century-long string of film and TV adaptations.
With its small cast of characters and limited number of locations, the book does lend itself to dramatization. In fact, writer-director Charlie Stratton's retelling of Zola's shocker was derived in part from the stage version by Neal Bell.
Filmmaker David O. Russell first talked with Fresh Air's Terry Gross back in 1994, and two decades later, he tells her: "It's taken me 20 years since I first spoke to you to really make the films that I think I was meant to make, and to be at the level of filmmaking and storytelling and writing that I think I had ever aspired to."
If you're familiar with the Nick Hornby book or the 2002 film of About A Boy, you will find that what has been kept in the new TV adaptation, coming Saturday night in a preview to NBC, is the clichéd skeleton of the story: a lazy, glib bachelor befriending the child of a single mom and learning how not to be such a selfish baby. Child-averse jerk and wisecracking moppet: a well-worn dynamic that animated, among other things, the early stages of Two And A Half Men.