Joke!

Other article wasn't a review, apparently. Bummer.
So, now, my defense is on Charles Isherwood's "Pratfalling Through an Eccentric Childhood, the Son of a Clown"

NYTimes Defense: Stepping to the Fore as a Backup Band

My NYTimes defense article ran in Tuesday, March 10's paper.
Stepping to the Fore as a Backup Band by Jon Caramanica

Caramanica does an excellent job detailing The Roots' history, and explaining why coming to the "Late Night With Jimmy Fallon" was a poor choice for them. He describes how they are an admired, but not loved band. He calls coming to the career move a change of pace for The Roots, but think many things will stay the same for them. They will still be in the background.
Caramanica really went to town in his last paragraph. It is simple, clear and straightforward. If only I could write like that.
"Behind them all the Roots played dependably like a metronome. Sometimes they were invigorating, and sometimes they were colorless. But how they played felt less crucial than the fact of their appearance itself. In their expert reliability the Roots create spaces for other peoples’ creativity, even if their own is threatened with becoming a relic."

Live Event Review

Live Event Review: “Duck Variations” & “Sister Mary Ignatius Explains It All For You”


Sister Mary Ignatius flipped through the note cards filled with questions from the audience about God.
“If there is a God, why does he allow evil in the world?”
With a quick glance up, Sister flipped to the next card.

The highlight of “Duck Variations” and “Sister Mary Ignatius Explains It All To You” plays was the excellent acting of one character: Sister Mary Ignatius. K senior Mouse Courtois had the audience under a spell for the duration of her time on stage: the entirety of the second play.

The productions were put on in the Dungeon Theatre of the Fine Arts Building and ran three nights. The play duo kicked off the Senior Performance Series, a two week long event that featured plays directed by K students, written by K students and acted by K students.

Choosing these two plays to start the Series was an excellent decision.

“Duck Variations,” a play by David Mamet, was directed by Terry Cangelosi K’09. The play has much the same premise as “Waiting for Godot:” two old men sit, talking and reflecting on life. Having a mere two characters lends to a boring play, but they kept up a steady, not too slow pace. They discussed friendships, and how “it’s good to listen to a friend,” while in the process cutting each other off. Even though the play delved in depressing topics such as loneliness, the constant inclusion of ducks in the conversation kept things semi-upbeat. It’s hard not to laugh at the idea of ducks “with lung cancer and runny noses, trying to bum a smoke.”

Since the plays were both one act, the settings were simple. For “Ducks,” the setting consisted of a lamp post, bench and some pieces of trash. “Sister Mary Ignatius Explains It All To You” had a rocking chair, altar and easel. In many productions, setting adds to the over all atmosphere of the scene, but in both plays the lack of setting illuminated the acting.

“Sister Mary Ignatius Explains It All For You” was a spot on hit. The playwright, Christopher Durang, exposes the comedic nature of blind faith. K senior Sarah Ludwinski directed the play and did a phenomenal job. From the beginning, Sister Mary had everyone laughing as she explained religion and read off her list of people going to hell, “. . .Brooke Shields, David Bowie, Mick Jagger. . .” The increasingly obvious insanity of Sister Mary produced more and more funny lines: “You do that thing that makes Jesus puke? . . . Jesus is going to throw up.” The play was mostly humorous in nature, but when it reached a dramatic point, the acting held up. Most of the dramatic weight fell onto one actress, Katie Stover. Stover took the reins and cut the otherwise continuous laughter into pieces.

For student directed plays, they were impressive. “Duck Variations” certainly had its entertaining moments, but “Sister Mary Ignatius Explains It All” carried the night.

Final Project ROUGH Draft

STIs and Contraceptives Remain Rare in Television Despite Societal Changes

Going from one girl to the next, the stud of an actor Vince rides his way through the night in the episode “Fantasy Island.” Entourage, an HBO show in its fifth season, chronicles four male friends in their business and sex affairs, the latter usually one night stands, no-name encounters with little thought to consequence.

Lucky for the stars, sex rarely involves contraceptives or STIs. For the rest of us, these things are a real concern.

Seinfeld, “the show about nothing,” was an extremely popular show throughout the nineties focused on four friends: Jerry, George, Elaine and Kramer. While it does not contain sex scenes in the least, sex is a common topic of discussion.The group often convenes in Jerry’s apartment or the coffee shop to chat about their latest relationships and sexual escapades. In one episode, contraceptives come up when Elaine learns that her preferred method of birth control, the sponge, has been discontinued. She buys up as many sponges as she can, and then evaluates men, deciding whether or not they are “sponge-worthy.” Sponges are a form of contraceptive, yes, but they do not prevent STIs. Keep in mind, this is one episode of 180, and in most episodes the majority of them are having sex. Elaine’s sponges eventually had to run out.

Another show that has run its course, Sex and the City, discusses sex in every episode. The show picked up where Seinfeld left off, running six seasons from 1998-2004. Four attractive women prance about, sleep around and are none the worse for it. Carrie, Miranda, Samantha and Charlotte do just what the show’s name entails, and in doing so, they are almost invincible. According to Elizabeth Boskey, Ph.D., who wrote on the show and STIs, of all 94 episodes, only three address STIs, and only Miranda ends up with one. She gets Chlamydia, which is curable. The characters in this show are far more sexually active than those of Seinfeld, yet for the most part, they too escape any consequence.

Dated now, Seinfeld and Sex and the City are not representative of contemporary television and its portrayal of contraceptives and STIs. The shows currently on television involving sex aren’t much different, even though contraceptives are more important than ever and STIs are on the rise.

In March of 2008, the Centers for Disease Control and Prevention released the results of a study showing one in four teenage girls has an STI. To make matters worse, of the girls who actually confessed to having sex, 40 percent had an STI. It doesn’t help that some of the girls think that douching with Coca-cola kills STI germs.

By failing to include more scenarios involving contraceptives and STIs, the media is skewing reality for viewers. No matter how much sex is had, rare is the show where a character discusses contraception or contracts an STI. You would think that as these statistics come out, and society is more open about sex, television would incorporate these aspects of life. Think again.
Often, those who don’t want to discuss contraception and STIs are in favor of abstinence. Television, on the other hand, seems to be in favor of thoughtless sex.

Entourage is just one contemporary example of the careless sex on tv. Showtime’s Californication runs on much the same premise. In the second season, Hank, the main character, leaves his marriage and moves into his friend’s house. One morning he sees a cook on television and tells his friend he wants to have sex with her. That afternoon, she’s in his kitchen. Married woman that she is, she willingly has sex with Hank, and then they later leave her at the side of the road. No conversations, no concerns.

While these two are adults, the no-strings worry-free sex is getting through to the teenage audience. The CDC recently released results of the 2005-2006 teen birth rates. The fourteen year decline, from 1991-2005, is over. Teen birth rates are up three percent. While it can’t be entirely attributed to television standards, the lack of discussion about contraceptives on television could very well factor in to the increase in teen births.

When STIs are included in shows, they tend to be the consequence of wrongful actions. George gets an STI on Grey’s Anatomy, but only after he cheats on Callie. STIs should not be portrayed as things that only happen as punishment or to people with lacking morals.

With the recent progress made in regards to STI testing and the necessity of contraceptives, it is disappointing to see the lack them on television. It is irresponsible of those creating and writing these popular shows not to portray a more realistic picture of discussions that need to occur about contraceptives and STIs.

They are certainly not glamorous or sexy, but neither are STIs.

Article in Relation to My Topic!

My topic looks at hook up effects in reality and on (tv) screen. I just read a big ol' book about hooking up in college, which was hilariously accurate. (Hooking Up: Sex, Dating, and Relationships On Campus, K. Bogle) It was published in 2008, and is definitely worth the read if you have some free time.

Anyway, getting to the point. Sex and the City is one of the shows I'm looking at in relation to hooking up on tv. This article is just what I'm talking about, except already written. 

www.std.about.com/od/stdsinthemedia/a/safersatc.htm 

Pauline Kael: A Classic Critic (Kael Revision)

   Pauline Kael is revered as one of the greatest movie critics of all time, and as Francis Davis, author of Afterglow, puts it, "No one else has written as vividly about movies."

   Kael's love of movies came at a young age. She saw many movies seated cozily on the laps of her parents, and as she grew older, she and her friends continued frequenting the theaters. It is no great feat to love movies, but Kael went beyond watching movies and created a career for herself as a critic. She wrote freelance for some time and eventually went to work for The New Yorker from 1968 to 1991. 

     Francis Davis, a writer, and Kael's long time friend and admirer published Afterglow: A Last Conversation with Pauline Kael in 2002. Davis has high praises for Kael, commenting that, "Reading her work was like going to the movies with someone you adored; when you disagreed with her, it was like having a lover's quarrel." Davis, among many other, thought Kael's work to be revolutionary, as it was clear cut and incorporated social commentary.

    Renata Adler, another writer for The New Yorker, extensively criticizes Kael's reviews in her essay, House Critic. Adler found once Kael joined The New Yorker, her work deteriorated: "A collection of her reviews is out. . . and it is, to my surprise, line by line, and without interruption, worthless." Worthless is far too strong a word; if Kael's pieces were worthless, they would never have been published in such a prestigious magazine. 

    While Adler is off with that claim, her essay does speak to many of the faults of Kael's writing. After reading a few of Kael's reviews, her repetitive diction and constant use of "we" and "you" becomes apparent.  As Adler says, "'We' becomes a bandwagon, a kangaroo court, a gang, an elite. . . which readers had better join, or else be consigned to that poor group of deviants, sissies. . ." Kael seems to be forcing the reader to react to the movie in a certain way, which is not comforting or appealing. 

   Through Adler's incessant nit-picking, "you" see that Kael's reviews do have their faults. In one of the interviews with Davis, though, Kael rises above Adler's criticism. She says, "I was stunned when that piece by Renata Adler came out. . . it was a group movement to denounce me. . . I had no idea it was coming, that anything was building. I was busy innocently going to the movies and writing about them." While Adler and other writers spent their time attacking Kael, she continued on her merry way, doing what she enjoyed the most: reviewing movies.

    Kael had an affinity for movies, and as her work clearly demonstrates, she had an affinity for writing about them too. Sure, there is repetition, but there is also devotion. Despite what Adler and others may think, Kael gave her life to reviewing and her reign as a writer for The New Yorker is proof of her timeless talent. 

Oscars a Success

  The 81st Academy Awards, held on Feb. 22, were beautiful, from the people to the movies, back to the people again. The show was held at the Kodak Theater in Los Angeles, CA and was a success across the board.

   The Academy Awards started in 1929 as a closed ceremony, attendees small in number. Over the years, the recognition of excellence in the movie field has grown exponentially. This year, 24 Oscars were handed out for an array of talents, ranging from best picture to best short documentary. 

   Hugh Jackman, People's Sexiest Man Alive, hosted the show for the first time and did not disappoint. His talents extend beyond being sexy, to singing, dancing and even humor. He did an excellent job hosting, although he was not on the stage all that often. This year, there was a different presenter for nearly every Oscar, which led to a sort of disconnect. Jackman was good, and there was no need to constantly switch presenters. The variety kept the show interesting, but was to such an extent that Jackman was missed.

    If the people on the stage weren't sexy enough, the stage was there as a back-up. The stage movements were made seamlessly, from dance floor to band set-up and back again. Only one major error occurred within design and production, and as it came early, the "Steve, open it!" curtain incident was dwarfed by all the other wonderful effects. The crystal curtain added glamour to the stage, and the floor pattern was stunning. The stage was glorious, and did not take away from the ceremony at hand. 

   For the most part, the Oscars were a celebration, a time to rejoice in all the great work the movie industry has created in the past year. One moment, though, was heart-wrenching. The Oscar for supporting actor went to Heath Ledger (1979-2008) in "The Dark Knight." The award was accepted by his parents and his sister. As each of them spoke, the camera panned the audience; tears were welled up in the eyes of almost all. Even in the midst of such great sorrow, Sally Bell, Ledger's mother, said, "Tonight, we are choosing to celebrate and he happy for what he was achieved."

    With that, the celebration went on. This year, the Academy Awards went much further than just being an awards show. It included a number of bits by other actors, as well as some song and dance. Seth Rogen and James Franco did a spoof of their acting in "Pineapple Express," which solicited laughs from many. Hugh Jackman and Beyonce Knowles did an extended musical-like performance with a multitude of other dancers. Both bits were entertaining, even if somewhat irrelevant.

     Despite the over the top extravagance of the 81st Academy Awards, they were still phenomenal. The amount of work and planning put into the show paid off, and the beauty of the show was inescapable. 

Hicok Reading A Hit

   Bob Hicok didn't start writing poetry until after a break-up at the age of twenty: a thank you to the girl who first broke his heart.

   Hicok is originally from Michigan, which is evident in much of his poetry, but now resides in Blackburn, Virginia, as an associate professor of English at Virginia Tech. He has only recently left the workforce(automotive die designer, computer systems) to become a full time writer and professor. 

    He has published five compilations of his work since 1995: The Legend of the Light, Plus Shipping, Animal Soul, Insomnia Diary and most recently, Clumsy Living. His books have received numerous awards, including ALA Booklist Notable Book of the Year (The Legend of the Light, 1995). He has been published in many well-known publications, including The New Yorker and The Best American Poetry.

     Hicok read his first poem, took a drink of water and announced, "I hate poetry readings." Hate them he may; the audience felt otherwise. When Hicok spoke, silence descended upon the room, interrupted only by titters during light moments in his pieces. 

    He read a total of twelve pieces, ranging from motifs of cancer to physics. The magic of his writing came through in his sprinkling of humor despite depressing topics. "BRCA1" delved in cancer and the option of testing for the gene that carries breast cancer. His friend, the inspiration for the poem, deemed the test "the best thing since the wet kiss." That line, along with Hicok's "hooray, but ouch," drew smiles around the room.

    There's something about Bob; he is nervous and confident all at once. During the space between poems, he seemed small, jittery almost, telling little jokes, poking fun at himself, admitting to "long columns of self-indulgence." But, when it came time to read again, when enough room for reflection had come and gone, Hicok became very focused, intent upon conveying his message in a crystal clear, never-wavering voice.

   Each of his poems was a story, laced with spell-binding drugs. Or maybe it was Hicok who was spell-binding. We'll never know for sure, the two are so closely intertwined that to separate them would destroy all traces of beauty; a thank you to the girl who first broke his heart. 

Springsteen Performance a Let Down

        The Boss is in charge no more. Bruce Springsteen's Super Bowl performance last Sunday was painful. In a mere twelve minutes, Springsteen proved that he is past his prime. He is one of America's greats, with hits like "Born to Run" and "Thunder Road," but the half time show performance of the forty-third Super Bowl, which included the E Street Band, was not up to standards.

         Ever since the 2004 Super Bowl half time show, which featured Janet Jackson, Justin Timberlake and tear away clothing, any room for error, and on occasion, entertainment, has been eliminated. Since the wardrobe malfunction incident, new producers have taken over the show and have consistently opted for old men. Paul McCartney, the Rolling Stones, Prince, Tom Petty and the Heartbreakers and now this. Not that there is anything wrong with old men, but not all younger people want to be exposed themselves on television. 
         The New York Times ran a piece about The Boss on Sunday, sighting him as a musician who still relates to the people, who can still put on a good show. Springsteen proved them wrong. The performance had a twelve minute cap, but his voice couldn't stay strong that long. He sounds tired, haggard even. He couldn't hit the high notes, and you have to wonder if Steve Van Zandt is there to cover up Springsteen's failing voice. If his fading vocals weren't enough to damper the performance, the show included a "referee" who came on stage and signaled penalties during part of the performance. Really, Bruce?
          Springsteen and the E Street Band opened with "Tenth Avenue Freeze Out." The second song was the Bruce class "Born to Run." In this song, the usually long, drawn out "Run" at the end of a verse fades quickly, nowhere near his typical enthusiasm. They moved onto "Working on a Dream," or as Springsteen sings, "Working on a Dre." The end of the short word is lost; his voice is gone.  The half time performance closed with an infamous song, "Glory Days." The song was hindered by Springsteen and Van Zandt's unnecessary and unwanted banter.
"Steve, what time is it?"
"It's Boss time."
          When performers have to validate themselves, something is seriously wrong. They also chat about running over the allotted time, which they dismiss, as they clearly think their talent supersedes the time limit. Their conversation also includes quite a few corny jokes with football references: "We're going to be going over time. . . Man, it's going to be penalty time." One of Springsteen's comments at the opening of the show was on the same level of lameness. He tells viewers to "step away from the guacamole dip." Inspiration at its best.
            The Boss is an American great, he has put on many a good show, but Sunday night was not one of them. Bruce Springsteen should've followed the advice of his own lyrics in "Born to Run":   "We gotta get out while we're young."

Brucey Boy Outline

For the most part, I kept the same order for my revised review. 

Intro(BUT)

Past half time shows, recent changes

Voice issues-failure

Lineup of songs

More failure

Take your own advice: "We gotta get out while we're young."

Bruce Springsteen Half Time A Failure

   The Boss is in charge no more. Bruce Springsteen's Super Bowl performance last Sunday was painful. In a mere twelve minutes, Springsteen proved that he is past his prime. He is one of America's greats, with hits like "Born to Run" and "Thunder Road," but the half time show performance of the forty-third Super Bowl, which included the E Street Band, was not up to standards. 

   The New York Times ran a piece about The Boss on Sunday, sighting him as a musician who still relates to the people, who can still put on a good show. Springsteen proved them wrong. The performance had a twelve minute cap, but his voice couldn't stay strong that long. He sounds tired, haggard even. He couldn't hit the high notes, and you have to wonder if Steve Van Zandt is there to cover up Springsteen's failing voice. If his fading vocals weren't enough to damper the performance, the show included a "referee" who came on stage and signaled penalties during part of the performance. Really, Bruce?

   Springsteen and the E Street Band opened with "Tenth Avenue Freeze Out." The second song was the Bruce class "Born to Run." In this song, the usually long, drawn out "Run" at the end of a verse fades quickly, nowhere near his typical enthusiasm. They moved onto "Working on a Dream," or as Springsteen sings, "Working on a Dre." The half time performance closed with an infamous song, "Glory Days." The lyrics were altered to better suit the occasion, the baseball player in the song becomes a football player, which was a nice touch. But, the song was hindered by Springsteen and Van Zandt's unnecessary and unwanted banter. 

"Steve, what time is it?"

"It's Boss time."

    When performers have to validate themselves, something is seriously wrong. They also chat about running over the allotted time, which they dismiss, as they clearly think their talent supersedes the time limit. Their conversation also includes quite a few corny jokes with football references: "We're going to be going over time. . . Man, it's going to be penalty time."

One of Springsteen's comments at the opening of the show was on the same level of lameness. He tells viewers to "step away from the guacamole dip." Inspiration at its best.

    The Boss is an American great, he has put on many a good show, but Sunday night was not one of them. Bruce Springsteen shouldn't followed the advice of his own lyrics in "Born to Run:"

 "We gotta get out while we're young."

Wilde's "The Critic as Artist"

"Each little thing we do passes into the great machine of life, which may grind our virtues into powder and make them worthless, or transform our sins into elements of a new civilisation, more marvellous and more splendid than any that has gone before." 

(I love this.)

The excerpt from Oscar Wilde's "The Critic as Artist" is written around the idea of criticism as an art, the highest form of art. 

Ernest: For, after all, even you must admit that it is much more difficult to do a thing than to talk about it.

Gilbert: More difficult to do a thing than to talk about it? Not at all.

I had never thought about doing versus reviewing in this light. But it makes sense. In order to review a piece of art, you must be knowledgeable in so much more than just that one piece, whereas the artist has no other obligations than to create. Wilde argues that the critic is the highest form of art. I agree with some of what he has to say, but not this. Without art, there are no critics. A chicken and the egg argument, almost, but there must be art to be critiqued. I think the critic is of high importance, but in no circumstance trumps the artist. 

I really liked the form of this piece. Rather than reading a long, droning essay, Wilde spiced it up with a dialogue that serves to counteract areas of debate. 

Stylin' with Strunk and White

Chapter IV: Words and Expressions Commonly Misused stood out to me because, apparently, I misuse a good portion of the words I choose in my writing. Often times, a writer only realizes a word is wrong when getting a graded paper back. This way, maybe, just maybe, I can actually pick the correct words before the fact. 

Revising and rewriting is another thing I need to work on. I tend to word vomit, and when I reread what I've written enough times, some how, it makes sense to me. I want to work on being more meticulous as an editor of my own work. 

"Taxi to the Dark Side" Painful, But Necessary

The sound of a music box twinkles hauntingly as various torture tactics are described. The sweet, crisp notes of innocence are entirely at odds with the image of a man writhing in pain, each grimace easily detectable against the stark white background. Alex Gibney's 2007 documentary "Taxi to the Dark Side" is a must see for every U.S. citizen. It explores U.S. torture in Bagram Air Base and Guantanamo Bay, Cuba. Gibney, a producer, director, writer extraordinaire with multiple award nominations and wins under his belt, tells it like it is. U.S. torture now has a face: Dilawar.
Gibney's story revolves around Dilawar, a 22-year-old taxi driver who disappeared from his home in 2002. Three days later, he was found dead. As the story unravels, it turns out he was entirely innocent. Dilawar's death by torture at the hands of the U.S. becomes increasingly sickening. This young man died for no reason at the hands of the world's greatest power, leaving a young daughter, wife and extended family behind. By picking out one individual, Gibney personalizes the story. The pain of Dilawar's brother and family becomes the pain of the audience.
Torture has been a hushed topic in the U.S., as Cheney had hoped with his "dark side" approach. With Abu Ghraib, it became public information and angered many. But still, as Gibney notes, 35% of the U.S. population still thinks torture is acceptable under some circumstances. This movie says otherwise.
This particular documentary carries a special weight for Gibney, as his father was an interrogator in World War II. Frank Gibney encouraged his son to take on the topic and is interviewed in the film. Frank was disgusted by current coercive interrogating strategies, which under the Bush administration included sleep deprivation, knee strikes (which killed Dilawar) and waterboarding. In his day, he built a rapport with prisoners to get them to talk, which he claims was much more effective. Including his father in the documentary made for an interesting perspective, as well as a touching note.
Growing up with Frank Gibney as a father, Gibney could've made "Taxi to the Dark Side" entirely one sided and biased, but it isn't. Former prisoners, interrogators, family, government officials, other journalists, anyone at all related to the story is interviewed or commented on. This makes for a plethora of information, and the amount of people included in the documentary is almost overwhelming. Keeping track of which soldier is which, what higher up said what is an unwelcomed task. It makes the documentary more credible, but also more confusing.
Even so, "Taxi to the Dark Side" deserves every single award it has received and more. Sure, it can be overwhelming and painful to watch at times, but torture is a part of our past and present as U.S. citizens. Gibney does a superb job documenting a touchy subject, and thankfully, the 44th president has already taken action to close Guantanamo Bay. This documentary represents the voice that need to be heard beautifully, the voices of those still imprisoned.

The Duel, "The Office" Worthwhile

Michael Scott is insistent that he can run 31 miles per hour. The speed meter said so. Nevermind the fact that a car drove by at the same time. The opening clip of NBC's "The Office" promised another hilarious episode and was not one to disappoint.

"The Office" had its first episode of 2009 last Thursday, the 11th in its 5th season. "The Office" is adapted from the British version by Greg Daniels and is one of few British to American show adaptations that is popular in both tv realms. The first season of the American version was taken directly from the British, but now it has its own script, humor and distinct characters.

The show started off this year with a duel, an epic duel at that. The Duel episode was dominated by the confrontation over Angela, played by Angela Kinsey, between Dwight, Rainn Wilson, and Andy, Ed Helms. Expectations were high, as the Angela-Dwight had been going on for quite some time, and Andy was the only one oblivious.

The Duel lived up to typical "Office" humor, filled with raised eyebrows at the camera, boss Michael Scott, played by Steve Carrell, being overly idiotic and the strange behaviors of other office employees, including Dwight's debut into the music industry. Early in the show, Dwight has an individual clip in the conference room. It involves a vocal rendition of the Schrute family forth rules for boys: "Learn your rules, you'd better learn your rules. If you don't, you'll be eaten in your sleep! Harwwf!"

"The Office" is at a turning point. Many of the original conflicts in the show have resolved themselves, and the chance of becoming mundane is very real. A big surprise came in this episode, though, when David Wallace called Michael in to corporate to inform him he was doing something right. That was a spin no one saw coming. There are certain characters, however, whose shtick is now worn down. Take Meredith, played by Kate Flannery, for example. She got in her usual two bit piece about having two men fight over her too, except they were fighting about who got to hold the video camera. 

Regardless of the tedium some characters have, one thing did truly stand out about this episode. While the show rarely passes judgement on the actions of characters, the situation with Angela was handled in a way that insinuated her actions really were wrong. Even Michael's affair with a superior is laughed off, even Michael unintentionally outing Oscar is humorously dismissed. "The Office" takes a slightly serious tone to give Angela what she deserves. 

The Duel episode stands out as one of the best yet. The long awaited fight played out in a way no one suspected, but perfectly at that. Now, the show just needs material to keep the addictive, laughable vibe going. 

"Gran Torino" Gran Shame

My But for "Gran Torino" came in the first paragraph, as follows. 

Clint Eastwood has done it again: somehow, his superb acting has managed to rise above the corny lines crafted for him by Nick Schnek and Dave Johannson in "Gran Torino." 

I think I need to do more background research before viewing a film or at least before I write the review. My article also lacks consistency in reference to characters/actors in the film.  And then, there is the flow of my article. I guess writing without a set structure is hard to adjust to. The more NYTimes reviews I read, the more I realize more evidence is better than more points. Just another thing to work on. 

Overall, I'd give myself a C+ ish. 

"Live From Baghdad" Informative, Not Entertaining

"Live From Baghdad" wrestles with the duties of journalists in turbulent times: would you stay or would you go? Robert Wiener, who is played by Michael Keaton, wrote the screenplay himself after his experiences as the CNN senior producer in Baghdad during the Gulf War. CNN was the sole station to maintain a constant dialogue with reporters in Baghdad during the war.

The HBO made-for-tv movie is an excellent informant of the events that led up to the Gulf War. CNN overcame many obstacles in their struggle to interview Iraqi President Saddam Hussein, which are realistically portrayed in the movie.

Mick Jackson, director, used live footage of President Bush, as well as Hussein and shots of Baghdad to ground the film in early 1990s, Iraq. The cinematography was not otherwise noteworthy, though it was interesting to watch a film about filming. 

"Live From Baghdad" is a tribute to journalism. Journalists have to take chances, risks, and much of their hard labor goes unappreciated. This story shows what it's really like to pry a story out of unwilling hands. Society relies upon journalists to give them news, to put themselves in the line of danger for the sake of information. In one of the final scenes, the CNN team must decide to stay through January 15th, the bombings, or return home to safety. While the journalists are cast in a positive light, some shadows are cast around Wiener and his interactions with Naji Al-Hadithi, played by David Suchet. 

Keaton is accompanied by Helena Bonham Carter, as Ingrid Formanek. Joshua Leonard and Lili Taylor make up the rest of the core CNN crew. Keaton performs well and outshines the small-time actors he is surrounded by, Formanek included. The movie leaves some questions lingering, like the ever present romantic tension between Wiener and Formanek. Does the hero get the girl?

The film was released in 2002, but the issues at hand are just as relevant now as they were then. "Live From Baghdad" documents the beginning of the conflict with Iraq, a conflict yet to be resolved. While the movie covers a very important historical time, it does not do so in a very entertaining fashion. It does not deserve the three awards it received, nor the seven others it was nominated for. "Live From Baghdad" was built up to be more than it truly is. Yes, it poses a thought provoking question about journalism and documents the start of the Gulf War, but it is not a movie to put on a pedestal. It has its moments, but is informative before it is ever entertaining. 

IMDB Saves Local Journalism Students

For the movie inept, the Internet Movie Database is a life saver. Simply type in the movie, tv show, character name or the like and a whole wealth of information will appear. In terms of movies, the site offers plot synopsis, ratings, viewer feedback, actor information, and links to more information. More or less, everything you need to know. 

imdb.com