The young contemporary Japanese artists whose work is most often put before us are typically splashy and bold. Recall last year's Pacific Asia Museum show of graphic works by Gaijin Fujita, with its exploding color and colliding imagery.
As years go, 1984 turned out a lot better than George Orwell's vision had it. In American film, it was a lull between the stylistic breakouts of the '60s and early '70s and the commercial mushrooming of indie films in the late '80s.
When the younger generation of the Zankou Chicken family dynasty decided to open a Mexican eatery, there were naysayers. I was not one of them. I was excited at the prospect of Armenian-Mexican fusion fare. Just look what Kogi BBQ did for Korean and Mexican...
Road pictures come, off the shelf, with an automatic story arc: the characters must get from point A to point B, not just geographically but thematically. More often than not, they end up at a different point B than they had intended or hoped for.
Last Wednesday night, Barbara Beckley got a familiar feeling of relief, as the Colony Theatre's production of "Falling for Make Believe" successfully completed its first preview performance at the 270-seat nonprofit Burbank venue.
Like most Tarantino movies, it improves with multiple viewings.
Before Raymond Chandler's hard-boiled L.A. detective Philip Marlowe and his vivid literary prose caught the public's attention, before Billy Wilder's towering position as one of Hollywood's greatest writer-directors, there was a James M. Cain novel.
The Holocaust has long been a deep and disquieting source of material for filmmakers, especially documentarians. As firsthand accounts of World War II naturally dwindle, though, cinematic inquiries on the subject have been shifting into more personal territory, where the focus isn't factual findings but far less quantifiable matters.
When Michael Bay goes small, "Pain & Gain" happens.
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