Nicole Kidman is dawdling before the mirror, naked except for her eyeglasses and an earring that’s giving her trouble. She fusses with it, but languorously, as might be expected amid her gilded surroundings. They suggest the kind of hotel where each room is a scaled-down version of the queen’s bedchamber at Versailles. The lamps bathe Ms. Kidman in flattery…
In Roy Wood Jr.’s second one-hour stand-up comedy special for Comedy Central, performed at Chicago’s Vic Theatre, The Daily Show correspondent explores some of today’s most complicated issues
In this comedy special taped at DAR Constitution Hall, Williams covers such topics as global warming, sex and politics, the state of health care in the country, drugs – recreational and otherwise – and more personal topics, including his recent heart surgery
Empire News Editor Olly Richards interviews Dustin Hoffman at the Toronto Film Festival in 2006
Forchette contro coltelli (Forks Over Knives) è un film documentario del 2011 ideato e diretto da Lee Fulkerson. Il film sostiene l’efficacia per la salute di una dieta che, a differenza delle tipiche abitudini americane, escluda gli alimenti di origine animale e si basi invece su quelli vegetali e integrali, per favorire la prevenzione e cura di numerose patologie.
Forks Over Knives is a 2011 American advocacy film and documentary that advocates a low-fat, whole-food, plant-based diet as a way to avoid or reverse several chronic diseases.
Robin Williams appears on the last regular Tonight Show with Johnny Carson. This was the penultimate final Tonight Show with Carson, and the final show with guests.
Dominion uses drones, hidden and handheld cameras to expose the dark underbelly of modern animal agriculture, questioning the morality and validity of humankind’s dominion over
52 years old and not slowing down for a second, Robin Williams is non-stop for almost 2 hours as he tackles terrorism, sex, drugs, family, golf, drinking, cats, the gay mafia, and everything else you can think of.
In this essay, Sobchack explores Kubrick’s use of décor to emphasize the theme of violence in A Clockwork Orange
L’ideologia è così radicata nella società che ha influenzato i nostri sogni. Se vogliamo cambiare la nostra realtà, dobbiamo prima cambiare i nostri sogni. Applicando la teoria psicoanalitica all’interpretazione cinematografica, Slavoj Zizek tenta di scoprire il significato nascosto di molti film hollywoodiani.
Virtually from its appearance in 1985, Margaret Atwood’s futuristic novel The Handmaid’s Tale has announced its indebtedness to George Orwell’s 1984. Orwell’s nightmarish future is written all over Atwood’s similarly near-future vision of the misogynist theocracy of Gilead.
Cowspiracy takes us through a very personal journey to show just how there is only one course of action that will allow this species to have a reasonable chance of surviving at the current population levels.
Simon Braund hails the enduring appeal of Wilder’s classic comedy, and gives credit to that magic final ingredient — Marilyn Monroe…
Nothing is off limits as Jimmy Carr serves up the best jokes from his storied stand-up career in a special that’s as inappropriate as it is hilarious.
The distinction I make between cinema of prose and cinema of poetry is not a distinction of value, it is a purely technical distinction. If I had to define this distinction I would say that in cinema of prose the protagonists, as in classical novels, are the characters, their history and their environment. In cinema of poetry, on the other hand, the protagonist is style.
Il governo maltese tenta in ogni modo di farla dimenticare. Ma il ricordo di Daphne Caruana Galizia, la giornalista uccisa nel 2017 per le sue inchieste, anima ancora il dibattito pubblico
A broke, struggling Dostoevsky pitches “Crime and Punishment” to M. N. Katkov, the editor of a literary magazine
Barry Lyndon mette in scena una società violenta, ferocemente classista, dove l’avventuriero gode di una libertà effimera e viene presto emarginato e distrutto. Arricchito dalla più bella fotografia che si sia vista al cinema, il film comunica con stoicismo un sentimento amaro dell’esistenza e della storia.
Stanley Kubrick ha equamente ripartito il film tra un’immagine agghiacciante del futuro e il grigiore dell’establishment antiquato e cadente. Per ripeterci che l’uomo non può migliorare, il regista ha fatto riecheggiare il romanzo di Burgess in una cassa armonica dagli effetti stereofonici.
Paths of Glory finds Kubrick dealing in the wider realm of ideas with a relevance to man and society. Without casting off any of his innate irony and skepticism, the director declares his allegiance to his fellow men.
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