Arts + Culture
Is "Home" the most loved feel-good song of the last year? We think so. Check out photos from Edward Sharpe's performance last night at The Fillmore.
Here’s the dilemma. On the one hand, Prince of Persia is everything you’d expect from a sprawling, two-hour fantasy inspired by a video game: frivolous and predictable, a collection of high-wire set pieces loosely strung together in a convoluted story.
On the other, it is handsomely shot and surprisingly ambitious, with an impressive cast led by a bulked-up Jake Gyllenhaal, whose scrappy hero recalls a better-humored Hamlet, and Ben Kingsley as his beguiling mentor. And there’s the rub.
Throughout their 11-year career, Brooklyn's The National has continually produced hauntingly beautiful albums that inspire both healthy rock outs and reflective broods. It's that breed of high/low that makes their latest release, High Violet, one of our favorites of the year and an album perfectly suited for this manic depressive weather.
It might seem odd, holding the press conference for one of the summer’s most highly anticipated blockbusters in the shoe department of New York’s Bergdorf Goodman. But where better to promote Sex and the City 2, which opens today, than here, in the fashion capital of the world, surrounded by the handsome, high-priced high heels so near and dear to Carrie Bradshaw’s heart?
Bradshaw, of course, is the fictional, fashion-crazed Upper East Sider, based loosely on creator Candace Bushnell and played by Sarah Jessica Parker, whose romantic misadventures were chronicled, down to the most intimate details, in 2008’s Sex and the City.
Nobody is going to confuse Survival of the Dead, George Romero’s sixth entry in his ongoing saga about animated corpses scouring the land for living flesh, with the director’s most polished or insightful work. As a satirist, he’s covering familiar ground, reinforcing the notion first broached in the original Night of the Living Dead (1968) that zombies and their human prey are equally dangerous predators. Yet his gift for storytelling remains undiminished.
Let’s get one thing straight: George Romero, the legendary director of Night of the Living Dead whose nightmarish vision of zombies rising from the grave to prey upon the living has spawned countless imitations and remakes, never wanted to take a break from the franchise that has become his most celebrated legacy.
“After I made Monkey Shines in 1988, I started developing a bunch of big movies for Hollywood studios, projects like Goosebumps and The Mummy, and I made more money then than I ever have before or since,” says Romero, 70. “We were rewriting movies for big stars – you know, let’s make this for Sharon Stone or Alec Baldwin. Then the next week, we’d be rewriting the same movie again for Eddie Murphy.