Tag Archive: Fine


The best movies find ways to be something larger than the one-line description that winds up in TV Guide or other brevity-obsessed outlets.

And so it is with Rodrigo Garcia’s Albert Nobbs, a comedy of manners minus the comedy; while there is wit within a group of writers’ adaptation of George Moore’s short story, this is a movie about the price of personal freedom and how much one is willing to put up with for just the smallest taste..

The gimmick, of course, is that Glenn Close is playing a woman pretending to be a man – and succeeding at it. For decades, Albert Nobbs (Close) has been a butler and waiter at a discreet Dublin hotel, stopping place for minor royals with roaming tastes and a self-interest in discretion. The hotel is both proper and insular, thanks to tight-lipped types like Albert.

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If you look at comedy in the 20th century, the list of those whose work has depth, breadth and longevity is a small one: Charlie Chaplin, Lewis, Allen.
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Our raft bounced on the big waves coming at us from all directions as we squeezed through the narrow neck of the canyon.
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Okay, so Radiohead didn’t play Occupy Wall Street after all. Fine. We’ll just make our own playlists to memorialize the occupation of Wall Street.
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The name of the title character of Janie Jones is meant to resonate with a certain generation: “Oh, like the Clash song,” someone says early on in the film.

In fact, the film bears stronger echoes of Crazy Heart, which finally won Jeff Bridges his Oscar a couple of years back. But this small, effective film is unlikely to attract the kind of attention that Bridges’ film did.

Which is a shame, because Janie Jones (which opened Oct. 28) offers a nicely matched pair of performances, by Alessandro Nivola and young Abigail Breslin, whose chops as an actor obviously are maturing even as she grows into adolescence. Having broken through in Little Miss Sunshine in 2006, Breslin has worked steadily since then – and has found new characters to play, each a little different from the last.

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Sprawling, bloody, romantic and witty, Roland Emmerich’s Anonymous (opening Friday 10/28/11) captures the magic of the theater, even as it folds in the swirling panorama of Elizabethan history, political intrigue and the question of the provenance of Shakespeare’s plays. The pen is definitely mightier than the sword in this particular outing.

The question of who wrote Hamlet and the rest of the Shakespearean canon is the red herring upon which Anonymous is hung. But John Orloff’s script casts a much wider net. By the end, it has blended broad comedy, bloody action, heart-wrenching romance and dark dealings of the royal court into a movie that dashes headlong from start to finish.

The result is itself Shakespearean, full of plot twists, revelations and bursts of violence and betrayal. The politics of the Elizabethan court – as Byzantine as any in British history – provide the kind of crunchy, satisfying substance on which Orloff has built his script. As a character notes early on, “All art is political – or else it would just be decoration.”

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Forget the florid excesses of Oliver Stone’s Wall Street 2 or the real-life dumbshow that constituted HBO’s Too Big to Fail.

If you want a sense of what moral disintegration looks like in real time, look no further than J.C. Chandor’s Margin Call, a fictional look at the near-collapse of a major investment bank, set against the context of the 2008 collapse.

We don’t know the name of the bank or even what it really does. Indeed, Chandor’s script is remarkably light on details about what actually has gone wrong. But it’s enough to put the fear of god into a lot of characters who look like seriously heavy hitters.

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Dustin Johnson has done just fine financially in his first four years on the PGA Tour.

LOS ANGELES (Reuters) – Fine art, jewelry and Hollywood memorabilia owned by Tony Curtis — including the yachtsman jacket he wore in “Some Like It Hot” — brought in over $1 million on the auction block on Saturday, more than twice the presale estimates.

Curtis, who enjoyed a 60-year career in show business before his death in 2010 at age 85, appeared in more than 100 films and received an Oscar nomination for the 1958 drama “The Defiant Ones.” He was an art lover and painter as well.

The estate items on sale at Julien’s Auctions in Beverly Hills featured property Curtis acquired throughout his life, from the time he served in the U.S. Navy during World War II to the 2000s. The presale estimate on the collection was $500,000.

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By Larry Fine

NEW YORK (Reuters) – Pancho Gonzalez was inducted Saturday into the U.S. Open Court of Champions.

Self-taught on the public courts of Los Angeles, Gonzalez, the son of Mexican immigrants, won back-to-back titles at the U.S. championships in Forest Hills in 1948-49 and won two matches to help the U.S. team beat Australia for the 1949 Davis Cup.

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This has been a summer of OK comedies – not great, not terrible, enough laughs to keep you watching but not to render the kind of comedic experience that leaves you feeling as though you’ve been worked over because you’ve been laughing so hard.

Think Bad Teacher and Horrible Bosses – the kind of movie you won’t resent devoting time to on cable or pay-per-view but feel slightly abused for coughing up the price of a first-run movie theater ticket. A Good Old Fashioned Orgy fits the category easily.

That’s because, at heart, it’s a series of sketches assembled into what can roughly be called a narrative. Good-looking actors uttering mildly funny, occasionally (very occasionally) uproarious jokes and doing things that run the gamut from inappropriate to just plain gross: You know the formula.

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Americans have always been dreamers. But given the current state of the world economy, we must temper “Dream big!” optimism with pragmatism.
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A Conversation with The Summer Set’s Brian Dales

Mike Ragogna: Brian, how are you?

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Photographer Lydia Anne McCarthy’s new show, Refraction, at Daniel Cooney Fine Art is “a series of portraits made with refracted light, the highlights rendered as spectrum and the shadow areas as undefined lines and shapes.” McCarthy took the photos with a self-constructed camera where the lens was replaced with a Fresnel, or magnifying sheet. The show consists of six large scale images of ethereal portraits.

The faces of the subjects are mostly obscured by McCarthy’s technique, but the angles and light refractions give a mood that clues the viewer in to who they are, or who they might be. McCarthy’s Refraction shows she’s interested in how the camera itself can be manipulated in order to get a new kind of image, rather than relying on work in photoshop. Her photograph “Antonia” has a lovely contemplative quality to it; McCarthy captures her model mid-thought and the image seems candid rather than posed.

Refraction is at Daniel Cooney Fine Art, 511 West 25th Street, #506 New York, NY until July 29th.

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