I once attended a midnight screening of the Cadillac of Star Trek films — that would be numero dos, The Wrath of Khan — wherein the projector bulb burnt out right in the middle of Mr. Spock’s her…
Iron Man 3 opens this week (here’s our Iron Man 3 review). For some viewers the film’s appeal isn’t the eponymous superhero, but the sarcastic-yet-sensitive hero behind the gravity-defying, repulsor-ray-shooting suit of
My timely Village Voice recap of the career of Iron Man 3 cowriter/director Shane Black.
From Superman #330 (December 1978): “The Master Mesmerizer of Metropolis!”
“Apparently, my power of super-hypnotism is always working - at low power - even when I’m not willing it! It automatically projects my subconscious desire to be seen as a weaker and frailer man than I really am! ….
Some unknown property of the Kryptonian Plexiglass [in my eyeglasses] must intensify the low-level effect of my eyes! So when people look at Clark, what they see is the image of Clark I try to project!”
Okay? There’s your answer, haters. It’s a kind of … ambient Jedi mind trick.
On the population at large.
Without their consent.
Which makes Clark Kent look like David Brinkley.
Because, sure.
The Inflamed Beltrans, nee the Warriors of Arete, put on a brave face before tackling obstacle 19 of 22 in yesterday’s Tough Mudder in Gerrardstown, WV. 21 hours later my body temperature still hasn’t quite bounced back up to normal.
Ari Roth’s long-destating, deeply personal play now bears an uncanny resemblance to a film I love.
I interview monologuist Mike Daisey about American Utopias, his new show at Woolly Mammoth Theater Company, and about the tyranny of the written word.
My review of Antonio Campos’s spooky second feature, Simon Killer, is in today’s Village Voice.
Just got my pal Glen’s just-published Superman: The Unauthorized Biography, third from the right. Figuring out where it belongs on my shelf made me feel proud of him all over again.
In this week’s Washington City Paper, I review the local premiere of Martin McDonagh’s A Behanding in Spokane and reminisce uncomfortably about the show’s 2010 Broadway debut, which I saw twice on my way to the realization that I don’t like the play very much. I also review Studio Theatre’s terrific production of Amy Herzog’s sublime 4,000 Miles.
On Monday’s show, Lloyd Schwartz had a piece about Cinerama films from the 1950s, two of which are newly released on DVD and Blu-Ray. Above is an image (reproduced from Flicker Alley’s Cinerama catalog) of just how they made that magic happen. The image Cinerama reproduces mimics a person’s peripheral vision. Because no single lens recreate that without distortion, the Cinerama camera had three lenses, each taking a third of the picture’s total width.
Image courtesy of Flickr Alley
