Sublime

The desk clerk, whose name-plate identified him as G. O. Horner, was a thin, elderly man with protuberant eyes that gave him an expression of intense interest and curiosity. The expression was false. After thirty years in the business, people meant no more to him than individual bees do to a beekeeper. Their differences were lost in a welter of sta

The subtitles, which make the most muffled speeches comprehensible, are an interference, though the raggedness of the sound makes Pialat's point: this isn't rhetorical dialogue, addressed to the audience to make dramatic and character points, but speech considered as a sound effect, part of the natural content of the image.

Lee's racial critique of his fellow director is off the mark. It is almost wholly ad hominem. It focuses on the character of Tarantino's race rather than the character of his work—brilliant work that allows the word nigger to be heard in a rich panoply of contexts and intonations.

Parker is often cited as the most influential wine critic

In short, even though Kehr remains one of the most responsible of film critics, he also proves that one reason why he deserves this distinction is that he knows the value of irresponsibility—as his treatment of Russ Meyer’s Supervixens also demonstrates.

Dischner is the only Paradise City member who naturally looks like a GNR doppelgänger. He’s also the guy who makes the trains run on time; he handles the money, coordinates the schedules, and generally keeps his bandmates from killing each other. All of these guys are friendly, but Dischner is the most relentlessly nice. He’s also mind-blowingly id

Barry: Right, my essay examining Orwell’s Nineteen-Eighty-Four as a thriller, which I wrote at NPR’s invitation. The blog post examined the way NPR edited the essay, and how NPR’s edits revealed that fundamentally, NPR is an establishment media player. Joe: Your editor was pissed. Barry: He was. NPR called up Random House and complained about my bl