In his first big-screen sitcom, HappyThankYouMorePlease, writer-director-star Josh Radnor emulated Woody Allen. Radnor's second feature, Liberal Arts, is less Allenesque, except for one crucial, and vexing, aspect: It's about an older man's infatuation with a younger woman.
And it's true that there are moments, especially toward the end of its meandering 137 minutes, when The Master feels like a series of brainy but disconnected thoughts about 20th-century America. That's how writer-director Paul Thomas Anderson works, and for those who don't insist on coherence or closure in narrative any more than they do in life, it's part of the thrilling madness of his method.
Originally published on Fri September 14, 2012 12:55 pm
Credit Myles Aronowitz / Roadside Attractions
Anyone looking for a moral high ground — or any high ground at all — in Arbitrage will be sorely disappointed. And that's only one of the reasons that Nicholas Jarecki's family-and-finances drama, handsomely photographed by Yorick Le Saux, is so appealingly adult.
At a time when filmmakers might be under some pressure to punish the 1 Percent, Jarecki (who also wrote the script) chooses instead to remind us that making and keeping scads of cash is rarely accomplished by the fainthearted or the foolish.
I was packing up my recording equipment after interviewing TV executive Susanne Daniels — for a different story — when she said, casually, "Have you ever noticed how there's never been a really great TV show about college?"
I looked at her. Then I started unpacking my equipment again. She had just offered me a story.
Last year, the broadcast networks didn't do well at all when it came to new series development. We got ABC's clever Once Upon a Time, which was about it for the fall crop, until midseason perked things up with NBC's Smash. Otherwise, a year ago, all the exciting new fall series were on cable, thanks to Showtime's brilliant Homeland and FX's audacious American Horror Story.
Hanna Rosin's pop sociology work The End of Men, based on her cover story in The Atlantic magazine, is a frustrating blend of genuine insight and breezy, unconvincing anecdotalism. She begins with a much-discussed statistic: three-quarters of the 7.5 million jobs lost in our current recession were once held by men.
Originally published on Thu September 13, 2012 11:49 am
Great fiction is built around characters that follow the fruitless and wrongheaded paths they're offered, which is how readers savor safe passage into someone else's impetuosity. Yunior, who first appeared in Junot Diaz's debut collection, Drown, is the narrator in several of the stories in the Pulitzer Prize–winning author's third book, This Is How You Lose Her. Yunior is now middle-aged, middle-class, a self-described sucio struggling to mature into adulthood and not succeeding particularly well.