The New York Asian Film Festival is arguably most famous for its horror films. As The New Yorker recently documented, a critic staggered out of one of the more gruesome screenings several years ago, emitted a gurgle, and then dropped in a dead faint in the lobby.
This year provided no exception to the high scary quotient. Along with art-house dramas, broad comedies, and martial arts- and Japanese comic-derived movies, the festival featured the likes of Juon: The Grudge, soon to be remade into a Sarah Michelle Gellar vehicle; Doppelganger, about an innocuous engineer whose evil double is taking over his life; and Marronnier, which features a mad genius who turns women into satanic killer dolls.
A polemicist who draws on the techniques of investigative journalists. A director who unleashes the broadest comedy on the darkest subjects. A baseball cap–wearing Everyman, champion of minorities and the working class, who is really a rich white man -- Michael Moore is all these things, a contradictory figure who elicits many conflicting emotions, often within the same viewer.
I should be congratulating you --
airing the movie version of your latest one-woman show Cho:
last Saturday was a big deal. But I'm writing for a different, less gracious
reason, and I'm kind of nervous about it. When I started typing, the dorky
little paperclip icon popped up on my computer screen and asked if I needed
help writing my letter. I sent it away with a snort, but now I'm regretting
Fox has already gotten people to start voting -- can they make us like jury duty, too? That's the central question behind the network's latest offering, The Jury
(Tuesdays, 9pm), a heavy-hitting drama with a fancy pedigree. Executive produced by the writers and producers (Tom Fontana, Barry Levinson, James Yoshimoto, and Jim Finnerty) behind influential shows like Oz and Homicide: Life on the Street, the show features a new crime -- and a new jury to chew over that crime -- in every episode.
Blighted seeds, tiny children hunched over sewing machines, a nation in convulsive riots over the price of water: What shadowy entity could be behind all these horrors? The corporation, according to the documentary of the same name.