You know what I think? I think Trump just likes signing documents at the Resolute desk and holding them up for the camera. He thrives on putting his name on things.
You know what I think? I think Trump just likes signing documents at the Resolute desk and holding them up for the camera. He thrives on putting his name on things.
I couldn't agree more with that last sentence. This is a good article. I say that without having seen the movie it's reviewing: "12 Strong". And I won't be seeing it, based on the review and the screenshot, and the fact that I've never been a fan of war movies.“As Hollywood begins to navigate the #MeToo landscape,” Tatiana Siegel reported, “one of the first casualties appears to be big-screen erotica. [...] Alyssa Rosenberg, writing in the Washington Post, hopes that Hollywood’s embarrassed executives are navigating “the end of a very narrow way of thinking about what’s alluring.”
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This reckoning is long overdue. And it can be extended to another genre that has distorted how men behave: war movies. [...] Some of the biggest war movies of the post-9/11 era don’t just show violence in ways that are often gratuitous and occasionally racist. They model a cliched form of masculinity that veers from simplistic to monstrous."
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Whenever I write about the real-world impact of war movies – and I’ve gone to bat against “American Sniper,” “Zero Dark Thirty” and “13 Hours” — I always get responses along the lines of “Relax, these are just movies. Don’t take them so seriously. They’re harmless.” That’s when it becomes necessary to say that movies can create or reinforce narratives of history and gender that influence what people think and what they do. Boys and men develop their notions of masculinity from a variety of sources that include the films they watch (the extent to which this is true is, of course, open to debate).
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What matters is that well into the second decade of our forever war, the combat movies that populate our multiplexes and our minds are devoted to a martial narrative of men-as-terminators that should have been strangled at its birth a long time ago.
Intercept
The True/False Film Fest, a documentary-focused program that started this year’s run on Thursday, has become one of the most respected film festivals in the country, if not internationally. Yet most people outside the film community and Columbia, Mo., where the festival takes place, have never heard of it.
When it started 11 years ago, the festival sold about 4,000 tickets. This year, T/F nearly sold out of its 50,000 tickets more than two weeks before it opened.
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Robert Greene, premiering his new film “Actress” at this year’s True/False, called the event a “perfect storm.” The timing is good because it’s held after Sundance and before South by Southwest. The selection includes smaller, quirky movies as well as known names. And it’s held in an affordable, charming college town with a nationally known journalism school.
“All the directors go there, big films, small films, the ones who just won Sundance,” said Greene, who is premiering a film here for the third time.
Aljazeera