St. Vincent – Strange Mercy

Strange Mercy is not an instant favorite. But with a little cozying up, St. Vincent’s third album will seduce listeners into a melancholic love affair. With her latest effort, timid-voiced singer-songwriter Annie Clark offers another dose of mildly catchy melodies laced with ear-perking beats and sensual guitar riffs. Clark’s vocals
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Of Time and the City

In the wake of the September 11 attacks, New York City filmmakers Martin Scorsese and Spike Lee crafted vivid tributes to a wounded metropolis.

Fifteen months after the destruction of the World Trade Center on September 11, 2001, New York City was reborn in glorious fashion on celluloid. It took a pair of feature films from two of the city’s most influential filmmakers to do it. The first, Queens native Martin Scorsese’s “Gangs of
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Novels reflected on ‘Incredibly Close’ disaster

In literary terms, September 11 no doubt reshaped the way we consider the trauma narrative. The turn-of-the-century tragedy, and the millennium itself, announced not just the boom of postmodernism, but also a question to be answered: Where do we go from here? Jonathan Safran Foer’s exuberant, wildly stylized novel “Extremely
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TV Land: Television explains it all

It’s all Clarissa Darling’s fault. Remember her? That svelte, sunny blonde with the leggings who was supposed to “explain it all” Saturday nights on Nick? Yeah, that one. That lying, deceitful wench. She explained nothing. Why was there a boy climbing into her window every day? Why was that theme
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‘The Debt’ reimagines Israeli espionage thriller

The saying goes that those who can’t do teach, and those who can’t teach make Holocaust movies. John Madden, director of such sappy, trophy-swiping schlock as “Shakespeare in Love” (1998) and “Proof” (2005), competently elevates “The Debt” from the constraints of that genre and into another: a dark, rich espionage
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‘Socialisme’ unifies with collective disinterest

Monsieur Godard, qu’est-ce que la big idea? Literally, what is “Film Socialisme” about? Is it an indictment of the blasé bourgeois of the West? Sure. Is it an indictment of the frantic images of contemporary cinema? Yeah. But both of these prove tiresome terrain for Jean-Luc Godard, who has already
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