Enter Gloria, brilliantly performed by Paulina García, a joyful charmer who sings along to sappy tunes while driving, a divorced woman on her second wind, adapting to the awkward stage in life when her children start having children of their own and at an age when couples seldom remain married.
Jack Ryan, a dashing blue-eyed young man eager to serve his country suffers a terrible — and grossly depicted — helicopter accident. While recovering, he falls in love with his nurse, future fiancée Cathy (Keira Knightley). But we all know that. Jack Ryan is a character created by Tom Clancy, previously played by Alec Baldwin, Harrison Ford and Ben Affleck, though this time the story is not based on a Clancy novel.
The movie opens with a glimpse of New York in the 1950s and “The Flatbush Four,” a gang of agile, smart-aleck 10-year-olds who assert themselves after punching, stealing, and getting a cute girl. The movie then fast forwards to their current reality, and we meet four decrepit old men: Archie (Morgan Freeman), who is recovering from a stroke and under the care of an overprotective son; Sam (Kevin Kline), who is the lucky husband of a beautiful, considerate, and permissive wife, but has suffered his share of the quotidian married life; Paddy (Robert De Niro), who is depressed because his adored wife passed away and he has not been able to recover; and Billy (Michael Douglas), a successful businessman who is about to marry a Barbie doll half his age. They are pathetic, and they know it.
Blue is the Warmest Color, or La Vie d’Adèle, chapters 1 et 2 in its original French title, is a tender, wrenching, heart-gripping love story about a teenage girl Adèle, her coming of age, falling in lesbian love for the first time, and subsequent devastating heartbreak. A loose adaptation of the graphic novel by Julie Maroh, it is melancholic, raw, emotional, powerful, and yes, it is sexy, but it is the loving that makes it so, the traumatic loving.
Prince Avalanche was shot in secret, at the request of director David Gordon Green who wanted to return to his roots in independent film after making his last three works with major film studios (Pineapple Express, Your Highness, Eastbound & Down). But, he went too far. Prince Avalanche felt like a graduate film student thesis, with unnecessarily long scenes and increasingly portentous music accompanying events that lead nowhere, or were just arbitrary.
It has been a long time since I’ve seen a movie that squeezed my heart and had me gripping my armrest, suffocating in the knowledge that my voice can never reach the actor on the screen. And all through the brilliant acting of a psychologically infused small-town drama.
CAST’S Spring Sound Series brought to us alumna Julia C. Ogrydziak ’96, a multi-everything artist. Ogrydziak exploited all the goodness MIT had to offer her, and in return, she has made the most out of what MIT gave her. While pursuing a double degree in Physics and Music, she UROPed for a couple of years in the then-called Hyperinstruments Group at the Media Lab, which focused on multi-media and performance. After that, she pursued her interest in design by getting a degree at Harvard’s Graduate School of Design. Phew.