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Forget (and Transform) Yourself: Director Rupert Jones on 'Kaleidoscope'

When an audience isn't fidgeting, says Jones, that's a sign that they've forgotten themselves and that's a good thing.

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Iconic - The Top 20 Male Performances of 2008

Like the gladiators of old, 2008 resembles a battle of formidable acting gods, especially when looking over the 20 choices presented below. Indeed, if anything, choosing a winner requires more of a leap of faith than any amount of critical skill - they all were that good.

Film

Tough and Tender - The Top 20 Female Performances of 2008

Twenty talented ladies, 20 performances worthy of multiple little gold men. Unfortunately, as in all years, someone has to come out on top. But after looking over this impressive list, picking the preeminent turn of 2008 seems almost impossible.

Film

The Man Who Wasn't There: Wrestling with Oliver Stone's W. and the Enigma of George W. Bush

Stone doesn't "get" Bush’s true historical legacy (any more than the rest of us do in 2008), but he cannily realizes that, warts and all, Bush is an undeniably pivotal figure.

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W.

The readymade caricature George Bush is as much a reflection of his moment as he is an occasion for Oliver Stone's latest stab at revisionist history.

Film

Talk, Talk, Talk: October 2008

What studio suit thought this was a good idea? With four months to schedule your high priced efforts, you instead unload almost 30 overpriced pictures on an unsuspecting movie audience.

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Stephen King's The Mist

The Mist indicts blind belief, but doesn't escape the weight of its clichés.

Reviews

Amazing Grace (2006)

The movie's thematic insistence on seeing takes shape through slavery, a horrible moral blight even if it's off-screen in the colonies and not in London with our heroes.

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The Painted Veil (2006)

The Painted Veil uses its narrative limits to make its political case, that privilege breeds ignorance.

Film

Infamous (2006)

When Truman quite gleefully describes his plan to use 'fictional techniques' to tell his nonfiction story, to shape the Clutter murders as an emblem of cultural malaise, Nelle insists on a knowable distinction between fact and fiction.

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