Like, you know, whatever.
"[T]his is where the film consistently skips a step, jumping from initial attraction to romantic culmination without bothering with all that boring stuff about, you know, actually falling in love. It’s like jumping from the first scene of When Harry Met Sally (or, again, almost any other romantic comedy you could name) straight to the last."
I can’t stand Love Actually and I honestly don’t understand how people can get beyond the far-from-subtle emotional manipulation (GIMME A BREAK, Emma Thompson bawling as Joni Mitchell plays).
Needless to say, I am totally on board with this article.
Next week’s cover, “Madiba,” was drawn by the artist Kadir Nelson. “I’ve recently made a children’s book about Nelson Mandela, but for a New Yorker cover, I settled on a younger image of him during the time that he was on trial with over a hundred of his comrades,” says Nelson about “Madiba,” his oil painting of Nelson Mandela, who died today, at the age of ninety-five.
Anyone familiar with J. J. Abrams’s cultishly popular film and TV projects should know exactly what to expect from his first foray into the printed word: the unexpected. This über-meta, genre-blending novel (akin to House of Leaves and Cloud Atlas) takes the reader on a fast-paced, perplexing ride.
Recommended by Kim, Powells.com
We’ve got plenty of copies of S. by J. J. Abrams in stock (unlike, say, a giant online retailer who shall remain nameless).
Huh, this format reminds me of the Griffin & Sabine series.
(please tell me I’m not the only one who remembers those books)
"I also think that suggesting that a class of works isn’t worth investment is a way of denying that work accountability for its quality and its politics–it’s the flip side of the defense mounted by superfans of movies, television, or video games when they’re uncomfortable with a critique that complicates their love of a product, the cry that “it’s just a movie/TV show/video game."