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Entertainment · page 15

National Constitution Center Names New Leader

Hiram E. Chodosh, a former president of Claremont McKenna, will take the reins of the center charged by Congress to promote the Constitution and its principles.

The New York Times · Oct 29
The Mosquito Bowl review – Netflix mixes football, war and cliches in slick by-the-numbers saga

Peter Berg’s handsomely made second world war drama about a football game before the battle of Okinawa is stirring but filled with eye-rolling dialogue Forgive me, but it is difficult not to be a little cynical about The Mosquito Bowl, Peter Berg’s grimly serious action feature situated (and marketed during many an NFL game) at the intersection of two predominant male interests: football and the second world war. Though both are certainly rich topics for cinema, and though I have been a fan of many a football/war story – most especially Berg’s NBC series Friday Night Lights – it is, let’s say, a tricky time for movies filled with dubiously nostalgic patriotism and masculinity. The trailer practically drips with a borderline parodic virility: a cadre of handsome up-and-coming male actors streaked with dirt; a group of men “trained for glory” and “called to war”, triumphantly hoisting aloft footballs, beer and guns to ponderous music. But Berg is a capable and battle-tested director who knows his way around both a clock-ticking thriller ( Deepwater Horizon , Lone Survivor ) and the football field. So while The Mosquito Bowl, adapted for Netflix by Berg and Mark L Smith from a nonfiction book by Buzz Bissinger, fulfills its promise of American male pablum – there is many a clunky monologue about honor and duty and the “white buzz” of adrenaline – it also delivers on competently made, absorbing action sequences. (In huge news for Friday Night Lights fans, the football scenes here are once again scored by Explosions in the Sky.) Both in sport and in war, Berg has a knack for grace within visual cacophony and chaos; graphic sequences in battle and from the 1944 Christmas Eve pickup game at Guadalcanal that gives the film its name suggest, far more than its anvil-heavy dialogue, the connections between the gridiron and the battlefield, how the fleetness and camaraderie of sport can be wielded for survival and killing. There is a stomach-churning catharsis in experiencing,

The Guardian · Oct 29
Elke Sommer, prolific German star of A Shot in the Dark and And Then There Were None, dies aged 85

The Berlin-born performer had a gift for languages that took her to Hollywood, landing roles alongside Peter Sellers, Dick Van Dyke and Paul Newman Elke Sommer, the prolific German star of the Pink Panther film A Shot in the Dark, early 70s Agatha Christie adaptation And Then there Were None, and British sex comedy Carry on Behind, has died aged 85. Bild magazine reported that Sommer died in Los Angeles of heart failure. German-born Sommer, whose best-known film roles were in the 1960s and 70s, was one of the wave of European performers who crossed over to Hollywood and English-language cinema with considerable success, following the postwar emergence of European new wave cinema. Sommer was one of the few German actors to make waves at the time, as Hollywood made much of her bombshell image. Continue reading...

The Guardian · Oct 29
​‘He buckled. I could hear his bass ringing out ...’ The luminous rise and tragic end of US alt heroes Morphine

​Fronted by Mark Sandman​,​ the group brought enigmatic, elegant rock to post-grunge America. As lost demos surface, those closest to Sandman remember a man who grabbed on to life’s joys It’s early 1998, and at Fort Apache recording studio in Massachusetts, Mark Sandman, the suave frontman of Morphine, is nearing breaking point. Morphine’s four enigmatic and blackly humorous albums have won critical acclaim and, lately, unexpected commercial success considering their uncompromising creative vision. After the excesses of grunge, Sandman considered their idiosyncratic blend of sophisticated storytelling, prowling slide-bass and Dana Colley’s atmospheric saxophone a kind of “palate cleanser”. In 1997 Morphine had signed to DreamWorks Records, founded by industry bigwigs David Geffen and Mo Ostin. Now, working on Morphine’s first LP for his new paymasters – a batch of songs finally seeing release almost three decades later – Sandman was consumed by doubt over their direction. “For the first time, Morphine were trying to please someone other than just ourselves,” remembers Colley. Continue reading...

The Guardian · Oct 29