- COLLEGE ROAD TRIP (DVD MOVIE)
! Typically, this skeleton is as much plot as Linklater provide! s; as us ual, he's more interested in concentrating his talents on observing the casual, playful conversations between his leads. His tight time frame allows the characters to say anything to one another, and topics ranging from politics to past romances to fears of the future flow with subtle finesse. The short time frame is also cruel, however, because beneath this love affair lies the painful reality that the two most likely will never see each other again and will be left only with memories--an idea Linklater drives home with an effective snapshot conclusion.
Hardly the trite Gen-X bitch session that many '90s films using this approach become, the film feels more like a Bresson or Rohmer piece, containing sharp perceptions--and flawed humans rather than stereotypes. The protagonists' frank revelations and heated exchanges flow in a stream-of-consciousness style, and its no accident that Linklater set the film in Vienna, where Freud invented and practiced psychotherapy. --! Dave McCoyStudio: Warner Home Video Release Date: 11/09/2010This romantic, witty, and ultimately poignant glimpse at two strangers (Ethan Hawke and Julie Delpy) who share thoughts, affections, and past experiences during one 14-hour tryst in Vienna somehow remains writer/director Richard Linklater's (Dazed and Confused, Slacker) most overlooked gem. Delpy, a stunning, low-key Parisian, meets the stammering American Hawke, as the two share a Eurorail seat--she's starting school in Paris, he's finishing a vacation. Their mutual attraction leads to an awkward meeting (beautifully played by each performer), and Hawke suggests that Delpy spend his remaining 14 hours in Vienna with him.
Typically, this skeleton is as much plot as Linklater provides; as usual, he's more interested in concentrating his talents on observing the casual, playful conversations between his leads. His tight time frame allows the characters to say anything to one another, and topic! s ranging from politics to past romances to fears of the futur! e flow w ith subtle finesse. The short time frame is also cruel, however, because beneath this love affair lies the painful reality that the two most likely will never see each other again and will be left only with memories--an idea Linklater drives home with an effective snapshot conclusion.
Hardly the trite Gen-X bitch session that many '90s films using this approach become, the film feels more like a Bresson or Rohmer piece, containing sharp perceptions--and flawed humans rather than stereotypes. The protagonists' frank revelations and heated exchanges flow in a stream-of-consciousness style, and its no accident that Linklater set the film in Vienna, where Freud invented and practiced psychotherapy. --Dave McCoy
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Discover the magic of watercolor pencils. The paint is in the pencils! This kit was designed for beginners and teaches the basic techniques of working with watercolor pencils. Create color drawings just as you would with regular colored pencils and then blend the colors with a wet brush to magically create a watercolor painting. This kit contains eight Faber-Castell watercolor pencils (red, yellow, blue, orange, violet, green, magenta and black), (1) 8" x 5-1/2" 15-page watercolor pencil art pad, one watercolor paintbrush, one pencil sharpener and a twenty-four page illustrated instruction booklet. All contents conform to AS! TM D4236.
A gripping story of four remarkable young menâ"photographers, friends and rivalsâ"who band together for protection in the final, violent days ! of white rule in South Africa.
The Bang-Bang Club is a memoir of a time of rivalry, comradeship, machismo, and exhilaration experienced by a band of young South African photographers as they documented their cou! ntry's transition to democracy. We forget too easily the polit! ical and ethnic violence that wracked South Africa as apartheid died a slow, spasmodic death. Supporters of the ANC and Inkatha fought bloody battles every day. The white security forces were complicit in fomenting and enabling some of the worst violence. All the while, the Bang-Bang Club took pictures. And while they did, they were faced with the moral dilemma of how far they should go in pursuit of an image, and whether there was a point at which they should stop their shooting and try to intervene.
This is a riveting and appalling book. It is simply written--these guys are photographers, not writers--but extremely engaging. They were adrenaline junkies who partied hard and prized the shot above all else. None of them was a hero; these men come across as overweeningly ambitious, egotistical, reckless, and selfish, though also brave and even principled. As South Africans, they were all invested in their country's future, even though, as whites, they were strangers in their o! wn land as they covered the Hostel wars in the black townships. The mixture of the romantic appeal of the war correspondent with honest assessments of their personal failings is part of what makes this account so compelling and so singular among books of its ilk. --J. Riches
