"There's millions of commies in the freedom fight

"Yelling for Lenin and civil rights

"How do I know? I read it in the *Daily News*"

—Tom Paxton

Writer/director Adam McKay’s Vice, an all-star biographical movie about Dick Cheney is among Hollywood’s top 2018 political pictures. It’s utterly uncanny how Christian Bale completely disappears into his role as the former vice president, just as John C. Reilly does as Oliver Hardy in another biopic being released in America during the holiday season, Stan & Ollie. With his bravura performance Bale has Cheney’s look, mannerisms and sound down to perfection and at times, when Bale is onscreen one feels as if he/she is almost watching a documentary or the TV news and not an actor in a feature. How Bale transmogrified himself from playing Batman to fat man Cheney is truly a feat of astounding acting for the ages, reminiscent of Robert De Niro’s star turn in Martin Scorsese’s 1980 Raging Bull.

 

A grim “Red Line” has been crossed. But not the one Donald wants.

He’s unexpectedly talking about troop withdrawals from Syria and Afghanistan, offering a welcome glimmer for peace.

But he’s also taken a Great Leap into the TrumpExit abyss.

Donald meant his “Red Line” to warn Robert Mueller away from his decades of bankruptcy, theft, and ruble-laundering.

All that’s crumbling. Mueller’s “report” so far has been a devastating onslaught of indictments and convictions.

If the new Democratic House majority pursues Trump’s tax returns and laundered mob money, calls for impeachment will become a deafening roar.

But there’s much more. Trump’s insane decision to shut the government has shaken even many Republicans. That hate-crazed banshees like Rush Limbaugh and Ann Coulter could scream down the White House is a reality too terrifying even for many at Fox “News.” Visuals of young innocents being tortured and murdered have moved the madness even deeper.

Young black people dancing outside in front of a gazebo with a Columbus Community Pride banner

Best Restaurant Comeback

 

One of the best Chinese restaurants in Columbus is back. Helen Asian Kitchen, which owner Helen Jiao sold in 2017 to take care of her husband while he struggled with cancer, reopened in 2018 with Helen Jiao returning to the helm. Her awesome hot stir-fried cauliflower is back, as well as her assortment of handmade dumplings (yes, even soup dumplings). Here’s a great tip for vegans – order the stir-fried cauliflower with added raw tofu. The tofu cooks in the hot oil heated by the sterno that comes lit under the serving dish and adds an extra punch of creamy protein to the dish. It’s amazing.

– Susan Halpern

 

Best Art and Well-Being Event

 

Shot in glorious black and white, Cold War’s helmer Pawel Pawlikowski’s won the 2018 Cannes Film Festival’s Best Director award and the film was nominated for Cannes’ prestigious Palme d’Or. Cold War won six European Film Awards and as of this writing has won a total of 20 prizes and been nominated for another 32. In 2015 Pawlikowski’s Ida was nommed for a cinematography Oscar and earned the Best Foreign Language Academy Award (Ida was Golden Globe-nominated in the same category). Cold War is currently Poland’s official submission for the Best Foreign Language Oscar (although it was completely overlooked by the Golden Globes).

 

“They must kill and continue to kill, strange as it may seem, in order not to know that they are killing.” — Rene GirardThings Hidden since the Foundation of the World

Socially sanctioned killing is called war. The word “war” may be the most powerful word in human history, because it creates a mask of respectability for — that is, it conceals — the dehumanization and mass slaughter of a designated enemy, along with limitless environmental contamination. When we’re “waging war,” we have given ourselves permission not to know what we are doing, even if what we’re doing is putting life on Planet Earth in danger of extinction.

Say hello to Yemen, the possible future of all of us!

If two hours and 23 minutes of nearly nonstop noisy action, violence, CGI and other eye-popping special effects in a superhero movie is your thing, then you will love the mind-boggling Aquaman. It’s put-your-brain-into-neutral for some mindless entertainment mostly beneath the waves at the Lost Continent of Atlantis, DC Comics and Warner Bros. style.

 

On the other hand, if you prefer character studies, well-written dialogue, originality and good stories, go see another film, such as If Beale Street Could Talk or Vice. At least seven screenwriters share credits (or the blame) for this overblown oceanic epic that is extremely derivative - and not only of a superhero franchise dating back to Aquaman’s 1941 debut during the Golden Age of comics. Indeed, the screen scribbling kleptomaniacs seem to have plagiarized Greek and Roman mythology as far back as Homer’s The Odyssey, as well as Plato, who wrote about Atlantis in Socratic dialogues.

 

Inspired by a true story, director/co-writer Robert Zemeckis’ Welcome to Marwen is about how a hate crime perpetrated against real life Mark Hoagancamp (Steve Carell) affects the illustrator. Suffering partial amnesia and no longer able to draw, Hoagancamp creates a miniature World War II Belgian village he names “Marwen” peopled by dolls, which he proceeds to photograph. The film has LGBTQ, PTSD, anti-Nazi and art therapy themes.

 

In 2010 Jeff Malmberg directed the documentary Marwencol (see: https://www.imdb.com/title/tt1391092/videoplayer/vi3220441369?ref_=tt_pv_vi_aiv_1) about Hoagancamp’s saga which was very well-received and motivated Zemeckis to shoot a feature about this subject matter which is, at times, rather grim and gripping. How was Zemeckis going to give Malmberg’s 83 minute nonfiction film and Hoagancamp’s traumatic tale the Hollywood treatment?

 

“A nation can survive its fools, and even the ambitious. But it cannot survive treason from within. An enemy at the gates is less formidable, for he is known and he carries his banners openly. But the traitor moves among those within the gate freely, his sly whispers rustling through all the galleys, heard in the very hall of government itself. For the traitor appears not a traitor — he speaks in the accents familiar to his victims, and wears their face and their garment, and he appeals to the baseness that lies deep in the hearts of all men. He rots the soul of a nation — he works secretly and unknown to undermine the pillars of a city — he infects the body politic so that it can no longer resist. A murderer is less to be feared.” -- Cicero, 42 B.C.

Attending the plucky Avi Avital’s rapturous rendition of Venetian composer Antonio Vivaldi’s 1725 “The Four Seasons” was my first time hearing Los Angeles Chamber Orchestra and being inside of Zipper Concert Hall at 200 S. Grand Avenue in Downtown L.A. The 406 seat, wood- lined sonic sanctuary features large, disc-like lights floating over the stage, resembling flying saucers. This was apropos for at times the music emanating from LACO and its guest soloist had an ethereal, unearthly character.

 

But before Avital took the stage, lengthy announcements were made lauding the late patron of the arts Hanna M. Kennedy, then two Vivaldi Concertos for Two Violins - one in G minor, the other in A minor - were played. The former featured violinists Josefina Vergara and Sarah Thornblade, while in the latter Margaret Batjer and Tereza Stanislav engaged in spirited string slinging, dueling with one another. Both Vivaldi concertos, which took about nine minutes and then thirteen minutes to complete, were expertly executed. Actually eyeballing the bow slingers Batjer and Stanislav face off against one another was fun and interesting to observe.

 

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