Word: showings
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Dates: during 2000-2000
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...first thing to say about Proof of Life is that it makes the problems of three show people seem less important than the drama of three compelling characters on a big movie screen. Inspired by a Vanity Fair article about a U.S. businessman kidnapped in Colombia, Tony Gilroy's script imagines that engineer Peter Bowman (the excellent David Morse) is seized by terrorist rebels, taken to an Andean prison aerie and held for a $3 million ransom. His wife Alice (Ryan) finds that Peter's company will not pay for the services of Terry Thorne (Crowe), an expert negotiator...
...Romano was smart. He named his show Everybody Loves Raymond. DAVID SPADE stars on Just Shoot Me. Bad call. The wispy Spade was attacked in his Beverly Hills, Calif., home Wednesday when his personal assistant targeted him with a stun gun. Spade, 36, suffered minor injuries and was treated on the scene by paramedics. The alleged shooter, David Malloy, fled Spade's home before police arrived but was quickly tracked down and arrested on charges of suspicion of burglary, assault with a deadly weapon and assault with a stun gun. Bail was set at $50,000. The usually acid Spade...
...task of mounting an exhibition that surveys the visual culture of California in relation to a century's worth of social changes in that huge, dynamic and almost crazily heterodox state. That is what the Los Angeles County Museum of Art (LACMA) has tried to do in a mammoth show that opened last month: "Made in California: Art, Image and Identity, 1900-2000." It involves some 800 works in just about every imaginable medium, set forth by a team of catalog writers and curators as long as the credit crawl on a George Lucas movie, under the general direction...
...useful. The young man obeys Horace Greeley and goes West; in California, he runs out of America. It is the culmination and extinction of hope. The vision of plenty for everyone becomes a mockery--a process whose impact is amply documented by the 1930s social-realist segments of this show, with their dock strikers and Mexican migrant workers pitted against grasping Anglo bosses. Different cultures and immigrant races swirl around, not in a melting pot as some optimists have supposed but in unappeased opposition to one another...
Religion itself was nonjudgmental and easy on kooks, unlike the stern Puritanism of eastern American origins. One of the few intentionally funny paintings in the show--there are plenty that look funny but weren't meant to be--is Barse Miller's 1932 view of a downtown temple in L.A. over which floats the apparition of Aimee Semple McPherson, evangelist and sexpot, flanked by figures of Venus, her lover in a straw hat, and little top-hatted putti clutching sacks of dollars like teeny refugees from a Popular Front cartoon of bosses...