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Sideways ponytails, leg warmers and neon are back and in full effect in this plum from history. Archie, a nerdy schoolteacher and vegan with a thing for wheatgrass, is determined to find an alternative energy source for his car. While experimenting, Archie cuts himself, and discovers that all his car needs is blood.
It will be, however, the first Charles Schwab Challenge and, no, this is no event paying homage to Charles Schwab. Billionaires are the serpents of their Garden of Eden. The past puts the present all in its proper context.
Sign in. We gaze into our crystal ball to look at seven Toronto International Film Festival titles to watch for come awards season. Watch the video.
Play It Again is a weekly feature in which our classic-film connoisseurs revisit a revered motion picture from the annals of movie history, to see if it holds up… or if it has aged terribly. And yes, it takes its name from a famously misquoted Casablanca line. Hey, whatever.
Spiker and Cobakka, two likeable but wayward Russians, arrive in London seeking a better life and a fortune but are sucked into crime. Starring Ben Barnes and Andrey Chadov. Browse content similar to Bigga than Ben.
Matt Smith was named as the new Doctor Who. Dominic Cooper became familiar to millions in the Abba musical Mamma Mia! These successes of the past year had a common thread: the actors all rose to prominence in The History Boys, the award-winning play by Alan Bennett.
Edinburgh is not the starriest film festival and it's all the better for it, says Sheila Johnston. She picks the highlights. In its new June slot, Edinburgh has relaunched itself as a place to find exciting talent rather than to check on the progress of the usual big names. A freshly introduced section, Below the Radar, sums up the mood: none of the taxi drivers I met was even aware the festival was happening.
Understandably, not all essays in this collection emphasize audience to the same degree. Many deal in whole or in part with how religion and religious history are taken up in the versions of Ben-Hurespecially in the coming together of Roman, Jewish, and Christian figures in the narrative. Shalev shows a religious dimension to the political shift: Christian evangelicals came to regard Jesus as a personal savior and a victim of corrupt cultural forces. Even essays whose titles or opening paragraphs suggest a different focus come to devote a fair amount of attention to these issues—evidence of how unavoidable the triangular relations of Christianity, Jewishness, and Rome are to the interpretation of the work.