The Week: Most Recent Entertainment Postshttps://theweek.com/section/index/entertainmentMost recent posts.en-usThu, 21 Aug 2014 12:09:00 -0400http://theweek.comhttp://theweek.com/images/logo_theweek.pngMost Recent Entertainment Posts from THE WEEKThu, 21 Aug 2014 12:09:00 -0400The best online movies to watch this weekendhttp://theweek.com/article/index/258430/the-best-online-movies-to-watch-this-weekendhttp://theweek.com/article/index/258430/the-best-online-movies-to-watch-this-weekend<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0124/62100_article_main/w/240/h/300/waltzs-character-crunches-entities-in-the-zero-theroem.jpg?208" /></P><p class="p1"><strong>1. <em>The Zero Theorem</em></strong> (Directed by Terry Gilliam. Starring Christoph Waltz, David Thewlis, M&eacute;lanie Thierry, Matt Damon)</p><p><iframe width="560" height="315" src="http://www.youtube.com/embed/HWgPnQi-XG4" frameborder="0" allowfullscreen=""></iframe></p><p class="p1"><strong>For fans of: </strong>1<em>2 Monkeys</em>, <em>Brazil</em>, dystopian sci-fi<br /><strong>How to watch it:</strong> Now available iTunes, Amazon Instant, VOD for $9.99</p><p class="p1">In 1985, Terry Gilliam kicked off his so-called "Orwellian triptych" with the classic dystopian satire <em>Brazil</em>. Ten years later, he returned to those themes with the trippy time-traveling thriller <em>12 Monkeys</em>. Now, finally, he's capping the series off with <em>The Zero Theorem</em>.</p><p class="p1">Fans of <em>Brazil</em> will quickly see stylistic and narrative connections to the 1985...</p> <a href="http://theweek.com/article/index/258430/the-best-online-movies-to-watch-this-weekend">More</a>By <a href="/author/matt-cohen" ><span class="byline">Matt Cohen</span></a>Thu, 21 Aug 2014 12:09:00 -0400Internet piracy isn't killing Hollywoodhttp://theweek.com/article/index/265769/internet-piracy-isnt-killing-hollywoodhttp://theweek.com/article/index/265769/internet-piracy-isnt-killing-hollywood<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61627_article_main/w/240/h/300/moviegoers-voted-for-hollywoods-summer-slate-with-their-wallets.jpg?208" /></P><p><br /></p><p><span id="docs-internal-guid-642f5590-87b6-8648-e5b5-3a44712fd0f3">"</span><em>Hellboy</em><em> II </em>has great reviews," my friend argued. He knew I was loath to spend $12 for a movie ticket to spend two hours watching trash. I checked the internet, and he was right. Critics lauded the film. On <em>Rotten Tomatoes</em>, 89 percent of the top critics found the movie favorable. The tacit endorsement of an internet review aggregator was all I needed. My friends and I headed out to the movie theater, bought our tickets and overpriced snack bar fare, and watched the film.</p><p dir="ltr"><span id="docs-internal-guid-642f5590-87b6-8648-e5b5-3a44712fd0f3">And it sucked.</span></p><p><span id="docs-internal-guid-642f5590-87b6-8648-e5b5-3a44712fd0f3">To </span>borrow from <em>The Simpsons</em>, the film was so formulaic it "could have spewed from the power book of the laziest...</p> <a href="http://theweek.com/article/index/265769/internet-piracy-isnt-killing-hollywood">More</a>By Matt SaccaroThu, 21 Aug 2014 09:22:00 -0400Can sci-fi save the romantic comedy?http://theweek.com/article/index/266741/can-sci-fi-save-the-romantic-comedyhttp://theweek.com/article/index/266741/can-sci-fi-save-the-romantic-comedy<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0124/62066_article_main/w/240/h/300/a-dash-of-weirdness-made-midnight-in-paris-a-hit.jpg?208" /></P><p class="p1">It's not exactly news to say that the rom-com has seen better days. At this point, declaring the death of the genre is a clich&eacute; in itself, hashed over in think piece after think piece after think piece.</p><p class="p1">As with most things on the internet, the truth has been a little exaggerated. There are plenty of quality romantic comedies released every year. Take last week's <em>What If</em> &mdash; the most conventional entry the genre has seen in 2014. Twenty-five years after <em>When Harry Met Sally</em>, <em>What If</em> boldly asks whether men and women can <em>really</em> be friends, with Daniel Radcliffe and Zoe Kazan stepping...</p> <a href="http://theweek.com/article/index/266741/can-sci-fi-save-the-romantic-comedy">More</a>By <a href="/author/scott-meslow" ><span class="byline">Scott Meslow</span></a>Thu, 21 Aug 2014 06:06:00 -0400The man behind some of the 20th century's most iconic movie postershttp://theweek.com/article/index/266399/the-man-behind-some-of-the-20th-centurys-most-iconic-movie-postershttp://theweek.com/article/index/266399/the-man-behind-some-of-the-20th-centurys-most-iconic-movie-posters<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61999_article_main/w/240/h/300/john-alvin.jpg?208" /></P><p>Long before movie posters were just stills from the film, they were works of art in their own right.</p><p>Some of the artists gained name recognition outside the niche industry (think Drew Struzan, who has created iconic images for franchises such as <em>Star Wars</em>, <em>Back to the Future</em>, and more, and is still working today). But the majority flew under the radar, no matter how iconic their work became.</p><p>John Alvin is one such artist.</p><p>"He was more interested in doing a great job and moving on to the next assignment than whether he got his original art back or if his name was on it," Alvin's widow, Andrea...</p> <a href="http://theweek.com/article/index/266399/the-man-behind-some-of-the-20th-centurys-most-iconic-movie-posters">More</a>By <a href="/author/sarah-eberspacher" ><span class="byline">Sarah Eberspacher</span></a>Tue, 19 Aug 2014 06:04:00 -0400Lowell's 6 favorite songs for baby-makinghttp://theweek.com/article/index/266474/lowells-6-favorite-songs-for-baby-makinghttp://theweek.com/article/index/266474/lowells-6-favorite-songs-for-baby-making<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61965_article_main/w/240/h/300/shes-a-force-to-be-reckoned-with.jpg?208" /></P><p>"You live in a man's world, I live in my own world," Lowell sings in a playground-style chant in the opening of "I Love You Money." Indeed, the Canadian musician, born Elizabeth Lowell Boland, is confidently forging her own path. While the release date for her debut album, <em>We Loved Her Dearly</em>, quickly approaches (look for it on September 16), Lowell is already being lauded as a "pop heroine" whose fun ferocity exudes the playful menace of a young Karen O. She's also unafraid to get controversial. "I'm great at drug references, and writing about sex!" she proudly told <em>The New York Times Magazine...</em></p> <a href="http://theweek.com/article/index/266474/lowells-6-favorite-songs-for-baby-making">More</a>By <a href="/author/samantha-rollins" ><span class="byline">Samantha Rollins</span></a>Mon, 18 Aug 2014 09:14:00 -0400What the 'death of the library' means for the future of bookshttp://theweek.com/article/index/265775/what-the-death-of-the-library-means-for-the-future-of-bookshttp://theweek.com/article/index/265775/what-the-death-of-the-library-means-for-the-future-of-books<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61644_article_main/w/240/h/300/libraries-are-still-a-valuable-resource-for-their-patrons.jpg?208" /></P><p><br /></p><p dir="ltr"><em>Forbes</em> contributor Tim Worstall wants us to close public libraries and buy everyone an Amazon Kindle with an unlimited subscription. "Why wouldn't we simply junk the physical libraries and purchase an Amazon Kindle Unlimited subscription for the entire country?" he asks. Worstall points to substantial savings on public funds, arguing that people would have access to a much larger collection of books through a Kindle Unlimited subscription than they could get through any public library and that the government would spend far less on a bulk subscription for all residents than it ever would on funding...</p> <a href="http://theweek.com/article/index/265775/what-the-death-of-the-library-means-for-the-future-of-books">More</a>By S.E. SmithMon, 18 Aug 2014 07:05:00 -0400Stephen L. Carter's 6 favorite books about the Cold Warhttp://theweek.com/article/index/266354/stephen-l-carters-6-favorite-books-about-the-cold-warhttp://theweek.com/article/index/266354/stephen-l-carters-6-favorite-books-about-the-cold-war<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61898_article_main/w/240/h/300/carters-latest-takes-readers-back-half-a-century.jpg?208" /></P><p class="p1"><strong> The Cold War</strong> by John Lewis Gaddis (Penguin, $17). Gaddis is the most insightful Cold War historian of them all, and this monumental work is quite possibly his best. He writes as a historian should, without worrying about pleasing the Left or the Right, while overturning received notions with rigorous evidence and thoughtful argument.</p><p class="p1"><span class="s1"><strong>Harlot's Ghost</strong> by Norman Mailer (Random House, $17). This was the controversial first volume of a longer saga that Mailer did not live long enough to finish. It's told principally through the eyes of a disillusioned Central Intelligence Agency officer who's pondering...</span></p> <a href="http://theweek.com/article/index/266354/stephen-l-carters-6-favorite-books-about-the-cold-war">More</a>By The Week StaffSun, 17 Aug 2014 14:00:00 -0400Girls on Film: The true cultural legacy of Sex, Lies, and Videotapehttp://theweek.com/article/index/266366/girls-on-film-the-true-cultural-legacy-of-sex-lies-and-videotapehttp://theweek.com/article/index/266366/girls-on-film-the-true-cultural-legacy-of-sex-lies-and-videotape<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61907_article_main/w/240/h/300/time-for-an-interview.jpg?208" /></P><p><em>Sex, Lies, and Videotape</em> &mdash; which came out in the United States 25 years ago this week &mdash; is a true cinematic anomaly. The breakout success of Steven Soderbergh's modestly budgeted film sparked a massive boom in indie movies, offering a kind of "load-bearing foundation" that could carry "the entire weight of a movement on its mulleted shoulders," as Jessica Kiang put it. The film put Miramax and the Weinsteins on the map, and turned Sundance from a quiet indie film festival into a major Hollywood marketplace. It was even a big box-office hit, and all without offering what its title and...</p> <a href="http://theweek.com/article/index/266366/girls-on-film-the-true-cultural-legacy-of-sex-lies-and-videotape">More</a>By <a href="/author/monika-bartyzel" ><span class="byline">Monika Bartyzel</span></a>Fri, 15 Aug 2014 10:31:00 -0400The Giver: A frustrating, toothless adaptation that comes 20 years too latehttp://theweek.com/article/index/266431/the-giver-a-frustrating-toothless-adaptation-that-comes-20-years-too-latehttp://theweek.com/article/index/266431/the-giver-a-frustrating-toothless-adaptation-that-comes-20-years-too-late<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61934_article_main/w/240/h/300/maybe-just-reread-the-book-instead.jpg?208" /></P><p class="p1">The film adaptation of Lois Lowry's <em>The</em><em> Giver</em> occupies a strange place in the YA landscape. In 1993, <em>The Giver</em>'s dystopian narrative was far ahead of the curve, and its influence can be seen in several subsequent books, including Suzanne Collins' <em>The Hunger Games</em>, Cassandra Clare's <em>The Mortal Instruments</em>, and Veronica Roth's <em>Divergent</em>. But each of those books beat <em>The Giver</em> to the big screen. And the delay has not done <em>The Giver</em> any favors.</p><p class="p1"><em>The Giver </em>is set in what seems to be a utopian society: no war, no hatred, no color. At age 16, each person is assigned a job tailored to their strengths....</p> <a href="http://theweek.com/article/index/266431/the-giver-a-frustrating-toothless-adaptation-that-comes-20-years-too-late">More</a>By <a href="/author/scott-meslow" ><span class="byline">Scott Meslow</span></a>Fri, 15 Aug 2014 06:00:00 -0400The history of Shark Week: How the Discovery Channel both elevated and degraded sharkshttp://theweek.com/article/index/266355/the-history-of-shark-week-how-the-discovery-channel-both-elevated-and-degraded-sharkshttp://theweek.com/article/index/266355/the-history-of-shark-week-how-the-discovery-channel-both-elevated-and-degraded-sharks<img src="https://7e8c.https.cdn.softlayer.net/807E8C/origin.theweek.com/img/dir_0123/61899_article_main/w/240/h/300/its-ba-ack.jpg?208" /></P><p class="normal">At 27 years old, Discovery Channel's Shark Week has become an unlikely staple of the American summer. It's the longest-running cable TV programming event ever, and it continues to pick up speed every year. Last year's Shark Week was the network's highest-rated ever, garnering 53.17 million total viewers. <em>30 Rock</em>'s Tracy Jordan famously proclaimed that everyone should "live every week like it's Shark Week," and Stephen Colbert declared it "one of the two holiest holidays" alongside Christmas.</p><p class="normal">So where did Shark Week come from? Executive producer Brooke Runnette told <em>The Atlantic </em>that it all started...</p> <a href="http://theweek.com/article/index/266355/the-history-of-shark-week-how-the-discovery-channel-both-elevated-and-degraded-sharks">More</a>By <a href="/author/matt-cohen" ><span class="byline">Matt Cohen</span></a>Thu, 14 Aug 2014 10:20:00 -0400