On Sunday night screenwriter Bob Nelson will be seated in the Dolby Theatre in Los Angeles for the Academy Awards. His movie “Nebraska” is up not only for his screenplay but for five other Oscars, including Best Picture. Heady stuff for a self-described “boy from Kent.”
Actress Sue Lawson picked up a black-and-white photo of Henry Davies lovingly, as if the man in the old wooden frame were her own husband. “You can just sit right here and watch the proceedings, because it’s all your fault, you know,” Lawson said to the picture with a chuckle. “The children want me to go through this stuff and see if I can find that proposal letter you wrote to me — the reason I became a mail-order bride.” Lawson is one of five actors portraying Wenatchee-area legends for ...
“Pompeii” is half sword-and-sandal epic, half disaster movie and all guilty pleasure. Director Paul W.S. Anderson, taking a break from cranking out “Resident Evil” movies, has a strong command of CGI technology and 3-D effects, and the movie is so grand in scale that you can’t help surrender to the spectacle, even if the stuff that’s going on with the people in the film is often close to risible.
In a hydra-headed Oscar race, “American Hustle,” “12 Years a Slave” and “Gravity” all have legitimate claims to favorite status. And that’s a good thing. Even if a front-runner emerges from the much-nominated trio over the six weeks leading up to the 86th Academy Awards on March 2, the credentials of each film should be plenty to heighten nerves and add to the drama on Oscar night.
Oksana Ezhokina plays piano the way she talks. As she launches the staccato opening of Beethoven’s first piano concerto, her phrases are direct, forthright, and with a bluntness that echoes her words. But as she switches to a dreamy Scriabin etude, her tone is as veiled and mellifluous as her voice.
Salma Arastu sees humanity united in a single line, fluid and continuous, scrawled across her 6-foot canvases. Sometimes the line loops in circles, representing a sea of people with featureless oblong faces, huddled in a mass of script and scribble. Her line forms prayers, too, in Arabic calligraphy layered against harmonic watercolor backgrounds.