10 Reasons why The Golden Compass trilogy is the best ever
1: Gay angels
2: Round female characters
3: PLOT TWISTS
5: Travel between worlds
6: BEST CHARACTER CHEMISTRY EVER
7: Beautiful writing
8: Characters named Will (which every book needs)
9: Alien worlds where peoples souls live outside them
10: Anti-church everything
Satire is one of the toughest genres to tackle across any medium. Simien, as a first-time feature writer/director, proves up to the challenge. Dear White People is razor sharp, provocative in the right ways, and you can’t do much besides applaud the effort. Sure, the ending is a bit much, which is unfortunate since the film’s finale packs a sucker punch with each stereotype tossed on screen, and is cut a little short with the tongue-in-cheek. The film offers itself as a mirror, and it uses its four main characters - all walking contradictions - beautifully.
But why four? It may seem an odd complaint, but the film is held back in much the same way it’s propelled forward. Simien seems unsure of himself, cramming all of his ideas into one film, when it could have been so much better had he just worked one idea to completion. You can feel halfway through that Simien is too loyal to his leads, really only able to offer interesting character arcs for two (Lionel and Sam) while the other two get lost in the fray. It’s a bold film, but without one central character to latch onto, the film ends up being a beautiful collection of ideas, with moments of taut irony, forced into a structure that allows for too much downtime.
Will was the son of John Parry, an explorer, and of Elaine Parry, a woman who suffered from apparent mental problems including obsessive-compulsive disorder and paranoia. Will failed to remember his father, a former Royal Marine, who had not been heard of since he vanished on an expedition to the Arctic, and who we later learn had wandered into another world and was unable to find his way back.
And she sobbed so passionately he thought that hearts really did break, and hers was breaking now, for she fell to the ground wailing and shuddering, and Pantalaimon beside her became a wolf and howled with bitter grief.
COME OUT TODAY!!!!
February 27 (Monday), 6-9pm, ‘Against the Wall: Art as Resistance in Palestine’, UNC-Charlotte, Cone Center, Lucas Room
William Parry, photojournalist and author will make a presentation of his work and discuss his book ‘Against the Wall: Art as Resistance in Palestine’ at UNC-Charlotte, Cone Center, Lucas Room. The event is being organized by Ashley Tawfiq and sponsored by the Amnesty International UNCC student group and local AI group #712. Will Parry examines the grassroots graffiti and art by both the locals and internationally known artists like Banksy that adorn the wall that runs through the occupied West Bank and how it affects the lives of those who must live with it. Where: UNC-Charlotte, Cone Center, Lucas Room; When: Monday, February 27th, 6-9pm. FREE and open to the public. Refreshments to follow.
(Like the opportunity Sondheim took to reuse the flag theme (“I just heard / on the news / that the mailman won the lottery”) from Assassins as the melodic basis for this song in Road Show. Having it performed by William Parry, who originated the role of the Proprietor in Assassins, only emphasized the connection. I’ll leave it up to you to debate what that means, although I for one don’t find it particularly subtle.)
Between them they helped the ancient of days out of his crystal cell, it wasn’t hard, for he was light as paper, and he would have followed them anywhere, having no will of his own, and responding to simple kindness like a flower to the sun.