Fuzzy and sweet
by Bill Holdship
Are Satin Peaches Detroit's new international sensation?
Antinuclear family by Curt Guyette
Brothers united in fight against Fermi 3 in Monroe
Labor of love by Detroitblogger John
Inner-city repair shop hangs on, for a number of reasons
South of nowhere by Doug Coombe
Our photographer went to SXSW and all we got were these swell pictures
TV Marches on by Jim McFarlin (Idiot Boxing)
Recession? In Tinseltown? You kiddin'?
Letters to the Editor by Metro Times readers (Letters to the Editor)
Our readers on the bridge, health care, legalizing pot and Monica
Jeffrey Morgan's Media Blackout by Jeffrey Morgan (Media Blackout)
The only music critic who can name-check Miles Davis and Steve Miller in one sentence
Bridge backlash by News Hits staff (News Hits)
Detroit's bridge baron wins some, loses some
Reporter in court by News Hits staff (News Hits)
Diane Bukowski's case to proceed to trial
Night and Day by Megan O'Neil (Night and Day)
A prophet to honor by Jack Lessenberry (Politics and Prejudices)
Warnings and wisdom from one of metro Detroit’s smartest
Flipped-out fantasy by Dan Savage (Savage Love)
What to do when your fantasy involves scuba gear
Mighty whitey by Larry Gabriel (Stir It Up)
Cobo flap dredges up Detroit’s race-baiting politics
Eat for the world by W. Kim Heron (The Mixing Bowl)
Food columnist Mark Bittman discusses his new book about 'conscious eating'
Theaking outside the box by Walter Wasacz (The Subterraneans)
D-town expat Rob Theakston explores 'sound and vision'
The Great Buck Howard Reviewed by Jeff Meyers (Movie)
It sure must be nice to have Tom Hanks as your dad. How else to explain blander-than-bland Colin Hanks nabbing a lead role alongside acting powerhouse John Malkovich? And all those incredible cameos? The truth is, The Great John Malkovich would be a more appropriate title. The esteemed actor bites into his role as a washed-up mentalist with gusto, capturing the attention-craving desperation of a cornball performer who isn’t as famous as he imagines himself to be. Hanks Jr., on the other hand, does little more than play a nice guy. And, unfortunately, that isn’t much of a character choice.
Knowing Reviewed by Jeff Meyers (Movie)
Directed by Alex Proyas, who once showed much promise with his moody goth-fantasias Dark City and The Crow, Knowing is stunningly stylized with nightmarish imagery and thick atmospherics but hopelessly muddled and clichéd. Cage plays a shell-shocked MIT astrophysics professor and widowed dad, struggling to raise his obstinate son Caleb (Chandler Canterbury) while hitting the bottle each night before bed. When the boy’s school unearths a time capsule full of letters from students 50 years ago, Caleb falls under the spell of a note written by a tormented young girl from the past. Unlike the other letters to the future, which feature sketches of rocket ships and robots, hers contains a long string of nonsensical numbers — nonsensical to everyone but an MIT egghead who connects them to both past and future calamities. Soon mysterious figures haunt the house, Caleb starts hearing voices and disturbing portents point to a horrific catastrophe. Joining forces with the adult daughter (Rose Byrne) of the letter’s distraught author, Cage races against time to, yup, save the world.
Sunshine Cleaning Reviewed by Jeff Meyers (Movie)
Rose (Amy Adams) is a single mom whose life peaked in high school when she led the cheerleading squad. Today Rose makes ends meet by cleaning houses, struggles to keep her misfit son in school, and frequently bails out her screw-up sister Nora (Emily Blunt). She’s also sleeping with her married high school boyfriend (Steve Zahn), who happens to be a local cop. When Rose’s noncommittal sweetie suggests that she enter the lucrative world of crime-scene clean up, she recruits her sister on this new entrepreneurial adventure. Of course, this being a scruffy “noncommercial” production, things don’t go quite the way Rose expected. Although the film bursts with the kind of deeply personal, quirky affectations and one-of-a-kind characters that trumpet its independent status, it feels too familiar.
Duplicity Reviewed by Corey Hall (Movie)
Duplicity is wickedly sharp and breathlessly sophisticated entertainment, about as smart and shrewd as any studio star vehicle can ever be, but in the end maybe too smart for its own good. Clive Owen and Julia Roberts practically melt through the celluloid, playing sexy rival spies working for dueling cosmetic corporations, both racing to capture the formula for the holy grail of personal hair-care products. Having met previously as government operatives, he seduced her only to find himself drugged and stripped of a briefcase full of secrets. Now they’re butting heads in the less dangerous but much more lucrative world of big-business subterfuge. Of course these tricky careerists have their own agenda, to bilk their employers for a killing and retire to an endless tropical sunset of mimosas and fluffy hotel pillows. And then the script wraps itself into twisting threads of deceit and betrayal that are challenging to follow.
I Love You, Man Reviewed by Corey Hall (Movie)
Comedy supporting player and improviser Paul Rudd continues his route to leading-man dominance as endearingly geeky L.A. real estate agent Peter Klaven, a ladies’ man in the less obvious sense of the term. Pete’s a “girlfriend guy,” a straight dude who relates better with women, lacking any really close support group of male friends. You could call him metrosexual, but he’s much too humble and sincere, the very cuddly traits that constantly floor his gorgeous and brainy fiancee Zooey (Rashida Jones). Problem is, while she’s got a tight clique of gal pals, he’s short a few groomsmen. So gawky Peter sets out on a series of “man dates,” basically interviewing for his best man to complete his otherwise happy lifestyle. After a predictable montage of misfires, he meets Sydney (Jason Segal), a brash slacker who’s every bit as loose as Pete is reserved. Faster than you can say “odd couple,” these dudes become best buds, gobbling fish tacos, picking fights on the Venice boardwalk, and jamming out Rush covers in Syd’s garage studio-hideaway. Dependably, complications ensue, relationships strain and change, before the big wacky finish brings everybody back together for a credit sequence.
Six in Paris Reviewed by Corey Hall (Movie)
In 1965, producer Barbet Schroeder armed them all with 16mm color cameras, and let each filmmaker pick a neighborhood, with little else in the way of guidelines. Like any anthology, the quality varies, yet Paris gives the pieces a kind of stylistic unity of purpose, and there’s an ironic, darkly comic thread that runs through each and holds the film together. Part travelogue, part time capsule and part grand experiment, Six in Paris is an engrossing sampler of the timeless existential cool of the French New Wave. As thin and savory as a crepe, this 1965 omnibus assembles six of the era’s most interesting directors and turns them loose on the avenues, alleyways and gorgeous tree-lined boulevards of the capital city, just for the fun of it.
The 400 Blows Reviewed by Jeff Meyers (Movie)
Twelve year-old Antoine (Jean-Pierre Léaud) lives in a cramped apartment with his impatient mother (Claire Maurier), who wishes she’d never gotten pregnant, and his mercurial dad. Neither parent seems to care about Antoine, viewing him as an inconvenience — which is a small tragedy, because Antoine’s the type of kid who reads and emotionally responds to Balzac on his own. His experiences at school are no better. Though no more troublesome than his classmates, Antoine is the frequent target of capricious and oppressive teachers and he becomes an outcast; even an enthusiastic essay on his literary hero Balzac is rejected as plagiarism. His only refuge is cinema, where he escapes real-world tyranny. One day when he gets in trouble, Antoine decides it’d be better to run away than go home. This begins his long slide into juvenile delinquency.
Cliff Bell's Reviewed by Todd Abrams (Restaurant)
Stepping into the newly restored art deco live jazz bar with an even more recently opened kitchen is to arrive in another era. Before the stage, the main area is separated into two spaces: One with round, candle-lit tables, the other, a stunning curved bar. All this sits below massive barrel-vaulted ceilings. All this ambience comes from pricey restoration work done in 2006 to make today’s Cliff Bell’s look like the Cliff Bell’s of 1935. That and the way they mix a cocktail. Neither cheap nor fast, mixed drinks are crafted old-school, more for taste than ease of production. With everything from a standard fillet of beef tenderloin to cassoulet, the French-inspired eclectic food menu speaks for itself. Try the duck confit on a buttermilk biscuit with cranberry jam for a small plate reduction of Thanksgiving dinner. Hedonists will go for a chunk of tender braised pork belly (otherwise known as bacon when cured and smoked) that comes plated with a rich, spicy sweet cider sauce, roasted fingerling potatoes and a pinch of cracklings for good measure.