The network of political groups headed by conservative industrialists David and Charles Koch spent millions of undisclosed dollars in last year's elections. Now, after failing to help Republicans win the White House or the Senate, the Koch brothers are re-examining the network, its goals and strategies.
As Pope Benedict XVI left the Vatican and his papacy, he slipped out of his trademark red shoes and put on a pair of Mexican leather loafers. The shoes, actually three pairs, two burgundy and one brown, were a gift to the Pope during his trip last year to Mexico.
Great deeds start out as current events, move on to history, and eventually, with some craft and embellishment, become folklore and legend. This process is central to the structure of Bryan Singer's Jack the Giant Slayer, which merges elements of the familiar folktale of "Jack and the Beanstalk" with the less ubiquitous "Jack the Giant Killer." It sets the story as a kind of midpoint between one "true" story that has become a legend for Jack, just as the events of Jack's "true" story have supposedly passed into the realm of a simple folk story.
President Obama minced no words when he talked about how the looming budget cuts known as sequestration could hurt the Justice Department.
"FBI agents will be furloughed. Federal prosecutors will have to close cases and let criminals go," Obama said.
Starting late Friday, if Congress and the White House can't come to an agreement, the Justice Department will face $1.6 billion in cuts — about 9 percent of its budget. Attorney General Eric Holder told a group of state law enforcement officials who met in Washington this week that the situation looks ugly.
It's a mark of a great filmmaker when a movie is felt first and understood later, allowing audiences to intuit their way through a fog of mystery and sensuality before finally getting a clear view of the landscape. Best known for an operatic trio of revenge thrillers — the second, Oldboy, won the Grand Prix at Cannes in 2004 and a fervent cult following — South Korean genre maestro Park Chan-wook expresses florid emotion in cool, impeccable, gothic language.
Undersea things — iridescent creatures, mossy rocks, silky-slimy plants — are just weird. They're fascinating by their very nature, often barely resembling anything we have on land. Lucien Castaing-Taylor and Verena Paravel's half doc, half art project Leviathan capitalizes on that strangeness while linking it to the more prosaic world of commercial fishermen plying their trade off the coast of New Bedford, Mass.
Explosions rattle the crew. The air is turning fetid. And the captain has ordered a descent toward "crush depth." Yet everything is on course in Phantom, the newest model of the old submarine-from-hell picture.
But the predictability of writer-director Todd Robinson's film is, well, predictable. There are only so many things that can happen in the close quarters of an imperiled sub. What Robinson purports to do is show those familiar undersea events from a different vantage point. All the characters in Phantom serve in the Soviet navy of the 1960s.