• Issue Archive for
  • Dec 17-23, 2009
  • Vol. 19, No. 50

News+Features

  • Mural Dilemma
  • Mural Dilemma

    A local church needs help saving an artistic treasure
  • Body Language
  • Body Language

    It isn't just Paul Spadafora's fists that do the talking
  • First Offer

    Union head calls initial P-G contract proposal an 'insult'
  • Not a Banner Day

    Pitt students ordered to remove sign protesting Obama

Food+Drink

  • Asylum Coffee Bar

    Escape to Uptown's new coffee bar.

Music

On Screen

  • Invictus
  • Invictus

    Clint Eastwood's film tells the story of South Africa's national rugby team, which, in 1994, transformed itself from a symbol of its country's ugly history into one of a more hopeful -- and inclusive -- future. The team's new fortunes rest on the persuasive powers of President Nelson Mandela (Morgan Freeman) and the rugby captain Francois Pienaar (Matt Damon) – plus winning some matches. While Invictus depicts some of Mandela's other challenges, this is neither explicitly a political film nor a character study of the statesman. It's an inspirational sports drama wrapped in some admittedly historic political and cultural shifts. Unfortunately, Eastwood doesn't trust his capable actors, or the compelling story, enough. He falls back on the rah-rah tropes and cheats that define road-to-glory bandwagon films. But Invictus is, at its core, a heart-swelling, sports-transcends-bad-stuff movie, and grumblers like myself are quickly sidelined. This isn't Eastwood's best film, but it's clearly a story he's emotionally invested in, and his enthusiasm is palpable. (Al Hoff) [2.5 out of 4 stars]

Art

Views

  • School Bullies

    This isn't just about balance sheets. It's about the balance of power.

On Stage

  • Breaking Up
  • Breaking Up

    Director Don DiGiulio wisely keeps the blissfully cast Tressa Glover and Jody O'Donnell rooted in the everyday-ness of the story.
  • A Kodachrome Christmas
  • A Kodachrome Christmas

    Watching someone sitting in a chair looking at projected images really isn't what you might call rich theatrical paydirt.

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