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Seth Rogen and Rose Byrne in “Neighbors” Are the Best On-Screen Couple in Years

Mother Jones

When you think of the greatest on-screen couples in TV and cinema history, a handful of pairs jump to mind: Bergman and Bogart in Casablanca. Cusack and Skye in Say Anything Chandler and Britton on Friday Night Lights.

You can add Rogen and Byrne to the list.

In the new comedy Neighbors (directed by Nicholas Stoller), Seth Rogen and Rose Byrne play Mac and Kelly Radner, a married couple struggling to adjust to a new era of parenthood. When a rowdy fraternity—led by Teddy Sanders (Zac Efron) and Pete Regazolli (Dave Franco)—moves in next door, the two houses go to war in hilarious fashion.

Although the film’s advertisements don’t make it look bad, necessarily, Neighbors is much smarter and emotionally deeper than its TV spots and trailers would have you believe. But what sets the movie over the top is the pairing of Rogen and Byrne. As the two plot and execute their campaign of revenge against the frat boys next door, their moments of scheming are infused equally with a delightful chemistry and a sense of strained, fumbled maturity.

And the reason this works so well is because the filmmakers didn’t treat the female lead as a comic prop or as some stereotypical wet blanket, as is the case with so many male-centric comedies: She’s as devious and committed as the boys. “From the start, they wanted to make my character very much a part of the story,” Byrne told the New York Times. “From Day 1, Nick Stoller, the film’s director and Seth were both like, ‘She’s as in on this as everybody else—and as irresponsible as everybody else.’ That was really exciting.”

You can catch glimpses of the Radners doing there thing here:

Their best scenes actually have nothing to do with plotting physical destruction against their neighbors. In one sequence, Kelly and Mac awake following a night of heavy drinking. A hungover Kelly goes to breastfeed their newborn, only to have Mac intervene, warning her that at this hour her breast milk would be like a “White Russian.” In pain from the excess milk, she orders Mac to milk her. The sequence, including the aftermath of the deed, is a thing of comic beauty—chaotic, appropriately horrifying, and just cute enough.

Anyway, the whole movie is very good. TheWrap calls it, “an instant classic.” Slate dubs it, “a surprisingly progressive take on bro privilege that still has lots of dick jokes.” I’m inclined to agree.

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Seth Rogen and Rose Byrne in “Neighbors” Are the Best On-Screen Couple in Years

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The Whimsical Fascists of Wes Anderson’s "The Grand Budapest Hotel"

Mother Jones

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Wes Anderson’s The Grand Budapest Hotel is very, very Wes Anderson—which is to say that the colors pop, the quirky humor abounds, and your emotions are sneakily toyed with. Few directors have the kind of total control over the way their actors talk, move, and express quite like Anderson does. Anderson’s singular style and eccentricities make virtually everything in his films (even harrowing elements such as suicide and war) oddly whimsical. And in The Grand Budapest Hotel, a Nazi analog is made into something of a goofy villain.

The comedy is set primarily in the 1930s in Zubrowka, a fictional central-European republic that has endured European totalitarianism and world war (the movie was shot on location in Germany, but the setting, sounds, and visuals were, in Anderson’s words, “a pastiche of the greatest hits of…Eastern Europe”). The core of the narrative (starring Ralph Fiennes, F. Murray Abraham, Tony Revolori, Saoirse Ronan, Harvey Keitel, and several Anderson regulars) is a murder mystery, but the backdrop routinely advances to the fore as the grip of a fascist party grows more and more clenched. “Part of why I feel the impulse to reimagine World War II rather than just do it is because it’s been done so many times before,” Anderson told NPR.

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The Whimsical Fascists of Wes Anderson’s "The Grand Budapest Hotel"

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Here’s Why You Don’t See Romney Reacting to the 47 Percent Video in "Mitt"

Mother Jones

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“I think I’m a flawed candidate,” says Republican presidential contender Mitt Romney, in director Greg Whiteley‘s behind-the-scenes documentary Mitt, which premieres on Netflix on Friday. The film, which spans six years and two Romney presidential runs, offers some intimate moments of the Romney family on the campaign trail. We get to see Mitt privately acknowledging that his image was boiled down to “the flippin‘ Mormon,” the family playing in the snow, Ann Romney talking about her horse, and Mitt ironing his tux sleeve while wearing it.

But if you’re looking for a more thorough political history of the 2012 campaign and the GOP candidate, you’ll notice (as we previously pointed out here) a few things missing: Bain outsourcing jobs, self-deportation, Romneycare, Obamacare, the decision to pick Paul Ryan as running mate, “Let Detroit Go Bankrupt,” Afghanistan, Iraq, varmint-shooting, cheesy grits, abortion, China, “binders full of women,” Benghazi, “corporations are people, my friend,” and a whole lot more.

Furthermore, Whiteley’s film doesn’t include any scenes revealing how Romney and his team processed the release of the 47 percent video—news that came to reinforce Romney’s political persona. The reason? Limited access—and, according to Whiteley, the fact that the goal in making the movie wasn’t to please political junkies.

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Here’s Why You Don’t See Romney Reacting to the 47 Percent Video in "Mitt"

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Martin Scorsese Asked This Band If He Could Use Their Song When Leonardo DiCaprio Has Sex on Money

Mother Jones

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Martin Scorsese’s The Wolf of Wall Street is the year’s best film—a towering achievement in humor and sprawling excess. The movie hits theaters on Christmas Day, and dramatizes the testosterone-soaked saga of Jordan Belfort, co-founder and chairman of Long Island brokerage house Stratton Oakmont, who went down for securities fraud and money laundering in the 1990s. The script—overflowing with orgies, Quaaludes, and scandal—is by Terence Winter (The Sopranos, Boardwalk Empire), and the film stars Leonardo DiCaprio, Jonah Hill, Matthew McConaughey, Margot Robbie, and Cristin Milioti.

The Wolf of Wall Street soundtrack is heavy on blues music, and includes some familiar names such as Elmore James, Howlin’ Wolf, and Bo Diddley. (Critics frequently note the quality of Scorsese’s soundtracks, from Mean Streets to The Departed, which often lean heavily on classic rock.) But one of the songs prominently featured in a couple of scenes in The Wolf of Wall Street is by a blues-rock duo you probably haven’t heard of: The band is the Los Angeles-based 7Horse, with Phil Leavitt on drums and lead vocals, and Joie Calio on guitar. (The two previously played together in the alt-rock group Dada, and have been playing together for two decades.)

The song is “Meth Lab Zoso Sticker“:

“Meth Lab Zoso Sticker” is also the first song heard in the film’s second trailer. It’s a catchy and exciting blues number. But how did Scorsese hear it?

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Martin Scorsese Asked This Band If He Could Use Their Song When Leonardo DiCaprio Has Sex on Money

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Shell retreats from the Arctic, sending its battered vessels to Asia for repair

Shell retreats from the Arctic, sending its battered vessels to Asia for repair

You know how in movies there’s sometimes a moment after some cataclysm in which the protagonist sits up in bed or steps out of a doorway, rubs his eyes, and the sun is shining? All around him are crumbled buildings and cars missing doors, but he looks up and the air is still and the sun is out and you, the audience, understand that something has changed. The terror is behind us.

Well, sit up in bed and rub your eyes. From the Times:

In another blow to its Alaskan Arctic drilling program, Royal Dutch Shell said on Monday that it had decided to tow its two drill vessels there to Asian ports for major repairs, jeopardizing its plans to begin drilling for oil in the icy northern seas next summer.

The new potential delay in drilling does not necessarily doom Shell’s seven-year, $4.5 billion quest to open a new oil frontier in the far north, but it may strengthen the position of environmentalists who have repeatedly sued to stop or postpone exploration that they claim carries the risks of a spill nearly impossible to clean up. …

For drilling to proceed, two vessels are needed, one to stand by to drill relief wells in case of a blowout. It would be difficult to find other suitable ships for drilling in the Arctic.

kullukresponse

The

Kulluk

during happier times.

The two vessels Shell is sending out for repair are the Kulluk — which ran aground in December, damaging its hull — and the Noble Discoverer — which escaped its moorings and almost ran aground, but needs fixes to its propulsion systems.

It is amusing (and largely warranted) to blame Shell for all of these mistakes. It is also worth questioning the role that the Arctic itself played. The vessels are old (the Times notes that the Kulluk was built in 1983; Discoverer in 1966), but the Arctic is also a notoriously harsh environment. One of the long-standing objections to drilling there is how hard it is to mobilize resources in a remote and forbidding environment, concerns reiterated loudly after the Kulluk grounding.

Shell is retreating, tail between its legs — at least for 2013. The company’s move into the region was something of an exploration anyway, the Vasco de Gama of Arctic oil drilling. The Arctic will someday be teeming with activity as the ice recedes; The Economist magazine is hosting a conference in Oslo next month titled, “Arctic Summit: A new vista for trade, energy, and the environment.” Shell wanted to be first; no one expected it to be the only one there.

Which brings us back to the movie analogy. Sometimes, when our hero is taking his first calm breath in days, closing his eyes to feel the sun on his face, free from the threats he’s defeated, another, bigger enemy is lurking just out of sight. In a moment, the hero’s eyes snap open, and the fight resumes.

Philip Bump writes about the news for Gristmill. He also uses Twitter a whole lot.

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Shell retreats from the Arctic, sending its battered vessels to Asia for repair

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Rum promoter won’t be allowed to hold shark-killing tournament

Rum promoter won’t be allowed to hold shark-killing tournament

A tame shark in the Dominican Republic.

From the Associated Press:

A popular rum promoter is drawing the ire of environmentalists for his plan to hold a shark-hunting tournament in the Dominican Republic similar to one he organized after the release of the movie “Jaws.” …

The newspaper Listin Diario recently quoted [promoter Newton] Rodriguez as saying that the country’s tourism industry suffered and people grew afraid of sharks after the blockbuster hit “Jaws” was released in 1975, leading him to organize a shark hunt a year later.

Well, idiot, first of all they already killed that shark in Jaws (via explosion) so you don’t need to worry about that. Second, a number of shark species are already endangered. Third, some 73 million sharks a year are slaughtered, many to fuel the sketchy trade in shark fins as phony medicinal treatment.

The Dominican Republic’s natural resources minister has happily kiboshed Rodriguez’s plan, though I’m not entirely certain that, in his wisdom, he’d even bother to apply for a permit.

As a public service, we figured we’d let you know the name of the rum Rodriguez promotes. It is: Barcelo. You’ll want to avoid it, given that aficionados clearly run the risk of damage to both the heart and the brain.

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Philip Bump writes about the news for Gristmill. He also uses Twitter a whole lot.

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