- Link of the day! Most popular link among people I follow is ln.is/LtThg by @WSJ 4 hours ago
- Republicans can be nasty too. Palos' Sean Morrison security guards in on it. ln.is/suntimes.com/U… Via @cstearlyoften 15 hours ago
- Quinn's Muslim group has nothing to day about Islamic State's beheading of American newsman. Nice going, Pat. ln.is/bit.ly/oODZg 16 hours ago
- No i-d, no voting in Illinois? Nope, says constitution amendment referendum on November ballot. ln.is/bit.ly/g2ZMC 16 hours ago
- The skinny on embryonic stem cell research as helped by ALS ice bucket dousing. ln.is/bit.ly/CeI2i 16 hours ago
Daily Archives: 02/21/2013
Andrew Klavan — True Crime, Damnation Street, Shotgun Alley and many other books — called the pope’s Jesus of Nazareth: From the Baptism in the Jordan to the Transfiguration “luminous,” then worried that he sounded “like a nun.” His hard-guy reputation was at stake.
Then he read Jesus of Nazareth: Holy Week from the Entry into Jerusalem to the Resurrection and decided the hell with it, he was willing to risk it.
Pope Benedict, as I’ve said before, is the Last European, by which I mean the last great man and mind who fully comprehends the beautiful but now dying culture that produced him.
Its appalling to me, though not surprising, that the only thing the mainstream media ever covers about him is how often he apologizes for the abuses of some priests or how politically incorrect his view of gay people is or whatever.
I have now read a good selection of his writings and when the work of Foucault and Derrida and de Man and the rest of that benighted lot has toddled off to the obscurity it so dearly deserves, Benedict’s writings will stand. They may be the final flares of genius to fly up from the continent he loves before darkness closes over it.
Thinking of seeing “Identity Thief“?
The film contains skewed moral values, much slapstick and other violence, considerable sexual content including a semi-graphic nonmarital encounter, off-screen masturbation and brief rear nudity, occasional profanity, frequent rough and crude language and an obscene gesture.
Other than that,
Craig Mazin’s screenplay offers few fresh jokes. He relies instead on exploitative sight gags and foul language.
Other than that, it’s a work of art.