<?xml version="1.0" encoding="iso-8859-1" ?><rss version="2.0"><channel><title>washingtonpost.com - Ann Hornaday on Movies</title><link>http://www.washingtonpost.com/wp-dyn/artsandliving/movies/reviews/hornaday?nav=rss_artsandliving/movies/reviews/hornaday</link><description>Ann Hornaday on Movies</description><language>en-us</language><ttl>15</ttl><image><title>washingtonpost.com</title><width>140</width><height>20</height><link>http://www.washingtonpost.com</link><url>http://media.washingtonpost.com/wp-srv/hp/image/wp_web.gif</url></image><item><title><![CDATA[Laughing Across Color Lines]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9494-2005Apr22.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9494-2005Apr22.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[It just might be that, however segregated live comedy has become, at the movies we're at least getting together and laughing together.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Not The Best 'Hustle']]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A8065-2005Apr21.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A8065-2005Apr21.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA["Kung Fu Hustle" is one of the most buzzed-about comedies to come out this year, but for some reason  --  the weather? The idiots in the next row talking all the way through the movie?  --  its charms eluded me.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Turtles Can Fly' Soars]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A8046-2005Apr21.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A8046-2005Apr21.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[Welcome to the nasty, brutish world of Satellite (Soran Ebrahim), a precocious 13-year-old boy who lives in a makeshift village of Kurdish refugees on the Iraq-Turkey border. Satellite, so named because he knows how to install TV antennas, is part father-figure, part mayor in a community that, though overseen from afar by a few elders, seems to be populated almost entirely by lost, dispossessed children.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Peacock': A Radiant Coming Out]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A3030-2005Apr19.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A3030-2005Apr19.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[ Veteran  Chinese cinematographer Gu Changwei makes an impressive directorial debut with "Peacock," a film that makes an equally strong impact as family drama and political allegory. The man who photographed such revered contemporary classics as "Red Sorghum," "Ju Dou" and "Farewell, My Concubine" proves himself to be as astute and sensitive a storyteller as those films' venerated directors, Zhang Yimou and Chen Kaige. In making an epic drama that clocks in at just under 2 1/2 hours, Gu has set an ambitious, even audacious course in his first outing as a director. But as this tale unfolds, it's just as clear that he has the talent to back up his ambitions.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Voices in Wartime,' Drowned Out by Din]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A55170-2005Apr14.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A55170-2005Apr14.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[Does anyone remember Poets Against the War? That was the group formed in 2003, on the eve of the American invasion of Iraq, when first lady Laura Bush organized a White House poetry symposium and promptly canceled it when word got out that several poets intended to criticize the impending war.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Selling the Marshall Plan, European Style]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A55160-2005Apr14.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A55160-2005Apr14.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[ They don't make propaganda like they used to.<br>Today, we get fake news stories, news releases disguised as journalism, and columnists paid by the president's administration to endorse its policies. When the government tries to sell its particular brand of soap, it's not with delicacy or...]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[The Other Side of Bollywood]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A48142-2005Apr12.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A48142-2005Apr12.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[Filmfest DC begins today with "Raincoat," a sultry, seductive romantic melodrama by Indian filmmaker Rituparno Ghosh. The choice to open the festival with "Raincoat" is an altogether appropriate one, given this year's focus on Indian and Chinese cinema, and given the desire to expand filmgoers' vision of India beyond Bollywood stereotypes.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Thousand Roads': Paved With Good Intentions]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A45380-2005Apr11.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A45380-2005Apr11.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[ The National Museum of the American Indian has produced a slick, high-end short film to play in its state-of-the-art auditorium. And from the looks of the 43-minute movie's pedigree and production values, it has spared no expense. "A Thousand Roads," which loosely connects a series of vignettes of Native life, not only looks great but hews faithfully to the museum's overarching ethos of celebrating the contemporary Native experience throughout the Western Hemisphere.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Selling Democracy,' Marshall Plan in Miniature]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A37406-2005Apr8.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A37406-2005Apr8.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[ On  the heels of stories involving the appointment of Karen Hughes as a State Department undersecretary in charge of improving the U.S. image in the Middle East, as well as government-funded press releases masquerading as news stories, the timing for "Selling Democracy: Films of the Marshall Plan 1948-1953" could not be better.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Asian Itinerary]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A37407-2005Apr8.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A37407-2005Apr8.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[Unlike previous festivals, this year's Filmfest DC focuses on the films of India and China.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Fever Pitch': Farrellys' Ground Ball to Left Field]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A35878-2005Apr7.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A35878-2005Apr7.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[Mostly due to bad casting, "Fever Pitch" all but completely squanders its potential to be romantic or comedic.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Unrequited Affection]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A35860-2005Apr7.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A35860-2005Apr7.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[What  a concept: a trilogy of short films by Wong Kar-Wai, Steven Soderbergh and Michelangelo Antonioni, each dealing with the subject of love and sex.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Ballad': A Shadowy Father Figure]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A17457-2005Mar31.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A17457-2005Mar31.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[The title characters of "The Ballad of Jack and Rose" are a father and daughter but, living in Edenic isolation on an unnamed island, gazing with languid seductiveness at each other, they often resemble lovers in this tale of mixed signals, blurry boundaries and letting go.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['In My Country': Out of Its Depth]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A17455-2005Mar31.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A17455-2005Mar31.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA["In My Country" is a movie with an impeccable pedigree. Based on the acclaimed memoir "Country of My Skull" by the South African author Antjie Krog, adapted for the screen by an equally respected South African writer named Ann Peacock and the revered British director John Boorman ("Hope and Glory," "Deliverance"), this is a movie that, on paper at least, should have been a home run.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Guess Who': It Looks Like Turkey for Dinner]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A64721-2005Mar24.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A64721-2005Mar24.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[The gifted comedian Bernie Mac has made a career of the withering glare, and the times he gets to turn it on are the only bright spots in "Guess Who," a remake of "Guess Who's Coming to Dinner." That 1967 film enlisted no less than Spencer Tracy, Katharine Hepburn and Sidney Poitier to lend their unassailably iconic personae to the then-radical notion of interracial marriage. As a pop cultural bellwether, "Guess Who's Coming to Dinner" has become something of a classic despite its often painfully earnest, even backhandedly racist, efforts to prove its liberal bona fides.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Sequel Fails Talent Contest]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A61702-2005Mar23.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A61702-2005Mar23.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA["Miss Congeniality 2: Armed and Fabulous" finds Sandra Bullock once again snorting and tripping her way from tomboy to swan.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Dumbness Is the Downside in 'The Upside of Anger']]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A45533-2005Mar17.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A45533-2005Mar17.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[To watch "The Upside of Anger" is to ask that timeless cinematic question: Where have you gone, James L. Brooks?  Of course Brooks's most recent film, "Spanglish," raised the same query, but think back to "As Good as It Gets" and you realize that Brooks remains the master of  tart, adult dramedy. "The Upside of Anger," written and directed by Mike Binder, clearly aspires to be a Brooksian comedy of manners, but instead it feels like  a retread of several better movies, with a nastier, more bitter edge.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Dot the i': Punctuated With Pretentiousness]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A45510-2005Mar17.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A45510-2005Mar17.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA["Dot the i," a gimmicky first-time feature that bears all the unfortunate earmarks of an ambitious but empty directorial vision, stars the young Mexican actor Gael Garcia Bernal in a role that brings his recent winning streak to a screeching halt. Indeed it looks as if this otherwise straight-to-video endeavor, which was made in 2003, is being released only to cash in on Bernal's of-the-moment-ness in Hollywood.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA['Hostage': Let's Make a Dull]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A25637-2005Mar10.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A25637-2005Mar10.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA["Hostage,"  a new action thriller starring Bruce Willis in the same role he's been playing for nearly 20 years, features a plot twist involving a police negotiator who himself becomes a hostage in the course of a tense standoff. But by the time Willis's character saves this considerably long day, it's filmgoers who will no doubt feel like prisoners, as a movie that promises to be a taut nail-biter devolves into the kind of silly, overblown climax parodied so beautifully by Robert Altman in "The Player."]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[San Francisco Tweet]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A25750-2005Mar10.html?nav=rss_artsandliving/movies/reviews/hornaday</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A25750-2005Mar10.html?nav=rss_artsandliving/movies/reviews/hornaday</guid><pubDate>Sun, 24 Apr 2005 8:17:40 GMT</pubDate><description><![CDATA[Judy Irving's "The Wild Parrots of Telegraph Hill," is an engrossing, delightful film about a flock of wild parrots living in San Francisco.]]></description><author> Ann Hornaday</author></item></channel></rss>