Christmas day is just around the corner, and you know what that means: ribbons, tags, packages, boxes, bags — and the release of half a dozen much-hyped, mega-budget films. Among them is the movie adaptation of Will Eisner's The Spirit. It doesn't have any Nazis, puppies or backward-aging babies, but it promises killer performances from a bevy of women who want nothing more than seduction and destruction.

Scarlett Johansson plays Silken Floss, a frigid vixen; Eva Mendes plays Sand Saref, a conniving jewel thief; and Jaime King plays Lorelei, a phantom siren.

Of course, no superhero's tale would be complete without the quick-witted girl next door. To balance out Spirit's femme fatales is the police commissioner's daughter, Ellen Dolan, played by out actress Sarah Paulson. … continue reading

I haven't been to the theater for about a month and am starting to experience withdrawal. In an effort to stave off physical symptoms, I searched the arts section of The New York Times for interesting theater articles. I came across this one by theater critic Charles Isherwood. Without rehashing the entire article, it's basically Isherwood observing that while actors used to go from Broadway to Hollywood, it's now more common to go from Hollywood to Broadway. He highlights Claire Danes as an example of the new trend and Amy Ryan as an anomalous exception.

Three guesses which model I prefer.

I had actually been thinking about these two actresses prior to reading the article, so I found it particularly interesting. I've been following the coverage of Claire Danes in Pygmalion — because I like her and I because I feared it was poor casting.

And less than an hour before I read the article, an actor friend had been raving about Amy Ryan's performance in Gone Baby Gone. … continue reading