A screening of “Wolf: An Ancient Spirit Returns” will take place at the Lobo Theater (3007 Central NE) on Tuesday, Oct. 16, starting at 7 p.m. The 45-minute documentary, chronicling the return of the gray wolf to Yellowstone, won five Emmy Awards and Best of Category at the EarthVision Environmental Film Festival. Defenders of Wildlife is showing the film as part of the nationally celebrated Wolf Awareness Week, which occurs Oct. 14-20 this year. The screening will be followed by a discussion of the Southwest’s own wolf population with Dave Parson, former lead biologist for the Mexican wolf recovery program, and Lisa Hummon, New Mexico outreach representative for Defenders of Wildlife. This screening/discussion is free and open to the public.
I gotta be honest here; I have never found scarecrows to be particularly creepy. Now don’t get me wrong, I can see how the image of weather-ravaged scarecrows standing in the middle of lonely fields provides perfect subject matter for horror flicks. But I have always seen them as sympathetic characters, doling out revenge and protecting the weak. Granted, my earliest exposure to scarecrows in film was that dancing dumbass in The Wizard of Oz and the vengeance-seeking, redneck-killing scarecrow featured in the classic made-for-TV flick Dark Night of The Scarecrow. (Remember when there used to be awesome made-for-TV horror flicks like Gargoyles and Don’t Be Afraid of The Dark? Damn, I miss those days.) So I was left with the impression that scarecrows were either stupid or justice-dealing badasses.
After a long, hot summer filled with Transformers, pirates and superheroes, it may finally be time for some honest-to-goodness Academy Award contenders. Michael Clayton, the new legal drama starring George Clooney, has all the earmarks of a year-end, award-bait front-runner. This deadly serious film marks the directorial debut of screenwriter Tony Gilroy (scribbler of all three Bourne films) and boasts the sort of script that actors let go of when someone either pries it from their cold dead fingers or hands them an Oscar--whichever comes first.
“Dirty Sexy Money” is like a guilt-free guilty pleasure, a trashy nighttime soap opera so keenly aware of the last 30 years’ worth of nighttime soaps that it’s able to tread that fine line between pitch-perfect recreation and winking parody. Like the first season of “Desperate Housewives” (and none of the subsequent ones), “Dirty Sexy Money” is glitzy, melodramatic, occasionally naughty and full of subversive humor.