Drew Peterson, the former Illinois police officer, who became the focus of scrutiny in 2007 after the disappearance of his fourth wife, was found guilty Thursday of murdering his third wife.
The Associated Press reports that Peterson, 58, did not react as the verdict was read. Relatives of his third wife, Kathleen Savio, gasped before hugging each other as they cried quietly in the courtroom, the AP reported.
Good evening from Charlotte. Tonight during the last day of the Democratic National Convention, President Obama will accept his party's nomination.
It will be a star-studded evening with performances from James Taylor and the Foo Fighters and appearences from stars like Eva Longoria and Scarlett Johansson.
We'll keep tabs on it the whole night. Also, along with NPR's Liz Halloran and Becky Lettenberger, we'll hit the floor and bring you updates on several of the delegations. Make sure to refresh this page to the see the latest.
Cannibalism and comedy are strange but remarkably compatible bedfellows. Paul Bartel's cult classic Eating Raoul (1982) set the standard, lampooning prudish post-sexual-revolution values with a chaste couple whose repression leads them to murder β and eventually to serving human flesh. Bob Balaban's considerably darker 1989 Parents used it to examine the underbelly of 1950s wholesome prosperity, with wickedly funny results.
Originally published on Mon June 23, 2014 10:36 am
From January 1992 to September 2001, Branford Marsalis set the JazzSet pace, hosting 39 new shows a year (now we do 26) from the Carnegie Hall Jazz Band; festivals in Iowa City, Telluride, Pasadena, Mount Hood, Montreal and Brevard, N.C.; the new music festival in Groningen, the Netherlands, and the Havana Jazz Festival in Cuba; clubs from Yoshi's in California to Sculler's and the Regattabar in Boston. WGBH producer Steve Schwartz sent us lots of Boston sets during that first decade, all of them much appreciated.
Originally published on Thu September 6, 2012 5:50 pm
Fred Schepisi knows how to make the kinds of movies almost no one makes anymore. The tragedy is that they don't make audiences like they used to β and Schepisi's latest, The Eye of the Storm, will feel to many viewers like a movie lost in time and space.
That's no reflection on its craftsmanship, which is superb, or on its performances, which are sterling. But this multigenerational character study, based on a novel by Patrick White, requires a little patience: Its rhythms are slack in places, and its pace is definitely leisurely.
The centerpiece of For Ellen is the long-postponed meeting between a rock-band singer, Joby Taylor, and the 6-year-old daughter whose name is in the title. But writer-director So Yong Kim's wintry character study is primarily a solo act, punctuated by the occasional duet.
Bradley Cooper has the wolfish grin and raffish charm of a cardsharp β or a baby hedge-fund manager. So at first you may find him a tough sell as a writer of prose so sensitive and "interior" that even an admiring old-school editor tells him it's unpublishable.
Hold on, though. The writer has moral flaws, and a name, Rory Jansen, that's better suited to a designer of racy swimwear than a crafter of lambent sentences about the inner workings of the psyche.
The three protagonists of Bachelorette do some pretty terrible things: They talk trash behind a fourth friend's back, kvetching bitterly about having to be bridesmaids at her wedding. They publicly leak her old high school nickname, which happens to be "Pigface."
And just hours before the wedding, as the bride-to-be is getting her beauty sleep, two of them try to cram into her wedding gown as a gag β she's a plus-sized cupcake of a woman β and rip it seemingly beyond repair.
Hot-weather Hollywood blockbusters have now cooled off, so the cineplex will be a quieter place for the next few months. But there can be intensity even in intimate films, as evidenced by the relationship drama Keep the Lights On.
Film adaptations of TV shows long off the air have proven hit-or-miss at the box office. But in recent years, the practice of continuing the story of a popular, recently concluded TV series in a feature film has made for easier business β even when the results are mixed creatively. There's a lot to get wrong in translating a successful series, and therefore a lot to consider: How much of an introduction will a wide audience need to a show's world and characters?