Finally, it's what we've all been waiting for. Let's bring back our winners to play the Ask Me One More final round.
EISENBERG: From We Didn't Start the Fire: Paul Dreyer. From On the Colbert Report: Marc Levy. From Our Greatest Author: Meera Siddharth. From This, That, or the Other: Shannon Sun-Higginson. And from The Sound of Art: Max Genecov.
In Berlin's Jewish Museum, a new exhibit called "The Whole Truth" asks visitors uncomfortable and even absurd questions about Jews. One of the curators, Michal Friedlander, says it is intentionally provocative.
"The point is to get people talking about how they perceive Jews, particularly in Germany today," she says.
But some German Jews accuse the museum of going too far.
In recent years, high-profile cable TV dramas like AMC's <em>Mad Men</em> have helped to shift audiences and programming across all types of TV networks. (Pictured, from left: John Slattery, Jon Hamm and Vincent Kartheiser)
Mad Men comes back for its sixth season Sunday at an opportune moment for basic cable. Last weekend, 25 million viewers combined watched The Bible and The Walking Dead on basic cable channels. That's more than triple the audience for The Good Wife on CBS that same night.
Jim (Robert Redford) must flee with his daughter, Isabel (Jackie Evancho), to the scene of a past crime in order to avoid a probing amateur reporter.
Credit Doane Gregory / Sony Pictures Classics
Crisp in execution and classic in ambiance, The Company You Keep is star Robert Redford's most persuasive directorial work since 1994's Quiz Show. It's a pleasure to watch, even if the payoff is rather less substantial than the backstory.
Franck (Vincent Cassel), Simon (James McAvoy) and Elizabeth (Rosario Dawson) are uneasy allies trying to discover exactly what went wrong during a botched art heist in Danny Boyle's trippy thriller <em>Trance.</em>
Credit Fox Searchlight Pictures
The rampant trippiness of Danny Boyle's movies is what makes them so enjoyable — and, sometimes, so annoying.
In his wife's new documentary, theatrical director Andre Gregory comes across as an eternal child, hooked on his capacity to enchant but rarely able to listen to anyone else.
Credit Cinema Guild
In 1981, avant-garde theater director Andre Gregory collaborated with his friend Wallace Shawn and French filmmaker Louis Malle on an oddball project they called My Dinner with Andre.
Now enshrined as a classic — and one of the most-lampooned films in the history of American cinema — the movie is a talky two-hander in which Gregory (or someone very like him) gassed away about his globe-trotting adventures in spiritual enlightenment, while Shawn (or someone very like him) listened in disbelief, then grew entranced.
Temple gives Alice a sharp edge, but the character's persona wears thin by the end of the film.
Credit Angela Graves / Magnolia Pictures
In theory, it's romantic to watch young couples struggling. We're used to seeing 'em in movies from the '30s, '40s and onward: He makes only enough money to put beans, not steak, on the table. She stretches the meager dollars he brings home by whipping up cheerful curtains patched together from fabric scraps. They may be poor, but they have love on their side, and if they work together, a comfortable and happy life — including the babies that will eventually come — will be theirs.
David (Shiloh Fernandez), Olivia (Jessica Lucas) and Eric (Lou Taylor Pucci) fall victim to demonic terrors in the gritty horror remake <em>Evil Dead</em>.
Credit Kirsty Griffin / TriStar Pictures
Let's just get this out of the way up front: Fede Alvarez's remake of Sam Raimi's horror classic The Evil Dead can't hold a candle, shotgun or revving chainsaw to the original.
Raimi's 1981 debut is a masterpiece of punk filmmaking, a bunch of young enthusiasts who barely knew what they were doing, going out into the woods and stumbling blindly into the creation of a ragged landmark — largely because they didn't know, didn't care or didn't have the money to do it the way it was supposed to be done.