McAvoy plays a sketchy art auctioneer in Danny Boyle's new heist thriller, Trance. He almost didn't take the part because he didn't want to play the role of a victim. Then he took a closer look and found something that made him "hungry."
Host Scott Simon speaks with Ian Crouch, web producer for The New Yorker, about tropes in movie trailers throughout the years. Crouch's blog post, "Trailer Trash," was published Friday on The New Yorker's Culture Desk blog.
For nearly 70 years, the Living Theater championed some of the most challenging work in New York Theater. It was the original off-Broadway company. But last month, Jon Kalish reports, co-founder Judith Malina shuttered the space she poured all of her money into and moved into an assisted-living home.
Irish actress Fiona Shaw stars on Broadway in The Testament of Mary. It's a one-woman production by Irish novelist Colm Toibin and focuses on perhaps the most well-known mother ever: the Virgin Mary. Shaw talks about her intense, intimate role.
The slow, silky pace of Gilles Bourdos' biopic Renoir might burden a lesser subject. But the beauty of the cinematography suggests the aesthetic of the Impressionist master, lending the whole film a surreally beautiful air. (Recommended)
Over the past three decades, artist and sculptor Arthur Wood has turned his four-story home into a towering cathedral built out of salvaged junk. But after a fire in 2006, the New York City Department of Buildings determined that the Clinton Hill landmark was no longer a safe place to live.
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