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Their ages vary. But a conspicuous handful of filmmaking lions in winter, or let’s say late autumn, have given us new reasons to be grateful for their work over the decades — even for the work that didn’t quite work. Which, yes, sounds like ingratitude. But do we even want more conventional or better-behaved work from talents such as Francis Ford Coppola? Even if we’re talking about “Megalopolis” ? If Clint Eastwood’s “Juror #2” gave audiences a less morally complicated courtroom drama, would that have mattered, given Warner Bros.’ butt-headed decision to plop it in less than three dozen movie theaters in the U.S.? Coppola is 85. Eastwood is 94. Paul Schrader, whose latest film “Oh, Canada” arrives this week and is well worth seeking out, is a mere 78. Based on the 2021 Russell Banks novel “Foregone,” “Oh, Canada” is the story of a documentary filmmaker, played by Richard Gere, being interviewed near the end of his cancer-shrouded final days. In the Montreal home he shares with his wife and creative partner, played by Uma Thurman, he consents to the interview by two former students of his. Gere’s character, Leonard Fife, has no little contempt for these two, whom he calls “Mr. and Mrs. Ken Burns of Canada” with subtle disdain. As we learn over the artful dodges and layers of past and present, events imagined and/or real, Fife treats the interview as a final confession from a guarded and deceptive soul. He’s also a hero to everyone in the room, famous for his anti-Vietnam war political activism, and for the Frederick Wiseman-like inflection of his own films’ interview techniques. The real-life filmmaker name-checked in “Oh, Canada” is documentarian Errol Morris, whose straight-to-the-lens framing of interview subjects was made possible by his Interrotron device. In Schrader’s adaptation, Fife doesn’t want the nominal director (Michael Imperioli, a nicely finessed embodiment of a second-rate talent with first-rate airs) in his eyeline. Rather, as he struggles with hazy, self-incriminating memories of affairs, marriages, one-offs with a friend’s wife and a tense, brief reunion with the son he never knew, Fife wants only his wife, Emma — his former Goddard College student — in this metaphoric confessional. Schrader and his editor Benjamin Rodriguez Jr. treat the memories as on-screen flashbacks spanning from 1968 to 2023. At times, Gere and Thurman appear as their decades-young selves, without any attempt to de-age them, digitally or otherwise. (Thank god, I kind of hate that stuff in any circumstance.) In other sequences from Fife’s past, Jacob Elordi portrays Fife, with sly and convincing behavioral details linking his performance to Gere’s persona. We hear frequent voiceovers spoken by Gere about having ruined his life by age 24, at least spiritually or morally. Banks’ novel is no less devoted to a dying man’s addled but ardent attempt to come clean and own up to what has terrified him the most in the mess and joy of living: Honesty. Love. Commitment. There are elements of “Oh, Canada” that soften Banks’ conception of Fife, from the parentage of Fife’s abandoned son to the specific qualities of Gere’s performance. It has been 44 years since Gere teamed with Schrader on “American Gigolo,” a movie made by a very different filmmaker with very different preoccupations of hetero male hollowness. It’s also clearly the same director at work, I think. And Gere remains a unique camera object, with a stunning mastery of filling a close-up with an unblinking stillness conveying feelings easier left behind. The musical score is pretty watery, and with Schrader you always get a few lines of tortured rhetoric interrupting the good stuff. In the end, “Oh, Canada” has an extraordinarily simple idea at its core: That of a man with a movie camera, most of his life, now on the other side of the lens. Not easy. “I can’t tell the truth unless that camera’s on!” he barks at one point. I don’t think the line from the novel made it into Schrader’s script, but it too sums up this lion-in-winter feeling of truth without triumphal Hollywood catharsis. The interview, Banks wrote, is one’s man’s “last chance to stop lying.” It’s also a “final prayer,” dramatized by the Calvinist-to-the-bone filmmaker who made sure to include that phrase in his latest devotion to final prayers and missions of redemption. “Oh, Canada” — 3 stars (out of 4) No MPA rating (some language and sexual material) Running time: 1:34 How to watch: Opens in theaters Dec. 13, running 1in Chicago Dec. 13-19 at the Gene Siskel Film Center, 164 N. State St.; siskelfilmcenter.org Michael Phillips is a Tribune critic.Trump has promised again to release the last JFK files. But experts say don’t expect big revelations
Expensive failure: Flagship Gorgon CCS collects less CO2 in worst yearBoulder’s September School to close mid-year on Dec. 20Alphabet's chief accounting officer Amie O'Toole sells $232,950 in stock
HUNTINGTON, W.Va. , Dec. 2, 2024 /PRNewswire/ -- Energy Services of America Corporation (the "Company" or "Energy Services") (Nasdaq: ESOA) has completed the previously announced purchase of Tribute Contracting & Consultants, LLC ("Tribute"), an underground utility contractor that employs approximately 90 construction workers and primarily specializes in water and wastewater system installations in Ohio , Kentucky , and West Virginia. As previously noted, Energy Services purchased substantially all of the assets of Tribute for $22 million in cash, less any assumed debt and working capital adjustments, and $2.0 million of Energy Services' common stock. Todd Harrah and Tommy Enyart will continue their employment with Energy Services' new subsidiary and commented on the announcement, "We are excited to join forces with Energy Services and look forward to contributing to the company's continued success." Douglas Reynolds , President, commented on the announcement. "We are excited to add Tribute to the Energy Services team. This acquisition is consistent with our strategy of buying companies that are familiar to us and further enhances our presence in the water distribution and wastewater categories." About Energy Services Energy Services of America Corporation (NASDAQ: ESOA), headquartered in Huntington, WV , is a contractor and service company that operates primarily in the mid-Atlantic and Central regions of the United States and provides services to customers in the natural gas, petroleum, water distribution, automotive, chemical, and power industries. Energy Services employs 1,200+ employees on a regular basis. The Company's core values are safety, quality, and production. Certain statements contained in the release including, without limitation, the words "believes," "anticipates," "intends," "expects" or words of similar import, constitute "forward-looking statements" within the meaning of section 21E of the Securities Exchange Act of 1934, as amended (the "Exchange Act"). Such forward-looking statements involve known and unknown risks, uncertainties and other factors that may cause the actual results, performance, or achievements of the Company to be materially different from any future results, performance or achievements of the Company expressed or implied by such forward-looking statements. Such factors include, among others, general economic and business conditions, changes in business strategy or development plans, the integration of acquired business and other factors referenced in this release. Given these uncertainties, prospective investors are cautioned not to place undue reliance on such forward-looking statements. The Company disclaims any obligation to update any such factors or to publicly announce the results of any revisions to any of the forward-looking statements contained herein to reflect future events or developments. View original content: https://www.prnewswire.com/news-releases/energy-services-of-america-completes-acquisition-302319926.html SOURCE Energy Services of America Corporation
As Americans are beyond burned out, Tricia Hersey’s Nap Ministry preaches the right to restMike Johnson needs a new billionaire wrangler for his top super PACSlope Launches Commercial BNPL Card Powered by Marqeta
Gus Malzahn is resigning as Central Florida's head coach to become Florida State 's offensive coordinator, a person familiar with the hire told The Associated Press on Saturday. The person spoke on condition of anonymity because the Seminoles have not confirmed Malzahn's move, which is pending a state background check. ESPN first reported the decision. The Knights made official that Malzahn is leaving in a statement released a day after UCF (4-8) concluded its season with a 28-14 loss to Utah. “We would like to thank Coach Malzahn for his contributions to our football program over the past four seasons, including our transition into the Big 12 Conference," the school said. "We appreciate his professionalism and dedication to our student-athletes throughout his tenure at UCF and wish he and his wife, Kristi, the very best in their future endeavors.” Malzahn finished with a 28-24 mark in four years at UCF, the last two ending with losing records after joining the Big 12. He coached at Auburn for eight seasons before being fired in 2020. Malzahn replaces offensive coordinator/offensive line coach Alex Atkins, who was fired Nov. 10 following a 52-3 loss at Notre Dame. The Seminoles rank 131st out of 134 in total offense and scoring offense, averaging 15.8 points a game heading into Saturday night's rivalry game against Florida. The Seminoles (2-9) have dropped significantly since going 13-1 last season and winning the Atlantic Coast Conference championship. The Knights, meanwhile, struggled mightily in Malzahn's fourth season — most of it because of quarterback issues. Four players took snaps from center as the Knights finished 2-7 in conference play. It was the program's worst record since going 0-12 in former coach George O’Leary’s final season in 2015. Florida State coach Mike Norvell fired Atkins, defensive coordinator Adam Fuller and receivers coach Ron Dugans amid the Seminoles' season-long skid. ___ Get poll alerts and updates on the AP Top 25 throughout the season. Sign up here . AP college football: https://apnews.com/hub/ap-top-25-college-football-poll and https://apnews.com/hub/college-football Copyright 2024 The Associated Press . All rights reserved. This material may not be published, broadcast, rewritten or redistributed.New chemical structures show vastly improved carbon capture abilityTheir ages vary. But a conspicuous handful of filmmaking lions in winter, or let’s say late autumn, have given us new reasons to be grateful for their work over the decades — even for the work that didn’t quite work. Which, yes, sounds like ingratitude. But do we even want more conventional or better-behaved work from talents such as Francis Ford Coppola? Even if we’re talking about “Megalopolis” ? If Clint Eastwood’s “Juror #2” gave audiences a less morally complicated courtroom drama, would that have mattered, given Warner Bros.’ butt-headed decision to plop it in less than three dozen movie theaters in the U.S.? Coppola is 85. Eastwood is 94. Paul Schrader, whose latest film “Oh, Canada” arrives this week and is well worth seeking out, is a mere 78. Based on the 2021 Russell Banks novel “Foregone,” “Oh, Canada” is the story of a documentary filmmaker, played by Richard Gere, being interviewed near the end of his cancer-shrouded final days. In the Montreal home he shares with his wife and creative partner, played by Uma Thurman, he consents to the interview by two former students of his. Gere’s character, Leonard Fife, has no little contempt for these two, whom he calls “Mr. and Mrs. Ken Burns of Canada” with subtle disdain. As we learn over the artful dodges and layers of past and present, events imagined and/or real, Fife treats the interview as a final confession from a guarded and deceptive soul. He’s also a hero to everyone in the room, famous for his anti-Vietnam war political activism, and for the Frederick Wiseman-like inflection of his own films’ interview techniques. The real-life filmmaker name-checked in “Oh, Canada” is documentarian Errol Morris, whose straight-to-the-lens framing of interview subjects was made possible by his Interrotron device. In Schrader’s adaptation, Fife doesn’t want the nominal director (Michael Imperioli, a nicely finessed embodiment of a second-rate talent with first-rate airs) in his eyeline. Rather, as he struggles with hazy, self-incriminating memories of affairs, marriages, one-offs with a friend’s wife and a tense, brief reunion with the son he never knew, Fife wants only his wife, Emma — his former Goddard College student — in this metaphoric confessional. Schrader and his editor Benjamin Rodriguez Jr. treat the memories as on-screen flashbacks spanning from 1968 to 2023. At times, Gere and Thurman appear as their decades-young selves, without any attempt to de-age them, digitally or otherwise. (Thank god, I kind of hate that stuff in any circumstance.) In other sequences from Fife’s past, Jacob Elordi portrays Fife, with sly and convincing behavioral details linking his performance to Gere’s persona. We hear frequent voiceovers spoken by Gere about having ruined his life by age 24, at least spiritually or morally. Banks’ novel is no less devoted to a dying man’s addled but ardent attempt to come clean and own up to what has terrified him the most in the mess and joy of living: Honesty. Love. Commitment. There are elements of “Oh, Canada” that soften Banks’ conception of Fife, from the parentage of Fife’s abandoned son to the specific qualities of Gere’s performance. It has been 44 years since Gere teamed with Schrader on “American Gigolo,” a movie made by a very different filmmaker with very different preoccupations of hetero male hollowness. It’s also clearly the same director at work, I think. And Gere remains a unique camera object, with a stunning mastery of filling a close-up with an unblinking stillness conveying feelings easier left behind. The musical score is pretty watery, and with Schrader you always get a few lines of tortured rhetoric interrupting the good stuff. In the end, “Oh, Canada” has an extraordinarily simple idea at its core: That of a man with a movie camera, most of his life, now on the other side of the lens. Not easy. “I can’t tell the truth unless that camera’s on!” he barks at one point. I don’t think the line from the novel made it into Schrader’s script, but it too sums up this lion-in-winter feeling of truth without triumphal Hollywood catharsis. The interview, Banks wrote, is one’s man’s “last chance to stop lying.” It’s also a “final prayer,” dramatized by the Calvinist-to-the-bone filmmaker who made sure to include that phrase in his latest devotion to final prayers and missions of redemption. “Oh, Canada” — 3 stars (out of 4) No MPA rating (some language and sexual material) Running time: 1:34 How to watch: Opens in theaters Dec. 13, running 1in Chicago Dec. 13-19 at the Gene Siskel Film Center, 164 N. State St.; siskelfilmcenter.org Michael Phillips is a Tribune critic.As Americans are beyond burned out, Tricia Hersey’s Nap Ministry preaches the right to rest