As pitches go it can't have been an easy one: "So our new show, House of Lies, is about a bunch of cut-throat management consultants and the way in which they con corporate clients out of money each week. As the strapline has it: Meet the One Per Cent sticking it to the One Per Cent. Yes, that's right, it's a half-hour comedy about wealthy slicksters screening right in the middle of one of the biggest economic depressions America has experienced. Good joke, huh?" The answer is er, no, not really. House of Lies, which will air on Sky Atlantic later this year, has many things going for it: an outstanding cast, including the charismatic Don Cheadle as the company's fast-talking boss, Marty Kaan, a devious expert at the art of the soft-sell; some genuinely funny one-liners; slick cinematography and a willingness to take risks with the format (Marty often breaks the fourth wall to explain to the television audience what certain terminology means, or how his
"My name is Saad Saad, which means Hope Hope in Arabic..."Saad wants to leave the chaos of Baghdad for Europe, freedom and a future. But how do you cross borders without a dinar to call your own? How, like Ulysses, do you brave the storms, survive shipwrecks, evade the opium smugglers, turn a deaf ear to the sirens-turned-rock stars, escape the cruelty of a Cyclopean jailer, or tear yourself away from the amorous enchantment of a Sicilian Calypso?By turns violent, slapstick and tragic, Saad's one-way journey begins. From adventures to tribulations interspersed with conversations with a loving father he can't forget, the novel tells of the exodus of one of the millions of men currently in search of a place on earth: a stowaway. Always a captivating and sympathetic story-teller, Eric-Emmanuel Schmitt offers this picaresque saga for our time and questions the human condition. Are borders the bulwark of our identities, or the last bastion of our illusions?
Mission Mind Control in Defense of America In “The Men Who Stare at Goats” George Clooney wears a heavy mustache and a somewhat shaggier version of the military haircut called a high and tight, two adjectives which also describe his performance in this likable, lightweight, absurdist comedy. As Lyn Cassady — a fictional member of an Army unit that was weirder and possibly truer than most science fiction — Mr. Clooney has shed his cool cat skin to embrace his inner clown. Juggling tics, double takes, eyeball bulges and explosive gestures, he leaps in the air and splats in the sand with cartoon abandon, buoyed by the jokes and the big bounce of his own stardom. With his thrusting jaw, Lyn looks as if he could have been drawn by Milton Caniff, the creator of the comic-strip tough guy Steve Canyon. Instead Lyn has been drawn in crude if generally effective strokes by Mr. Clooney and his producing partner, Grant Heslov, who together also wrote “Good Night, and Good Luck.” M
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