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There’s a great deal about director Ava DuVernay’s new take on “A Wrinkle in Time” that’s praiseworthy and worth experiencing firsthand.

Visually, it’s a beautifully constructed film. It is exactly what you’d expect and hope from the artisans at Disney working with Madeleine L’Engle’s classic source material, taking audiences on a soaring ride that at times rivals the best of what Disney offers at its theme parks.

Thematically, the film seeks to inspire, to push a message of hope and love, especially to younger audiences.

But for all their good intentions and lofty ambitions, “A Wrinkle in Time” falls short of spectacular. Pacing problems, uneven performances from the cast and at times stiff dialogue hamper the film’s overall effect, and it’s a shame, because this is one you’re going to want to like.

Meg Murry (Storm Reid), a bright young woman haunted by the disappearance of her NASA physicist father (Chris Pine) four years earlier, struggles in school and at home, keeping emotional distance from everyone except her kid brother, child prodigy Charles Wallace (Deric McCabe).

Meg, Charles Wallace, and Meg’s classmate Calvin are drawn into a journey across time and space to find Mr. Murry, guided by three powerful beings: Mrs. Whatsit (Reese Witherspoon), Mrs. Who (Mindy Kaling), and Mrs. Which (Oprah Winfrey).

Along the way, they come face to face with the evil slowly spreading across the universe, known only as “The It.” To accomplish their mission and bring her father home, Meg must face “The It” and overcome the source of its universe spanning power.

A mixed bag

Again, much of what really works well in this adaptation of “A Wrinkle in Time” lies in how art design, production design, make up and costuming all bring DuVernay and Lee’s take on the material to life.

It may not be at all the way readers since L’Engle’s novel was published in 1962 imagined it, but it is often impressive and immersive, to the point where you’ll want to spend more time than the film allows on these beautiful worlds.

But therein lies one of the film’s most glaring issues pacing. Overall, it moves in fits and starts, never truly hitting its stride. And while the scenes in all those masterfully crafted otherworldly locations feel truncated, the film as a whole tends to drag, feeling a lot longer than its 109 minute running time.

There’s also no escaping the feeling that this film is trying really hard to be inspirational material for young people. There’s no subtlety whatsoever to the allegory or the messages here it’s all spelled out so there’s no ambiguity, nothing left to interpretation. For those who remember reading and falling in love with L’Engle’s novel when they were young, it should prove an interesting experience, especially to note where the film deviates from the print version.

Also, all the film’s visual splendor should be experienced on a big screen it will lose something when seen at home unless you’re watching it on a 60″ screen or projecting it on a wall.

But this is one of those films where once you’ve seen it, you may find yourself wondering how it could have been done more effectively, with a little more subtlety in the writing and editing to truly fulfill the story’s dramatic and cinematic potential.

A Wrinkle in Time

Starring Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Storm Reid, Levi Miller, Deric McCabe, Gugu Mbatha Raw, Michael Pea, with Zach Galifianakis and Chris Pine. Directed by Ava DuVernay.
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The Philadelphia Police Department and the Federal Bureau of Investigation’s Philadelphia Division are searching for two men they say robbed city banks at gunpoint. Saturday at Citizens Bank, 8616 Germantown Ave. The robber approached a bank teller at gunpoint and demanded money, police said. After receiving an undisclosed amount of cash, the robber ran and was last seen heading south on Germantown Avenue.

The robber from the previous incident, as well as a second robber, displayed a handgun and demanded money from a teller. After obtaining an undisclosed amount of cash,
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they ran and were last seen heading north on Ridge Avenue.

Thieves loot unlocked cars in suburban neighborhood

The suspects are described as black men wearing black ski masks covering the lower portion of their faces. One was wearing a light gray hooded sweatshirt, jeans and tan Timberland boots while the other, was wearing a dark hooded sweatshirt, jeans, black gloves and dark colored shoes.

The firearm used in both robberies is described as a black, compact semi automatic handgun.

“These subjects are considered armed and dangerous,
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” Philadelphia police state in a news release.

Anyone with information about the robberies or the whereabouts of the suspects is urged to call the FBI at (215) 418 4000 or the Philadelphia Police Department.

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An ambitious exhibit at the Contemporary Jewish Museum imagines the artist as a modern “maggid.” “Maggid” is a Hebrew word defined as “a wandering Jewish preacher whose sermons contain religious and moral instruction and words of comfort and hope.” For the exhibit, 16 local artists drew from various folktales in Howard Schwartz’s “Leaves from the Garden of Eden: One Hundred Classic Jewish Tales.” Through the conflation between artists and maggids, the way in which art is a form of storytelling becomes clear as one wanders from piece to piece.

Though each piece draws its focus from traditional folktales, each subject feels particularly prescient. From considering the role of women in religious tradition to asking what makes a good leader, the exhibit, whether intentionally or not, brings to mind contemporary discussions about the role of women in male dominated areas and probes of modern political leaders.

Julia Goodman’s “200 Year Present” is based on a folktale about a young peasant boy who became king. After his royal ascendance, he would go out to a shed for a period of time each day. Determined to find out what he did alone in the shed, the townspeople discover that the boy would spend a few hours in his peasant rags each day. There is poignancy in the reminder of the importance of humility in leaders, one that was expertly conveyed through Goodman’s use of pulped bed sheets and t shirts to as her medium. Standing in between the two sections of nine sheets, the viewer feels physically drawn into a place of contemplation.

The exhibit also involves a project entitled “Haptic Encounters,” on which Georgina Kleege, a UC Berkeley professor in the English and disability studies departments, collaborated. Kleege was interested in the appreciation of art through senses other than sight. She sought to consider the relationship between blindness and visual art by looking at “qualities such as texture, temperature, weight, resilience, and density that may not be apparent to the eyes alone.” Kleege’s observations illuminate different aspects of the exhibit that one might not otherwise notice the physical, rather than visual, realms.

Though each piece requires careful consideration and contemplation, Andy Diaz Hope and Laurel Roth Hope’s “The Woulds” is particularly mesmerizing. The Hopes’ artwork involves the use of mirrors, wood, ceramics, glass, video, motors and paint. The final product is a collection of silver painted tree trunks reflecting fragments of light light which is produced by the distortion, reflection and inversion of a number of home video clips. This stripping of submitted video clips to an extent that the original images cannot be discerned lends the art a universality rooted in sincerity. The reflected light could have contained any number of video clips and could have featured footage of any and every memory and experience. Just as the mirrors reflect the video, the piece reflects the viewer.

“The Woulds” draws from a folktale specifically about a couple trying to have children, but it seems fitting that it more generally considers themes of family and memory. This folktale also serves as inspiration for Young Suh and Katie Peterson’s “Scenes from a Forest.” This work is composed of a series of photographs featuring a family standing in a forest, spaced apart but clearly together as a unit. The connection between a landscape filled with trees and the depiction of a family tree is obvious, but the pieces also considers the complicated, diverse ways a family tree can grow. The juxtaposition of two pieces that are drastically different yet based on the same folktale is thought provoking, highlighting the way we each uniquely experience and interpret stories.

These pieces provide just a handful of examples that demonstrate the exhibit’s appeal as a whole. The meta consideration of how art tells stories gives the exhibit a sense of self awareness as to the true purpose and importance of museums in the first place.

The exhibit leaves its viewer considering what it means when the same stories visually translate differently for different artists how the same pieces of art can call to mind different stories. The exhibit manages to invoke these questions because of the sheer range of works it includes. The diversity of mediums and interpretations it presents is astounding marking “Jewish Folktales Retold: Artist as Maggid” as a crucial entry in the tradition of Jewish storytelling.

“Jewish Folktales Retold: Artist as Maggid” can be seen at the Contemporary Jewish Museum through Jan. 28, 2018.
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Department of Labor, Federal Aviation Administration, San Joaquin County Sheriff’s Office and the San Joaquin County District Attorney’s Office.

Dause said Wednesday that agents filled boxes and bags with waivers and receipts. He said they seized documents dating back two years from all customers who went on tandem jumps.

Federal agents took two years worth of tandem jump waivers signed by customers, and as much jumping video as they could find during a raid on the Lodi Parachute Center yesterday, according to the owner.

In September 2016,
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20 instructors at the center were suspended and 120 others were told they needed to undergo more training after an investigation by the United States Parachute Association.

In 2010 and 2011, the FAA issued two penalties against Dause totaling $933,000 for plane maintenance issues.

Since 1999, 15 people have died jumping from planes that took off from the parachute center. Dause said that risk is part of the sport.

“Skydiving is a high risk activity,” he said. “None of the fatalities we’ve had out here were interrelated. It’s not like everybody had a bad parachute that was packed by someone here or the parachute was owned by the Parachute Center.”
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“Baby Driver” is quite possibly the perfect just for grown ups summer movie.

Eccentric and goofy at times, hard edged when necessary, and inventive throughout, it pulses with an undeniable energy born of its groovy soundtrack and compelling story.

And if those don’t grab you, there are the heists and all those car chases, every one as thrilling to watch as any superhero yarn or sequel this year has trotted out so far.

What’s it about?

Ansel Elgort (“The Fault in our Stars”) plays Baby, a sweet faced kid who also happens to have unnerving skills behind the wheel as a getaway driver. Awhile back, Baby got himself in trouble with Doc (Kevin Spacey), a no nonsense crime boss with an eye for talent.

Since then, Baby’s been working off his debt to Doc as a driver for the latter’s numerous scores, each completed with a different crew. Working all those jobs, the kid comes in contact with criminals of all sorts, including brutish Griff (Jon Bernthal), Bonnie and Clyde esque Buddy and Darling (Jon Hamm and Eiza Gonzalez) and trigger happy Bats (Jamie Foxx).

The hardcases all eye Baby sitting apart from them with earbuds in his ears and sunglasses on with suspicion and doubt. His talents, however, are all that matter to the man calling the shots, and so Baby keeps driving, working for the day he finally squares things up and can walk away.

With his goal in sight, Baby meets diner waitress Debora (Lily James). Their connection becomes just one more motivation for the kid to leave the criminal world behind and start a new chapter in life.

Of course, as all seasoned criminals know, that world and people like Doc do not let go easily,
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especially if you have talent. When faced with that reality, Baby tries to plot one last getaway, knowing full well his pursuers will be more than just police, and the stakes will be far higher than just jail time. Characters, car chases, gun battles, and even just simple strolls all revolve around classic rock, alternative and R tracks, creating a virtuoso mix tape of romantic charm and mayhem.

The weaving of the music into every aspect of the film adds an extra layer to the experience for viewers to enjoy. Just how in sync the film’s plot beats are with each carefully selected song is a joy unto itself.

Not a music connoisseur? Don’t worry “Baby Driver” is still very enjoyable even if you don’t recognize songs from acts such as The Jon Spencer Blues Explosion and The Damned. You’re sure to know at least two or three songs, and those will be enough to get you groovin’ while watching all the visual fun unfold on screen.

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One question audiences might have going into “Baby Driver” is just how do young performers such as Elgort and James hold their own alongside powerhouse performers such as Spacey, Foxx and Jon Hamm?

The answer lies in both the talent of the cast and the script, which makes certain to keep things focused on Baby and his story. With his talents and heart, Baby’s easy to root for from the start, especially surrounded by all those shady characters, as colorful as some of them might be.

Elgort’s turn as Baby is sure to get casting directors looking his way for bigger, flashier projects. His on screen chemistry with James, who has yet in her film career to not deliver a strong performance, fills their scenes with charm and energy, arguably enough to fill a film all its own.

That’s not to say that the other parts are underwritten or underutilized. Wright builds into “Baby Driver” plenty of scenery for the veteran performers to chew on, and they all deliver delightful turns. But it is exquisite date night fare, and it’s the kind of film that will stand up to repeating viewing,
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if only to better appreciate how well it’s all put together.

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Ravens running back Alex Collins channels unique persona into on field excellence Childs WalkerLong before he emerged as the unexpected salvation of the Ravens offense, Alex Collins stamped himself as a rare character. It began with him sprinting off the field after every practice as if he was late for class, his helmet still clamped over his shoulder length dreadlocks and a dark visor . 15, 2017″ > >Mike Preston key matchups for Ravens vs. 15, 2017″ > >Ravens list six players as questionable for Sunday,
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‘I’m here for you all!’: Emotional Miley Cyrus joins Pharrell Williams on stage at One Love ManchesterShe paid tribute to her good friend Ariana Grande and entire city during her set19:49, 4 JUN 2017Updated19:52, 4 JUN 2017Get celebs updates directly to your inbox+ SubscribeThank you for subscribing!Could not subscribe, try again laterInvalid EmailIt was always going to be a night of superstars banding together for the greater good.And Miley Cyrus and Pharrel Williams were the first chart toppers to combined their collective pop powers at the One Love Manchester concert, on Sunday.At the end of the NERD frontman’s solo set at Old Trafford Miley appeared side stage to screams from the 60,000 crowd, before she joined her fellow American on stage for a pumped up rendition of his number one hit, Happy, before launching into her own set list.’Proud’ Take That receive a rapturous reception as they kick start One Love Manchester benefit gigMiley Cyrus and Pharrel Williams were the first chart toppers to combined their collective pop powers at the One Love Manchester concert, on Sunday(Image: BBC)Following the pair’s bouncing and energetic performance Miley was left alone on the stage to begin her solo set.Pacing out to the front of the stage, she addressed the crowd, making a moving speech.”I’m so honoured to be at this inc4reible event to be surrounded by all you people,” she said. “To me the most important responsibility on this entire planet is to take care of each other.Ariana Grande ‘raises for Manchester victims with One Love benefit concertDuring the NERD frontman’s solo set at Old Trafford Miley appeared side stage to screams from the 60,000 crowd, before she joined her fellow American on stage for a pumped up rendition of his number one hit, Happy(Image: BBC)”I feel like i’m at home in Manchester. I started Happy Hippy is because i wanted to encourage people to fight for what is right.”She ended her rousing talk with the line: “For tonight i am here for all of you. I have aways loved Manchester, i have always love this city.”Following her speech she then performed a touching rendition of her single, Inspired.Ariana, 23, postponed the remainder of her Dangerous Woman Tour and flew back home to Boca Raton, Florida the day after the atrocity, but immediately vowed to return for a benefit concert in aid of those affected by the bombing.Ahead of the event she said: “I’ll be returning to the incredibly brave city of Manchester to spend time with my fans and to raise money for the victims and their families.”
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