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\nMia Wasikowska, Anton Yelchin, in Jim Jarmusch’s “Only Lovers Left Alive”<\/i><\/p>\n
\nMia Wasikowska, Anton Yelchin, in Jim Jarmusch’s “Only Lovers Left Alive”<\/i><\/p>\n
\nI often look to Stephanie Zacharek to hear her take on things. Get her perspective. I’ve been reading her since her days as a music journalist for Boston’s alternative paper The Boston Phoenix<\/i>. We’re talking a million years ago. And I’ve followed her wherever she went. To Salon. To the Village Voice. To her exciting nomination as 2015 Pulitzer Finalist. And now to Time<\/i>, where she is the chief critic. Sometimes she puts something I’m feeling, a sense, an essence, something difficult to talk about or describe, so perfectly into words that from that moment on her words are how I think of\/get a handle on whatever it is. And beyond all of that, and perhaps most importantly: it’s the writing itself that is the true appeal. It’s elegant and yet personal. You can feel<\/i> her behind the words. It’s beautiful prose but not distant or omniscient in any way. <\/p>\n
Her mournful tribute to young Anton Yelchin<\/a>, killed this past weekend by his own car in his own driveway, is a perfect example. <\/p>\n","protected":false},"excerpt":{"rendered":" Mia Wasikowska, Anton Yelchin, in Jim Jarmusch’s “Only Lovers Left Alive” I often look to Stephanie Zacharek to hear her take on things. Get her perspective. I’ve been reading her since her days as a music journalist for Boston’s alternative … Continue reading