I love this MMA flight clip. You have to see it to believe it!
Last week, we had a drink that highlighted the bittersweet pleasures of Campari, a sometimes divisive liqueur that is nevertheless a classic cocktail essential. This Oscar weekend, we’re quite literally doubling down on the Campari and maybe tripling down on the bombast with a bunch of other harshly bitter and gently sweet ingredients for one of the best new cocktails I’ve had in awhile. It just might be the perfect two-pronged taste to savor as you enjoy the Oscars while, of course, complaining about the Oscars.
Eeyore’s Requiem is presumably named after A.A Milne’s depressive donkey who cut through some of the sweetness generated by the rest of the gang at Pooh Corner. It can be found on the menu of the Chicago craft bar, the Violet Hour, which stresses the classic beverages of the pre-Prohibition era. Created by Toby Maloney apparently circa 2011, this is a drink that is iconoclastic enough to set a new standard. I wouldn’t call it the “Citizen Kane” of cocktails, but it definitely turns cocktail convention on its head, with Campari taking the place of a base spirit and then relegating the hard stuff to a supporting role. It’s not your usual cocktail.
1 1/2 ounces Campari
1 ounce bianco vermouth
1/2 ounce dry gin
1/4 ounce Cynar
1/4 ounce Fernet Branca
1-2 dashes orange bitters
1-3 orange twists (not necessarily a garnish)
Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on social media with your friends.
Denis Villeneuve has quietly assembled an impressive body of work over the past few years, and although “Sicario” remains his finest movie to date, “Arrival” isn’t far behind. A deeply cerebral and emotional sci-fi film about the way we communicate with each other, “Arrival” takes a simple, well-worn premise and creates a captivating moviegoing experience led by a terrific Amy Adams. Focusing more on the science of language (and how it can be used to bring people together) rather than the aliens themselves, Villeneuve has produced an incredibly timely movie with real-world significance. Though its slow-boil pacing may test your patience, “Arrival” is a really good film that becomes a great one in the final minutes, leading to some pretty heavy, soul-searching questions that will stick with you long after it’s over.
Extras include Extras include a behind-the-scenes look at making the movie, as well as four additional featurettes on sound design, the score, editing and the film’s scientific concepts. FINAL VERDICT: BUY
It’s no easy task determining the best sporting events which take place around the world. There are a number of factors that have to be considered: the quality of the action, atmosphere and prestige of the competition are all significant elements when comparing these big occasions. Here is a look at four of the best international sporting events which should definitely be on your bucket list.
For two actresses with such undeniable chemistry, it’s downright criminal that it’s been seven years since “Saturday Night Live” alumni Tina Fey and Amy Poehler last made a film. That film, 2008’s “Baby Mama,” was cute, but it was also terribly safe. Their new film “Sisters,” meanwhile, is quite possibly the most profane female-driven movie ever made, an apology of sorts for “Baby Mama.” The story also allows Poehler and Fey the ability to play themselves as well as each other, like a raunch-com version of “Face/Off.” As ridiculous as that sounds, it works incredibly well.
Kate Ellis (Fey) is in a bad way. Living on a near-stranger’s couch, her own daughter Haley (Madison Davenport) doesn’t even want to spend time with her. Kate’s saintly sister Maura (Poehler) is divorced, and basically hiding from the world. Kate and Maura’s parents (James Brolin and Dianne Weist) tell Maura that they’re selling the Orlando home they grew up in, and Kate and Maura decide to throw one last party, only Maura guilts wild child Kate to be the designated sober house mommy after Maura meets cute with new neighbor James (Ike Barinholtz). When they get to the house, they discover that it’s already been sold to an insufferable young couple (though they haven’t moved in), but that only strengthens their resolve to throw the party. The party begins as a wake (literally) but turns into a rager, and as it continues into the night, new information comes to light that causes Kate and Maura to rethink both the party and each other.
It was very smart to have Fey and Poehler go against type here. Think of Fey in “Mean Girls” as the straight-laced Precalculus teacher, and then think of Poehler as the “cool mom,” who lets her pre-tween daughter watch “Girls Gone Wild.” The script here is not exactly flipped, but it is mixed up. Maura is impossibly sensible, and until now has never let loose once in her life. Kate is a hothead who always has a reason for why she’s never to blame. In a nutshell, both women made it impossible for anyone to typecast them from here on.