Question: How many times was Neuer beaten?

Fine keepers and thin margins can win games. Yet in the last 13 minutes, Neuer was beaten twice. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

Answer: twice

Fine keepers and thin margins can win games. <hl> Yet in the last 13 minutes, Neuer was beaten twice . <hl> The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

Fine keepers and thin margins can win games. Yet in the last 13 minutes, Neuer was beaten <hl> twice <hl>. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

Yet in the last 13 minutes, Neuer was beaten <hl> twice <hl> .


Question: Who swept in behind Manuel Neuer to bundle the ball into the net?

Answer: Olivier Giroud

Fine keepers and thin margins can win games. Yet in the last 13 minutes, Neuer was beaten twice. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. <hl> Olivier Giroud swept in behind him to bundle the ball into the net. <hl>

Fine keepers and thin margins can win games. Yet in the last 13 minutes, Neuer was beaten twice. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. <hl> Olivier Giroud <hl> swept in behind him to bundle the ball into the net.


Question: Who was the shooter for the free kick that Neuer misread?

Answer: Santi Cazorla

Fine keepers and thin margins can win games. Yet in the last 13 minutes, Neuer was beaten twice. The first was his own fault. <hl> By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla , pawing at thin air. <hl> Olivier Giroud swept in behind him to bundle the ball into the net.

Fine keepers and thin margins can win games. Yet in the last 13 minutes, Neuer was beaten twice. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from <hl> Santi Cazorla <hl>, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from <hl> Santi Cazorla <hl> , pawing at thin air.


Question: When did Neuer misread the free kick from Santi Cazorla?

Answer: last 13 minutes

Fine keepers and thin margins can win games. <hl> Yet in the last 13 minutes , Neuer was beaten twice. <hl> The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

Fine keepers and thin margins can win games. Yet in the <hl> last 13 minutes <hl>, Neuer was beaten twice. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

Yet in the <hl> last 13 minutes <hl> , Neuer was beaten twice.


Question: Who is acclaimed the best goalkeeper on Earth?

Answer: Neuer

Fine keepers and thin margins can win games. <hl> Yet in the last 13 minutes, Neuer was beaten twice. <hl> The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.

Fine keepers and thin margins can win games. Yet in the last 13 minutes, <hl> Neuer <hl> was beaten twice. The first was his own fault. By popular acclaim the best goalkeeper on earth, Neuer misread a high, swinging free kick from Santi Cazorla, pawing at thin air. Olivier Giroud swept in behind him to bundle the ball into the net.


Question: Who did the ball deflect off of?

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

Answer: Giroud

<hl> During that score, the referee never saw that the ball deflected from Giroud ’s head onto his forearm, which possibly could have ruled out the goal. <hl> The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

During that score, the referee never saw that the ball deflected from <hl> Giroud <hl>’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

During that score, the referee never saw that the ball deflected from <hl> Giroud <hl> ’s head onto his forearm, which possibly could have ruled out the goal.


Question: What is the name of the new gaming winning tactic that Hector Bellerin created?

Answer: counterattacking

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. <hl> It is called counterattacking , and it has been alien to Wenger’s philosophy over much of his two decades in London. <hl> You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called <hl> counterattacking <hl>, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

It is called <hl> counterattacking <hl> , and it has been alien to Wenger’s philosophy over much of his two decades in London.


Question: Who is Wenger's assistant?

Answer: Steve Bould

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. <hl> You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould , for the change. <hl>

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender <hl> Steve Bould <hl>, for the change.

You possibly could thank Wenger’s assistant, the former Arsenal defender <hl> Steve Bould <hl> , for the change.


Question: Who shot the ball that Neuer tried stopping but still passed the goal line?

Answer: Mesut Ozil

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. <hl> After a shot by Mesut Ozil , Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. <hl> So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by <hl> Mesut Ozil <hl>, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. Arsenal, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

After a shot by <hl> Mesut Ozil <hl> , Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line.


Question: What team is Alexis Sanchez on?

Answer: Arsenal

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. <hl> Arsenal , using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. <hl> It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

During that score, the referee never saw that the ball deflected from Giroud’s head onto his forearm, which possibly could have ruled out the goal. The assistant referee beside the post did play a role in the second score. After a shot by Mesut Ozil, Neuer tried to scoop the ball away from his goal, but the official correctly spotted that it had, in fact, crossed the goal line. So justice was served. <hl> Arsenal <hl>, using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic. It is called counterattacking, and it has been alien to Wenger’s philosophy over much of his two decades in London. You possibly could thank Wenger’s assistant, the former Arsenal defender Steve Bould, for the change.

<hl> Arsenal <hl> , using its rapid speed via Walcott, Alexis Sánchez and the adventurous young right back Héctor Bellerín, has found and honed a new winning tactic.


Question: "The Danish Girl" is the story of what transgender pioneer?

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

Answer: Lili Elbe

‘The Danish Girl’ (R, 2:00) <hl> The story of a transgender pioneer, Lili Elbe , becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) <hl> Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, <hl> Lili Elbe <hl>, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

The story of a transgender pioneer, <hl> Lili Elbe <hl> , becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”)


Question: Who directed "The Danish Girl"?

Answer: Tom Hooper

‘The Danish Girl’ (R, 2:00) <hl> The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) <hl> Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of <hl> Tom Hooper <hl> (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)


Question: Who directed "The King's Speech"?

Answer: Tom Hooper

‘The Danish Girl’ (R, 2:00) <hl> The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) <hl> Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of <hl> Tom Hooper <hl> (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)


Question: Who portrays Lili Elbe in "The Danish Girl"?

Answer: Eddie Redmayne

‘The Danish Girl’ (R, 2:00) <hl> The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. <hl> His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) <hl> Eddie Redmayne <hl> plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (Alicia Vikander), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)


Question: Who plays Gerda in "The Danish Girl"?

Answer: Alicia Vikander

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. <hl> His wife, Gerda ( Alicia Vikander ), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. <hl> (Scott)

‘The Danish Girl’ (R, 2:00) The story of a transgender pioneer, Lili Elbe, becomes a tasteful, sensitive and somewhat inert costume drama in the hands of Tom Hooper (“The King’s Speech.”) Eddie Redmayne plays Lili, whom we first encounter as Einar Wegener, a Danish landscape painter. His wife, Gerda (<hl> Alicia Vikander <hl>), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience. (Scott)

His wife, Gerda ( <hl> Alicia Vikander <hl> ), also an artist, is the emotional center of the film, in part because Mr. Redmayne’s performance, while technically flawless, keeps the audience at a distance from Lili’s experience.


Question: Who directed "Macbeth"?

‘Love the Coopers’ (PG-13, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)

Answer: Justin Kurzel

‘Love the Coopers’ (PG-13, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. <hl> A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. <hl> (Dargis)

‘Love the Coopers’ (PG-13, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; <hl> Justin Kurzel <hl> directed. (Dargis)


Question: What Christmas-themed movie stars Diane Keaton, John Goodman, and Marisa Tomei?

Answer: ‘Love the Coopers’

‘Love the Coopers’ (PG-13, 1:47)

<hl> ‘Love the Coopers’ (PG-13, 1:47) <hl> You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)

<hl> ‘Love the Coopers’ <hl> (PG-13, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)


Question: Who plays the title role in "Macbeth"?

Answer: Michael Fassbender’s

‘Love the Coopers’ (PG-13, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) <hl> The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. <hl> A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)

‘Love the Coopers’ (PG-13, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is <hl> Michael Fassbender’s <hl> exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)


Question: What movie rating does "Love the Coopers" have?

Answer: PG-13

‘Love the Coopers’ ( PG-13 , 1:47)

<hl> ‘Love the Coopers’ ( PG-13 , 1:47) <hl> You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)

‘Love the Coopers’ (<hl> PG-13 <hl>, 1:47) You can’t manufacture a Christmas classic by cobbling together scenes and themes from previous Christmas classics, but this dud tries. It’s the usual story of a dysfunctional family that gathers for a holiday meal, and it’s full of recognizable names — Diane Keaton, John Goodman, Marisa Tomei, Olivia Wilde — but it almost never feels genuine. (Genzlinger) ‘Macbeth’ (R, 1:52) The best reason to see this slick version of the sanguineous tragedy is Michael Fassbender’s exceptionally fine title performances, though the writing isn’t bad, either. A mushy-mouthed Marion Cotillard co-stars; Justin Kurzel directed. (Dargis)

‘Love the Coopers’ ( <hl> PG-13 <hl> , 1:47)


Question: Who directed "Steve Jobs"?

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

Answer: Danny Boyle

★ ‘Steve Jobs’ (R, 2:02) <hl> This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle , portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. <hl> Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by <hl> Danny Boyle <hl>, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by <hl> Danny Boyle <hl> , portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships.


Question: Who plays the title character in "Steve Jobs"?

Answer: Michael Fassbender

★ ‘Steve Jobs’ (R, 2:02) <hl> This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs ( Michael Fassbender ) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. <hl> Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (<hl> Michael Fassbender <hl>) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs ( <hl> Michael Fassbender <hl> ) as a complicated, ambitious man caught in a tangle of messy personal and business relationships.


Question: Who wrote "Steve Jobs" ?

Answer: Aaron Sorkin

★ ‘Steve Jobs’ (R, 2:02) <hl> This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. <hl> Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by <hl> Aaron Sorkin <hl> and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)


Question: Who plays Maud Watts in "Suffragette"?

Answer: Carey Mulligan

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. <hl> (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. <hl> In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) <hl> Carey Mulligan <hl> plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)


Question: Who directed "Tamasha"?

Answer: Imtiaz Ali

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. <hl> (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) Imtiaz Ali ’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. <hl> (Webster)

★ ‘Steve Jobs’ (R, 2:02) This three-panel portrait of the Apple co-founder, written by Aaron Sorkin and directed by Danny Boyle, portrays Jobs (Michael Fassbender) as a complicated, ambitious man caught in a tangle of messy personal and business relationships. Isolating Jobs at three crucial moments in his career, the film plays like a fast, busy backstage comedy and ends up being a richly intelligent exploration of our ambivalence about technology, genius and consumer capitalism. (Scott) ‘Suffragette’ (PG-13, 1:47) Carey Mulligan plays Maud Watts, a laundry worker in London in 1912 who becomes a militant supporter of women’s voting rights. In telling her story, Sarah Gavron (the director) and Abi Morgan (who wrote the screenplay) hit a few soft and sentimental notes, but they also explore the vital and still relevant connection between feminism and class consciousness in modern democratic politics. (Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) <hl> Imtiaz Ali <hl>’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling. (Webster)

(Scott) ‘Tamasha’ (No rating, 2:35, in Hindi) <hl> Imtiaz Ali <hl> ’s Bollywood melodrama begins as an agreeable romance between a vacationing young man (Ranbir Kapoor) and woman (a charismatic but largely squandered Deepika Padukone); morphs into a professional identity crisis for the man; and concludes as a lavish self-serving ode by the director to his own calling.


Question: Who portrays Dalton Trumbo in "Trumbo"?

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

Answer: Bryan Cranston

‘Trumbo’ (R, 2:04) <hl> This clunker about the blacklisted screenwriter Dalton Trumbo ( Bryan Cranston ) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. <hl> Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (<hl> Bryan Cranston <hl>) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

This clunker about the blacklisted screenwriter Dalton Trumbo ( <hl> Bryan Cranston <hl> ) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes.


Question: Who directed "Trumbo"?

Answer: Jay Roach

Jay Roach directed.

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. <hl> Jay Roach directed. <hl> (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. <hl> Jay Roach <hl> directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)


Question: Who plays Igor in "Victor Frankenstein"?

Answer: Daniel Radcliffe

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) <hl> A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor ( Daniel Radcliffe ). <hl> It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (<hl> Daniel Radcliffe <hl>). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor ( <hl> Daniel Radcliffe <hl> ).


Question: What movie covers the end of Dan Rather's career?

Answer: Truth

(Dargis) ★ ‘ Truth ’ (R, 2:01)

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. <hl> (Dargis) ★ ‘ Truth ’ (R, 2:01) <hl> The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘<hl> Truth <hl>’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (James McAvoy) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

(Dargis) ★ ‘ <hl> Truth <hl> ’ (R, 2:01)


Question: Who plays the title character in "Victor Frankenstein"?

Answer: James McAvoy

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) <hl> A pop romp that exhumes Mary Shelley’s famous monster-maker ( James McAvoy ) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). <hl> It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

‘Trumbo’ (R, 2:04) This clunker about the blacklisted screenwriter Dalton Trumbo (Bryan Cranston) tells a great-man story with a patchwork of fact and fiction, mixing in the odd bit of newsreel with a great many dull, visually flat and poorly lighted dramatic scenes. Jay Roach directed. (Dargis) ★ ‘Truth’ (R, 2:01) The title of “Truth,” a gripping, beautifully executed journalistic thriller about the events that ended Dan Rather’s career as a CBS anchorman, should probably be appended with a question mark. More than most docudramas about fairly recent events, it is so well-written and acted that it conveys an eerie illusion of veracity. (Holden) ‘Victor Frankenstein’ (PG-13, 1:49) A pop romp that exhumes Mary Shelley’s famous monster-maker (<hl> James McAvoy <hl>) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe). It’s a hyperventilated resurrection, larded with cheerful violence and self-regarding smiles. (Dargis)

A pop romp that exhumes Mary Shelley’s famous monster-maker ( <hl> James McAvoy <hl> ) for a jaunty bromance with his bestie, Igor (Daniel Radcliffe).


Question: Who is the male lead of "Machine-Gun Kelly"?

American International Pictures, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

Answer: Charles Bronson

American International Pictures, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. <hl> Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson . <hl> No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

American International Pictures, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring <hl> Charles Bronson <hl>. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring <hl> Charles Bronson <hl> .


Question: For which production company did Roger Corman direct and/or produce 40 films?

Answer: American International Pictures

<hl> American International Pictures , Part 2 (through Sunday) <hl> Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

<hl> American International Pictures <hl>, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

<hl> American International Pictures <hl> , Part 2 (through Sunday)


Question: What organization is celebrating American International Pictures with a 13-film retrospective?

Answer: Anthology Film Archives

<hl> American International Pictures, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. <hl> The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

American International Pictures, Part 2 (through Sunday) <hl> Anthology Film Archives <hl> continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)


Question: What film has the tagline "Some Have to Dance ... Some Have to Kill!"?

Answer: “Rock All Night,”

American International Pictures, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. <hl> Two films with a more narrow focus are the chintzy hostage melodrama “Rock All Night,” with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. <hl> No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)

American International Pictures, Part 2 (through Sunday) Anthology Film Archives continues its tribute to the influential, no-budget production house American International Pictures, where the movies’ titles and posters often got hashed out before the scripts were written. The subtitle for this 13-film retrospective is “Bikers, Drugs and Rock ‘n’ Roll,” and an impressive number of the titles manage to check all three of those boxes. Two films with a more narrow focus are the chintzy hostage melodrama <hl> “Rock All Night,” <hl> with its marvelous tagline “Some Have to Dance … Some Have to Kill!,” and “Machine-Gun Kelly,” starring Charles Bronson. No fewer than seven of Anthology’s offerings come from Roger Corman, who directed and/or produced some 40 films for the company in 15 years — and even worked as an (uncredited) stunt driver on one of them. 32-34 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Eric Grode)


Question: Who directed "My Neighbor Totoro"?

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

Answer: Hayao Miyazaki

<hl> The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki ’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) <hl> It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like <hl> Hayao Miyazaki <hl>’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like <hl> Hayao Miyazaki <hl> ’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.)


Question: In what city is "Grave of the Fireflies" set?

Answer: Kobe

<hl> The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) <hl> It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in <hl> Kobe <hl> at the end of World War II.) It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)


Question: Who directed "Grave of the Fireflies"?

Answer: Isao Takahata

<hl> The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata ’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) <hl> It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like <hl> Isao Takahata <hl>’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like <hl> Isao Takahata <hl> ’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.)


Question: In what year was "Only Yesterday" released in Japan?

Answer: 1991

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) <hl> It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991 , will have its United States theatrical premiere. <hl> 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in <hl> 1991 <hl>, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in <hl> 1991 <hl> , will have its United States theatrical premiere.


Question: What animation house produced "My Neighbor Totor" and "Grave of the Fireflies"?

Answer: Studio Ghibli

<hl> The Complete Studio Ghibli (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) <hl> It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)

The Complete <hl> Studio Ghibli <hl> (through Dec. 31) IFC Center’s retrospective of the complete works of Studio Ghibli, the beloved Japanese animation house, varies from the wistful and pleasant, like Hayao Miyazaki’s “My Neighbor Totoro,” to the crushingly sad, like Isao Takahata’s “Grave of the Fireflies,” about childhood alienation, set in Kobe at the end of World War II.) It all leads up to Jan. 1, when “Only Yesterday,” released in Japan in 1991, will have its United States theatrical premiere. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Alec M. Priester)


Question: The Cabaret Cinema series will end with what movie?

Consequences (through Friday) Truth be told, this overarching theme for the Rubin Museum of Art’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Answer: “Prince of the Himalayas.”

Consequences (through Friday) Truth be told, this overarching theme for the Rubin Museum of Art’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. <hl> The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. <hl> (Grode)

Consequences (through Friday) Truth be told, this overarching theme for the Rubin Museum of Art’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. The series wraps up this Friday with <hl> “Prince of the Himalayas.” <hl> At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)


Question: In the Cabaret Cinema series, the Rubin Museum of Art will host public talks about what subject?

Answer: karma

Consequences (through Friday) Truth be told, this overarching theme for the Rubin Museum of Art’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? <hl> Still, the museum (which has an accompanying series of public talks about karma ) has assembled some fairly instructive examples. <hl> The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Consequences (through Friday) Truth be told, this overarching theme for the Rubin Museum of Art’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about <hl> karma <hl>) has assembled some fairly instructive examples. The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Still, the museum (which has an accompanying series of public talks about <hl> karma <hl> ) has assembled some fairly instructive examples.


Question: What museum hosts the Cabaret Cinema series?

Answer: Rubin Museum of Art

Consequences (through Friday) <hl> Truth be told, this overarching theme for the Rubin Museum of Art ’s Cabaret Cinema series is fairly accommodating. <hl> With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Consequences (through Friday) Truth be told, this overarching theme for the <hl> Rubin Museum of Art <hl>’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Truth be told, this overarching theme for the <hl> Rubin Museum of Art <hl> ’s Cabaret Cinema series is fairly accommodating.


Question: What museum is located at 150 West 17th Street in Chelsea?

Answer: Rubin Museum of Art

Consequences (through Friday) <hl> Truth be told, this overarching theme for the Rubin Museum of Art ’s Cabaret Cinema series is fairly accommodating. <hl> With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Consequences (through Friday) Truth be told, this overarching theme for the <hl> Rubin Museum of Art <hl>’s Cabaret Cinema series is fairly accommodating. With the occasional exception of the Coen brothers at their most fatalistic, what other filmmaker would claim that his or her onscreen actions have no reactions? Still, the museum (which has an accompanying series of public talks about karma) has assembled some fairly instructive examples. The series wraps up this Friday with “Prince of the Himalayas.” At 9:30 p.m., 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

Truth be told, this overarching theme for the <hl> Rubin Museum of Art <hl> ’s Cabaret Cinema series is fairly accommodating.


Question: What type of driver do most Rolls customers already have?

When Rolls buyers do not feel like doing the driving, they often have another option. “Most customers already have an autonomous driver,” he said. “It’s called a chauffeur.”

Answer: autonomous

When Rolls buyers do not feel like doing the driving, they often have another option. <hl> “Most customers already have an autonomous driver <hl> ,” he said. “It’s called a chauffeur.”

When Rolls buyers do not feel like doing the driving, they often have another option. “Most customers already have an <hl> autonomous <hl> driver,” he said. “It’s called a chauffeur.”


Question: What don't most Rolls buyers not feel like doing?

Answer: driving

<hl> When Rolls buyers do not feel like doing the driving , they often have another option. <hl> “Most customers already have an autonomous driver,” he said. “It’s called a chauffeur.”

When Rolls buyers do not feel like doing the <hl> driving <hl>, they often have another option. “Most customers already have an autonomous driver,” he said. “It’s called a chauffeur.”

When Rolls buyers do not feel like doing the <hl> driving <hl> , they often have another option.


Question: What customers normally have a chauffeur?

Answer: Rolls

<hl> When Rolls buyers do not feel like doing the driving, they often have another option. <hl> “Most customers already have an autonomous driver,” he said. “It’s called a chauffeur.”

When <hl> Rolls <hl> buyers do not feel like doing the driving, they often have another option. “Most customers already have an autonomous driver,” he said. “It’s called a chauffeur.”


Question: The "autonomous" driver for most Rolls customer is called what?

Answer: chauffeur

“It’s called a chauffeur .

When Rolls buyers do not feel like doing the driving, they often have another option. “Most customers already have an autonomous driver,” he said. <hl> “It’s called a chauffeur . <hl> ”

When Rolls buyers do not feel like doing the driving, they often have another option. “Most customers already have an autonomous driver,” he said. “It’s called a <hl> chauffeur <hl>.”


Question: Who made a splash with an automated highway driving feature?

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.

Answer: Tesla Motors

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. <hl> Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. <hl> But such capabilities are coming to a range of vehicles sooner than many realize.

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. <hl> Tesla Motors <hl> made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.


Question: In New York, who descended for the auto show?

Answer: AUTOMAKERS

<hl> AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. <hl> However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.

<hl> AUTOMAKERS <hl> descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.


Question: For most consumers to get fully autonomous driving cars it will still take many what?

Answer: years

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. <hl> The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. <hl> And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take <hl> years <hl> to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.


Question: What is the automated highway driving feature by Tesla Motors called?

Answer: autopilot

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. <hl> Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot , to its Model S sedans by the summer. <hl> But such capabilities are coming to a range of vehicles sooner than many realize.

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls <hl> autopilot <hl>, to its Model S sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.

Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls <hl> autopilot <hl> , to its Model S sedans by the summer.


Question: Which cars are suppose to have autopilot by this summer?

Answer: Model S

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. <hl> Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its Model S sedans by the summer. <hl> But such capabilities are coming to a range of vehicles sooner than many realize.

AUTOMAKERS descended on New York for the city’s annual auto show this week with vehicles ready to do more than just respond to drivers’ commands. However, the question of whether drivers want their cars to take charge remained unanswered. The path to fully autonomous driving will still take years to reach consumers, but car manufacturers demonstrated this week that they are now able to offer buyers several levels of so-called active safety features — in which the car takes over driving in certain instances. And they plan to introduce even more advanced semiautonomous capabilities in the coming months. Tesla Motors made a splash when it recently announced plans to add automated highway driving features, which it calls autopilot, to its <hl> Model S <hl> sedans by the summer. But such capabilities are coming to a range of vehicles sooner than many realize.


Question: Who wrote the screenplay for "Steve Jobs"?

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “The Social Network”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.

Answer: Aaron Sorkin

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). <hl> The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “The Social Network”). <hl> And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer <hl> Aaron Sorkin <hl> (who also wrote “The Social Network”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.


Question: How much money did "Steve Jobs" make at the box office?

Answer: $18 million

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “The Social Network”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) <hl> But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. <hl> Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “The Social Network”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about <hl> $18 million <hl> in the seven weeks after its Oct. 9 release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.


Question: When was "Steve Jobs" released in theaters?

Answer: Oct. 9

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “The Social Network”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) <hl> But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. <hl> Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “The Social Network”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about $18 million in the seven weeks after its <hl> Oct. 9 <hl> release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.


Question: What other movie is Aaron Sorkin known for?

Answer: The Social Network

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). <hl> The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “ The Social Network ”). <hl> And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.

The movie “Steve Jobs” had all the makings of a Hollywood blockbuster. It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “<hl> The Social Network <hl>”). And it received rave reviews (“‘Steve Jobs’ is a rich and potent document of the times,” wrote my colleague A.O. Scott.) But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release. Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.

The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote “ <hl> The Social Network <hl> ”).