dnc-emails

dnc_email_16454.txt

dnc-emails 3,790 words email
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O. SCOTT </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> Shane Black's convoluted caper blends pop-culture riffs from the '70s with a zany mix of mistaken identity, nudity and grisly murders. </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh/nKVYh7okkJT65q+nj4YXcrjl283WBA4guxCNaxrTjhxq8a6eMlpbiJr1wVte201V87j8flN5kE+BtUzKbES/Y=&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/19/arts/20OJ/20OJ-thumbStandard.jpg" alt="O. J. 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O. SCOTT </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> This film, the fifth from Rebecca Miller, stars Ms. Gerwig as a millennial who, on the way to finding a sperm donor, falls for a part-time professor. </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dhykSGAEMDugynFvrkugtNFPyUYkhldGu8sbW49bGetAKFOWoEME5+AQkQalPPxd0S4oC1QGagEU5QnOFMTCq2g9MhnNDWScV8AMRj/GZxu2B&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/20/arts/20WEINER/20WEINER-thumbStandard.jpg" alt="Anthony D. Weiner in the documentary " Weiner,?whichopensonFriday.?=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dhykSGAEMDugynFvrkugtNFPyUYkhldGu8sbW49bGetAKFOWoEME5+AQkQalPPxd0S4oC1QGagEU5QnOFMTCq2g9MhnNDWScV8AMRj/GZxu2B&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> Review: Anthony D. Weiner's Self-Destruction Is a Documentary's Focus </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By STEPHEN HOLDEN </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> This portrait examines the troubled career of a New York politician and the sexting scandals that brought him down. </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh9typNVclQfGEe2pMakxEYThfvM7eeQBrhqNAj1zPQoD3gmPKkpNAohCjQBpaounxe1g53dS/9PE&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/20/arts/20KAILI/20KAILI-thumbStandard.jpg" alt="Chen Yongzhong in Bi Gan's " KailiBlues.??=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh9typNVclQfGEe2pMakxEYThfvM7eeQBrhqNAj1zPQoD3gmPKkpNAohCjQBpaounxe1g53dS/9PE&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> Review: 'Kaili Blues,' a Dreamy Trek With Otherworldly Beauty </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By KEN JAWOROWSKI </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> Bi Gan's meandering film, centering on a search for a nephew, is indifferent to plot but has a compelling fantastical quality. </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh/xfetew7o0jjiRI+JSaoysf/tgjetQd5ITd3mhFZPxzxz/VRLEHuRVmEw90554tYKrCQ/A8MUO4BoFoVn2ZH1VZJomjW+roxBqNAj1zPQoD3gmPKkpNAohCjQBpaounxe1g53dS/9PE&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/20/arts/20NEIGHBORSALT/20NEIGHBORSALT-thumbStandard-v2.jpg" alt="From front left, Clara Mamet, Awkwafina, Zac Efron, Beanie Feldstein and Chloë Grace Moretz in " Neighbors2:SororityRising.??=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh/xfetew7o0jjiRI+JSaoysf/tgjetQd5ITd3mhFZPxzxz/VRLEHuRVmEw90554tYKrCQ/A8MUO4BoFoVn2ZH1VZJomjW+roxBqNAj1zPQoD3gmPKkpNAohCjQBpaounxe1g53dS/9PE&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> Review: 'Neighbors 2: Sorority Rising' Has an Animal House for the Fairer Sex </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By JEANNETTE CATSOULIS </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> Nicholas Stoller's sequel to the 2014 original stars a returning Seth Rogen and Rose Byrne as a couple taking on new raucous collegians next door. </p> </td></tr> </tbody> </table> </div> </td></tr> </tbody> </table> <table width="500" cellspacing="0" cellpadding="0" id="Content"> <tbody> <tr><td valign="top" style="color: #333;font-family: georgia,serif; " id=""> <div style="border-top: 1px solid #cbcbcb; padding: 19px 0 0 0; font-size: 15px;"> <div style="margin: 0 0 14px 0; font-size: 18px; font-family: arial,helvetica,sans-serif; font-weight: bold; line-height: 22px; color: #000;"> Video Features</div> <table width="500"> <tbody> <tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh16llJJhw9NeZPIQjJ65HZ0TCCSptwcJ/P9l+4/gt/6h6mJxZLw7SVqxlYfMYiMos/5SSSdLlQFs9sOtlue8vTpGVypokOY2BpALGwUltO0WE08JIM1saVA=&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/17/multimedia/nice-guys-anatomy/nice-guys-anatomy-thumbStandard.jpg" alt="Ryan Gosling and Russell Crowe in " TheNiceGuys.??=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MJSm+yepE9dh16llJJhw9NeZPIQjJ65HZ0TCCSptwcJ/P9l+4/gt/6h6mJxZLw7SVqxlYfMYiMos/5SSSdLlQFs9sOtlue8vTpGVypokOY2BpALGwUltO0WE08JIM1saVA=&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> Shane Black Narrates a Scene From 'The Nice Guys' </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By MEKADO MURPHY </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> The director discusses a sequence featuring Russell Crowe and Ryan Gosling. </p> </td></tr> </tbody> </table> </div> </td></tr> </tbody> </table> <table width="500" cellspacing="0" cellpadding="0" id="Content"> <tbody> <tr><td valign="top" style="color: #333;font-family: georgia,serif; " id=""> <div style="border-top: 1px solid #cbcbcb; padding: 19px 0 0 0; font-size: 15px;"> <div style="margin: 0 0 14px 0; font-size: 18px; font-family: arial,helvetica,sans-serif; font-weight: bold; line-height: 22px; color: #000;"> <a name="features"></a><h6 style="font-family: arial,helvetica,sans-serif; font-weight: bold; font-size: 18px; line-height: 22px; color: #000; margin:0;">News & Features</h6></div> <table width="500"> <tbody> <tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MLfR5STN6OzH4+STX1ROGD/00Q8JN5bznd9E9Zy6LfN0yPM2I8+hyLykYcpwli6BhvsJSHtSYqAWldePAU+zOQoGyoH8lsGKvXYH2aVVCJaV2zXi1VU9xZi1ENF+ImqXDcofumKVUbCXM11BcwhH0/PQX4swP8jzsM=&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/22/arts/22ENSEMBLE/22ENSEMBLE-thumbStandard.jpg" alt="Chris Evans in " CaptainAmerica:CivilWar.??=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MLfR5STN6OzH4+STX1ROGD/00Q8JN5bznd9E9Zy6LfN0yPM2I8+hyLykYcpwli6BhvsJSHtSYqAWldePAU+zOQoGyoH8lsGKvXYH2aVVCJaV2zXi1VU9xZi1ENF+ImqXDcofumKVUbCXM11BcwhH0/PQX4swP8jzsM=&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> The Superhero Franchise: Where Traditional Movie Stardom Goes to Die </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By WESLEY MORRIS </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> Once, we liked Hollywood actors who owned their myth. Now a franchise owns it. </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MLfR5STN6OzH3zpaXcR+wWe40J1ABihB+p3NH6JK63Go4RH0hi2oEhLNGTwNurSr8kHE4Eqlul85lUJlPmz7vpygecJjvj3T1YVgpiie2WCSeW01XNN2dm37IdzOI4VxEq59/1yRDoCBA==&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/15/arts/22ALICE-web2/22ALICE-web2-thumbStandard-v3.jpg" alt="Johnny Depp as the Mad Hatter and Mia Wasikowska as Alice in a scene from " AliceThroughtheLookingGlass,?whichcomesoutonMay27.?=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pgVTWw033/9MLfR5STN6OzH3zpaXcR+wWe40J1ABihB+p3NH6JK63Go4RH0hi2oEhLNGTwNurSr8kHE4Eqlul85lUJlPmz7vpygecJjvj3T1YVgpiie2WCSeW01XNN2dm37IdzOI4VxEq59/1yRDoCBA==&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> Alice in Wonderland, With Even More British Whimsy </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By BROOKS BARNES </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> Disney is counting on James Bobin, known for working on "Da Ali G Show" and the "Muppets" movies, to extend its franchise with "Alice Through the Looking Glass." </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pg4Nf+G/ZuektVKRXoSsETQuo6gw18B3HknST4e93VOGQbZbL5WpyN3Ua2oUiYxbaNgecJjvj3T1YVgpiie2WCSeW01XNN2dm37IdzOI4VxEq59/1yRDoCBA==&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/16/arts/17spielberg/16spielberg-thumbStandard.jpg" alt="Steven Spielberg attending " TheBFG?premiereattheCannesFilmFestivalonSaturday.?=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pg4Nf+G/ZuektVKRXoSsETQuo6gw18B3HknST4e93VOGQbZbL5WpyN3Ua2oUiYxbaNgecJjvj3T1YVgpiie2WCSeW01XNN2dm37IdzOI4VxEq59/1yRDoCBA==&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> A Word With: Steven Spielberg </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By MANOHLA DARGIS </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> The director, in Cannes with "The BFG," discusses the original author's anti-Semitism and explains why "Jaws" remains a painful memory. </p> </td></tr><tr><td style="padding: 0 0 17px 0;"> <table cellspacing="0" cellpadding="0" border="0" align="right" style="margin: 0 0 0 15px"> <tbody> <tr><td> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pg4Nf+G/Zueksz9XXH3eraz3ElfgpPPp2hrtbZXap/ARiLknxirdRJvp9WRv0iMJC/6wEz9rI0gfbx2mQExnosqzV9r0mg37NEt+ChLcBgx6uB5wmO+PdPVhWCmKJ7ZYJJ5bTVc03Z2bfsh3M4jhXESrn3/XJEOgIE&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311"> <img width="75" height="75" border="0" src="http://graphics8.nytimes.com/images/2016/05/19/arts/19Almodovar2/19Almodovar2-thumbStandard-v2.jpg" alt="Pedro Almodóvar at the premiere of his film " Julieta?atCannes.?=""> </a> </td></tr> </tbody> </table> <a href="http://p.nytimes.com/email/re?location=4z5Q7LhI+KVBjmEgFdYACPLKh239P3pg4Nf+G/Zueksz9XXH3eraz3ElfgpPPp2hrtbZXap/ARiLknxirdRJvp9WRv0iMJC/6wEz9rI0gfbx2mQExnosqzV9r0mg37NEt+ChLcBgx6uB5wmO+PdPVhWCmKJ7ZYJJ5bTVc03Z2bfsh3M4jhXESrn3/XJEOgIE&campaign_id=59&instance_id=76537&segment_id=89800&user_id=c750496ed9a21d8ca52f7f6c2de036c9®i_id=23772311" style="margin: 0; font-weight: bold; color:#004276; text-decoration:none; font-family: georgia,serif; font-size: 16px; line-height: 20px;"> Pedro Almodóvar Explains His Connection to the Panama Papers </a> <h4 style="color: #808080; font-family: arial,helvetica,sans serif; font-size: 10px; line-height: 12px; margin: 2px 0 3px 0; font-weight: normal;"> By RACHEL DONADIO </h4> <p style="color: #333; font-size: 14px; line-height: 20px; margin: 0;"> The director says his offshore company was created not to avoid taxes but to make international deals in the years before the euro made that easier. </p> </td></tr> </tbody> </table> </div> </td></tr> </tbody> </table> <table width="500" cellspacing="0" cellpadding="0" id="Content"> <tbody> <tr><td valign="top" style="color: #333;font-family: georgia,serif; " id=""> <div style="border-top: 1px solid #cbcbcb; padding: 19px 0 0 0; font-size: 15px;"> <div style="margin: 0 0 14px 0; font-size: 18px; font-family: arial,helvetica,sans-serif; font-weight: bold; line-height: 22px; 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