John Powers

No art. See that painting over there?

Walk over to it. Well, what's in it? Describe it.

Walk over to it. Well, what's in it? Describe it.

Walk over to it. Well, what's in it? Describe it.

Where's the horizon?

Where's the horizon?

Where's the horizon?

Where is it?

Where is it?

Where is it?

That's right. Walk over to this painting.

That's right. Walk over to this painting.

That's right. Walk over to this painting.

At the top of the painting. All right, get over here. Now remember this. When the horizon's at the bottom, it's interesting. When the horizon's at the top, it's interesting. When the horizon's in the middle, it's boring as shit. Now, good luck to you, and get the f*** out of my office.

At the top of the painting. All right, get over here. Now remember this. When the horizon's at the bottom, it's interesting. When the horizon's at the top, it's interesting. When the horizon's in the middle, it's boring as shit. Now, good luck to you, and get the f*** out of my office.

At the top of the painting. All right, get over here. Now remember this. When the horizon's at the bottom, it's interesting. When the horizon's at the top, it's interesting. When the horizon's in the middle, it's boring as shit. Now, good luck to you, and get the f*** out of my office.

Ever since silent film audiences swooned for Rudolph Valentino and the vamp Theda Berra, the movies have packed a sexual charge. but filmmakers have always had trouble dealing with sex head-on. While there have been scads of hot love scenes, movies addressing sexual desire nearly always feel bogus, exploitative, moralistic, or unintentionally funny.

Ever since silent film audiences swooned for Rudolph Valentino and the vamp Theda Berra, the movies have packed a sexual charge. but filmmakers have always had trouble dealing with sex head-on. While there have been scads of hot love scenes, movies addressing sexual desire nearly always feel bogus, exploitative, moralistic, or unintentionally funny.

Ever since silent film audiences swooned for Rudolph Valentino and the vamp Theda Berra, the movies have packed a sexual charge. but filmmakers have always had trouble dealing with sex head-on. While there have been scads of hot love scenes, movies addressing sexual desire nearly always feel bogus, exploitative, moralistic, or unintentionally funny.

Even Stanley Kubrick foundered in Making Eyes Wide Shut, a dreamlike movie in which Tom Cruise was a husband haunted and roused by the possible infidelity of his wife, played by Nicole Kidman. We enter a similar dreamland in Baby Girl, a new film by Dutch filmmaker Helena Rijn that boasts a thrillingly haywire performance by Kidman, who's our bravest, most wrist-kicking actress.