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    See The Light

    A mind-altering museum experience: James Turrell's lights play with your psyche at MFAH

    Tyler Rudick
    Jun 10, 2013 | 8:26 am

    James Turrell is taking the nation by storm this summer with not one, but three major museum exhibitions delving into the light artist's four-and-a-half decade career.

    With a show at the Los Angeles County Museum of Art underway and a Guggenheim exhibit set to open in New York later this month, the Museum of Fine Arts, Houston has unveiled its portion of the nationwide retrospective with seven installation pieces from its own collection, with many of them on view for the first time.

    Also featured are 10 rare portfolios of prints, several of which shed some light on the artist's long-awaited Roden Crater sky observatory project in Arizona.

    Titled The Light Inside after the MFAH's in-house Turrell tunnel beneath Main Street, the exhibit offers a careful cross-section of the artist's primary working modes — from simple wall projections from the late 1960s to the fully-immersive light installations that have made him one of the biggest names in art today.

    The massive, all-encompassing End Around employs just about every trick from Turrell' s playbook.

    Those familiar with Turrell's work know that each piece demands some time to get the full experience. While the MFAH installations won't require the full 40 minutes needed to see Twilight Epiphany at Rice University (a must-see for Houston art fans), visitors should allocate plenty of time for each work.

    Taking in the show chronologically, early projections like the Barnett Newman-esque Tycho, White (1967) and shallow wall constructs such as Rondo Blue (1969) come across as small-scale experiments in light, glimpses of which viewers will spot instantly in the artist's more recent output.

    Anchoring the show both physically and thematically is 2006's massive End Around, a room-sized installation that employs just about every trick from Turrell's playbook. Based on his longstanding interests in the Ganzfeld effect — a loss of directional perception, like a whiteout during a snowstorm — the piece uses neon and fluorescent lights to give viewers an experience the artist compared to “stepping into paint.”

    Similar to Doug Wheeler's 2011 installation work for the Menil Collection's Upside Down: Arctic Realities, white walls curve smoothly to the white floor without creating a corner. The floor slopes ever so slightly towards the front wall, which features a large shallow opening with its interior also painted white. Lights inside the opening and at the back of the room change color at a rate almost undetectable to someone staying only a few minutes.

    The ultimate effect? Some viewers said the the room took on a sort of fogginess, while others like myself appeared to loose their balance and wander cautiously around the installation. Like most Turrell pieces, though, you'll have to experience it for yourself.

    James Turrell: The Light Inside is on view at the MFAH's Caroline Weiss Law building through Sept. 22. The exhibition is free with general admission, although timed tickets are required to ensure that guests have ample time to experience the immersive installations.

    Aurora B, Tall Glass, 2010, LED

    MFAH James Turrell The Light Inside June 2013 Aurora B, Tall Glass
    Photo courtesy of the Museum of Fine Arts, Houston
    Aurora B, Tall Glass, 2010, LED
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    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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