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    Summer Attraction

    Art coup: Rare Dutch and English masterworks to make U.S. debut at MFAH thanksto London revamp

    Tyler Rudick
    Dec 9, 2011 | 3:12 pm
    • Joseph Mallord William Turner, A Coast Scene with Fisherman Hauling a BoatAshore (“The Iveagh Sea Piece”), c. 1803-1804, oil on canvas, Kenwood House,English Heritage, Iveagh Bequest, 1927
    • Anthony van Dyck, Flemish, Princess Henrietta of Lorraine Attended by a Page,1634, oil on canvas, Kenwood House, English Heritage, Iveagh Bequest, 1927
    • Rembrandt van Rijn, Portrait of the Artist, c. 1665, oil on canvas, KenwoodHouse, English Heritage, Iveagh Bequest, 1927
    • Thomas Gainsborough, Mary, Countess Howe, c. 1764, oil on canvas, Kenwood House,English Heritage, Iveagh Bequest, 1927

    The Museum of Fine Arts, Houston is set to host an exquisite collection of European paintings from London's Kenwood House, including masterworks by Rembrandt, Van Dyck, Thomas Gainsborough and J.M.W. Turner.

    Perched atop North London's Hampstead Heath, Kenwood House has been home to the renowned paintings for more than a century, drawing more than a million visitors each year. With this summer's "Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London" at the MFAH, American audiences will get a rare opportunity to view one of England's most important art collections.

    The works offer a window into the aristocratic tastes of its own time: Full-length portraits of London courtesans, Italian and Dutch landscapes and a self-portrait of Rembrandt himself.

    Acquired from 1887 to 1891 by the manor's last private resident, Edward Cecil Guinness — the 1st Earl of Iveagh and the heir to beloved Irish brewery — the group of Dutch, Flemish and English works from the 17th and 18th centuries offer a window into the aristocratic tastes of its own time: Full-length portraits of London courtesans, Italian and Dutch landscapes and a self-portrait of Rembrandt himself.

    Built in the early 1600s and remodeled by famed neoclassical architect Robert Adam in the late 18th century, the Kenwood House will close to the public in the summer 2012 for a year-long series of major renovations to repair a dangerously-aging roof and restore the building's exterior.

    A portion of the conservation efforts will be funded by loaning portions of the collection to museums in the United States, where many of the paintings will make their first American debut. Organized by the American Federation of Arts (AFA), "Rembrandt, Van Dyck, Gainsborough" features 48 pieces from Kenwood which will travel first to the MFAH before making stops in Milwaukee and Seattle.

    “We are extremely proud to be able to give greater exposure to this magnificent selection of paintings while Kenwood undergoes a major refurbishment,” AFA chief operating officer Pauline Willis said in a statement.

    Prior to this exhibition's opening in Houston, Rembrandt’s Portrait of the Artist will be on view throughout April and May at the Metropolitan Museum of Art, where new MFAH director Gary Tinterow is currently putting the finishing touches on an acclaimed 28-year tenure as curator of 19th-century, modern, and contemporary art.

    "Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London" will run from June 3 through Sept. 3, 2012 at MFAH.

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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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