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Also frustrating for anyone who worries that Anonymous's take on a classic like Richard III it basically turns one of Shakespeare's tighter history plays into a mere propaganda tool diminishes the work itself. Y'know, the proof demanding academic crowd who'll no doubt spend that scene, and maybe the whole rest of the movie, muttering "A source, a source, my kingdom for a source. "William McKinley (Willie) Covan, a stylish and versatile tap dancer who taught his unique steps to generations of Hollywood stars and lesser known aspiring hoofers, has died in Los Angeles, family members said Wednesday. Known as "Poetry in Motion" on marquees and to his peers, Covan, 92, died Sunday, said his granddaughter, Patricia Pitts.

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shared bills with major white performers. Yancey captivated him with tales of touring the West, riding horses and picking oranges and lemons from trees in California. Covan was so smitten by the idea that he hustled part time jobs and began paying Yancey to teach him to dance. "But he was no teacher," Covan told The Vans All Black

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th computer graphics allowing soaring shots over the muddy streets of a digital London. When de Vere decides to use Richard III to whip a theater audience into a political frenzy, the mob looks persuasive enough as it takes to the streets that for some viewers, it may not matter that the story's chronology doesn't work or that none of this actually happened. Bottom line: Grant the film's big moments a kind of loopy majesty, and note that they're better acted than they deserve to be, not just by Ifans, Redgrave and Spall, but by David Thewlis and Edward Hogg as the villainous father son team of William and Robert Cecil. It's a classy cast. Still, plot matters, and I'm guessing that this film's plot will prove incoherent for folks who can't identify Ben Jonson, Robert Cecil and the 2nd Earl of Essex and it'll prove exasperating for those who can.

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