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There are no velvet ropes at the Velveteria in Portland, Ore., where visitors can rub velvet — or velveteen — art, including portraits of Jesus, Elvis, Liberace and Michael Jackson.

The sculpture of Martin Luther King Jr. intended for a memorial on the National Mall in Washington, D.C., is too "confrontational," according to the U.S. Commission of Fine Arts. The commission's approval is necessary for any monument or memorial in the capital. The commission says the sculpture needs to be reworked.

As part of NPR's "In Character" series, NPR's Tony Cox profiles the king of the junkyard, Fred Sanford. He was a TV character unlike any other. We take a look at the legacy of the trash-talking junk dealer.

Lives, nations and worldviews intersect in Fatih Akin's complex drama, which boasts delicately shaded performances from a cast led by Turkish national treasure Tuncel Kurtiz and German film icon Hannah Schygulla.

How can something look so bright, and move so fast, and still be so dull? Oh, right: The creators of The Matrix are involved.

In the Japanese anime series Death Note, high school student Light Yagami is in possession of a super-powered notebook that allows him to kill anyone, simply by writing down the victim's name. Critic-at-large John Powers offers a commentary.

Writer Mark Jordan Legan tells us what critics are saying about Sangre de mi Sangre, the Sundance Grand Jury prize-winner; Garcia Girls, an indie film starring Ugly Betty's America Ferrara; and the next installment in the Narnia chronicles: Prince Caspian.

Israeli writer Etgar Keret has a new short-story collection out (The Girl on the Fridge) as well as a film collaboration with his wife. The film, Jellyfish, won the Camera D'Or prize at Cannes in 2007. Keret talks about writing and moviemaking.

Brilliant arms-merchant playboy dons advanced battle armor to save the world from evil plot. Latest Marvel Comics adaptation wants to be this summer's first blockbuster, but it's too overloaded for takeoff.

A British boys-school hellion and his shy, sheltered patsy make a homegrown sequel to Rambo: First Blood. Garth Jennings' film is cheerfully ramshackle, childishly overstated, and pretty darn appealing.