It’s on par with the other Reitman films I mentioned in terms of surface entertainment value. Probably a film I’d have given a B had its message not struck me as so misguided. Or a film I’d have given a D were it not engaging moment to moment.
Well, except they also put them in the red-band trailer. (That’s how I was able to accurately list a bunch of them.) In any case, the analogy doesn’t have to be as precise as you insist. My point was simply that it’s a similar ploy of suggesting that the viewer may not able to handle what’s coming. I opened the review …
Mostly I want to dispel a common misconception, which is that criticizing films of this sort on dramaturgical grounds is somehow tantamount to dismissing real-life instances of human suffering. That’s just not the case. One can be properly horrified and still feel that the situation is too black-and-white to make for…
I wrote both reviews, so you can blame me. My relatively low opinion of Beast is indeed an outlier, but American Animals is by no means a critical triumph; Metacritic currently designates 13 reviews as positive, 10 (including mine) as mixed, and 2 as negative. So basically a 50-50 split between thumbs up and thumbs…
Who’s the most famous person buried in Arlington National Cemetery? No need to overthink this.
His part is quite small. But he excels in it.
Oops. I originally wrote “at the expense of causing considerable confusion,” cut “causing” because that’s clumsily alliterative, then didn’t notice that it no longer makes sense. Good catch.
He can’t free her because she’s heavily chained. Like, bolted to the floor. It would require tools and way more time than he has.
I originally wrote “a Ouija board that uses the Cyrillic alphabet,” then realized I was about to send the piece for editing to Ignatiy, who can read the Cyrillic alphabet just fine. Then I tinkered with versions that specified a monolingual English speaker using a Ouija board with a non-English alphabet, but couldn’t…
Those are all celebrities. The people I’m talking about aren’t. And I don’t think either Eastwood or (especially) Zhao made that decision to save money.
No, people are using the term too broadly. But google “jared leto whitewashing” and you’ll see why I felt comfortable saying that’s what the outrage entails.
“He doesn’t have the footage to make Did You Wonder Who Fired The Gun? come together as an investigation narrative, and his insistence on a quasi-chronological structure means that it doesn’t work as an essay, either.”
The cinematographer generally has little or nothing to do with composition. (S)he’s primarily responsible for lighting, and sometimes lenses if the director isn’t very hands-on in that department.
That would follow. I rank them as follows (minus A Brief History of Time which I’m pretty sure I liked fine when it originally opened but need to revisit).
Thanks. Although when I tackled Psycho for the column, I deliberately avoided the shower scene, which I felt had been analyzed enough already. (Wrote about Marion and the highway patrolman instead.) Still, it’s one of very few scenes that genuinely could sustain a feature-length doc.
Nope. Not even mentioned. It’s amazing how little Woodward and Bernstein are in this.
Yeah, it’s 100% justifiable to strongly suspect racial bias in a circumstance like this. Given that Strong Island spends nearly two hours examining the case, though, I was surprised by how inconclusive it still seems at the end. Even had the shooter been indicted, I think it quite likely that he would ultimately have…