When I started reviewing films on the radio, in 1990, Clint Eastwood was still larger considered a movie star who occasionally directing movies, almost as a hobby. That consensus view was understandable, but also needlessly dismissive. Within the first few … Continue reading From the Archive: Changeling
Terminator: Genisys (Alan Taylor, 2015). The reeling lesson of the just completed summer box office season is that the recycled repetition of brand-driven moviemaking may finally be sputtering its last. The ideal case study as to why arrived one year earlier. Arriving six years after the previous attempt at franchise revivification, Terminator: Genisys shows precisely how hollow the endeavor can be. The film trots out a procession of touchstones — familiar lines, restaged scenes, echoed character beats — without a hint of a central vision or an ounce of soul. Director Alan Taylor brings that same sluggish blandness that made … Continue reading Bernstein with Hooker, Chaplin, Friedkin, Lowery, Taylor
Lest anyone think horrendously bad spoof movies was a result of the trailblazing of the Wayans clan, there was an ugly little flare-up of them in the early nineteen-nineties, largely responding to the surprising success of the Naked Gun films. Yes, friends, there are times when being a film critic is pure misery. This review was written for The Pointer, the student-run newspaper at my undergraduate institution. One of the difficulties in creating a Naked Gun style parody film is throwing jokes at the audience as if fired from a machine gun, so there’s not much room for flat, unsuccessful … Continue reading From the Archive: Loaded Weapon 1
This was written for The Pointer, the student newspaper at the University of Wisconsin-Stevens Point. When I look back at my clippings from that publication, I’m reminded of the remarkable number of times I penned reviews on films that the … Continue reading From the Archive: Consenting Adults
#26 — Michael Douglas as Grady Tripp in Wonder Boys (Curtis Hanson, 2000) When Michael Douglas was cast as Grady Tripp, I was mightily disappointed. Wonder Boys was a book I adored, and the news that it was being adapted for the screen by the writer of The Fabulous Baker Boys and the director of L.A. Confidential filled me with brave belief that the commonplace degradation of a literary work by the Hollywood machine would be skillfully sidestepped. I figured it would be easy from there. Cast Jeff Bridges as the lead character, and all would be well. Instead, director … Continue reading Greatish Performances #26
Hell or High Water is about robbery. The more overt way this is true is obvious. The film begins with two men (Chris Pine and Ben Foster), brothers and partners, engaged in armed robbery of a bank, striking early in … Continue reading Now Playing: Hell or High Water
These posts celebrate the movie trailers, movie posters, commercials, print ads, and other promotional material that stand as their own works of art. I have a longstanding appreciation for movie posters, going back to the days when my trips to the theater were sadly infrequent. I’d wander the hallways staring at these vivid promises of cinematic wonders to come, resigned to the knowledge that taking in this one design and promotional statement would likely comprise the totality of my experience with the films in question in the palace of flickering lights where they were best seen. As official movie posters … Continue reading The Art of the Sell: “The House of the Devil” poster
We’re taking advantage of the weekend’s gloomy weather to stage a little in-house film festival. The DVR needs clearing, you understand. That got me to thinking about multiple feature nights over the years that have, deliberately, been a little more … Continue reading From the Archive: The Shadow and I Know Who Killed Me
In making a film, it takes some industrial strength confidence to include an explicit promise of magic. I don’t mean constructing a story around a boy wizard or some other spinner of spells, fancifully warping reality with the behind the scenes … Continue reading Now Playing: Pete’s Dragon
The Blues Brothers (John Landis, 1980). I routinely think of this musical-action-comedy as the strongest film of the many that have been spun off from Saturday Night Live recurring characters, though we’re admittedly looking at a shallow, fetid pool. A recent fresh viewing suggests I might have been inflating in, undoubtedly on the basis of how freely I and my cohort of dopey high school friends quoted it, as if reciting a bar order of “three orange whips” at a purportedly clever moment would position us as comic geniuses. The movie is more slapdash than I remembered and spotted with … Continue reading Landis, McDonagh, Nichols, Parks, Trevorrow
Coffee for Two 