In a town that was like a wishing well, you were cast in like a stone

As if often the case when a film is the subject of back-and-forth, hyperbolic, politically-minded screeds, American Sniper is more of a litmus test of the predisposition of the viewer than a film making fiercely argued points on either side of the argument raging in its wake. As best as I can tell, those who decry it as a patriotically-blinded, neocon agitprop are ignoring the film’s undercurrent consideration of the way recurring wartime military service tears apart a life and a psyche. Interestingly enough, the film’s more fervent defenders’ common penchant to paint it as a sterling testament to the unyielding … Continue reading In a town that was like a wishing well, you were cast in like a stone

From the Archive: A Perfect World

This review was written for the drops we created to slip into regular programming after the weekly radio show ended in 1993. I can tell from the script that it was written on the already-antiquated computer that resided on the desk of the closet-sized manager’s office in the movie theater where I worked. It’s one big block of all-capitalized text, making it brutally difficult to read during the recording process. I see I was pushing back against the critical instinct to overpraise the supposed deeper meanings of Eastwood’s directorial efforts even then. And I’m somewhat surprised that “Lazy charm” was … Continue reading From the Archive: A Perfect World

Daldry, Eastwood, Moore, Sirk, Soderbergh

Pitch Perfect (Jason Moore, 2012). Much as I can understand how this film turned into a stealth hit–it has the musical liveliness of early Glee combined with the knowing spunk of Bring It On–it’s a fairly clumsy endeavor, with strained jokes and haphazard structure that would almost count as daring anti-narrative if it were done intentionally. It’s also one of those films that has absolutely no idea how college works, not just taking liberties for the sake of the storytelling but completely ignoring any attempt to depict its setting in a way that’s at all plausible. It does have Anna … Continue reading Daldry, Eastwood, Moore, Sirk, Soderbergh

Eastwood, Polanski, Rosenberg, Siodmak, Wyatt

Hereafter (Clint Eastwood, 2010). Clint Eastwood will often dismiss anyone trying to read too much subtext of grand personal artistic statement in his films. They’re just pictures to the steely-eyed director. Certainly this ponderous rumination of mortality holds no added passion or weight that might be expected from a guy entering into his eighties and, therefore, maybe a little interested in considering what might be out there beyond this mortal coil. Instead Eastwood plods through a notably facile script from Peter Morgan bringing together multiple story threads in ways that would strain credulity to breaking if they weren’t so completely … Continue reading Eastwood, Polanski, Rosenberg, Siodmak, Wyatt

Eastwood, Kusama, Ritchie, Roeg, Vallée

Sherlock Holmes (Guy Ritchie, 2009). I fully expected that Ritchie’s first real stab at crafting a blockbuster entertainment would be an over-directed mess. Instead, it’s fairly drab, a generic exercise in filling the screen with bigger, louder, grander nonsense at every turn. Of course, it’s still a mess, a clumsy attempt at making the most famous detective in literary history relevant for a modern audience that’s more interested in quipping tomfoolery than feats of logic. Robert Downey, Jr. plays the title role with the sort of chomping fussiness that’s too often the defining characteristic of his acting, and Jude Law … Continue reading Eastwood, Kusama, Ritchie, Roeg, Vallée

Top Fifty Films of the 90s — Number Thirty-One

#31 — Unforgiven (Clint Eastwood, 1992) Clint Eastwood never made another western after Unforgiven. That may not seem like a big deal. It’s hardly a studio staple any longer, with no more than a couple per year, a major difference from the numbers cranked out by old Hollywood studios, as evidenced by any casual perusal of a Turner Classic Movies monthly schedule. But it is significant for Eastwood, probably the modern actor most associated with the genre, from the television celebrity of Rawhide to his persona-defining work in Sergio Leone’s spaghetti westerns to the elegiac soberness of his own directorial … Continue reading Top Fifty Films of the 90s — Number Thirty-One

I’ll have to follow the way what I was wont to say

Years ago, when I started dispensing my smart aleck movie opinions across the central Wisconsin airwaves, I decided on an evaluative approach that entailed treating each film entirely as its own entity. I made no assumption that viewers would go into the average new release with a full working knowledge of the filmmakers involved, so it made sense to me to do the best to set aside my own preconceptions. Though done with the best intentions, that methodology proved to be extremely difficult, unduly limiting and, frankly, not all that much fun. It was more interesting to consider, say, Martin … Continue reading I’ll have to follow the way what I was wont to say