Two brief “Trailers From Hell” essays were posted three or four days ago, one from Brian Trenchard-Smith about Peter Glenville‘s Becket and the other delivered by John Landis, of all people, about Carol Reed and Lewis Milestone‘s Mutiny on the Bounty. Why aren’t these essays better written with better visual materials? And why aren’t they shot in 16 x 9?
To my great surprise and delight, Christy Hall‘s Daddio, which I was remiss in not seeing during last year’s Telluride...
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7:45 pm: Okay, the initial light-hearted section (repartee, wedding, hospital, afterlife Joey Pants, healthy diet) was enjoyable, but Jesus, when...
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It took me a full month to see Wes Ball and Josh Friedman‘s Kingdom of the Planet of the Apes...
More »The Kamala surge is, I believe, mainly about two things — (a) people feeling lit up or joyful about being...
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Unless Part Two of Kevin Costner‘s Horizon (Warner Bros., 8.16) somehow improves upon the sluggish initial installment and delivers something...
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For me, A Dangerous Method (2011) is David Cronenberg‘s tastiest and wickedest film — intense, sexually upfront and occasionally arousing...
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