I love this line from a review of Capote by Entertainment Weekly‘s Owen Gleiberman, in which he examines the final beat in the relationship between Truman Capote and condemned murderer Perry Smith: “[Philip Seymour] Hoffman
makes Capote’s dissolution a theatrical miracle of devastation. In his final scene with Perry, he’s so conflicted that he does something I’ve never seen on screen: He cries, honestly, and lies at the same time.”
Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...
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Frances McDormand‘s Fern was strong but mule-stubborn and at the end of the day self-destructive, and this stunted psychology led...
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Can’t decide which performance is better, although I’ve always leaned toward Tina Vitale, her cynical New Jersey moll behind the...
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Two days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!)...
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A friend suggested a list of the Ten Best American Crime Flicks of the ‘70s. By which he meant films...
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I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve...
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