“One of the subversive conceits of No Country for Old Men is that for all the experience and skill” tucked under the belt of Tommy Lee Jones‘ Sherill Bell, “he is more of a passive character than an active one, functioning as a kind of Greek chorus who comments on and contextualizes the action rather than being at the heart of it.” Thank you, Kenneth Turan, for specifically agreeing with HE on this point.
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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