The trade reviews of Poseidon — Brian Lowry‘s in Variety and Sheri Linden‘s in the Hollywood Reporter — both complain about the lack of character shading and/or revelation and the generally streamlined approach. They don’t seem to get it. It’s a good thing that Poseidon cuts to the chase and is over in 100 minutes or so. Nobody wants emotionalism or depth of character slowing things down or gumming things up.
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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