Albert Brooks‘ Real Life “hammers on a conundrum ducked by most documentaries, An American Family included: no matter how unobtrusive a filmmaker tries to be, his subject is still likely to react to the cameras by subtly altering his behavior, thereby making existence into a kind of performance, infusing life with fiction’s DNA and creating a hybrid monster that’s at once real and unreal.” — from a “Press Play” essay on this 1979 film by Robert Nishimura and Matt Zoller Seitz.
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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